This is a modern-English version of Beeton's Book of Needlework, originally written by Beeton, Mrs. (Isabella Mary). It has been thoroughly updated, including changes to sentence structure, words, spelling, and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.

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BEETON'S BOOK

OF

NEEDLEWORK.

CONSISTING

OF

DESCRIPTIONS AND INSTRUCTIONS,

ILLUSTRATED BY

SIX HUNDRED ENGRAVINGS,

OF TATTING PATTERNS.

CROCHET PATTERNS.

KNITTING PATTERNS.

NETTING PATTERNS.

EMBROIDERY PATTERNS.

POINT LACE PATTERNS.

GUIPURE D'ART.

BERLIN WORK.

MONOGRAMS.

INITIALS AND NAMES.

PILLOW LACE, AND LACE STITCHES.

Every Pattern and Stitch Described and Engraved with the utmost
Accuracy and the Exact Quantity of Material requisite for
each Pattern stated.

CHANCELLOR PRESS

Beeton's Book of Needlework was originally published
in Great Britain in 1870 by Ward, Lock and Tyler.

This facsimile edition published in Great
Britain in 1986 by
Chancellor Press
59 Grosvenor Street London W 1

Printed in Czechoslovakia 50617

SAMUEL BUTLER'S PREFACE

The Art of Needlework dates from the earliest record of the world's history, and has, also, from time immemorial been the support, comfort, or employment of women of every rank and age. Day by day, it increases its votaries, who enlarge and develop its various branches, so that any addition and assistance in teaching or learning Needlework will be welcomed by the Daughters of England, "wise of heart," who work diligently with their hands.

The Art of Needlework has been around since the earliest records of history and has long been a source of support, comfort, and activity for women of all ages and backgrounds. Every day, more people embrace it, expanding and enhancing its different aspects. Any help or resources for teaching or learning Needlework will be gladly received by the "wise of heart" Daughters of England, who work hard with their hands.

The recent introduction of Point Lace has brought a finer, and, apparently, more difficult class of fancy work into general favour. Ladies may now, however, confidently commence, with our patterns before them, to reproduce Antique laces; for care and patience, with a knowledge of Point Lace stitches, are alone required to perfect the beautiful work, which, as shown in existing specimens of exquisite Old Lace, constitute the chief glory of women's refined industry in past centuries.

The recent introduction of Point Lace has brought a more refined and seemingly more challenging type of craft into popular demand. Now, women can confidently start creating Antique lace with our patterns in hand; all that's needed is care and patience, along with a grasp of Point Lace stitches, to master the beautiful craft that, as seen in the existing examples of exquisite Old Lace, represents the pinnacle of women's skilled work from past centuries.

INSTRUCTIONS in TATTING, in EMBROIDERY, in CROCHET, in KNITTING and NETTING, in BERLIN WOOL WORK, in POINT LACE, and GUIPURE D'ART are prefixed to the pages devoted to these separate branches of needlework. The whole work is interspersed with coloured and other Patterns in Point Lace, Guipure d'Art, Tatting, Embroidery, and Designs for Monograms and Initials for marking handkerchiefs and table-linen. The quantity of materials required for each class of work is also given with every pattern.

INSTRUCTIONS in TATTING, EMBROIDERY, CROCHET, KNITTING, and NETTING, as well as in BERLIN WOOL WORK, POINT LACE, and GUIPURE D'ART, are included at the beginning of the pages dedicated to these various needlework techniques. The entire work features a mix of colored and other patterns in Point Lace, Guipure d'Art, Tatting, Embroidery, along with designs for monograms and initials suitable for personalizing handkerchiefs and table linens. Each pattern also provides the amount of materials needed for each type of work.

The idea of combining a series of minute and exact instructions in fancy needlework with useful patterns was conceived some years ago by one whose life was devoted to the inculcation of the practical duties of woman's life, and to assisting her sex in their daily work of HOUSEHOLD MANAGEMENT and REFINEMENT.

The concept of merging detailed and precise instructions for fancy needlework with practical patterns was envisioned years ago by someone dedicated to teaching the practical responsibilities of a woman's life and supporting her in her everyday tasks of HOUSEHOLD MANAGEMENT and REFINEMENT.

Her great wish was that her BOOK OF NEEDLEWORK should be as valuable in its way to her Countrywomen as her work upon Household Management was useful in showing the best mode of providing for the diurnal wants of families. Other hands have brought to a conclusion her original plans. The best attainable workers have contributed to this volume. Only those who knew the extent of the late Mrs. Beeton's design, will miss, in the pages now before them, "the touch of a vanished hand."

Her greatest wish was for her BOOK OF NEEDLEWORK to be as valuable to her fellow countrywomen as her work on Household Management was in demonstrating the best way to meet the daily needs of families. Others have completed her original plans. The finest available contributors have added to this volume. Only those who understood the full scope of the late Mrs. Beeton's vision will notice, in the pages before them, "the touch of a vanished hand."

S.O.B.

Paternoster Row, 1870.

Paternoster Row, 1870.

CONTENTS.

TATTING INSTRUCTIONS.		i--vi
TATTING PATTERNS		1
EMBROIDERY INSTRUCTIONS		83
EMBROIDERY PATTERNS		105
CROCHET INSTRUCTIONS		185
CROCHET PATTERNS		199
KNITTING INSTRUCTIONS		289
NETTING INSTRUCTIONS		301
KNITTING AND NETTING PATTERNS		309
ALPHABETS FOR MONOGRAMS AND INITIALS		371
MONOGRAMS AND INITIALS		401
POINT LACE WORK		445
POINT LACE INSTRUCTIONS		451
POINT LACE PATTERNS		482
INSTRUCTIONS AND PATTERNS IN GUIPURE D'ART		503
BERLIN WORK INSTRUCTIONS		559

TATTING

[i]

TATTING INSTRUCTIONS

The needlework called Tatting in England, Frivolité in French, and Frivolitäten in German, is a work which seems, from all accounts, to have been in favour several generations ago. Modern ingenuity has discovered some ways of improving on the original plan of tatting, which was, indeed, rather a primitive sort of business as first practised. To Mrs. Mee, one of our most accomplished artistes in all matters connected with the work-table, belongs, we believe, the introduction of the plan of working from the reel instead of the shuttle. By this alteration the advantage of the shuttle being constantly kept filled with cotton was gained, and the necessity also obviated for frequently [ii] joining the thread; and to Mdlle. Riego, equally distinguished in all details appertaining to the employment of the needle, ladies are indebted for an arrangement by which the same thread used in the making of the pattern is used for fastening the work. The old plan only provided for the working of the different portions which constituted the pattern, and then these portions had to be sewn together with a needle and thread. The ingenious workers on the Continent have also given much attention of late to the art of tatting, and our instructions now printed comprise what we consider the best mode of learning and doing this exceedingly interesting and fashionable work.

The needlework known as Tatting in England, Frivolité in French, and Frivolitäten in German was quite popular several generations ago. Modern innovation has found ways to enhance the original method of tatting, which was quite basic when it first started. Mrs. Mee, one of the most skilled artistes in everything related to the work-table, is credited with introducing the technique of working from the reel instead of the shuttle. This change allowed the shuttle to always be filled with thread and eliminated the need to constantly [ii] join the thread. Ladies also owe Mdlle. Riego, who is equally expert in all aspects of needlework, for developing a method that allows the same thread used in creating the pattern to be used for securing the work. The old method only allowed for assembling the different parts of the pattern, which then had to be sewn together with a needle and thread. Recently, talented crafters on the Continent have focused a lot on the art of tatting, and our current instructions include what we believe is the best way to learn and practice this incredibly engaging and fashionable skill.

Tatting differs entirely from crochet, and is composed of stitches forming knots. It is intended as an imitation of point lace, and is especially used for trimming under-linen, on account of its strength.

Tatting is completely different from crochet and consists of stitches that create knots. It's designed to mimic point lace and is commonly used for trimming undergarments due to its durability.

To make the stitches or knots a small instrument is used, called a shuttle. This shuttle consists of two oval pieces, flat on one side and convex on the other, and is made of wood or ivory.

To make the stitches or knots, a small tool is used, called a shuttle. This shuttle has two oval pieces, flat on one side and rounded on the other, and is made of wood or ivory.

[iii]

The two oval pieces are joined together by a strong cross-piece. The illustration shows the construction of the shuttle. These shuttles are made in ivory, pearl, tortoiseshell inlaid with pearl, and silver; they are also manufactured in coloured bone, black, red, and white. The best to work with are the pearl for a white shuttle, and the inlaid tortoiseshell for a black shuttle; the prices vary from sixpence to one shilling and two-and-sixpence each. In selecting a shuttle be careful to see that the ends close, as if dropped it soon becomes unthreaded, which is very inconvenient. The cotton intended for the work is wound round this shuttle, and the thickness of the cotton varies according to the style of work. It is better to use the proper tatting cotton, because it is stronger than the ordinary kinds; this is manufactured by Messrs. Walter Evans and Co. for the purpose. Their Boar's Head Cotton is also frequently used, and answers very well.

The two oval pieces are connected by a sturdy cross-piece. The illustration shows how the shuttle is constructed. These shuttles are made from ivory, pearl, tortoiseshell inlaid with pearl, and silver; they're also available in colored bone, black, red, and white. The best ones to use are the pearl for a white shuttle and the inlaid tortoiseshell for a black shuttle; prices range from sixpence to one shilling and two-and-sixpence each. When choosing a shuttle, make sure the ends close properly, as dropping it can easily cause it to become unthreaded, which is quite inconvenient. The cotton used for the work is wound around this shuttle, and the thickness of the cotton depends on the style of work. It's better to use the correct tatting cotton because it's stronger than regular types; this is produced by Messrs. Walter Evans and Co. specifically for this purpose. Their Boar's Head Cotton is also commonly used and works very well.

Shuttles.

Shuttles.

These are made in 3 sizes:--Finest, No. 1; No. 2, useful medium size; No. 3, the largest.

These come in 3 sizes: Finest, No. 1; No. 2, a handy medium size; and No. 3, the largest.

The Way to Hold the Hands.

Take the shuttle in the right hand, between the thumb and second finger, and allow the forefinger to remain at liberty, and rest the under part of the shuttle between the second and third and on the middle finger. Place the thread round the three middle fingers of the left hand, so as to form a loop, keeping the second and third fingers a little apart, and bring the cotton again between the thumb and forefinger, letting the end fall within the palm of the hand, while the end of cotton which holds on to the shuttle passes over the thumb-nail.

Hold the shuttle in your right hand, between your thumb and index finger, while keeping your middle finger free. Rest the bottom part of the shuttle between your middle and ring fingers and on your middle finger. Wrap the thread around the three middle fingers of your left hand to create a loop, slightly separating your middle and ring fingers. Bring the cotton back between your thumb and index finger, letting the end drop into your palm, while the end of the cotton attached to the shuttle goes over your thumb nail.

To Make a Stitch.

[iv]

Keep the hands in the position above described; pass the shuttle at the back, through the loop--that is, between the second and third fingers. Take the end of the shuttle which comes out from the loop between the forefinger and thumb of the right hand, and strain the cotton very tightly towards the right. When the cotton is drawn through the loop, this cotton must not be impeded by the fourth finger; it should, on the contrary, slide over it, and be drawn tight. It should divide the loop into two parts. After this withdraw the second left-hand finger, which is above the cotton, and pass it again under that cotton, so as to draw up the loop. A half-stitch is thus formed, and must be tightened by being drawn closely to the forefinger and thumb of the left hand. For the remaining half of the stitch keep the hands in the same position, but, instead of letting the cotton fall over the thumb, pass this cotton over the back of the hand; then let the shuttle fall between the second and third fingers of the left hand, in front, and take it out again at the back, strain the cotton very tightly, withdraw the second finger from the loop, letting the cotton which is behind the hand sweep over the fingers. When this is done, guide with the unoccupied fingers of the left hand this second half-stitch up to the other, thus completing one stitch.

Keep your hands in the position described above; pass the shuttle behind, through the loop—that is, between your second and third fingers. Take the end of the shuttle that comes out from the loop between the forefinger and thumb of your right hand, and pull the cotton tightly towards the right. When the cotton is pulled through the loop, it should not be blocked by your fourth finger; instead, it should slide over it and be pulled tight. It should divide the loop into two parts. After this, remove the second finger from your left hand, which is above the cotton, and pass it again under that cotton to pull up the loop. A half-stitch is formed this way and must be tightened by drawing it close to the forefinger and thumb of your left hand. For the remaining half of the stitch, keep your hands in the same position, but instead of letting the cotton fall over your thumb, pass it over the back of your hand; then let the shuttle drop between the second and third fingers of your left hand, in front, and pull it out again at the back, pulling the cotton tightly. Remove the second finger from the loop, letting the cotton that is behind your hand glide over your fingers. Once this is done, use the unoccupied fingers of your left hand to guide this second half-stitch up to the first one, thus completing one stitch.

The Way to Make a Loop in Tatting.

The Method for Creating a Loop in Tatting.

When a certain number of stitches are made, very tightly draw in the loop by straining the cotton until the first stitch touches the last, and thus a loop is formed. During this process the stitches should be held tightly between the forefinger and thumb.

When a certain number of stitches are made, pull the loop tightly by pulling the cotton until the first stitch touches the last, and that creates a loop. While doing this, hold the stitches firmly between your index finger and thumb.

[v]

The Way to Make a Purl.

A purl is a small loop of cotton often used as an edging in tatting, as, for instance, round the outer edge of the ovals in tatted insertion No. 2. The following is the easiest method of making a purl:--The stitches are not made quite closely together at the place where a purl is to be made; about one-sixth of an inch is left between each. This space is left free until the loop is made by uniting the stitches; then the small piece of cotton in the space bulges out between the stitches, and forms the purl. If several are required a small space is left between every two or three stitches, according to the desired number. Care must be taken in that case that the small pieces of cotton left be all of the same length, so that the purl may be perfectly even. The purl can also be made thus: At the same time with the end of thread take the tatting-pin or a very large darning needle or knitting needle in the left hand, so that the point may come out farther than the row of stitches; if then you wish to make a purl, throw the cotton on the pin before making the stitch; then fasten this stitch, and push it at once close to the preceding; the pin with the cotton should come above the stitches. Do not take out the pin before all the purl and all the stitches are completed and joined together.

A purl is a small loop of cotton commonly used as an edge in tatting, like around the outer edge of the ovals in tatted insertion No. 2. Here’s the easiest way to make a purl: Don’t place the stitches too closely together where the purl will go; leave about one-sixth of an inch between each. Keep this space free until the loop is created by joining the stitches; then the small piece of cotton in the gap will bulge out between the stitches, forming the purl. If you need several, leave a small space between every two or three stitches, depending on how many you want. Make sure the small pieces of cotton you leave are all the same length, so the purl is perfectly even. You can also make the purl this way: At the same time as the thread's end, hold the tatting-pin or a very large darning needle or knitting needle in your left hand, so the point sticks out farther than the row of stitches. If you want to make a purl, wrap the cotton around the pin before making the stitch; then secure this stitch and push it right next to the previous one; the pin with the cotton should be above the stitches. Don’t remove the pin until all the purls and stitches are finished and connected.

Joining the Work.

Starting the Job.

Place the tatting-pin in the loop that is to be joined, and with the hook draw the thread of the loop--that is, round the hand through it--pass the shuttle through this loop, and draw it up tightly close to the stitches.

Place the tatting pin in the loop that needs to be joined, and with the hook, pull the thread of the loop—meaning, around the hand through it—pass the shuttle through this loop, and pull it up tight against the stitches.

A "straight" or double thread is used to join various parts of the work, and forms very beautiful patterns. Without the straight thread we [vi] should be unable to imitate point lace patterns, or, indeed, to execute any designs but those composed of circles, ovals, &c. To use this straight thread 2 shuttles are required; they should be of different colours. Sometimes one end of thread is left attached to the reel instead of using the second shuttle. In commencing a loop the straight thread is held between the second and third fingers of the left hand, about 2 or 3 inches from the work; the other shuttle is held as usual in the right hand, and the stitches and purls worked with it upon the foundation of the straight thread of the second shuttle.

A "straight" or double thread is used to connect different parts of the work and creates very beautiful patterns. Without the straight thread, we [vi] wouldn't be able to mimic point lace patterns or even create any designs other than those made up of circles, ovals, etc. To use this straight thread, two shuttles are needed, and they should be in different colors. Sometimes one end of the thread is left attached to the reel instead of using the second shuttle. When starting a loop, the straight thread is held between the second and third fingers of the left hand, about 2 or 3 inches away from the work; the other shuttle is held as usual in the right hand, and the stitches and purls are worked with it on the foundation of the straight thread from the second shuttle.

[1]

TATTING PATTERNS.

1.--Pine Pattern Collar in Tatting.

1.--Pine Pattern Tatting Collar.

Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 80, or tatting cotton No. 60; tatting-pin No. 3; a small shuttle.

Materials: Walter Evans and Co.'s Boar's Head cotton No. 80, or tatting cotton No. 60; tatting pin No. 3; a small shuttle.

This collar is worked with very fine tatting cotton as follows:--1st circle: 2 double, 1 purl 7 times, 2 double, draw up the cotton.

This collar is made with very fine tatting cotton as follows:--1st circle: 2 double, 1 purl 7 times, 2 double, pull the cotton tight.

2nd circle: 3 double, join it to the last purl of the 1st circle, 1 double, 1 purl 8 times, 2 double, draw the cotton up.

2nd circle: 3 double, connect it to the last purl of the 1st circle, 1 double, 1 purl 8 times, 2 double, pull the cotton tight.

3rd circle: 2 double, join it to the last purl of the 2nd circle, 1 double, join it to the 7th purl of the 2nd circle, 1 double, 1 purl 8 times, 2 double, draw the cotton up.

3rd circle: 2 double, connect it to the last purl of the 2nd circle, 1 double, connect it to the 7th purl of the 2nd circle, 1 double, 1 purl 8 times, 2 double, pull the cotton tight.

4th circle: 2 double, join it to the last purl of 3rd circle, 3 double, [2] 1 purl, 1 double 7 times, 1 double, draw the cotton up.

4th circle: 2 double, attach it to the last purl of the 3rd circle, 3 double, [2] 1 purl, 1 double 7 times, 1 double, pull the cotton tight.

5th circle: 2 double, join it to the last purl of 4th circle, 2 double, 1 purl, 1 double 3 times, draw up the cotton.

5th circle: 2 double, connect it to the last purl of the 4th circle, 2 double, 1 purl, 1 double 3 times, pull the cotton tight.

6th circle: 2 double, join it to the last purl of the 5th circle, 1 double, join it to the 5th purl of the preceding circle, 1 double, 1 purl 6 times, 1 double, join it to the first purl of the 1st circle, 2 double, draw up the cotton. This completes the star pattern in centre of pine.

6th circle: 2 double crochet, connect it to the last purl of the 5th circle, 1 double crochet, connect it to the 5th purl of the previous circle, 1 double crochet, 1 purl 6 times, 1 double crochet, connect it to the first purl of the 1st circle, 2 double crochet, pull up the cotton. This completes the star pattern in the center of the pine.

1st circle of pine: 2 double, 1 purl, 1 double 8 times, 2 double, draw up the cotton.

1st circle of pine: 2 double, 1 purl, 1 double 8 times, 2 double, pull the cotton tight.

2nd circle: 3 double, join to the last purl of 1st circle, 1 double, join it to the 7th purl of 1st circle, 1 double, 1 purl 6 times, 3 double, draw up the cotton and join it to the 3rd purl of centre star.

2nd circle: 3 double crochets, join to the last purl of the 1st circle, 1 double crochet, join it to the 7th purl of the 1st circle, 1 double crochet, 1 purl 6 times, 3 double crochets, pull the cotton tight and join it to the 3rd purl of the center star.

3rd circle: 3 double, join to the last purl of 2nd circle, 1 double, 1 purl 8 times, 2 double, draw up the cotton and join it on to the centre purl of 2nd circle in star.

3rd circle: 3 double crochet, join to the last purl of the 2nd circle, 1 double crochet, 1 purl 8 times, 2 double crochet, pull the yarn tight and join it to the center purl of the 2nd circle in a star pattern.

4th circle: 2 double, join to the last purl of 3rd circle, 1 double, 1 purl 5 times, 3 double, 1 purl, 2 double, draw up the cotton and join it to the 5th purl of 2nd centre circle in star.

4th circle: 2 double, connect to the last purl of 3rd circle, 1 double, 1 purl 5 times, 3 double, 1 purl, 2 double, pull the cotton tight and connect it to the 5th purl of the 2nd center circle in a star.

5th circle: 2 double, join the cotton to the last purl of 4th circle, 1 double, 1 purl 7 times, 2 double, draw up the cotton, repeat the 5th circle twice more, then join the cotton to the centre purl of 4th circle in star.

5th circle: 2 double, connect the yarn to the last purl of the 4th circle, 1 double, 1 purl 7 times, 2 double, pull the yarn tight, repeat the 5th circle two more times, then connect the yarn to the center purl of the 4th circle in a star.

8th circle: 2 double, join to the last purl of 7th circle, 1 purl, 1 double 5 times, 2 double, draw up the cotton and join it to the centre purl of 5th circle in star.

8th circle: 2 double crochet, join to the last purl of the 7th circle, 1 purl, 1 double crochet 5 times, 2 double crochet, pull the cotton tight and join it to the center purl of the 5th circle in a star pattern.

9th circle: 2 double, join to the last purl of 8th circle, 1 double, 1 purl 6 times, 2 double, draw up the cotton. Repeat the 9th circle 3 times.

9th circle: 2 double, join to the last purl of the 8th circle, 1 double, 1 purl 6 times, 2 double, pull the cotton tight. Repeat the 9th circle 3 times.

13th circle: 3 double, join the cotton to the last purl of the 12th circle, 1 double, 1 purl 7 times, 4 double, draw up the cotton, turn the work downwards, and work the

13th circle: 3 double, connect the yarn to the last purl of the 12th circle, 1 double, 1 purl 7 times, 4 double, tighten the yarn, turn the work downward, and continue the

14th circle: 2 double, 1 purl, 3 double, join it to the 1st purl of the 1st circle of pine, 1 double, join it to the 2nd purl of first pine circle,1 double, 1 purl 6 times, 2 double, draw up the cotton.

14th circle: 2 double, 1 purl, 3 double, connect it to the 1st purl of the 1st circle of pine, 1 double, connect it to the 2nd purl of the first pine circle, 1 double, 1 purl 6 times, 2 double, tighten the cotton.

[3]

15th circle: 3 double, join to the last purl of the 13th circle, 1 double, 1 purl 6 times, 3 double, draw up the cotton.

15th circle: 3 double crochets, join to the last purl of the 13th circle, 1 double crochet, 1 purl 6 times, 3 double crochets, pull tight the cotton.

16th circle:3 double, join to the last purl of the 15th circle, 1 double, 1 purl 4 times, 3 double, 1 purl, 1 double, draw up the cotton.

16th circle: 3 double, join to the last purl of the 15th circle, 1 double, 1 purl 4 times, 3 double, 1 purl, 1 double, pull tight the cotton.

17th circle: 1 double, join to the last purl of the 16th circle, 1 double, 1 purl 6 times, 2 double, draw up the cotton.

17th circle: 1 double, connect to the last purl of the 16th circle, 1 double, 1 purl 6 times, 2 double, pull up the cotton.

18th circle: 1 double, join to the last purl of the 17th circle, 1 double, 1 purl 8 times, 1 double, draw up the cotton, and repeat from commencement until the collar is the required size. The upper part of the pines is filled in with lace stitches, as clearly shown in our illustration.

18th circle: 1 double, connect to the last purl of the 17th circle, 1 double, 1 purl 8 times, 1 double, pull the cotton tight, and repeat from the beginning until the collar reaches the desired size. The top part of the pines is filled in with lace stitches, as clearly shown in our illustration.

2.--Tatted Insertion.

2.--Tattooed Insertion.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 30, or Boar's Head crochet cotton No. 12; tatting pin No. 2; large shuttle.

Materials: Walter Evans and Co.'s tatting cotton No. 30, or Boar's Head crochet cotton No. 12; tatting pin No. 2; large shuttle.

This insertion should be worked with coarse cotton. 5 double *, 1 purl, 2 double, repeat from * 4 times, 1 purl, 5 double, draw up the cotton, turn the pattern downward, and work another circle the same as that above described, leaving one-sixth of an inch of cotton between each circle.

This insertion should be made with coarse cotton. 5 double stitches, 1 purl stitch, 2 double stitches, repeat from the asterisk 4 times, 1 purl stitch, 5 double stitches, pull the cotton tight, turn the pattern upside down, and make another circle just like the one described above, leaving one-sixth of an inch of cotton between each circle.

3.--Lace Edging in Tatting.

3.--Tatted Lace Edging.

Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 10, or tatting cotton No. 20; tatting-pin No. 3; any sized shuttle. For a finer edging, No. 18.

Materials: Walter Evans and Co.'s crochet cotton No. 10 or tatting cotton No. 20; tatting pin No. 3; any size shuttle. For a finer edge, use No. 18.

1st oval: Fill the shuttle, but do not cut it off from the reel, as a double thread is used, and commence by working 10 double stitches, 1 purl, 10 double; draw up.

1st oval: Fill the shuttle, but don't cut it from the reel, since you’re using a double thread, and start by making 10 double stitches, 1 purl, 10 double; pull tight.

[4]

Double thread: Putting the thread attached to the reel round the left hand, work 8 double, 1 purl, 8 double.

Double thread: Wrap the thread from the reel around your left hand, then knit 8 doubles, 1 purl, and 8 doubles.

2nd oval: 10 double, join to purl in 1st oval, 10 double; draw up.

2nd oval: 10 doubles, connect to purl in 1st oval, 10 doubles; pull tight.

The pattern is now complete. Repeat from beginning, taking care that the next oval be close to the last.

The pattern is now complete. Start over, making sure that the next oval is close to the last one.

Crochet a heading with the same cotton, working 7 chain, 1 double into the purl in double thread. Repeat.

Crochet a heading using the same cotton, chaining 7, and making 1 double crochet into the purl with double thread. Repeat.

4.--Lace Edging in Tatting.

Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 10, or tatting cotton No. 20; tatting-pin No. 3; any sized shuttle. For a finer edging, No. 18.

Materials: Walter Evans and Co.'s crochet cotton No. 10, or tatting cotton No. 20; tatting pin No. 3; any size shuttle. For a finer edging, use No. 18.

1st oval: Fill the shuttle, but do not cut it off from the reel, as a double thread is required, and commence by working 10 double stitches, 1 purl, 10 double stitches, draw up.

1st oval: Fill the shuttle, but don't cut it off from the reel, since you need a double thread. Start by making 10 double stitches, 1 purl, 10 double stitches, then pull it tight.

2nd oval: Close to last oval, work 10 double, 1 purl, 10 double; draw up.

2nd oval: Near the last oval, work 10 double crochets, 1 purl, 10 double crochets; pull tight.

Double thread: Putting the thread attached to the reel round the left [5] hand, work 12 double, 1 purl, 4 double; then join the shuttle-thread to the purl in 2nd oval, by drawing it through with a pin. Then do another similar chain of stitches with the double thread, viz., 4 double, 1 purl, 12 double.

Double thread: Wrap the thread attached to the reel around your left [5] hand, make 12 double stitches, 1 purl, 4 double; then connect the shuttle thread to the purl in the 2nd oval by pulling it through with a pin. Next, create another similar chain of stitches with the double thread: 4 double, 1 purl, 12 double.

3rd oval: 10 double, join to the purl in 2nd oval--the same as that to which the shuttle-thread has been fastened--10 double; draw up.

3rd oval: 10 double, connect to the purl in 2nd oval--the same one where the shuttle thread has been attached--10 double; tighten up.

4th oval: Close to last oval, work 10 double, join to purl of 1st oval, 10 double, draw up.

4th oval: Near the last oval, crochet 10 double stitches, connect to the purl of the 1st oval, then crochet another 10 double stitches, and pull tight.

The pattern is now complete. Repeat from beginning, taking care that the next oval be close to the last. Crochet a heading with the same cotton, working 4 chain, 1 double into the purl of double thread, 6 chain, 1 double into the next purl. Repeat.

The pattern is now complete. Start over, making sure that the next oval is close to the last one. Crochet a heading with the same cotton by making 4 chains, then 1 double into the purl of the double thread, followed by 6 chains, and then 1 double into the next purl. Repeat.

5.--Border in Tatting with Crochet Edging.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60, or crochet cotton No. 80; tatting-pin No. 2; a bone shuttle.

Materials: Walter Evans and Co.'s tatting cotton No. 60, or crochet cotton No. 80; tatting pin No. 2; a bone shuttle.

Work * 4 double stitches (that is, 4 times following 1 purled stitch and 1 plain), 1 purl, four times following 3 double stitches, 1 purl, 4 double stitches, draw up the cotton so as to form an oval, and for the smaller oval, work 9 double stitches, but leave, before beginning the first double stitch, the space of one-sixth of an inch between this oval and the preceding; repeat from *, leaving the same space between each oval; join together the larger ovals by the purl.

Work 4 double stitches (that is, 4 times of 1 purl stitch followed by 1 plain stitch), 1 purl, then do 3 double stitches 4 times, 1 purl, 4 double stitches. Pull the cotton to create an oval shape, and for the smaller oval, do 9 double stitches, leaving a space of one-sixth of an inch between this oval and the one before it before starting the first double stitch; repeat from *, keeping the same space between each oval; connect the larger ovals with the purl.

[6]

For the crochet edging, work the 1st row in the following manner:--

For the crochet edging, work the 1st row like this:--

1 double (followed by 6 chain) in each of the smaller ovals. The 2nd and 3rd rows are composed of short treble stitches, placed one above the other, and divided by one chain. While working the short treble stitches of the 3rd row form the small purl thus:--

1 double (followed by 6 chains) in each of the smaller ovals. The 2nd and 3rd rows are made up of short treble stitches, stacked one above the other, and separated by one chain. While making the short treble stitches in the 3rd row, create the small purl like this:--

* 1 short treble in the first short treble of preceding row, let the loop slip off from the crochet needle, insert the needle in the under stitch, from which comes the loop now made into a purl, work 1 double in the first short treble of preceding row, 1 chain, under which miss 1 stitch, and repeat from *.

* 1 short treble in the first short treble of the previous row, let the loop slip off the crochet hook, insert the hook into the under stitch from which the loop now turned into a purl, work 1 double in the first short treble of the previous row, 1 chain, and skip 1 stitch underneath, then repeat from *.

6.--Border in Tatting with Crochet.

6.--Crochet Border in Tatting.

Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20, or tatting cotton No. 40; tatting-pin No. 2. For a coarser size use Boar's Head cotton No. 4, or tatting cotton No. 20.

Materials: Walter Evans and Co.'s Boar's Head cotton No. 20, or tatting cotton No. 40; tatting-pin No. 2. For a coarser size, use Boar's Head cotton No. 4, or tatting cotton No. 20.

4 double stitches, 1 purl, 4 times following, 3 double stitches, 1 purl, 4 double stitches, draw up the oval, but not quite tight, leave a space about one-sixth of an inch, leave a similar space between this oval and the next, work 3 double stitches, fasten them to the nearest purl of preceding oval, then work twice following 4 double stitches, 1 purl, then 3 double stitches, 1 purl, 3 double stitches, and draw up the oval.

4 double stitches, 1 purl, repeat 4 times, 3 double stitches, 1 purl, 4 double stitches, pull the oval tight, but not too much, leave a gap of about one-sixth of an inch, leave a similar gap between this oval and the next, work 3 double stitches, attach them to the nearest purl of the previous oval, then work two times of 4 double stitches, 1 purl, then 3 double stitches, 1 purl, 3 double stitches, and pull the oval tight.

7.--Tatted Insertion.

7.--Tattoo Insertion.

Materials: Messrs. Walter Evans and Co.'s Boar's Head crochet cotton No. 18; tatting-pin No. 3.

Materials: Walter Evans and Co.'s Boar's Head crochet cotton No. 18; tatting pin No. 3.

This strip of insertion is worked with crochet cotton, and [7] consists of a row of circles, two of which are always joined together, and edged on either side with chain stitches. Work first * 2 double, 4 purl divided by 1 double, 1 double, 1 long purl about one-fifth of an inch long, 10 double divided by 1 purl, 1 long purl, 4 times alternately 1 double, 1 purl, then 2 double; join the stitches into a circle; work close to this a second circle, and knot the end of the cotton together with the cotton with which the first circle has been begun; repeat from *, but henceforward in the first of the two circles fasten the cotton on to the middle purl of the preceding circle, instead of working the middle purl. When the strip of insertion is sufficiently long, edge it on either side with a row of chain stitches, by working 1 double in 1 long purl and 5 chain between.

This strip of insertion is made with crochet cotton, and [7] consists of a row of circles, two of which are always joined together and bordered on either side with chain stitches. Start with * 2 double crochets, 4 purl stitches separated by 1 double crochet, 1 double crochet, and 1 long purl about one-fifth of an inch long, then 10 double crochets separated by 1 purl, 1 long purl, alternating 4 times with 1 double crochet and 1 purl, then 2 double crochets; join the stitches into a circle; work a second circle close to this one, and tie the end of the cotton together with the cotton from which the first circle was started; repeat from *, but from now on in the first of the two circles, attach the cotton to the middle purl of the previous circle instead of working the middle purl. When the strip of insertion is long enough, edge it on both sides with a row of chain stitches by working 1 double crochet in 1 long purl and 5 chain stitches between.

8.--Rosette in Tatting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 40; tatting pin No. 3.

This rosette is worked with two cottons, viz., 1 plain, 1 purl, 1 plain, 5 double, 1 purl, 10 double, 1 purl, 1 plain; turn the work downwards, 10 double, fastened on the last purl turned downwards; this forms one loop turned upwards; turn work downwards, 10 double, 1 purl, 5 double, fastened on first purl turned downwards; turn figure thus formed downwards; 4 double, 1 single, repeat 4 times more from *, joining the [8] figures by means of the purl stitch; the ends of the cotton are knotted together.

This rosette uses two types of cotton: one plain, one purl, then one plain, five double, one purl, ten double, one purl, and one plain. Turn the work downwards, do ten double stitches, and secure them on the last purl that was turned downwards; this creates one loop that turns upwards. Turn the work downwards again, do ten double stitches, one purl, five double stitches, and secure them on the first purl turned downwards. Next, turn the shape you've created downwards; do four double stitches, one single stitch, and repeat this four more times from *, connecting the [8] figures using the purl stitch; tie the ends of the cotton together.

9.--Star in Tatting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 50; tatting pin No. 3.

Fill the shuttle, and commencing a loop, work 1 double, then 1 purl and 1 double 12 times, draw into a round; join the cotton to the 1st purl loop. 1st oval.--Commence a loop close to the joining, work 7 double, join to 1st purl of round, work 7 double and draw close; reverse the [9] work. Join the thread from reel, and holding it out for a straight thread, commence the scallop:--

Fill the shuttle, and starting a loop, work 1 double, then 1 purl and 1 double 12 times, pull it into a round; connect the cotton to the 1st purl loop. 1st oval.--Start a loop close to where you joined, work 7 doubles, connect to the 1st purl of the round, work 7 doubles and pull it tight; reverse the [9] work. Attach the thread from the reel, and holding it out for a straight thread, begin the scallop:--

5 double, 1 purl, 5 double, reverse the work. The 2nd oval same as first. Repeat oval and scallop alternately, until the star is completed.

5 double, 1 purl, 5 double, turn the work. The 2nd oval is the same as the first. Alternate between the oval and scallop until the star is finished.

10.--Insertion worked in Tatting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50; tatting-pin No. 3.

Materials: Walter Evans and Co.'s No. 50 tatting cotton; No. 3 tatting pin.

This strip of insertion is worked with two cottons. Work with the cotton in the left hand over that in the right hand. Both ends of cotton are fastened together at the beginning by a knot. First work one half of the insertion the long way in the following manner:--1 plain, 1 purl, 1 plain (the purl must be very short); turn the purl downwards, 6 double, 1 purl, * 6 double, 1 purl, 1 plain, which must all be turned upwards; then turn the work so that the upper edge is turned downwards; work 6 double, fastened on to the last purl turned downwards (the fastening of the stitches is made with the thread in the right hand); a loop turned upwards is thus formed; turn the work downwards, draw the cotton in right hand underneath that in left hand, and work 6 double, 1 purl, 6 double, all turned upwards; fasten these stitches on 1st purl turned [10] downwards. In this pattern 1st of border pattern is thus completed; turn it downwards, 8 double, 1 purl, 8 double, 1 purl, 1 plain, turn work downwards, 6 double, fastened on last purl of last pattern, turned up. Repeat from *. When the insertion is of sufficient length, work the other half in same manner, and fasten it on the 1st half by means of purl stitches between the 8 double stitches twice repeated.

This strip of insertion is made using two cotton threads. Hold the cotton in your left hand over the one in your right hand. Tie both ends of the cotton together at the start with a knot. First, work one half of the insertion along the longer side as follows: 1 plain, 1 purl, 1 plain (make the purl very short); turn the purl downwards, then 6 double, 1 purl, * 6 double, 1 purl, 1 plain, all turned upwards; then turn the work so the upper edge is facing downwards; work 6 double, attaching them to the last purl that is turned downwards (attach the stitches with the thread in your right hand); this creates a loop that is turned upwards; turn the work down, pull the cotton in your right hand underneath the one in your left hand, and work 6 double, 1 purl, 6 double, all turned upwards; attach these stitches to the 1st purl that is turned downwards. In this pattern, the first part of the border pattern is completed; turn it down, 8 double, 1 purl, 8 double, 1 purl, 1 plain, turn the work down, and then work 6 double, attaching to the last purl of the last pattern that is turned up. Repeat from *. When the insertion is long enough, work the other half in the same way, and attach it to the first half using purl stitches between the 8 double stitches that are repeated twice.

11.--Tatted Insertion for Trimming Lingeries.

Tatted Insertion for Trimming Lingeries

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40, or crochet cotton No. 20; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 40, or crochet cotton No. 20; tatting pin No. 3.

This insertion consists of 2 rows of three-branched patterns which lie opposite each other, and are joined by slanting rows of knots. A coloured silk ribbon is drawn through these rows which join the patterns. Each of the 3 branches of 1 pattern consists of 9 double, 1 purl, 9 double, and must be worked close to another. When the 3rd branch is completed, fasten another piece of cotton on to the middle branch. Work 12 double over this 2nd piece of cotton, and then work without the 2nd piece of cotton a 2nd three-branched pattern like the 1st.* Fasten the 2nd piece of cotton on to the middle branch of the just-finished pattern, work 12 double over it, then again a three-branched pattern; in this pattern as well as in the following ones, instead of working the [11] purl of the 1st branch, fasten it on to the purl of the 3rd branch of the preceding three-branched pattern of the same row, as can be seen in illustration. Repeat till the strip of insertion is sufficiently long.

This insertion features 2 rows of three-branched patterns positioned opposite each other, connected by slanting rows of knots. A colorful silk ribbon weaves through these rows, linking the patterns. Each of the 3 branches of one pattern includes 9 double stitches, 1 purl, and 9 double stitches, and they need to be worked close together. Once the 3rd branch is finished, attach another piece of cotton to the middle branch. Work 12 double stitches over this 2nd piece of cotton, then create a 2nd three-branched pattern similar to the 1st without using the 2nd piece of cotton.* Attach the 2nd piece of cotton to the middle branch of the recently completed pattern, work 12 double stitches over it, and then create another three-branched pattern. In this pattern, as well as in the following ones, instead of working the [11] purl of the 1st branch, attach it to the purl of the 3rd branch of the previous three-branched pattern in the same row, as illustrated. Repeat until the strip of insertion is long enough.

12.--Circle in Tatting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 80; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 80; tatting pin No. 3.

Work first 8 ovals, each composed of 5 double stitches, 3 purl divided one from the other by 4 double stitches, 5 double stitches; these ovals are joined together by the purl at the sides, then the circle is tightened as much as possible, and the cotton with which you are working is twisted round the ends of cotton that have been cut: the cotton is then fastened off nearly underneath.

Work the first 8 ovals, each made up of 5 double stitches, with 3 purl stitches separating them, divided by 4 double stitches, followed by 5 double stitches. These ovals are connected by the purl stitches on the sides, then pull the circle as tight as possible, and twist the cotton you are using around the ends of the cut cotton. Finally, secure the cotton just underneath.

Begin a fresh small oval, composed of 12 double stitches, which should be fastened to the preceding oval after 3 double stitches (to the purl in the centre of the first oval), then fasten it again to the purl which joins together the first and the second oval; leave a space of about one-fourth of an inch, and work an oval composed of 4 double stitches, 5 purl, followed each by 2 double stitches, 4 double stitches. A very little farther [12] off make a very small oval, composed of 8 double stitches, which after the four first double stitches is joined to the centre purl of the second oval, leaving the same space between as before, make another oval of 4 double stitches, 5 purl, each followed by 2 double stitches, 4 double stitches; but the first purl is missed, because at this place the oval is joined to the fifth purl of the corresponding oval; once more leave a space of one-fourth of an inch, and repeat. At the end of the round the two ends of cotton are tied tightly together.

Start a new small oval made up of 12 double stitches, fastening it to the previous oval after 3 double stitches (to the purl in the center of the first oval). Then secure it again to the purl that connects the first and second ovals. Leave a space of about a quarter inch and create an oval consisting of 4 double stitches, 5 purl, each followed by 2 double stitches, and then 4 double stitches. A little further [12] off, make a very small oval made up of 8 double stitches, attaching it to the center purl of the second oval after the first four double stitches, keeping the same space as before. Make another oval of 4 double stitches, 5 purl, each followed by 2 double stitches, then 4 double stitches; but skip the first purl since this oval connects to the fifth purl of the corresponding oval. Again, leave a space of a quarter inch and repeat. At the end of the round, tie the two ends of the cotton tightly together.

13.--Tatted Border with Beads.

13.--Beaded Tatted Border.

Materials: Black purse silk, or, for white trimming, Messrs. Walter Evans and Co.'s tatting cotton No. 2; tatting-pin No. 3; 3 hanks of beads No. 4 to the yard of border.

Materials: Black silk purse, or, for white trimming, Walter Evans and Co.'s tatting cotton No. 2; tatting pin No. 3; 3 hanks of beads No. 4 per yard of border.

This border, edged with beads No. 4, is worked in middling-size purse silk over fine silk cord of the same colour as the silk. Before beginning to work this pattern, thread the beads which take the place of purl stitches, and which are slipped in between two double stitches. When the row of stitches is of the length required, form the trefoil leaves, and sew a few beads over the places where they are joined. These trefoil leaves are made separately, and then sewn together.

This border, trimmed with beads No. 4, is made using medium-sized purse silk over fine silk cord of the same color as the silk. Before starting this pattern, thread the beads that will replace the purl stitches and slide them in between two double stitches. Once the row of stitches reaches the required length, create the trefoil leaves and sew a few beads over the joints. These trefoil leaves are made separately and then sewn together.

[13]

14.--Insertion in Tatting.

14.--Inserting in Tatting.

Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 10; tatting-pin No. 3; any sized shuttle; for a finer insertion No. 18 or 20.

Materials: Walter Evans and Co.'s crochet cotton No. 10; tatting pin No. 3; any size shuttle; for a finer insertion use No. 18 or 20.

1st oval: Fill the shuttle, but do not cut it off from the reel, as a double thread is used, and commence by working 10 double stitches, 1 purl, 10 double, draw up. Double thread: Putting the thread attached to the reel round the left hand, work 8 double, 1 purl, 8 double.

1st oval: Fill the shuttle, but don’t cut it off from the reel since you'll be using a double thread. Start by making 10 double stitches, 1 purl, and then 10 double stitches, and tighten it up. For the double thread: Wrap the thread attached to the reel around your left hand, then work 8 double stitches, 1 purl, and 8 double stitches.

2nd oval: 10 double, join to purl of 1st oval, 10 double, draw up. Repeat till the length required is worked, then cut off.

2nd oval: 10 double crochet, join to the purl of the 1st oval, 10 double crochet, pull tight. Repeat until you reach the desired length, then cut off.

For the fresh length, which will make the other half of the insertion, the shuttle must still be attached to the reel. Commence by working--

For the new length, which will complete the other half of the insertion, the shuttle still needs to be attached to the reel. Start by working--

1st oval: 10 double, join to the purl which connects the first and second ovals of the piece already worked, 10 double, draw up.

1st oval: 10 double, connect to the purl that links the first and second ovals of the piece already made, 10 double, pull tight.

Double thread: 8 double, 1 purl, 8 double.

2nd oval: 10 double, join to the same purl as last--namely, the one connecting the first and second ovals of the piece already worked, 10 double, draw up. Repeat, joining the two next ovals to the purl which [14] connects the two next in the piece already worked, and so on.

2nd oval: 10 double, connect to the same purl as the last one--specifically, the one linking the first and second ovals of the piece already done, 10 double, pull tight. Repeat, connecting the next two ovals to the purl which [14] links the next two in the piece already done, and continue like this.

Crochet a heading each side, working 7 chain, 1 double into the purl of double thread, repeat. With a heading on one side only, this makes a pretty wide edging.

Crochet a border on each side, making 7 chains, followed by 1 double crochet into the purl of the double thread, and repeat. By adding the border on just one side, you create a nice wide edging.

15.--Border in Tatting and Crochet.

15.--Border in Knitting and Crochet.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40, and crochet cotton No. 80; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 40, and crochet cotton No. 80; tatting pin No. 3.

This lace is rendered stronger by the crochet rows of scallops and treble stitch round the edge. Begin with the tatting as follows: Make a circle of 8 double, 7 purl divided by 2 double, 8 double. This circle is repeated at a distance of about three-fourths of an inch, only instead of the 1st purl each following circle must be fastened on to the last purl of the preceding circle. Then take some crochet cotton, which must be finer than the cotton used for tatting, and work a row of double stitches over the thread which joins the circles. The number of stitches depends on the length and size of the cotton; work double stitches round the circles at the place where both ends meet. The outer row consists of treble stitches, which are worked with 1 chain stitch between, missing 1 stitch under each chain. The scallops consist of the two following [15] rows:--1 double, with which the last and first purl of 2 circles are joined, 4 chain; in each of the other purl, 1 double, 4 chain, between 2 double stitches.

This lace is made stronger by the crochet rows of scallops and treble stitches around the edge. Start the tatting like this: Make a circle of 8 double stitches, 7 purls separated by 2 double stitches, and then 8 double stitches. Repeat this circle about three-quarters of an inch apart, but instead of the first purl, each subsequent circle should be attached to the last purl of the previous circle. Next, take some crochet cotton that is finer than the cotton used for tatting and work a row of double stitches over the thread that connects the circles. The number of stitches will depend on the length and size of the cotton; work double stitches around the circles where the ends meet. The outer row consists of treble stitches, worked with 1 chain stitch in between, skipping 1 stitch under each chain. The scallops are made up of the following two rows: 1 double stitch, which joins the last and first purl of 2 circles, followed by 4 chain stitches; in each of the other purls, work 1 double stitch, 4 chain stitches, between 2 double stitches.

2nd row: 1 double in each chain stitch scallop, 1 double, 3 long double, 1 double.

2nd row: 1 double crochet in each chain stitch scallop, 1 double crochet, 3 long double crochets, 1 double crochet.

16and 17.--Lady's Veil in Net and Tatting.

This veil is slightly gathered in front and fastened to the brim of the bonnet. It is tied at the back under the chignon. The veil is of black silk net. The flowrets are tatted with black purse silk, and worked in appliqué over the tulle. The veil is edged round with a tatted lace made [16] with the same silk. For the patterns and lace and instructions, see Nos. 18 and 19. No. 16 shows the way in which the veil is worn upon the bonnet, and No. 17 shows its shape when stretched out.

This veil is slightly gathered in the front and attached to the brim of the bonnet. It's tied at the back under the chignon. The veil is made of black silk net. The flowers are tatted with black purse silk and sewn on in appliqué over the tulle. The veil is trimmed with a tatted lace made [16] from the same silk. For the patterns, lace, and instructions, see Nos. 18 and 19. No. 16 shows how the veil is worn on the bonnet, and No. 17 shows its shape when stretched out.

18 and 19.--Patterns in Tatting.

18 and 19.--Patterns in Tatting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 120 for a white veil; fine black silk for a black veil; tatting-pin No. 2.

Materials: Walter Evans and Co.'s tatting cotton No. 120 for a white veil; fine black silk for a black veil; tatting-pin No. 2.

The patterns Nos. 18 and 19 are meant for ornamenting the veil No. 16. They are sewn upon the net at regular distances.

The patterns Nos. 18 and 19 are designed to decorate the veil No. 16. They are stitched onto the net at even intervals.

[17]

For working the pattern No. 18, make with black silk or white cotton 6 times alternately 2 double, 1 purl, at the end 1 purl, then join the stitch into a circle, *fasten the silk on to the next purl. Then 1 spot or Josephine knot, consisting of 6 plain stitches, carry the shuttle downwards through the loop, and draw the stitches close together; repeat 3 times more from *. Fasten the silk on to the next purl, and work a circle as follows:--8 times 2 double, divided by 1 purl; fasten the silk on to the next purl, work again 1 spot, after which the silk is fastened, then work 2 more similar circles divided by 1 spot; they are fastened on to the last purl of the preceding circle instead of the 1st purl. Fasten off the silk after the last circle.

For working the pattern No. 18, use black silk or white cotton and alternate between 2 double stitches and 1 purl stitch six times, finishing with 1 purl. Join the stitches into a circle, then attach the silk to the next purl. Create 1 spot or Josephine knot, which consists of 6 plain stitches, bring the shuttle down through the loop, and pull the stitches close together; repeat this 3 more times. Attach the silk to the next purl and create a circle as follows: 8 times 2 double stitches, separated by 1 purl; attach the silk to the next purl, make 1 spot, then secure the silk, and create 2 more similar circles separated by 1 spot; attach them to the last purl of the previous circle instead of the 1st purl. Cut off the silk after the last circle.

For No. 19 work 25 double, divided by 1 purl, join the stitches into a circle, knot the beginning and the end of the cotton together, cut off the ends at a short distance. Then work a smaller circle, consisting of 8 double, divided by 1 purl; at the place of the 1st purl fasten the cotton at a short distance on to the 2nd purl of the large circle. The ends of this circle are knotted together and cut off in the same way. Then work a circle consisting of 11 double, fasten the silk on to the 20th purl of the large circle, work 5 double, and join the stitches into a circle. Then take the ends of the 3 circles, and work close fine stitches with silk round them, so as to form the stem. The completed pattern is sewn upon the net.

For No. 19, make 25 double stitches, separated by 1 purl, and join the stitches into a circle. Tie the beginning and end of the cotton together, and trim the ends to a short length. Then create a smaller circle by making 8 double stitches, separated by 1 purl; at the spot of the 1st purl, attach the cotton a short distance onto the 2nd purl of the larger circle. Knot the ends of this circle together and cut them off in the same manner. Next, create a circle with 11 double stitches, attach the silk to the 20th purl of the larger circle, make 5 double stitches, and join the stitches into a circle. Then take the ends of the 3 circles and work fine close stitches with silk around them to form the stem. The finished pattern is sewn onto the net.

20 and 21.--Diamond Pattern and Circle in Tatting, for Trimming Linen Collars, Cuffs, &c..

20 and 21.--Diamond Pattern and Circle in Tatting, for Trimming Linen Collars, Cuffs, etc..

Materials: Messrs. Walter Evans and Co.'s tatting cotton No 30; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 30; tatting pin No. 3.

20.--DIAMOND PATTERN.--

Work, not far one from the other, four leaves, [18] each composed of 5 double stitches, 7 rather long purl divided one from the other by 2 double stitches, 5 double stitches. Instead of making the 1st purl in each of the 3 next leaves, fasten the cotton to the last leaf of preceding leaf. Fasten off and cut the cotton; begin a fresh circle by 2 double stitches, 7 purl divided by 2 double stitches, 2 more double stitches; fasten the cotton to the centre purl of one of the four leaves, and work a very small circle thus:--2 double stitches, fasten the cotton to the last purl of the first circle, 3 double stitches, 1 purl, 2 double stitches; fasten the cotton * to the 6th purl of the leaf; work a larger circle thus:--2 double stitches fastened to the purl of the small circle, 2 double stitches, 4 purl divided by 2 double stitches, 2 more double stitches; fasten the cotton not far off to the second purl of the second leaf; work another small circle similar to that above-described; fasten the cotton to the third purl of the second leaf, then to the fourth purl of the same leaf, and repeat from * three times more, always fastening the first purl of the first circle you are working (each time you repeat the pattern) to the purl of the last small circle last worked; fasten off and cut the cotton.

Work four leaves that are close together, [18] each made of 5 double stitches, and 7 fairly long purl stitches separated by 2 double stitches, followed by 5 double stitches. Instead of making the 1st purl on each of the next 3 leaves, attach the cotton to the last leaf of the previous leaf. Fasten off and cut the cotton; start a new circle with 2 double stitches, 7 purl stitches divided by 2 double stitches, and 2 more double stitches; attach the cotton to the center purl of one of the four leaves and create a very small circle like this: 2 double stitches, attach the cotton to the last purl of the first circle, 3 double stitches, 1 purl, 2 double stitches; attach the cotton * to the 6th purl of the leaf; work a larger circle like this: 2 double stitches attached to the purl of the small circle, 2 double stitches, 4 purl stitches divided by 2 double stitches, and 2 more double stitches; attach the cotton nearby to the second purl of the second leaf; create another small circle similar to the one described above; attach the cotton to the third purl of the second leaf, then to the fourth purl of the same leaf, and repeat from * three more times, always attaching the first purl of the first circle you are working on (each time you repeat the pattern) to the purl of the last small circle you just made; fasten off and cut the cotton.

21.--CIRCLE.--

Begin it in the centre by working a circle of 8 purl, rather long, divided one from the other by 2 double stitches. After you have fastened off and cut the cotton, work * one very small circle [19] composed of 3 double stitches, 1 long purl, 3 double stitches; fasten the cotton not far off to the first purl of the circle, and repeat from * 7 times more, at regular distances. Fasten off and cut the cotton, and begin * a fresh circle of 2 double stitches, 7 purl divided each by 2 double stitches, 2 more double stitches; fasten the cotton to the purl of the very small circle, and work, not far off, a circle of 2 double stitches, 2 purl divided by 2 double stitches, 2 more double stitches; fasten the cotton to the purl of the next small circle, and repeat from * 7 times more. Instead of making the first purl of the next large circle, fasten the cotton to the last purl of the small circle.

Start in the center by creating a circle of 8 purls, spaced apart with 2 double stitches. After you’ve tied off and cut the cotton, create * one very small circle [19] composed of 3 double stitches, 1 long purl, 3 double stitches; tie the cotton not far from the first purl of the circle and repeat from * 7 more times at regular intervals. Tie off and cut the cotton, then begin * a new circle of 2 double stitches, 7 purls each separated by 2 double stitches, followed by 2 more double stitches; tie the cotton to the purl of the very small circle, and then create, not far away, a circle of 2 double stitches, 2 purls separated by 2 double stitches, followed by 2 more double stitches; tie the cotton to the purl of the next small circle, and repeat from * 7 more times. Instead of making the first purl of the next large circle, tie the cotton to the last purl of the small circle.

22.--Border in Tatting and Crochet.

22.--Border in Tatted Lace and Crochet.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 20; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 20; tatting pin No. 3.

Begin this border with one of the smaller circles consisting of * 3 double, 1 purl, 3 double, 1 purl, 3 double; work a large circle at a short distance, 5 double, 4 times 1 purl divided by 2 double, 5 double; close to this circle another as follows:--5 double, fastened on to the last purl of the preceding circle, 5 times 2 double divided by 1 purl, 1 purl, 5 double; a third circle as follows:--5 double fastened on to the last purl of the preceding circle, 3 times 2 double divided by 1 purl, [20] 1 purl, 5 double; the cotton is fastened a short distance further on to the second purl of the first worked small circle, which must be turned downwards; then turn the work so that the three circles which are joined together are turned downwards. Work another small circle as follows at the distance of two-fifths of an inch:--4 double, 1 purl, 4 double, leave again an interval of about two-fifths of an inch, and repeat from * till the lace is long enough; but in working the following figures, consisting of three circles, the 1st circle must be fastened on to the last purl of the 3rd circle at the place of the 1st purl. Complete the tatting with the 2 following rows of crochet:--* 1 slip stitch in the purl of one of the small circles turned upwards, 5 chain, 1 slip stitch in the next purl, 4 chain; repeat from *. In the following row work 1 double in every stitch.

Begin this border with one of the smaller circles consisting of * 3 double, 1 purl, 3 double, 1 purl, 3 double; work a large circle a short distance away, 5 double, 4 times 1 purl divided by 2 double, 5 double; next to this circle, make another as follows:--5 double, attached to the last purl of the previous circle, 5 times 2 double divided by 1 purl, 1 purl, 5 double; a third circle as follows:--5 double attached to the last purl of the previous circle, 3 times 2 double divided by 1 purl, [20] 1 purl, 5 double; the cotton is fastened a short distance further on to the second purl of the first small circle worked, which must be turned downwards; then turn the work so that the three connected circles are facing downwards. Work another small circle as follows at a distance of two-fifths of an inch:--4 double, 1 purl, 4 double, leave another gap of about two-fifths of an inch, and repeat from * until the lace is long enough; but in working the following figures, which consist of three circles, the 1st circle must be secured to the last purl of the 3rd circle at the position of the 1st purl. Complete the tatting with 2 more rows of crochet:--* 1 slip stitch in the purl of one of the small circles facing upwards, 5 chain, 1 slip stitch in the next purl, 4 chain; repeat from *. In the next row work 1 double in every stitch.

23.--Insertion in Tatting and Lace Stitch.

23.--Adding in Tatting and Lace Stitch.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 80; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 80; tatting pin No. 3.

This insertion forms a very pretty standing-up collar when worked with fine cotton and a coloured ribbon drawn through. It consists of 2 rows [21] of 3 branched figures turned opposite one another, which are worked separately and then joined into a row. Work 9 times as follows:--2 double, 1 purl, 2 double, * draw into a circle and * work at a short distance a 2nd circle as follows:--2 double fastened on to the last purl of the 1st circle, 8 times 2 double, 1 purl, 2 double, repeat once more from *, knot together the two ends of the cotton, and fasten them on the wrong side. One figure is thus completed; each following figure is fastened on to the preceding one on the middle purl of a circle (see illustration). When a sufficient number of such figures have been worked, work a 2nd row of them in the same manner, and fasten from illustration each middle circle of one figure on to the corresponding circle of the 1st row. The circles filled with lace stitch are worked when the 2 rows are completed from illustration in the empty places between 4 patterns; work first 3 double, fasten them on to a purl on the side of a leaf turned inside, * 3 double, fasten them on to a purl of the next leaf, repeat 5 times more from *, work 3 double, join the stitches into a circle, but not too close, so that the purls keep their natural position; cut off the cotton, and fasten the two ends on the wrong side. The lace stitch inside of these circles is worked with fine crochet cotton; the pattern may be changed for a single or double wheel.

This design creates a lovely standing collar when made with fine cotton and a colored ribbon threaded through. It consists of 2 rows of 3 branched figures facing each other, which are worked separately and then connected. Work 9 times as follows: 2 double stitches, 1 purl, 2 double stitches, * draw into a circle and * create a second circle at a short distance by: 2 double stitches attached to the last purl of the first circle, then 8 times 2 double stitches, 1 purl, 2 double stitches, repeat from *, tie the two ends of the cotton together, and secure them on the wrong side. One figure is now complete; each subsequent figure is attached to the previous one at the middle purl of a circle (see illustration). After a sufficient number of these figures have been made, create a second row of them in the same way, connecting each middle circle of one figure to the corresponding circle of the first row as shown in the illustration. The circles filled with lace stitch are made after both rows are complete in the empty spaces between 4 patterns; first, work 3 double stitches, attach them to a purl on the side of a leaf turned inside, * 3 double stitches, attach them to a purl of the next leaf, repeat 5 more times from *, work 3 double stitches, join the stitches into a circle, but not too tightly, so the purls maintain their natural position; cut the cotton and secure the two ends on the wrong side. The lace stitch inside these circles is worked with fine crochet cotton; the pattern can be adjusted for a single or double wheel.

24.--Insertion in Tatting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 30; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 30; tatting pin No. 3.

Begin by working separately a sufficient number of small rosettes, each composed of six ovals of double stitches and purl. These ovals are worked first in a straight row, then they are joined into a circle and united in the centre by button-hole stitches. The rosettes are joined together with fine cotton. The crochet border is then worked on either [22] side in chain stitches and treble crochet, as seen in illustration.

Begin by working separately a sufficient number of small rosettes, each made up of six ovals of double stitches and purl. These ovals are first worked in a straight row, then joined into a circle and connected at the center with buttonhole stitches. The rosettes are stitched together with fine cotton. Next, the crochet border is worked on either [22] side using chain stitches and treble crochet, as shown in the illustration.

25.--Centre of a Tatted Couvrette.

25.--Center of a Tatted Couvrette.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 20, or crochet cotton No. 1; tatting-pin No. 2.

Materials: Walter Evans and Co.'s tatting cotton No. 20, or crochet cotton No. 1; tatting pin No. 2.

This illustration shows the centre of a tatted couvrette in full size, and measuring 12 inches across. Separate rosettes like the pattern may be joined together with smaller ones, and form a very pretty couvrette. The pattern is worked in rounds. Begin the rosette with a circle, consisting of 4 double, 1 purl, 6 double, 1 purl, 6 double, 1 purl, 4 double. Take up another shuttle, and work over the cotton on it, fasten the end on the last double of the circle and work over it, beginning close to the circle, 6 plain, 1 circle like the 1st worked with the 1st shuttle, and which is fastened on the last purl of the 1st circle at the place of the 1st purl; 6 plain, and continue to work so alternately till you have 7 circles divided by 6 plain stitches. Draw up very tightly the cotton over which you work, so that the circles form a rosette, which is closed by sewing together the two corresponding purl of the first and [23] last circle. Both the ends of the cotton over which you have worked are knotted together. For the 2nd round, fasten the cotton on one shuttle on the middle purl of a circle, work a circle like those of the 1st round, take up the 2nd shuttle, and work on exactly as in the 1st round, only work 8 plain between the circles over the cotton on the 2nd shuttle. The 2nd round consists of 15 circles; the cotton with which you work must be fastened at the required places on the middle purl of a circle of the preceding round. The 3rd and following rounds are worked in the same manner; the number of circles must be such as to keep the couvrette quite flat. In the pattern the 3rd round has 26 circles. Fasten the cotton well after each round.

This illustration shows the center of a tatted couvrette in full size, measuring 12 inches across. Separate rosettes like the pattern can be joined together with smaller ones to create a very pretty couvrette. The pattern is worked in rounds. Begin the rosette with a circle consisting of 4 double stitches, 1 purl, 6 double stitches, 1 purl, 6 double stitches, 1 purl, and 4 double stitches. Take another shuttle, work over the cotton on it, attach the end to the last double of the circle, and work over it, starting close to the circle: 6 plain stitches, then a circle like the first one made with the first shuttle, which is attached at the last purl of the first circle at the first purl spot; 6 plain stitches, and continue alternating until you have 7 circles divided by 6 plain stitches. Pull the cotton very tightly so that the circles form a rosette, which closes by sewing together the corresponding purls of the first and last circles. Knot both ends of the cotton you’ve worked with together. For the second round, attach the cotton on one shuttle to the middle purl of a circle, work a circle like those in the first round, take the second shuttle, and work exactly as in the first round, but use 8 plain stitches between the circles over the cotton on the second shuttle. The second round consists of 15 circles; the cotton you’re working with must be anchored at the necessary spots on the middle purl of a circle from the previous round. The third and subsequent rounds are worked in the same way; make sure the number of circles keeps the couvrette flat. In this pattern, the third round has 26 circles. Secure the cotton well after each round.

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26.--Tatted Lace.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 30; tatting-pin No. 2.

Materials: Walter Evans and Co.'s tatting cotton No. 30; tatting pin No. 2.

This very simple lace consists of scallops which look as if they were slightly gathered. It must be worked with tatting cotton. Each scallop consists of 5 plain, 1 purl, 5 plain, then alternately 5 purled stitches, draw up these stitches till the cotton between the 1st and last stitch is two-fifths of an inch long, and work a 2nd similar scallop at a short distance from the 1st. But in the following scallops fasten each to the last purl of the preceding scallop instead of working the 1st purl.

This very simple lace has scallops that appear slightly gathered. It should be made with tatting cotton. Each scallop includes 5 plain stitches, 1 purl stitch, and 5 more plain stitches, followed by alternating 5 purled stitches. Pull these stitches until the cotton between the first and last stitch is two-fifths of an inch long, and create a second similar scallop a short distance from the first. For the following scallops, attach each one to the last purl of the previous scallop instead of starting with a new purl.

27.--Tatted Lace.

27.--Tattoo Lace.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50 or 80; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 50 or 80; tatting pin No. 3.

This pretty lace is worked with fine tatting cotton. Work with 2 threads; the knots are worked over the cotton, which is held in the right hand. Work first the outer scallops of the lace.

This beautiful lace is made with fine tatting cotton. Use 2 threads; the knots are tied over the cotton, which is held in the right hand. Start by making the outer scallops of the lace.

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Fasten both ends of cotton together and make 10 double, divided by 1 purl, turn the work so as to turn the wrong side upwards, fasten the cotton over which you work on to the last purl, go back over the same row, miss 1 purl next to the cotton with which you work, 9 double divided by 1 purl, fastening the cotton over which you work on the next purl of the 1st row after every double stitch. This forms 1 scallop. * Turn the work downwards (that is, the purl stitch must be turned downwards), make 4 times 2 double, 1 purl, 1 purled stitch: this is the straight row between 2 outer scallops of the lace. Then work a scallop like the preceding one, fastening it from illustration after the first row on the middle one of the 9 outer purl of the preceding scallop, with the cotton over which you work; repeat from * till the lace is long enough, and fasten the cotton. Knot both ends together again, fasten the cotton over which you work on the first purl of the first scallop, make 9 double, 1 short purl, 1 double, turn so that the upper edge of the row is turned downwards, and the scallops upwards, 5 double, fasten the 2 middle purl of the 4 of the next straight row together by drawing the cotton, with which you are working through the 2nd purl, so as to form a loop, draw the cotton over which you work through this loop and draw up the latter; work 5 double, fasten the cotton over which you work on to the short purl worked after 9 double, turn the work so that the outer scallops of the lace are turned downwards, 10 double, fasten the cotton over which you work on the first purl of the next scallop, repeat from *, and fasten the cotton. After having fastened both ends together again, turn the work the right side upwards and the outer scallops upwards also, fasten the cotton over which you work on to the short purl which is under the first loop; * work 4 times 2 double, 1 purl, 2 [26] double, fasten the cotton over which you work on the purl under the next loop, and repeat from * till the lace is completed.

Fasten both ends of the cotton together and make 10 double stitches, separated by 1 purl. Turn the work so the wrong side is facing up, attach the cotton you’re working with to the last purl, go back over the same row, skip 1 purl next to the cotton you’re using, then make 9 double stitches divided by 1 purl, attaching the cotton you’re using to the next purl of the first row after each double stitch. This creates 1 scallop. * Turn the work downwards (meaning the purl stitch should face down), make 4 sets of 2 double stitches, 1 purl, and 1 purled stitch: this is the straight row between 2 outer scallops of the lace. Then create a scallop like the previous one, attaching it, as shown, to the middle one of the 9 outer purls of the previous scallop, using the cotton you’re working with; repeat from * until the lace is long enough and fasten the cotton. Knot both ends together again, attach the cotton you’re working with to the first purl of the first scallop, make 9 double stitches, 1 short purl, 1 double stitch, then turn the work so that the upper edge of the row is facing downwards and the scallops are facing upwards. Make 5 double stitches, then join the 2 middle purls of the 4 in the next straight row together by pulling the cotton you’re working with through the 2nd purl to create a loop, pull the cotton you’re working with through this loop and tighten it; make 5 double stitches, attach the cotton you’re working with to the short purl worked after the 9 double stitches, turn the work so the outer scallops of the lace are facing downwards, make 10 double stitches, attach the cotton you’re working with to the first purl of the next scallop, repeat from *, and fasten the cotton. After fastening both ends together again, turn the work so the right side is facing up and the outer scallops are also facing up, attach the cotton you’re working with to the short purl below the first loop; * work 4 sets of 2 double stitches, 1 purl, and 2 [26] double stitches, attach the cotton you’re working with to the purl under the next loop, and repeat from * until the lace is finished.

28.--Collar in Tatting and Darned Netting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; tatting-pin No. 3; Messrs. Walter Evans and Co.'s French embroidery cotton No. 60; square netting.

Materials: Walter Evans & Co.'s tatting cotton No. 40; tatting-pin No. 3; Walter Evans & Co.'s French embroidery cotton No. 60; square netting.

The pattern is worked with very fine cotton; the netted grounding over a mesh measuring two-fifths of an inch round. The collar is ornamented round the outer edge with a tatted lace. Work a straight strip of netting for the grounding; begin with 2 stitches, work 18 rows backwards and forwards, increasing 1 at the end of each row, so that the last row has 19 holes; work 1 row without increasing; then continue to work with the same number of stitches, increasing 1 at the end of one row and decreasing 1 at the end of the other. When the strip is sufficiently [27] long, work 1 row again without increasing or decreasing, and form the side by making 18 rows, decreasing 1 stitch at the end of each, cast off the 2 last stitches on 1 stitch without forming a new stitch on the needle. Trace the outline of the collar on the grounding with thick cotton, and begin to darn it from illustration. When the darning is completed work the tatted lace with the same cotton, as follows:--6 double, 1 short purl, alternately, 3 times 3 double, 1 purl, 6 double, draw up the stitch so as to form a scallop leaving one-fifth of an inch between the first and last stitch; work a second scallop at a short distance from the first, and so on; every scallop is fastened on to the preceding one after the first 3 double stitches. Work a row of double overcast stitch between the darned netting and the tatted lace; work this row over the cotton tracing, marking the outline of the collar on the grounding and over the cotton between the tatted scallops. Work also a row of double overcast round the neck part, gathering in the collar a little if necessary. Cut away the netting on the wrong side close to the row of overcast stitches.

The pattern is made with very fine cotton; the netted base is over a mesh that measures two-fifths of an inch round. The collar has tatted lace around the outer edge. Start by making a straight strip of netting for the base; begin with 2 stitches, work 18 rows back and forth, increasing 1 stitch at the end of each row so the last row has 19 holes; then work 1 row without increasing. Continue with the same number of stitches, increasing 1 at the end of one row and decreasing 1 at the end of the other. When the strip is long enough [27], work 1 row again without increasing or decreasing, and shape the side by making 18 rows, decreasing 1 stitch at the end of each. Cast off the last 2 stitches on 1 stitch without making a new stitch on the needle. Trace the collar outline on the base with thick cotton and begin to darn it according to the illustration. Once the darning is done, make the tatted lace with the same cotton like this: 6 double stitches, 1 short purl, alternating, 3 times; then 3 double stitches, 1 purl, 6 double stitches, drawing up the stitch to form a scallop while leaving one-fifth of an inch between the first and last stitch. Work a second scallop a short distance from the first, and continue this way; each scallop is attached to the previous one after the first 3 double stitches. Create a row of double overcast stitch between the darned netting and the tatted lace; do this over the cotton tracing, marking the collar outline on the base and over the cotton between the tatted scallops. Also work a row of double overcast around the neck area, gathering the collar a bit if needed. Cut away the netting on the wrong side close to the overcast stitches.

29.--Mignardise and Tatting.

29.--Snacks and Lace Making.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; fine mignardise braid.

Materials: Walter Evans and Co.'s No. 40 tatting cotton; fine mignardise braid.

Patterns formed of mignardise and tatting are of quite new style, and look very pretty. The insertion is easy to work by the following process:--Make first a circle, as follows: 1 plain stitch, 2 double, 1 purl, 6 double, 1 purl, 2 double, 1 plain; fasten the cotton on to one side of the mignardise, at the distance of about five-eighths of an [28] inch, by taking 2 loops of it together; work a second circle at a short distance from the first, and so on. When the strip of insertion is sufficiently long, work in the same manner on the other side of the mignardise. This kind of work is destined to become very popular, and nothing can be more light and graceful than the union of mignardise and tatting.

Patterns made of mignardise and tatting are in a completely new style and look really nice. The insertion is easy to create using the following method: First, make a circle like this: 1 plain stitch, 2 double stitches, 1 purl stitch, 6 double stitches, 1 purl stitch, 2 double stitches, and 1 plain stitch; secure the cotton to one side of the mignardise, about five-eighths of an inch away, by taking 2 loops together; create a second circle a short distance from the first, and continue in this way. Once the strip of insertion is long enough, work in the same manner on the other side of the mignardise. This type of work is set to become very popular, and nothing is more light and graceful than the combination of mignardise and tatting.

30.--Linen Bag for Cotton.

Materials: Fine linen, 6 inches square; Messrs. Walter Evans and Co.'s tatting cotton No. 40.

Materials: Fine linen, 6 inches square; Walter Evans & Co.'s tatting cotton No. 40.

The bag seen in illustration No. 30 is meant to keep the cotton for working a couvrette; it consists of a round piece, measuring 6 inches across, which is hemmed all round, and trimmed with a tatted lace. It is drawn together at top.

The bag shown in illustration No. 30 is designed to hold the cotton for making a couvrette; it is made from a round piece that measures 6 inches in diameter, which is hemmed all around and decorated with tatted lace. It is gathered at the top.

31.--Tatting Insertion.

31.--Tatting Insert.

Materials: Messrs. Walter Evans and Co.'s cotton No. 30.

Materials: Walter Evans and Co.'s cotton No. 30.

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The insertion shown in illustration No. 31 is composed in two similar halves. Begin the first in the following way:--10 double, 1 purl, 3 double, 1 purl, 10 double, join the stitches into a circle, and work a second similar circle at a distance of one-third of an inch; instead of the 1st purl, draw the cotton through the 2nd purl of the first-worked circle; leave an interval of one-eighth of an inch, and repeat the two rounds till the insertion is sufficiently long. Then tat round the pieces of cotton which join the two rounds, work round the longest 10 double, and round the shortest 4 double, inserting the shuttle alternately once upwards and once downwards, but for the rest proceeding as in the common button-hole stitch. When the first half is completed, work the second in the same way, and fasten it on to the first with the purl.

The insertion shown in illustration No. 31 consists of two identical halves. Start the first half like this: 10 double, 1 purl, 3 double, 1 purl, 10 double. Join the stitches into a circle and create a second similar circle about one-third of an inch away; instead of using the 1st purl, pull the cotton through the 2nd purl of the first circle. Leave a gap of one-eighth of an inch and repeat the two rounds until the insertion is long enough. Then, tie off the pieces of cotton that connect the two rounds, work 10 double around the longest section, and 4 double around the shortest, inserting the shuttle alternately once upwards and once downwards. For the rest, follow the usual buttonhole stitch method. When the first half is done, create the second half the same way and attach it to the first with the purl.

32.--Tatting Insertion.

Materials: Messrs. Walter Evans and Co.'s cotton No. 30.

Materials: Walter Evans and Co.'s cotton No. 30.

The pretty effect of the insertion shown in illustration No. 32 is obtained by means of longer and shorter purl. Work as follows:--Join 9 double into a circle, 1 long purl, 3 double, 1 long purl, 4 double *. [30] After an interval of five-eighths of an inch, begin the large figure of the pattern: 2 double, 1 small purl, 2 double, draw the cotton through the last purl of the small circle, 2 double, drawn through the 1st purl of the same circle, 2 double, 1 small purl, 2 double, 1 long purl, 2 double, 1 small purl, 2 double, repeat 6 times more from *, and draw up. After an interval of five-eighths of an inch comes another small circle: 4 double, draw the cotton through the last purl of the large figure, 3 double, draw the cotton through the next long purl of the same figure, 2 double, 1 long purl, 3 double, 1 long purl, 4 double. Repeat the pattern for the length of insertion required. The threads which join the small circles are worked over with 7 double in the manner described above, only the cotton at the principal figure must be left loose the width of a straw, so as to imitate a long purl. Complete the insertion from illustration by tatting round the small circles of 16 double on the other side (but in the contrary direction), form no purl, but draw the cotton through the long purl of the large figure; the threads which join the 2 circles are likewise drawn through the middle long purl of the large figure; this thread is then tatted over with 7 double, like the opposite outer edge.

The nice effect of the insertion shown in illustration No. 32 is created using longer and shorter purls. Follow these steps: Start by joining 9 doubles into a circle, then work 1 long purl, 3 doubles, 1 long purl, and 4 doubles *. [30] After an interval of five-eighths of an inch, begin the large figure of the pattern: 2 doubles, 1 small purl, 2 doubles, pull the cotton through the last purl of the small circle, 2 doubles, pull through the 1st purl of the same circle, 2 doubles, 1 small purl, 2 doubles, 1 long purl, 2 doubles, 1 small purl, 2 doubles, and repeat this 6 more times from *, then pull tight. After another five-eighths of an inch, you’ll start another small circle: 4 doubles, pull the cotton through the last purl of the large figure, 3 doubles, pull through the next long purl of the same figure, 2 doubles, 1 long purl, 3 doubles, 1 long purl, and 4 doubles. Repeat the pattern until you reach the desired length of insertion. The threads connecting the small circles are worked over with 7 doubles as described above, but the cotton at the main figure should be left loose the width of a straw, to mimic a long purl. Finish the insertion from the illustration by tatting around the small circles with 16 doubles on the other side (but in the opposite direction), make no purl, but pull the cotton through the long purl of the large figure; the threads connecting the 2 circles are also pulled through the middle long purl of the large figure; this thread is then tatted over with 7 doubles, like the outer edge on the opposite side.

33.--Tatted Square or Diamond.

33.--Tattooed Square or Diamond.

Materials: If for couvrettes, Messrs. Walter Evans and Co.'s tatting cotton No. 20, or crochet cotton No. 4; tatting-pin No. 3. For d'oyleys, tatting cotton No. 50; tatting-pin No. 2. For headdresses, tatting cotton No. 80; tatting-pin No. 2.

Materials: For covers, use Messrs. Walter Evans and Co.'s tatting cotton No. 20 or crochet cotton No. 4; tatting pin No. 3. For doilies, use tatting cotton No. 50; tatting pin No. 2. For headdresses, use tatting cotton No. 80; tatting pin No. 2.

The square is composed first of nine 4-branched patterns, worked in 3 rows of 3 patterns each, and joined on one to the other with purl. Each pattern consists of 4 branches close to each other, and each branch consists of 7 double, 1 purl, 7 double; when the 4 branches of one [31] pattern are completed, cut off the cotton, and fasten both ends together so as to form a small circle in the centre. Then work a second pattern, which is fastened on to the first and second branches of the first pattern, instead of working the purl stitch; work a third pattern, which is fastened in the same manner on to the second pattern. Then work 2 more rows exactly the same as can be seen in illustration.

The square starts with nine 4-branched designs, arranged in 3 rows of 3 designs each, and connected to each other with purl. Each design has 4 branches that are close together, and each branch consists of 7 doubles, 1 purl, and 7 doubles; when the 4 branches of one [31] design are done, cut the cotton and tie both ends together to create a small circle in the center. Next, create a second design, which attaches to the first and second branches of the first design, instead of doing the purl stitch; then create a third design, which connects in the same way to the second design. Lastly, work 2 more rows just like shown in the illustration.

*For the border of the square, fasten the cotton on the first purl of the first pattern, work 4 double, 13 purl divided by 2 double, 4 double, draw up the stitches close, fasten the cotton again on to the same purl of the first pattern *, and work the following scallop at a short distance:--4 double fastened on the last purl of the preceding circle, 10 purl divided by 2 double, 4 double, draw up the stitch, leaving an interval of two-fifths of an inch between the first and the last; fasten the cotton on to the next purl which joins two patterns, repeat twice more from *, and continue to repeat from *.

*For the border of the square, attach the cotton to the first purl of the first pattern, work 4 double stitches, then 13 purls divided by 2 double stitches, followed by 4 double stitches. Pull the stitches tight, attach the cotton again to the same purl of the first pattern*, and create the next scallop at a short distance: 4 double stitches attached to the last purl of the previous circle, 10 purls divided by 2 double stitches, 4 double stitches, pull the stitch tight, leaving a gap of two-fifths of an inch between the first and the last; attach the cotton to the next purl that connects two patterns, repeat this two more times from *, and keep repeating from *.

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34.--Tatted Rosette.

34.--Tattooed Rosette.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40, or crochet cotton No. 60.

Materials: Walter Evans and Co.'s tatting cotton No. 40, or crochet cotton No. 60.

This rosette is very pretty for trimming lingeries; it is worked with very fine crochet or tatting cotton. Begin in the centre and work one circle: 16 times alternately 2 double, 1 purl, then 1 purled stitch. Fasten the cotton on to the first purl and work the 2nd round: 1 small circle, consisting of 6 double divided by 1 purl. Fasten the cotton on to the next purl of the middle circle, and repeat in rounds. 3rd round: Fasten the cotton on the middle purl of the first circle of the preceding round, * work at a short distance 8 double divided by 1 purl, join the stitches into a circle, fasten the cotton at the same distance on to the middle purl of the next circle of the preceding round, and repeat in rounds from *, after which the cotton is fastened off.

This rosette is really nice for decorating lingeries; it's made with very fine crochet or tatting cotton. Start in the center and create one circle: 16 times alternately 2 doubles, 1 purl, then 1 purled stitch. Attach the cotton to the first purl and make the 2nd round: 1 small circle that includes 6 doubles divided by 1 purl. Attach the cotton to the next purl of the center circle, and repeat in rounds. For the 3rd round: Attach the cotton to the middle purl of the first circle from the previous round, * work at a short distance 8 doubles divided by 1 purl, join the stitches into a circle, attach the cotton at the same distance to the middle purl of the next circle from the previous round, and repeat in rounds from *, after which the cotton is secured.

35.--Rosette in Tatting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 40; tatting-pin No. 3.

Begin this rosette with the circle in the centre, and work 8 times alternately 2 double, 1 purl, 1 double, join the stitches into a circle and fasten the cotton. Take a second shuttle and work over the cotton on this shuttle; knot the two ends of cotton together * and work 5 plain, [33] fasten the cotton over which you work on a purl of the circle which is completed, and which must be turned downwards; 5 plain, 1 purl; repeat 7 times more from *, and fasten the cotton. Work now with one of the shuttles the small circles on the outside; * fasten the cotton on to a purl of the second round, and work a circle as follows:--6 double, 1 purl, 6 double, fasten the cotton on to the same purl of the second round, work a similar circle at a short distance, and a third at the same distance. Repeat 7 times more from *, and fasten off the cotton neatly.

Start this rosette with a circle in the center, and alternate working 2 double stitches, 1 purl, and 1 double stitch 8 times. Join the stitches into a circle and secure the cotton. Take a second shuttle and work over the cotton on this shuttle; tie the two ends of cotton together* and work 5 plain stitches, [33] secure the cotton you’re working over to a purl of the completed circle, which should be turned downwards; then work 5 plain stitches, 1 purl; repeat this process 7 more times from *, and secure the cotton. Now, with one of the shuttles, work on the small circles on the outside; * secure the cotton to a purl of the second round and create a circle as follows: 6 double stitches, 1 purl, 6 double stitches, then secure the cotton to the same purl of the second round, work a similar circle a short distance away, and create a third one at the same distance. Repeat this process 7 more times from *, and neatly secure the cotton.

36.--Diamond in Tatting.

36.--Diamond in Tatted Lace.

Materials:Messrs. Walter Evans and Co.'s tatting cotton No. 40; tatting-pin No. 2.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; tatting pin No. 2.

This diamond is suitable for trimming collars, cuffs, &c., when worked with fine cotton. Work first the four corner patterns separately, as [34] follows:--7 double, 3 purl divided by 3 double, 6 double, join the stitches into a circle, work close to this circle a second one consisting of 6 double fastened on the last purl of the 1st circle, 4 double, 2 purl divided by 4 double, 6 double; then a 3rd circle consisting of 6 double fastened on the last purl of the preceding circle, 3 double, 2 purl divided by 3 double, 7 double. Take a second shuttle, fasten the cotton on the end of the cotton of the 1st circle, throw the cotton of the 1st shuttle over the fingers of the left hand, and work with this cotton over the cotton on the other shuttle in the right hand. Work 5 double, and then one circle as follows with the cotton in the left hand only:--8 double fastened on the last purl of the 3rd of the 3 circles worked close to each other, 5 double, 1 purl, 5 double, 1 purl, 4 double, 1 purl, 6 double, then again over the cotton on the other shuttle, 5 double, 4 purl divided by 5 double, 5 double, then with one shuttle only one circle as follows:--6 double, 1 purl, 4 double, 1 purl, 5 double, 1 purl, 5 double fastened on 1st purl of the circle worked at the beginning, 8 double; then again with two shuttles 5 double. Fasten the cotton on the piece of cotton before the 5 double worked with two shuttles, so that the stitches worked over two shuttles form a circle, and cut off the cotton. When three of these patterns have been worked, work the centre pattern of the square. It consists of 4 leaves touching each other at the lower points; each leaf is formed of 3 double, 5 purl divided by 3 double, 3 double; each following leaf is fastened on to the preceding one at the place of the 1st purl. Then work first 1 round of the oval circles of the square, with which the corner patterns are joined. Fasten the cotton on one purl of one corner pattern, make 7 double, 1 purl, 8 double; fasten on the corresponding purl of another corner pattern, work 8 double, 1 purl, 7 double, join the stitches into a circle, fasten the cotton on to the same purl to [35] which the cotton has already been fastened, carry the latter on to the next purl of the same corner pattern, fasten it, then work three more circles like the first, which are fastened on to each preceding circle, at the place of the first purl; fasten the cotton on the two cross purl of the centre pattern, and work four similar circles on the other side of the same. The 8 circles which go across the square in the opposite direction are worked in the same manner. When the square is completed, draw two threads on each side of each corner pattern on to the other side of the square along the cotton which joins the circles together.

This diamond is perfect for trimming collars, cuffs, etc., when done with fine cotton. First, work the four corner patterns separately, as follows: 7 double, 3 purl separated by 3 double, 6 double, then join the stitches into a circle. Close to this circle, work a second one made of 6 double attached to the last purl of the first circle, 4 double, 2 purl separated by 4 double, 6 double; then, a third circle with 6 double attached to the last purl of the previous circle, 3 double, 2 purl separated by 3 double, 7 double. Take a second shuttle, attach the cotton to the end of the cotton from the first circle, throw the cotton from the first shuttle over the fingers of your left hand, and work with this cotton over the cotton on the other shuttle in your right hand. Work 5 double, then one circle as follows with the cotton in your left hand only: 8 double attached to the last purl of the third of the three circles worked closely together, 5 double, 1 purl, 5 double, 1 purl, 4 double, 1 purl, 6 double. Again, over the cotton on the other shuttle, work 5 double, 4 purl separated by 5 double, 5 double, then with one shuttle only, work one circle as follows: 6 double, 1 purl, 4 double, 1 purl, 5 double, 1 purl, 5 double attached to the first purl of the circle worked at the beginning, 8 double; then again with two shuttles, work 5 double. Attach the cotton to the section of cotton before the 5 double worked with two shuttles, so that the stitches worked over two shuttles form a circle, and cut off the cotton. When three of these patterns have been made, work the center pattern of the square. It consists of 4 leaves touching at the lower points; each leaf is made up of 3 double, 5 purl separated by 3 double, 3 double; each following leaf is attached to the previous one at the location of the first purl. Then first, work 1 round of the oval circles of the square, which connect the corner patterns. Attach the cotton to one purl of one corner pattern, make 7 double, 1 purl, 8 double; then attach to the corresponding purl of another corner pattern, work 8 double, 1 purl, 7 double, join the stitches into a circle, and fasten the cotton to the same purl where it’s already attached, then carry it to the next purl of the same corner pattern, attach it, and work three more circles like the first, attaching them to each preceding circle at the spot of the first purl; attach the cotton to the two cross purl of the center pattern, and work four similar circles on the other side of the same. The 8 circles that cross the square in the opposite direction are worked the same way. Once the square is finished, draw two threads on each side of each corner pattern to the other side of the square along the cotton that connects the circles.

37.--Tatting for Cap Crown.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100; tatting-pin No. 1.

Materials: Walter Evans and Co.'s tatting cotton No. 100; tatting pin No. 1.

This pattern is very pretty for the crown of a cap like the one described on page 36, and also for covers, toilet cushions, &c. The size of the cotton depends upon the use you wish to make of the pattern. The pattern is worked with fine tatting cotton. It consists of eight-branched rosettes joined together with small circles. Each rosette is worked as follows: Work 8 loops or branches close to each other, consisting of 7 double, 1 purl, 7 double; fasten both ends of the [36] cotton together, and cut them off. Each of the small circles which joins the rosettes together consists of 2 double, 8 purl divided by 2 double. It is easy to see from the illustration how the patterns are joined together by means of the purl stitches.

This design looks great for the crown of a cap like the one described on page 36, and it's also perfect for covers, toilet cushions, etc. The size of the cotton you use depends on how you want to use the pattern. The pattern is made with fine tatting cotton. It features eight-branched rosettes that are connected by small circles. To make each rosette: create 8 loops or branches that are close together, consisting of 7 double stitches, 1 purl, and 7 double stitches; then tie both ends of the [36] cotton together and cut off the excess. Each of the small circles that links the rosettes together consists of 2 double stitches, followed by 8 purl stitches divided by 2 double stitches. It's easy to see from the illustration how the patterns are linked together with the purl stitches.

38 and 39.--Cap in Tatting.

38 and 39.--Cap in Tatting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100 tatting-pin No. 1.

Materials: Walter Evans and Co.'s tatting cotton No. 100, tatting pin No. 1.

[37]

This very pretty cap consists of an oval crown in tatting, edged all round with a tatted lace, the lappets are made in tatting also. The cap is trimmed with large and small rosettes of narrow blue velvet. A narrow velvet ribbon is drawn through the straight open-work edge of the lace, as can be seen in illustration.

This charming cap features an oval crown made of tatting, bordered all around with tatted lace, and the lappets are also made of tatting. The cap is adorned with large and small blue velvet rosettes. A thin velvet ribbon is threaded through the straight open-work edge of the lace, as shown in the illustration.

No. 39.--Border for Cap.--The upper part of the border consists of 4 rows of circles worked at a distance of three-fifths of an inch from each other. The circles of the 1st row consist of 3 double, 3 purl divided by 3 double, 3 double. In the following 3 rows each circle is fastened on to the cotton, which joins 2 circles in the 1st row, instead of working the middle purl, the cotton between 2 circles in the last row must only be two-fifths of an inch long. Then work a certain number of six-branched rosettes, each branch consisting of 9 double, 1 purl, 9 double. Each rosette is fastened on to every other circle of the 1st row, as can be seen in illustration. The border is completed as [38] follows:--* 1 double, 6 purl divided by 1 double, 1 purled stitch fastened on to the middle purl of a circle of the 1st row, 1 plain, 6 purl divided by 1 double, join the stitch into a circle, turn the lace so that the rosettes are turned upwards, fasten the cotton on to the purl of the next branch of the next rosette, work 1 double, 7 purl divided by 1 double, 1 double; fasten the cotton on to the purl of the next branch, * work 1 double, 8 purl divided by 1 double, 1 double; fasten the cotton on to the next branch, repeat once more from *, work 1 double, 7 purl divided by 1 double, 1 double, and repeat from * to the end of the lace.

No. 39.--Border for Cap.--The top part of the border has 4 rows of circles spaced three-fifths of an inch apart. The circles in the 1st row consist of 3 doubles, 3 purl, followed by 3 doubles. In the next 3 rows, each circle is attached to the cotton connecting 2 circles from the 1st row; instead of working the middle purl, the cotton between 2 circles in the last row should only be two-fifths of an inch long. Then create a certain number of six-branched rosettes, with each branch made up of 9 doubles, 1 purl, and 9 doubles. Each rosette is attached to every other circle of the 1st row, as shown in the illustration. The border is completed as [38] follows:--* 1 double, 6 purl divided by 1 double, 1 purled stitch attached to the middle purl of a circle from the 1st row, 1 plain, 6 purl divided by 1 double, join the stitch into a circle, turn the lace so the rosettes face up, attach the cotton to the purl of the next branch of the next rosette, work 1 double, 7 purl divided by 1 double, 1 double; attach the cotton to the purl of the next branch, * work 1 double, 8 purl divided by 1 double, 1 double; attach the cotton to the next branch, repeat once more from *, work 1 double, 7 purl divided by 1 double, 1 double, and repeat from * to the end of the lace.

40.--Lace in Tatting and Crochet.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50; tatting-pin No. 2; crochet cotton No. 60.

Materials: Walter Evans and Co.'s tatting cotton No. 50; tatting-pin No. 2; crochet cotton No. 60.

The beauty of this lace depends entirely upon the regularity of the tatting. The purl stitches must be very regularly made, the circles must be drawn up tight. Make * 1 circle, consisting of 4 double, 8 purl divided by 2 double, 4 double; close to this circle a second one; 5 double fastened on the last purl of the preceding circle, 8 times 2 [39] double divided by 1 purl, 1 purl 5 double, close to the 2nd circle a third one similar to the first, but instead of working the 1st purl fasten it on the last purl of the preceding circle; leave an interval of about 1-2/5 inch, and repeat from * till the lace is sufficiently long. The rest is worked in crochet. Take the fine crochet cotton and work the straight row at the top to join the patterns together. Crochet 1 double in the 3 first and last purl of the first and last circle of one pattern, then a sufficient number of double stitches under the piece of cotton which joins 2 circles. At the place where the circles are drawn together, join the two pieces of cotton (the beginning and the end) in such a manner that the top of the lace forms a straight line (see illustration). The 2nd row consists of 1 treble in every other stitch, 1 chain after every treble. Then work on the other side of the lace * a row of treble stitches divided by chain. The treble stitches are worked in the purl stitches of the circles. Work 1 long treble in the 1st purl left free of the 1st circle (4th purl of the circle), 3 chain, * 1 treble, 3 chain, 1 treble, 3 chain, 2 treble in the next 2 purl, but cast off the 1st treble only so far as to keep 2 loops on the needle. When the 2nd treble is completed cast off all the loops on the needle, 3 chain, 5 treble divided by 4 chain, 3 chain, 2 treble in the 2 following purl, which are cast off like those above described, 3 chain, 2 treble divided by 3 chain in the 2 next purl of a pattern, 1 chain, 1 long treble with which you must join the last purl and the first one of the next pattern, 1 chain; repeat from *. The next row consists of small scallops worked round the chain stitch scallops of the preceding row; work in each 1 double, 4 treble, 1 double, 1 double in the first and last chain stitch of every pattern.

The beauty of this lace completely relies on the consistency of the tatting. The purl stitches should be made very evenly, and the circles must be pulled tight. Make * 1 circle with 4 double stitches, 8 purl divided by 2 double, then 4 double; attach a second circle to this one by adding 5 double stitches on the last purl of the previous circle, then 8 times 2 [39] double divided by 1 purl, followed by 1 purl and 5 double. Next, close to the 2nd circle, create a third one similar to the first, but instead of the 1st purl, attach it on the last purl of the previous circle; leave about a 1-2/5 inch gap and repeat from * until the lace reaches your desired length. The remainder is done in crochet. Use fine crochet cotton to create a straight row at the top to connect the patterns. Crochet 1 double in the first and last 3 purl of the first and last circle of one pattern, then make enough double stitches underneath the cotton that connects the 2 circles. Where the circles are joined, link the two cotton pieces (the beginning and the end) so that the top of the lace is straight (see illustration). The 2nd row has 1 treble in every other stitch, with 1 chain after each treble. Then, on the other side of the lace, * crochet a row of treble stitches separated by chains. The treble stitches are worked in the purl stitches of the circles. Work 1 long treble in the 1st free purl of the 1st circle (the 4th purl of the circle), 3 chains, * 1 treble, 3 chains, 1 treble, 3 chains, and 2 treble in the next 2 purl, but only cast off the 1st treble to keep 2 loops on the needle. Once the 2nd treble is done, cast off all the loops on the needle, 3 chains, 5 treble divided by 4 chains, 3 chains, 2 treble in the next 2 purl, which should be cast off as described above, 3 chains, 2 treble divided by 3 chains in the next 2 purl of a pattern, 1 chain, and 1 long treble that connects the last purl and the first one of the next pattern, followed by 1 chain; repeat from *. The next row consists of small scallops worked around the chain stitch scallops of the previous row; inside each, work 1 double, 4 treble, 1 double, and 1 double in the first and last chain stitch of every pattern.

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41.--Insertion in Tatting and Crochet.

41.--Insertion in Tatting and Crocheting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; crochet cotton No. 60; tatting-pin No. 2.

Materials: Walter Evans and Co.'s tatting cotton No. 40; crochet cotton No. 60; tatting-pin No. 2.

Begin the tatting with fine cotton and 2 shuttles. Work with the cotton on one shuttle over the cotton on the other in the following manner:--Knot the 2 ends of cotton together * 4 times 2 double divided by a short purl, 3 long purl divided by 1 double; the 1st and 3rd purl must be three-fifths of an inch long, the 2nd one two-fifths of an inch; 4 times 2 double divided by a short purl, 1 purl two-fifths of an inch long; repeat from * till the strip of insertion is sufficiently long. Then work a similar row of tatting, and join the two rows before working the 1 long purl, by fastening the cotton on the corresponding long purl of the 1st row, so that the 2 rows are joined closely together, and the purl stitches of either are turned outwards. At the top and bottom of the tatting work the 3 following rows of crochet:--* 1 double in the middle one of the 3 long purl, 8 chain, 1 double in each of the 3 following long purl, 8 chain; repeat from * to the end of the row. 2nd row. 8 double in each scallop, miss the 3 double stitches of the preceding row under 3 chain. The 3rd row consists of treble stitches in [41] every other stitch, 1 chain after every treble. Lastly, the leaves are worked with thick cotton by filling up the first and last long purl of a pattern with darning stitch from illustration; the cross stitches between the two rows of tatting are worked with very fine cotton.

Start tatting with fine cotton and two shuttles. Use the cotton on one shuttle over the cotton on the other in this way: Tie the two ends of cotton together * 4 times 2 double stitches divided by a short purl, 3 long purls divided by 1 double; the 1st and 3rd purls should be three-fifths of an inch long, the 2nd one two-fifths of an inch; 4 times 2 double divided by a short purl, 1 purl two-fifths of an inch long; repeat from * until the strip of insertion is long enough. Then make a similar row of tatting and join the two rows before making the 1 long purl, by attaching the cotton to the corresponding long purl of the 1st row, ensuring that the two rows are closely joined and the purl stitches of both are facing outward. At the top and bottom of the tatting, work the next 3 rows of crochet: * 1 double in the middle of the 3 long purls, 8 chains, 1 double in each of the next 3 long purls, 8 chains; repeat from * to the end of the row. 2nd row: 8 doubles in each scallop, skipping the 3 double stitches of the previous row under 3 chains. The 3rd row consists of treble stitches in every other stitch, with 1 chain after each treble. Finally, work the leaves with thick cotton by filling in the first and last long purl of a pattern with darning stitch from the illustration; the cross stitches between the two rows of tatting are done with very fine cotton.

42.--Purse in Tatting and Beads.

Materials: Grey purse-silk; steel beads; scarlet glacé silk; a steel clasp with chain.

Materials: Grey purse silk; steel beads; scarlet glazed silk; a steel clasp with chain.

This purse is worked in tatting with grey silk and beads. The beads are threaded on a piece of silk, with which you work over another piece of the same. Begin each of the second halves of the purse with the circle in the centre, which consists of 1 purled stitch, 1 purl (all the purl of this circle are three-tenths of an inch long, and are covered with six beads, which must be drawn up close together before working the purl), 12 double divided by 1 purl. Join the stitches into a circle by knotting together the two ends of the silk.

This purse is made using tatting with gray silk and beads. The beads are threaded onto a piece of silk, which you use to work over another piece of the same material. Start each of the second halves of the purse with the circle in the center, which consists of 1 purled stitch, 1 purl (all the purls in this circle are three-tenths of an inch long and are covered with six beads that need to be pulled together tightly before working the purl), 12 doubles separated by 1 purl. Join the stitches into a circle by tying together the two ends of the silk.

2nd round: Begin again and work one of the small circles; * 2 double, draw up one bead after each, 1 double, 1 short purl without beads, 2 double, 1 bead after each, 1 double, fasten the silk on the purl of the middle circle, so as to let it come between the 3rd and 4th bead of the 6 beads on that purl; 2 double, 1 bead after each, 1 double, 1 short purl, 2 double, 1 bead after each, 1 double, join the stitches into a circle, draw up 2 beads; work a larger circle without fastening the silk belonging to the smaller one; 3 double, 1 bead after each, 1 double, 1 purl with 4 beads, 3 double, 1 bead after each, 1 double; 1 short purl, 3 double, 1 bead after each, 1 double, 1 purl with 4 beads, 3 double, 1 bead after each, 1 double; draw up 2 beads close to this large circle [42] and repeat from *. Each following small circle must be fastened on the next purl of the circle which forms the centre; they are also fastened on to each other, instead of working the 1st purl, by fastening the piece of silk over which you work on the preceding small circle; in the larger circles, instead of working the 1st purl with 4 beads, the piece [43] of silk must be fastened on the last purl of the preceding circle, so that it comes between the 2nd and 3rd beads. At the end of the round, the ends of the silk are knotted together and fastened off.

2nd round: Start over and work on one of the small circles; * 2 double, pull up one bead after each, 1 double, 1 short purl without beads, 2 double, 1 bead after each, 1 double, tie the silk to the purl of the middle circle so it sits between the 3rd and 4th bead of the 6 beads on that purl; 2 double, 1 bead after each, 1 double, 1 short purl, 2 double, 1 bead after each, 1 double, connect the stitches into a circle, pull up 2 beads; work a larger circle without tying off the silk from the smaller one; 3 double, 1 bead after each, 1 double, 1 purl with 4 beads, 3 double, 1 bead after each, 1 double; 1 short purl, 3 double, 1 bead after each, 1 double, 1 purl with 4 beads, 3 double, 1 bead after each, 1 double; pull up 2 beads close to this large circle [42] and repeat from *. Each subsequent small circle must be tied to the next purl of the central circle; they are also tied to each other, instead of working the 1st purl, by securing the silk you’re working with to the previous small circle; for the larger circles, instead of working the 1st purl with 4 beads, the piece [43] of silk must be secured to the last purl of the last circle so it sits between the 2nd and 3rd beads. At the end of the round, tie the ends of the silk together and fasten off.

3rd round: * 3 double, 1 bead after each, 1 double, 1 short purl, 3 double, 1 bead after each, 1 double fastened on the middle purl of the 1st circle of the preceding round, 3 double, 1 bead after each, 1 double, 1 purl with 2 beads, 3 double, 1 bead after each, 1 double; join the stitches into a circle, and work at a short distance a 2nd circle; 3 double, 1 bead after each, 1 double, fastened on the last purl of the just-finished circle of this round, 3 double, 1 bead after each, 1 double fastened on the purl of the preceding round which is between 2 circles; the loop must come between the 2 beads; 3 double, 1 bead after each; 1 double, 1 purl with 2 beads; 3 double, with 1 bead after each; 1 double; leave a small interval, and repeat 11 times more from *, then fasten the ends.

3rd round: * 3 doubles, 1 bead after each, 1 double, 1 short purl, 3 doubles, 1 bead after each, 1 double attached to the middle purl of the 1st circle from the previous round, 3 doubles, 1 bead after each, 1 double, 1 purl with 2 beads, 3 doubles, 1 bead after each, 1 double; join the stitches into a circle, and work at a short distance a 2nd circle; 3 doubles, 1 bead after each, 1 double, attached to the last purl of the circle just finished in this round, 3 doubles, 1 bead after each, 1 double attached to the purl of the previous round that is between the 2 circles; the loop must come between the 2 beads; 3 doubles, 1 bead after each; 1 double, 1 purl with 2 beads; 3 doubles, with 1 bead after each; 1 double; leave a small gap, and repeat 11 more times from *, then secure the ends.

When two similar parts have been worked, line them with scarlet glacé silk; fasten them together round the outside, and sew on the clasp. A round of large circles edges the purse round the outside. The 1st of these circles consists of 12 double, 1 bead after each, 1 double, 1 purl with 2 beads, 4 double, 1 bead after each, 1 double. Work a 2nd circle at a short distance from the 1st: * 4 double, 1 bead after each, 1 double fastened on the purl of the 1st circle of this round; 7 double, 1 bead after each, 1 double, 1 purl with 2 beads, 4 double, 1 bead after each, 1 double; leave a short interval, and repeat from * till a sufficient number of circles have been made. The last purl is not worked in the last circle.

When you've worked on two similar pieces, line them with scarlet silk. Attach them together around the outside and sew on the clasp. A series of large circles lines the outside of the purse. The first of these circles has 12 doubles, a bead after each double, 1 double, 1 purl with 2 beads, 4 doubles, a bead after each double, and another double. Make a second circle a short distance away from the first: * 4 doubles, a bead after each double, 1 double attached to the purl of the first circle of this round; then 7 doubles, a bead after each double, 1 double, 1 purl with 2 beads, 4 doubles, a bead after each double, and another double; leave a short gap, and repeat from * until you've made enough circles. The last purl is not worked in the final circle.

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43.--

Insertion in Tatting and Crochet.

>Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; crochet cotton No. 60; tatting-pin No. 3.

>Materials: Walter Evans and Co.'s tatting cotton No. 40; crochet cotton No. 60; tatting pin No. 3.

This pattern is composed of leaves and flowers. Each of the six leaves forming a circle is composed of 4 double, 2 purl, separated by 2 double, 4 double (the first and last purl of each leaf must be joined in the manner before explained), and the centre of each circle forms a wheel. The flower has four leaves: each leaf consists of 6 double, II purl, separated each by 1 double, and again 6 double; each leaf is filled up with button-hole stitches in fine cotton. To form the circle in the centre of this flower, turn several times the thread which joins the leaves, and work button-hole stitches round it. Join the flowers and the circles by knotting them together, or by making 1 purl longer than the others, and by drawing the next figure through. The crochet border on each side of the tatting consists of six rows, which are plainly seen in the illustration.

This pattern features leaves and flowers. Each of the six leaves that create a circle is made up of 4 double crochets, 2 purls, separated by 2 double crochets, and then 4 double crochets (the first and last purls of each leaf need to be joined as explained earlier), with the center of each circle forming a wheel. The flower has four leaves: each leaf consists of 6 double crochets, 11 purls, each separated by 1 double crochet, and then 6 double crochets again; each leaf is filled with button-hole stitches in fine cotton. To create the circle in the center of the flower, wrap the thread that connects the leaves several times and work button-hole stitches around it. Join the flowers and circles by knotting them together, or by making 1 purl longer than the others and drawing the next figure through. The crochet border on each side of the tatting has six rows, which are clearly shown in the illustration.

[45]

44.--Border in Tatting and Lace Stitch.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 20 and 40.

Materials: Mr. Walter Evans and Co.'s tatting cotton No. 20 and 40.

This mixture of tatting and lace stitch is a style of work not only entirely new, but very pretty and effective when cotton of very different sizes is used. The tatting is begun with a row of circles two-thirds of an inch distant from each other; each circle consists of 13 stitches of plain tatting. Fasten a 2nd row to the 1st, and a 3rd to the 2nd, by working a circle of 13 stitches of plain tatting at one-third of an inch distance, * then at the same distance; fasten the cotton on the next circle of the preceding row, work a circle at the same distance again, and repeat from *. The cotton is fastened on the circles by drawing it through the circle with a crochet-needle, so as to form a loop, and then drawing it out of the loop. Take care to keep the distance between 2 circles always the same. Between the circles of the 3rd row draw another piece of cotton, by fastening the cotton on each [46] circle of the 3rd row at distances of two-thirds of an inch. Then work the lower edge of the border in the following way:--1 small spot called a Josephine knot (for which work 5 stitches of plain tatting, draw the cotton downwards through the loop which fastens the stitches, and draw up the whole), fasten the cotton between the next two circles of the 3rd row, * and a little further make a spot consisting of 8 stitches of single tatting, close to this a circle formed of 3 double, 9 purl divided by 2 double, 3 double; then again a spot of 8 stitches of plain tatting, turn the 2 last spots so as to make their round sides come opposite one another; fasten the cotton on again between the 2 next circles of the 3rd row. Then a little further off work 1 small spot (5 stitches of plain tatting), 1 circle of 3 double, 1 purl, 2 double fastened on the last purl of the preceding circle, 2 double, 5 purl divided by 2 double, 3 double; then again a small spot (5 plain stitches), fasten the cotton on again between the next 2 circles of the 3rd row, and repeat from *, always fastening each new circle to the corresponding purl of the preceding one. On the other long side, the border is completed by 2 rows of crochet. The 1st row is formed by working 1 double under the piece of cotton between 2 circles of the 1st row, with 5 chain stitches between.

This combination of tatting and lace stitch is not only a completely new style of work but also very attractive and effective when using cotton of various sizes. Start the tatting with a row of circles that are two-thirds of an inch apart; each circle consists of 13 stitches of plain tatting. Attach a 2nd row to the 1st, and a 3rd to the 2nd, by creating a circle of 13 stitches of plain tatting one-third of an inch apart, * then at the same distance; secure the cotton on the next circle of the previous row, work a circle again at the same distance, and repeat from *. Attach the cotton to the circles by pulling it through the circle with a crochet hook to form a loop, then pull it out of the loop. Be sure to keep the distance between the 2 circles consistent. Between the circles of the 3rd row, pull through another piece of cotton by securing the cotton on each [46] circle of the 3rd row at intervals of two-thirds of an inch. Next, create the lower edge of the border as follows:--1 small spot called a Josephine knot (for this, work 5 stitches of plain tatting, pull the cotton downwards through the loop that holds the stitches, and pull everything tight), secure the cotton between the next two circles of the 3rd row, * and a little further on create a spot made up of 8 stitches of single tatting, next to this a circle made of 3 double stitches, 9 purl stitches divided by 2 double stitches, 3 double stitches; then again an 8-stitch spot of plain tatting, position the last 2 spots so their round sides face each other; reattach the cotton between the next 2 circles of the 3rd row. Then a bit further off work 1 small spot (5 stitches of plain tatting), 1 circle of 3 double stitches, 1 purl stitch, 2 double stitches connected to the last purl of the previous circle, 2 double stitches, 5 purl stitches divided by 2 double stitches, 3 double stitches; then again a small spot (5 plain stitches), reattach the cotton between the next 2 circles of the 3rd row, and repeat from *, always attaching each new circle to the corresponding purl of the previous circle. On the other long side, finish the border with 2 rows of crochet. The 1st row is created by working 1 double stitch under the piece of cotton between 2 circles of the 1st row, with 5 chain stitches in between.

2nd row: 1 treble in every other stitch, 1 chain stitch after every treble. The strip of insertion is then tacked on a piece of cardboard or oil-cloth, and the lace stitches are worked between the circles, as is seen in illustration.

2nd row: 1 treble in every other stitch, 1 chain stitch after every treble. The strip of insertion is then tacked onto a piece of cardboard or oilcloth, and the lace stitches are worked between the circles, as shown in the illustration.

45.--Tatted Rosette.

45.--Tattooed Rosette.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 30 for large rosette, No. 80 for small rosette; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 30 for large rosette, No. 80 for small rosette; tatting pin No. 3.

This rosette forms a very pretty trimming for lingerie--cravats, caps, [47] handkerchiefs, &c. The raised pattern in the centre consists of 4 rounds, consisting of 5 circles each, which are sewn together and then fastened on the rosette. The 5 circles of each round must be worked close to each other: after working the last circle of each round, knot the beginning and end of the cotton together. Each circle of the smallest round has 9 double, the circles of the next round each 15, the circles of the following one 21, and the circles of the last and largest round 27 double stitches. When these circles have been sewn on one to another as in illustration, work a large circle consisting of 4 double, 1 purl, 9 times alternately 5 double, 1 purl, then 1 double. The purls of this circle are fastened on to the circles of the next round of the rosette. Fasten the cotton on to the next purl of the middle circle, and work a circle as follows:--4 double, 1 purl, 4 double, 1 purl, 3 double, 1 purl, 3 double, 1 purl, 4 double, 1 purl, 4 double. Repeat 9 times more from *, but now, instead of working the 1st purl of every circle, fasten it on to the last purl of the preceding circle. Then fasten the cotton. For the last round, which consists of scallops and rounds, fasten the cotton on to the middle purl of a circle of the preceding round, and work a circle consisting of 3 times alternately 4 double, 1 purl, then 4 double.

This rosette makes a lovely decoration for lingerie—like neckties, caps, [47] handkerchiefs, etc. The raised pattern in the center is made up of 4 rounds, each consisting of 5 circles that are sewn together and then attached to the rosette. The 5 circles in each round need to be worked closely together; after finishing the last circle of each round, tie the beginning and end of the thread together. Each circle in the smallest round has 9 double stitches, the circles in the next round have 15, the ones in the following round have 21, and the circles in the last, largest round have 27 double stitches. Once these circles are sewn together as shown in the illustration, create a large circle using 4 double stitches and 1 purl, alternating for a total of 9 times: 5 double stitches followed by 1 purl, and then finish with 1 double stitch. The purls of this circle are attached to the circles of the next round of the rosette. Attach the thread to the next purl of the middle circle, and work a circle as follows: 4 double stitches, 1 purl, 4 double stitches, 1 purl, 3 double stitches, 1 purl, 3 double stitches, 1 purl, 4 double stitches, 1 purl, 4 double stitches. Repeat this process 9 more times, but instead of working the 1st purl of each circle, attach it to the last purl of the previous circle. Then tie off the thread. For the final round, which consists of scallops and rounds, attach the thread to the middle purl of a circle from the previous round and work a circle consisting of 3 sets of 4 double stitches followed by 1 purl, then 4 double stitches.

[48]

Then fasten a second thread on to the same purl on which the just completed circle has been fastened, and over which all the scallops are to be worked. Work over it 5 double, fastened on to the last purl of the preceding circle, 4 double, 1 purl, 4 double, 1 purl, 5 double. Fasten the cotton on to the middle purl of the next circle of the preceding round, and repeat from * till the round is completed; but in working these circles, instead of the first purl, fasten them on to the last purl of the preceding scallop. Lastly, the raised pattern is sewn on.

Then attach a second thread to the same purl where the last circle is secured, and where all the scallops will be created. Work over it with 5 double stitches, securing them to the last purl of the previous circle, followed by 4 doubles, 1 purl, 4 doubles, 1 purl, and 5 doubles. Attach the cotton to the middle purl of the next circle in the previous round and repeat from * until the round is finished; however, when working these circles, instead of the first purl, attach them to the last purl of the previous scallop. Finally, sew on the raised pattern.

46.--Linen Bag for Tatting, &c.

46.--Linen Bag for Tatting, etc.

Materials: Fine linen; Messrs. Walter Evans and Co.'s tatting cotton No. 30 or 40; tatting-pin No. 2.

Materials: Fine linen; Walter Evans and Co.'s tatting cotton No. 30 or 40; tatting pin No. 2.

This pretty linen bag is meant to keep tatting and such work from being soiled before it is completed. The bag is drawn together round the top. [49] Its size depends upon what you wish to put into it. The original pattern is 3-3/4 inches deep, and 3 inches wide; it is hemmed round the top, and trimmed with a narrow tatted lace, consisting of large and small circles.

This nice linen bag is designed to keep your tatting and other projects clean until you finish them. The bag cinches closed at the top. [49] Its size can vary based on what you want to put inside it. The original pattern is 3-3/4 inches deep and 3 inches wide; it has a hem around the top and is decorated with a narrow tatted lace made up of large and small circles.

47.--Tatted Border.

47.--Tattooed Border.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; tatting-pin No. 2.

Materials: Walter Evans and Co.'s tatting cotton No. 40; tatting pin No. 2.

Begin this elegant border with 2 rows of tatting, in the following manner:--

Begin this elegant border with 2 rows of tatting like this:--

1st row: 2 double, 1 purl, 3 double, 1 purl, 3 double, 1 purl, 2 double; draw these stitches up into a circle, and repeat the circle at a very short distance, till the border is long enough; but instead of working the first purl of each circle, you must join the circle to the preceding one; the purl on the sides of the circle must therefore be longer than that in the middle.

1st row: 2 double, 1 purl, 3 double, 1 purl, 3 double, 1 purl, 2 double; pull these stitches into a circle, and repeat the circle at a very short distance until the border is long enough; however, instead of working the first purl of each circle, you need to connect the circle to the previous one; the purl on the sides of the circle must therefore be longer than the one in the middle.

For the 2nd row take another shuttle, make a loop on the left side with the cotton, and work with this end of cotton over the cotton in the right hand, which is also to be held between the thumb and forefinger of the left hand. Then work in the following way:--2 double, then 1 circle consisting of 3 double, 1 purl, 3 double; to form this circle, let the cotton in the left-hand shuttle fall downwards, and make a loop round the left hand with the cotton on the shuttle of the right hand. Then take up again the left-hand shuttle, and join the circle to the middle purl of the 1st circle of the 1st row by drawing the cotton through the [50] purl like a loop, and then drawing the cotton in the right hand through this loop. * 7 double, 1 circle, 7 double, joined to the middle purl of the next circle of the 1st row; 1 circle, 5 double, 1 circle joined on the middle purl of the following circle; repeat from *.

For the 2nd row, take another shuttle, make a loop on the left side with the cotton, and work with this end of cotton over the cotton in your right hand, which should also be held between the thumb and forefinger of your left hand. Then proceed as follows: 2 double, then 1 circle consisting of 3 double, 1 purl, 3 double; to create this circle, let the cotton in the left-hand shuttle drop down, and make a loop around your left hand with the cotton from the right-hand shuttle. Then pick up the left-hand shuttle again and attach the circle to the middle purl of the 1st circle from the 1st row by pulling the cotton through the [50] purl like a loop, and then pulling the cotton in your right hand through this loop. * 7 double, 1 circle, 7 double, attached to the middle purl of the next circle from the 1st row; 1 circle, 5 double, 1 circle attached to the middle purl of the following circle; repeat from *.

The upper edge of the border is worked in 2 crochet rows, in the following manner:--

The top edge of the border is done in 2 crochet rows like this:--

1st row: * 2 treble, divided by 1 chain in the 1st circle of the 1st row of tatting; 2 chain; repeat from *.

1st row: * 2 treble stitches, separated by 1 chain in the 1st circle of the 1st row of tatting; 2 chain stitches; repeat from *.

2nd row: * 1 treble in the 1st chain of the preceding row, 1 purl (3 chain, 1 slip stitch in the 1st), miss 1 stitch of the preceding row under it; repeat from *.

2nd row: * 1 treble in the 1st chain of the previous row, 1 purl (3 chains, 1 slip stitch in the 1st), skip 1 stitch of the previous row underneath; repeat from *.

48.--Rosette in Embroidery and Tatting.

Rosette in Embroidery and Tatting.

Materials for trimmings: Messrs. Walter Evans and Co.'s knitting cotton No. 20; tatting cotton No. 50; tatting-pin No. 3. For couvrettes, crochet cotton No. 4.

Materials for trimmings: Walter Evans and Co.'s knitting cotton No. 20; tatting cotton No. 50; tatting pin No. 3. For couvrettes, use crochet cotton No. 4.

This rosette, joined to other similar ones, forms a very pretty trimming for articles of fine linen, or even for small couvrettes; if used for the former, they must be worked with very fine cotton. The centre of the rosette is formed of an embroidered raised pattern worked in point de minute; round this centre there are small circles worked in button-hole stitch; the embroidery is worked with knitting cotton, the circles with crochet cotton. Before beginning the circles, make a circle consisting of a foundation chain of 80 stitches, in order to be able to fasten the button-hole stitch; in each of the stitches of the foundation chain work 1 double, then fasten the cotton. In the 2nd round of these circles fasten the cotton on every 5th stitch of the crochet circle. Work 1 round of open-work treble stitch in the double stitch of the crochet circle, work in tatting the border of the rosette as follows in 1 [51] round:--* 2 double, 1 purl, 2 double, fastened on to 1 chain stitch between 2 treble stitch, 2 double; 1 purl, 2 double,; join these stitches into a circle; turn the work so that the wrong side lies upwards, and work a second larger circle at a short distance consisting of 4 double, 5 purl divided by 2 double, 4 double, turn again and repeat from *. The smaller circles must be fastened after every other treble stitch; the larger and smaller circles must be fastened above one another at the place of the 1st purl.

This rosette, combined with other similar ones, creates a beautiful trim for fine linen items or even small covers. When used for linen, it should be stitched with very fine cotton. The center of the rosette features an embroidered raised pattern done in point de minute; surrounding this center are small circles created with button-hole stitch. The embroidery uses knitting cotton, while the circles are made with crochet cotton. Before starting the circles, create a foundation chain of 80 stitches to secure the button-hole stitch. In each stitch of the foundation chain, work 1 double stitch, then secure the cotton. In the 2nd round of these circles, secure the cotton on every 5th stitch of the crochet circle. Work 1 round of open-work treble stitch in the double stitch of the crochet circle, then create the border of the rosette in tatting as follows in 1 [51] round:--* 2 double, 1 purl, 2 double, fastened onto 1 chain stitch between 2 treble stitches, 2 double; 1 purl, 2 double; join these stitches into a circle; turn the work so the wrong side is facing up, and create a second larger circle a short distance away consisting of 4 double, 5 purl divided by 2 double, 4 double; turn again and repeat from *. The smaller circles should be fastened after every other treble stitch; the larger and smaller circles must be fastened on top of each other at the location of the 1st purl.

49--Linen Collar trimmed with Tatting.

49--Linen collar with tatting trim.

Materials: Messrs. Walter Evans and Co's tatting cotton No. 60; tatting-pin No. 2.

Materials: Walter Evans and Co's tatting cotton No. 60; tatting pin No. 2.

[52]

The diamond pattern placed in the corner of the collar is commenced in the centre. For each of the four centre leaves work 6 double stitches, 6 purl divided one from the other by 3 double stitches, then 6 more double stitches. Fasten off the cotton, cut it, and begin a fresh leaf [53] by working 2 double stitches, 10 purl divided one from the other by 2 double stitches, then 2 more double stitches. (This small leaf forms one of the corners of the diamond pattern.) Fasten the cotton to the fourth purl of one of the four centre leaves, and work another leaf similar to the preceding. Join this leaf by its two centre purl to the two last purl of the corner leaf (see illustration). After two more similar leaves, work one corner leaf, and continue the pattern in the same manner until you come back to the first corner leaf, then fasten off, and cut the cotton. Place the diamond pattern upon the point of the collar, and cut away the material under it; fold back the edges, sew them neatly, and cover them with the following crochet edging:--Make alternately 2 chain, 1 purl (the latter composed of 3 chain joined together by 1 slip stitch). It will be easy to work the circles in tatting from our illustration; they form an elegant border round the collar. We shall merely say that the centre circle is always worked separately, and that the cotton is fastened on afresh to work the eight outer leaves. The upper edge of this border is worked in crochet. It is composed of two rows--one formed of chain stitches, and a few slip stitches worked in the purl of the circles in tatting, the other worked in open treble crochet.

The diamond pattern placed in the corner of the collar begins at the center. For each of the four center leaves, work 6 double stitches, 6 purl stitches, with 3 double stitches in between, then 6 more double stitches. Fasten off the cotton, cut it, and start a new leaf [53] by working 2 double stitches, 10 purl stitches, separated by 2 double stitches, followed by 2 more double stitches. (This small leaf is one of the corners of the diamond pattern.) Attach the cotton to the fourth purl of one of the four center leaves, and create another leaf similar to the previous one. Connect this leaf by its two center purl stitches to the last two purl stitches of the corner leaf (see illustration). After making two more similar leaves, create one corner leaf, and continue the pattern in the same way until you return to the first corner leaf, then fasten off and cut the cotton. Place the diamond pattern on the point of the collar and cut away the material beneath it; fold back the edges, sew them neatly, and cover them with the following crochet edging:--Make alternately 2 chain stitches and 1 purl stitch (the purl is made of 3 chain stitches joined together by 1 slip stitch). It will be easy to work the circles in tatting from our illustration; they form an elegant border around the collar. We’ll just note that the center circle is always worked separately, and the cotton is reattached to work the eight outer leaves. The upper edge of this border is worked in crochet, consisting of two rows—one made of chain stitches, with some slip stitches worked into the purls of the tatting circles, and the other worked in open treble crochet.

50.--Cravat in Cambric Muslin and Tatting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 100; tatting pin No. 3.

This cravat consists of a strip of cambric muslin 1 yard long, 6 inches wide, hemmed on both sides. The ends of the cravat are ornamented with patterns in tatting, worked with tatting cotton No. 100. A rosette in tatting is sewn on in the middle of the end of the cravat. The end of the cravat is pointed, lined on the wrong side with a strip of the same material as the cravat, and edged with a tatted lace.

This cravat is made from a piece of cambric muslin that’s 1 yard long and 6 inches wide, with hems on both sides. The ends of the cravat feature decorative patterns in tatting, created using tatting cotton No. 100. A tatted rosette is sewn on in the center of one end of the cravat. The end of the cravat is pointed, lined on the inside with a strip of the same material as the cravat, and finished with a tatted lace edge.

[54]

Begin the rosette in the centre with a circle worked in the following manner:--1 double, 1 purl, * twice 2 double divided by 1 purl, 1 purl, 3 double, 1 purl, twice 4 double divided by 1 purl, 1 purl, * 3 double, 1 purl; repeat from * to * once more, 2 double. At the beginning of the 2nd round fasten the cotton on the 1st purl of the 1st round, and [55] work as follows:--* 1 circle consisting of 10 double, 1 purl, 2 double, 1 purl, 10 double; fasten the cotton on to the next purl, 1 circle like the preceding one, fastened on to the next purl, 1 circle consisting of 9 double, 1 purl, 9 double fastened on to the next purl, 2 circles consisting each of 7 double, 1 purl, 7 double; between the 2 fasten the cotton on to the next purl; 2 similar circles fastened also on to the next purl, 1 circle consisting of 8 double, 1 purl, 8 double, fastened on to the next circle; repeat once more from *, and fasten off the cotton. Fasten on the cotton afresh for the 3rd round, worked in the following manner:--* 1 circle consisting of 6 double, 1 purl, 5 double, 1 purl, 6 times 2 double divided by 1 purl; 1 purl, 5 double, 1 purl, 6 double; fasten the cotton at a short distance on to the 1st purl of the 2nd round, 1 circle worked as follows:--5 double fastened on to the last purl of the preceding circle of this round, 4 double, 1 purl, 4 times 2 double divided by 1 purl, 1 purl, 4 double, 1 purl, 5 double fastened on to the next purl of the 2nd circle of the 2nd round; 6 similar circles, between each of which the cotton is to be fastened on to the nearest purl of a circle of the 2nd round; repeat once more from *, and knot the beginning and the end of the cotton together. When completed, the rosette is sewn on the material of the cravat with button-hole stitches, taking up one purl with each stitch; the muslin is cut away underneath the rosette; then work a round of knotted stitches underneath the button-hole stitch. For the lace, make a row of circles one-fifth of an inch distant from each other, consisting each of 6 double, 1 purl, 2 double, 1 purl, 4 times 2 double divided by 1 purl, 1 purl, 2 double, 1 purl, 6 double, which are fastened together by the purl of each circle, and are sewn on the cravat over the cotton between the circles in overcast stitch.

Begin the rosette in the center with a circle made like this: 1 double, 1 purl, * twice 2 double divided by 1 purl, 1 purl, 3 double, 1 purl, twice 4 double divided by 1 purl, 1 purl, * 3 double, 1 purl; repeat from * to * one more time, then 2 double. At the start of the 2nd round, attach the cotton to the 1st purl of the 1st round, and [55] continue as follows: * 1 circle made up of 10 double, 1 purl, 2 double, 1 purl, 10 double; attach the cotton to the next purl, 1 circle like the previous one, attach it to the next purl, 1 circle made of 9 double, 1 purl, 9 double attached to the next purl, 2 circles made of 7 double, 1 purl, 7 double; between the 2, attach the cotton to the next purl; 2 similar circles attached to the next purl, 1 circle made of 8 double, 1 purl, 8 double, attached to the next circle; repeat once more from *, and finish off the cotton. Attach the cotton again for the 3rd round, worked like this: * 1 circle made of 6 double, 1 purl, 5 double, 1 purl, 6 times 2 double divided by 1 purl; 1 purl, 5 double, 1 purl, 6 double; attach the cotton a short distance to the 1st purl of the 2nd round, 1 circle worked like this: 5 double attached to the last purl of the previous circle of this round, 4 double, 1 purl, 4 times 2 double divided by 1 purl, 1 purl, 4 double, 1 purl, 5 double attached to the next purl of the 2nd circle of the 2nd round; 6 similar circles, with the cotton attached to the nearest purl of a circle from the 2nd round between each; repeat once more from *, and tie the beginning and the end of the cotton together. When finished, sew the rosette onto the fabric of the cravat with button-hole stitches, picking up one purl with each stitch; cut away the muslin underneath the rosette; then work a round of knotted stitches underneath the button-hole stitch. For the lace, create a row of circles one-fifth of an inch apart from each other, each consisting of 6 double, 1 purl, 2 double, 1 purl, 4 times 2 double divided by 1 purl, 1 purl, 2 double, 1 purl, 6 double, which are secured together by the purl of each circle, and are sewn onto the cravat over the cotton between the circles with an overcast stitch.

[56]

51--Cravat in Cambric Muslin and Tatting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 100; tatting pin No. 3.

The end of this cravat is formed by a long rosette or médaillon in tatting. This rosette is likewise begun in the centre, and consists of 4 rounds, the 2 first of which are worked like those of the rosette in [57] illustration 50, with this difference only, that in the 2nd round each of the circles nearest to the top and to the bottom of the rosette consists of 8 double, 1 purl, 2 double, 1 purl, 8 double. 3rd round: * 1 circle, consisting of 6 double, 1 purl, 5 double, 1 purl, 6 times 2 double divided by 1 purl, 1 purl, 5 double, 1 purl, 6 double, fastened on to the next purl of the 2nd circle of the preceding round; 1 circle as follows:--5 double, the last of which is fastened on to the last purl of the preceding round, 4 double, 1 purl, twice 2 double divided by 1 purl, 1 purl, 4 double, 1 purl, 5 double fastened on the next purl of the preceding round; 8 more similar circles, between each of which the cotton is fastened on to the next purl of the preceding round; repeat from * once more, fasten the two ends of the cotton together. 4th round: * Fasten on the cotton afresh with a circle consisting of 7 double, 1 purl, 4 double, 1 purl, 6 times 2 double divided by 1 purl, 1 purl, 4 double, 1 purl, 7 double, fastened on to the middle purl of the 1st circle of the preceding round; a 2nd circle worked in the same way, only instead of working the last purl, fasten the cotton on to the last purl of the preceding circle, then on to the 1st circle of the preceding round; 10 more similar circles, between each of which the cotton is fastened on to the middle purl of a circle of the preceding round, and then on to the 2nd purl of the larger circle at the bottom of the medallion; repeat once more from *. The pattern is sewn on the cravat with button-hole stitches, as can be seen in the illustration.

The end of this cravat is decorated with a long rosette or médaillon made from tatting. This rosette starts in the center and has 4 rounds. The first two rounds are worked like those in [57] illustration 50, but with one difference: in the second round, each of the circles closest to the top and bottom of the rosette consists of 8 double stitches, 1 purl, 2 double stitches, 1 purl, 8 double stitches. In the 3rd round: * 1 circle is made consisting of 6 double stitches, 1 purl, 5 double stitches, 1 purl, repeated 6 times with 2 double stitches separated by 1 purl, followed by 1 purl, 5 double stitches, 1 purl, 6 double stitches, attached to the next purl of the 2nd circle from the previous round; 1 circle done as follows:--5 double stitches, the last one attached to the last purl of the previous round, 4 double stitches, 1 purl, twice 2 double stitches divided by 1 purl, 1 purl, 4 double stitches, 1 purl, 5 double stitches attached to the next purl of the previous round; add 8 more similar circles, fastening the cotton to the next purl of the previous round between each one; repeat from * one more time, and tie the two ends of the cotton together. In the 4th round: * Attach the cotton again with a circle made of 7 double stitches, 1 purl, 4 double stitches, 1 purl, repeated 6 times with 2 double stitches divided by 1 purl, followed by 1 purl, 4 double stitches, 1 purl, 7 double stitches, attached to the middle purl of the 1st circle of the previous round; a 2nd circle worked the same way, except attach the cotton to the last purl of the preceding circle instead of working the last purl, then attach it to the 1st circle of the previous round; add 10 more similar circles, fastening the cotton to the middle purl of a circle from the previous round each time, and then to the 2nd purl of the larger circle at the bottom of the medallion; repeat one more time from *. The pattern is sewn onto the cravat with button-hole stitches, as shown in the illustration.

52.--Border in Crochet and Tatting.

Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 26.

Materials: Walter Evans and Co.'s Boar's Head cotton No. 26.

This border is formed of circles in tatting and crochet leaves, which are joined together by rows of crochet work; a narrow [58] border in tatting forms the lower edge. Omitting this edge, the border forms a strip of insertion. Each of the rosettes or circles is begun in the centre; work first 2 double (a double stitch is formed by passing the thread over the back of the hand, and then passing the shuttle upwards between the forefinger and second finger, and drawing it up, then work a stitch of plain tatting; this completes the double stitch, and whenever so many double stitches are directed it means the 2 stitches), 1 purl, repeat 9 times, join the stitch into a circle, work at a small distance * a smaller ring consisting of 3 double, 5 purl, divided each by 2 double stitches, 4 double, draw the cotton through the purl of the first circle, and repeat 8 times more from *, only each following circle must be fastened on to a purl of the preceding circle [59] after 3 double stitches, and having completed each circle the thread must be drawn through the purl of the first circle, which forms the centre of the rosette. The beginning and the end of the thread are knotted together. For the tatted border, make at short distances 1 loop with 5 double, 1 purl, 5 double; after having worked a sufficient number of such loops, wind another thread round the thread between the loops, turning always 1 loop on the right side and 1 on the left. Now begin the crochet part with the leaves. Make for each of these a foundation chain of 12 stitches, crochet back over this chain 2 double in the last stitch but one, 1 double in the next stitch, 1 treble in each of the following 7 chain, 2 treble in the next stitch, 2 treble, 1 long treble, and 2 treble in the next following stitch of the foundation chain. Work on the other side of the chain the same pattern, only the reverse way; then 3 double in the point of the leaf thus formed, and edge the whole leaf with a round of double stitches, always working 2 double in each stitch of the preceding row, and 3 in the long treble stitch. In working this last round, the circles must be joined to the leaves by taking up the purl stitch of the circle before casting off the corresponding double stitch of the leaf; then work the stem which joins the 2 rows of circles and leaves with a row of chain stitches, on which a row of double is worked. Then comes the border which forms the upper edge. Make a row of chain stitches, joining leaves and circles together, then work 3 rows of treble, work 3 more rows over the tatted border, the first row entirely in chain stitches, after every fourth stitch take up the purl of the loops on one side. 2nd row: 1 treble in the middle stitch of the 3 chain, 2 treble, divided by 3 chain. 3rd row: 1 treble, 1 chain, miss 1 under the last. In the last row the leaves and circles must be fastened on the border, as seen in illustration.

This border is made up of circles created with tatting and crochet leaves, which are connected by rows of crochet work; a narrow [58] tatting border forms the lower edge. If you skip this edge, the border can serve as an insertion strip. Each of the rosettes or circles starts from the center; first, work 2 double stitches (a double stitch is made by passing the thread over the back of your hand, then pushing the shuttle upwards between your forefinger and middle finger, and pulling it through, and then completing it with a plain tatting stitch; this completes the double stitch, so whenever you see a direction for double stitches, it means 2 stitches), 1 purl, and repeat this 9 times, then join the stitch into a circle. Work a small distance away * to make a smaller ring consisting of 3 double stitches, 5 purls, separated by 2 double stitches, followed by 4 double stitches, pulling the cotton through the purl of the first circle, and repeat this 8 more times from *, ensuring each new circle is attached to a purl of the previous circle [59] after 3 double stitches, and after completing each circle, pull the thread through the purl of the first circle, which creates the center of the rosette. The ends of the thread are tied together. For the tatted border, create short spaces with 1 loop of 5 double stitches, 1 purl, and 5 double stitches; after making enough loops, wrap another thread around the thread between the loops, always creating 1 loop on the right side and 1 on the left. Now, start the crochet part with the leaves. For each leaf, create a foundation chain of 12 stitches, then crochet back over that chain with 2 double stitches in the second-to-last stitch, 1 double in the next stitch, 1 treble in each of the next 7 chain stitches, 2 treble in the following stitch, 2 treble, 1 long treble, and 2 treble in the next stitch of the foundation chain. On the other side of the chain, repeat the same pattern, but in reverse; then work 3 double stitches at the tip of the formed leaf, and edge the entire leaf with a round of double stitches, always making 2 double stitches in each stitch of the previous round, and 3 in the long treble stitch. In this last round, join the circles to the leaves by picking up the purl stitch of the circle before finishing off the corresponding double stitch of the leaf; then work the stem that connects the 2 rows of circles and leaves with a row of chain stitches, followed by a row of double stitches. Next, create the border that forms the upper edge. Make a row of chain stitches to connect the leaves and circles, then work 3 rows of treble stitches, followed by 3 more rows over the tatted border, starting with the first row entirely in chain stitches, picking up the purl of the loops on one side after every fourth stitch. In the 2nd row: 1 treble in the middle stitch of the 3 chains, 2 treble stitches separated by 3 chain stitches. In the 3rd row: 1 treble, 1 chain, skipping 1 under the last. In the last row, the leaves and circles should be secured to the border as shown in the illustration.

[60]

53.--Diamond in Tatting.

Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 10; tatting-pin No. 2; any sized shuttle.

Materials: Walter Evans and Co.'s size 10 crochet cotton; size 2 tatting pin; any size shuttle.

1st oval: Fill the shuttle, but do not cut it off from the reel, as a double thread is required, and commence by working 5 double stitches, 1 purl, then (3 double, 1 purl 10 times), 5 double, draw up.

1st oval: Fill the shuttle, but don’t disconnect it from the reel, as you need a double thread. Start by making 5 double stitches, 1 purl, then (3 double, 1 purl 10 times), 5 double, and pull tight.

Double thread: Putting the thread attached to the reel round the left hand, work 7 single stitches, taking care to do them tightly.

Double thread: Wrap the thread from the reel around your left hand, and make 7 tight single stitches.

2nd oval: 4 double, join to the last purl of 1st oval, then (3 double, 1 purl, 5 times) 4 double, draw up.

2nd oval: 4 double, connect to the last purl of 1st oval, then (3 double, 1 purl, 5 times) 4 double, tighten.

Double thread: 12 single stitches tightly worked.

Double thread: 12 single stitches stitched tightly.

3rd oval: 4 double, join to last purl of 2nd oval, 3 double, join to next purl of 2nd oval, then (3 double, 1 purl 5 times) 4 double, draw up.

[61]

Double thread: 12 single stitches.

Double thread: 12 single stitches.

4th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 8 times) 4 double, draw up.

Double thread: 12 single stitches.

Double thread: 12 single stitches.

5th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 5 times) 4 double, draw up.

5th oval: 4 double, connect to last purl of last oval, 3 double, connect to next purl, then (3 double, 1 purl, 5 times) 4 double, pull tight.

Double thread: 12 single stitches.

Double thread: 12 single stitches.

6th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 4 times) 4 double, draw up.

6th oval: 4 double, connect to the last purl of the last oval, 3 double, connect to the next purl, then (3 double, 1 purl, 4 times) 4 double, pull tight.

Double thread: 7 single stitches.

Double thread: 7 single stitches.

7th oval: 5 double, join to last purl of last oval, then (3 double, 1 purl, 10 times) 5 double, draw up.

7th oval: 5 double, connect to the last purl of the last oval, then (3 double, 1 purl, 10 times) 5 double, pull tight.

Double thread: 7 single stitches.

Double thread: 7 single stitches.

8th oval: 4 double, join to last purl of last oval, then (3 double, 1 purl, 5 times) 4 double, draw up.

8th oval: 4 double crochets, connect to the last purl of the last oval, then (3 double crochets, 1 purl, 5 times) 4 double crochets, pull tight.

Double thread: 12 single stitches.

Double thread: 12 single stitches.

9th oval: 4 double, join to last purl of last oval, 3 double, join to next purl then (3 double, 1 purl, 5 times) 4 double, draw up.

9th oval: 4 double, attach to the last purl of the last oval, 3 double, attach to the next purl then (3 double, 1 purl, 5 times) 4 double, pull tight.

Double thread: 12 single stitches.

Double thread: 12 single stitches.

10th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 8 times) 4 double, draw up.

10th oval: 4 double, connect to the last purl of the last oval, 3 double, connect to the next purl, then (3 double, 1 purl, 8 times) 4 double, pull tight.

Double thread:12 single stitches.

Double thread: 12 single stitches.

11th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 5 times) 4 double, draw up.

11th oval: 4 double, connect to the last purl of the last oval, 3 double, connect to the next purl, then (3 double, 1 purl, 5 times) 4 double, pull tight.

Double thread: 12 single stitches.

Double thread: 12 single stitches.

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12th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 3 times) 3 double, join to 1st purl of 1st oval, 4 double, draw up.

12th oval: 4 double, connect to last purl of last oval, 3 double, connect to next purl, then (3 double, 1 purl, 3 times) 3 double, connect to 1st purl of 1st oval, 4 double, pull tight.

Double thread: 7 single stitches.

Double thread: 7 single stitches.

Now cut off both threads, and with a needle fasten off neatly at the back of first oval by sewing 1 thread over the other.

Now cut off both threads, and with a needle, tie them off neatly at the back of the first oval by sewing one thread over the other.

The diamond is now finished. The centre must be filled up with lacework, using fine sewing-cotton.

The diamond is now complete. The center needs to be filled with lacework, using fine sewing thread.

Arranged in groups of 7 or 8, 3 diamonds form a very pretty trimming for the skirts of silk dresses, the body being trimmed with single diamonds.

Arranged in groups of 7 or 8, 3 diamonds make a beautiful trim for the skirts of silk dresses, while the bodice is adorned with single diamonds.

54.--Linen Collar trimmed with Tatting.

Linen Collar with Tatting Trim

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100, tatting-pin No. 3; 1 piece of very fine cord.

Materials: Walter Evans and Co.'s tatting cotton No. 100, tatting pin No. 3; 1 piece of very fine cord.

This collar is ornamented with a triangle and a border of a very effective pattern. The triangle is begun in the centre, by working for each of the three leaves 5 double stitches, 5 purl divided one from the other by 2 double stitches, and 5 more double stitches. When the third leaf is completed, fasten off and cut the cotton. Now take, instead of the cotton wound upon the shuttle, a piece of extremely fine cord, over which work with the cotton from the reel the following row of stitches:--1 double stitch, fasten the cotton to the centre purl of one of the three leaves, * 2 double stitches, 5 purl divided one from the other by 2 double stitches, 3 double stitches, fasten the cotton to the centre purl of the nearest leaf, 2 double stitches, 9 purl divided one from the other by 3 double stitches, 2 double stitches fastened to the same purl as before. Repeat from * twice more, then fasten off, and cut the cord and the cotton. Begin afresh, and work 3 small circles, each composed of 12 plain stitches placed quite close together (these form [63] one of the corners of the triangle), then at small distances one from the other work 13 similar circles, every second one of which is fastened to one purl of the row of [64] stitches worked over the cord (see illustration). Cut away from the collar the piece of linen which is to be replaced by the triangle, fold in the edges and work them round in button-hole stitch, and fill up the space with the triangle. For the border, work first * one circle composed of 3 double stitches, 4 purl divided one from the other by 2 double stitches, 3 more double stitches; take up the cord once more and work over it, 3 double stitches, then, without cord, 1 circle composed of 2 double stitches, 12 purl divided one from the other by 2 double stitches, 2 more double stitches; take up the cord again and work over it 3 double stitches, 4 purl divided each by 2 double stitches, 3 double stitches. Fasten the cotton to the third purl (reckoning from the last) of the second circle worked without cord; 3 double stitches fastened to the fourth purl of the row of stitches worked over the cord (see illustration), 2 double stitches, 6 purl divided each by 2 double stitches, 3 double stitches fastened to the purl of next circle, 3 double stitches fastened to the last purl of the row, 2 double stitches, 3 purl divided each by 2 double stitches, 3 double stitches; fasten the cotton to the sixth purl of the circle (reckoning from the beginning), 4 double stitches. Repeat from *. Work over the top of the border a crochet edging similar to that round the diamond pattern of collar No. 49. For the point of the border, at the corner of the collar, see illustration No. 54.

This collar is decorated with a triangle and a border featuring a striking pattern. To start the triangle, begin at the center by making 5 double stitches for each of the three leaves, followed by 5 purl stitches separated by 2 double stitches, and then 5 more double stitches. Once you've finished the third leaf, secure the thread and cut the cotton. Now, instead of the cotton on the shuttle, take a piece of very fine cord and use the cotton from the reel to create the following row of stitches: 1 double stitch, then attach the cotton to the center purl of one of the three leaves, * 2 double stitches, 5 purl stitches separated by 2 double stitches, 3 double stitches, attach the cotton to the center purl of the nearest leaf, 2 double stitches, 9 purl stitches separated by 3 double stitches, and 2 double stitches attached to the same purl as before. Repeat from * two more times, then secure and cut the cord and cotton. Start again and make 3 small circles, each made of 12 plain stitches placed close together (these make up [63], one of the corners of the triangle), then at small intervals, create 13 more similar circles, every second one attached to one purl of the row of [64] stitches worked over the cord (see illustration). Cut away the piece of linen on the collar that will be replaced by the triangle, fold in the edges, and work them in button-hole stitch while filling in the space with the triangle. For the border, start by making * one circle of 3 double stitches, 4 purl stitches separated by 2 double stitches, and 3 more double stitches; pick up the cord again and work over it 3 double stitches, then without the cord, make 1 circle of 2 double stitches, 12 purl stitches separated by 2 double stitches, and 2 more double stitches; take up the cord once more and work over it 3 double stitches, 4 purl stitches separated by 2 double stitches, and 3 double stitches. Secure the cotton to the third purl (counting from the last) of the second circle made without the cord; 3 double stitches attached to the fourth purl of the row of stitches worked over the cord (see illustration), 2 double stitches, 6 purl stitches separated by 2 double stitches, 3 double stitches attached to the purl of the next circle, 3 double stitches attached to the last purl of the row, 2 double stitches, 3 purl stitches separated by 2 double stitches, 3 double stitches; secure the cotton to the sixth purl of the circle (counting from the beginning), and add 4 double stitches. Repeat from *. Create a crochet edging along the top of the border similar to the one around the diamond pattern of collar No. 49. For the point of the border at the collar corner, see illustration No. 54.

55.--Tatted Collar.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100; tatting-pin No. 1.

Materials: Walter Evans and Co.'s tatting cotton No. 100; tatting pin No. 1.

This collar is worked with very fine tatting cotton. It consists of four branched tatted patterns and of separate tatted circles, fastened on to one another as seen in illustration. The four branched patterns are [65] worked as follow:--3 double, 1 purl, 7 times alternately 2 double, 1 purl, then 3 double, and join the knots into a circle. Work 3 similar leaves close to this 1st leaf, but instead of working the 1st purl, fasten them on to the last purl of the preceding leaf; besides this, instead of [66 ] working the last purl of the 4th branch, fasten it on to the first purl of the 1st branch. When 1 such four-branched pattern is completed, knot both ends of the cotton together and cut them off. Make a row of similar patterns by joining them on to the 2 middle purl of a branch of the preceding pattern, instead of working the 2 middle purl of the last branch (see illustration). Two rows of similar patterns are joined by the above-mentioned circles, consisting of 32 double stitches, by fastening these circles from illustration between four branched patterns. Begin each circle with 2 double stitches, fasten it on to the corresponding purl of the four-branched pattern, work again 2 double, fasten on to the next purl, and continue in the same manner till the circle is sufficiently large. Each circle is ornamented with lace stitch. The collar is edged round the neck with close button-hole stitches.

This collar is made using very fine tatting cotton. It features four branched tatted patterns and separate tatted circles, connected to each other as shown in the illustration. The four branched patterns are [65] created as follows: 3 double stitches, 1 purl, and then 7 times alternately 2 double stitches, 1 purl, followed by 3 double stitches, and then join the knots into a circle. Create 3 similar leaves close to the first leaf, but instead of making the 1st purl, attach them to the last purl of the previous leaf; additionally, instead of [66 ] making the last purl of the 4th branch, attach it to the first purl of the 1st branch. Once one complete four-branched pattern is finished, knot both ends of the cotton together and cut them off. Create a row of similar patterns by connecting them to the 2 middle purl of a branch from the previous pattern, rather than working the 2 middle purl of the last branch (see illustration). Two rows of similar patterns are linked together by the previously mentioned circles, which consist of 32 double stitches, attaching these circles from the illustration between the four branched patterns. Start each circle with 2 double stitches, attach it to the corresponding purl of the four-branched pattern, work another 2 double stitches, attach to the next purl, and continue in the same manner until the circle is large enough. Each circle is decorated with lace stitch. The collar is finished around the neck with close buttonhole stitches.

56.--Tatted Collar.

56.--Lace Collar.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 60; tatting pin No. 3.

This collar is commenced at the top, and worked with fine cotton in the following manner:--1st oval: 2 double, 1 purl, 9 times, draw the cotton into a circle, 3 double, 1 purl, 1 double, 5 times, 1 purl, 3 double, draw the cotton into a circle, and join it to the first purl of the first circle; work two more circles the same as last. 2nd oval: 2 double, 1 purl, 7 times, join the third purl to the third purl of the centre circle of preceding pattern, 3 double, 1 purl, 3 times, 2 double, 1 purl, draw the cotton up, and work 5 small circles, as follow:--3 double *, 1 purl, 1 double, 4 times, * 1 purl, 3 double, joining each circle to the purl of the 2nd oval. 3rd oval: 2 double, 1 purl, 8 times, joining the 3rd purl to the 2nd purl of the centre circle of the preceding pattern, 3 double, 1 purl, 4 times, 2 double, 1 purl, draw the cotton up, and work 7 small circles, similar to the small circles described in 2nd oval.

This collar starts from the top and is made with fine cotton as follows: 1st oval: 2 double crochet, 1 purl, repeated 9 times, pull the cotton into a circle, 3 double crochet, 1 purl, 1 double crochet, repeated 5 times, 1 purl, 3 double crochet, pull the cotton into a circle, and connect it to the first purl of the initial circle; make two more circles just like the last one. 2nd oval: 2 double crochet, 1 purl, repeated 7 times, connect the third purl to the third purl of the center circle from the previous pattern, 3 double crochet, 1 purl, repeated 3 times, 2 double crochet, 1 purl, pull the cotton up, and create 5 small circles as follows: 3 double crochet *, 1 purl, 1 double crochet, repeated 4 times, * 1 purl, 3 double crochet, connecting each circle to the purl of the 2nd oval. 3rd oval: 2 double crochet, 1 purl, repeated 8 times, connecting the 3rd purl to the 2nd purl of the center circle from the previous pattern, 3 double crochet, 1 purl, repeated 4 times, 2 double crochet, 1 purl, pull the cotton up, and create 7 small circles similar to those described in the 2nd oval.

[67]

57.--Circle in Tatting.

Materials: Messrs. Walter Evans and Co's tatting cotton No. 50; tatting-pin No. 2.

Materials: Walter Evans and Co's tatting cotton No. 50; tatting pin No. 2.

This circle is worked with fine cotton, and will be very pretty for [68] ornamenting cravat-ends and different articles of lingerie. It is commenced in the centre with 2 double, 1 purl, repeated 8 times, draw the cotton into a ring, and work 8 small circles, as follow:--3 double, * 1 purl, 1 double, repeat from * 6 times, 1 purl, 3 double, draw up the cotton, and join it to the purl of centre ring and corresponding circle. Large circle: 3 double, * 1 purl, 2 double, repeat from * 14 times, 3 double, draw up the cotton, and join it to the 4th purl of small circle. The centre of ring is filled up with lace stitches.

This circle is made with fine cotton and will look really nice for [68] decorating cravat ends and other lingerie items. Start in the center with 2 double crochets, 1 purl, repeated 8 times, pull the cotton into a ring, and work 8 small circles like this: 3 double crochets, * 1 purl, 1 double crochet, repeat from * 6 times, 1 purl, 3 double crochets, pull the cotton tight, and join it to the purl of the center ring and the corresponding circle. For the large circle: 3 double crochets, * 1 purl, 2 double crochets, repeat from * 14 times, 3 double crochets, pull the cotton tight, and join it to the 4th purl of the small circle. The center of the ring is filled with lace stitches.

58.--Tatting Medallion for Trimming Lingeries, &c.c.

58.--Tatting Medallion for Trimming Lingeries, &c.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50 for cravats and collars, 100 for pocket-handkerchiefs, 20 for petticoats; tatting-pin No. 2 or 3.

Materials: Walter Evans and Co.'s tatting cotton No. 50 for cravats and collars, 100 for pocket handkerchiefs, 20 for petticoats; tatting pin No. 2 or 3.

This pattern is suitable for trimming cravats, collars, pocket-handkerchiefs, petticoats, &c.c., according to the size of the cotton with which it is worked. Work first the round of circles which incloses the leaves, overlapping each other in the centre; begin with the smallest circle, which is at the top of the pattern; it consists of 3 double, 1 purl, 7 double, 1 purl, 7 double, 1 purl, 3 double. Then work at a short distance another circle like the preceding one, only work 8 double instead of 7, and instead of working the first purl, fasten the circle on to the last purl of the preceding circle; all the other circles are fastened on to each other in the same manner. The next circle, worked again at a distance of about one-fifth of an inch, has 4 double; fasten it on to the preceding circle, 9 double, 1 purl, 9 double, 1 purl, 4 double. The following four circles are worked like the preceding one; only work in the first of these circles 10 double instead of 9, in the second 11 double, in the third 12 double. The piece of cotton which joins the circles together must also be somewhat longer between the larger circles. Then work a circle [69] as follows: 5 double, fasten the cotton, 13 double, 1 purl, 13 double, 1 purl, 5 double; then a similar circle, but always working 14 double instead of 13. The next circle consists of 6 double, fasten the cotton, 15 double, 1 purl, 15 double, 1 purl, 6 double; the two following circles are worked in the same manner, working 16 double instead of 15. Then comes the largest circle of the round, which consists of 6 double, 17 double, 1 purl, 17 double, 1 purl, 6 double. Work 11 circles more [70] like the 2nd to 12th of those just described (the 13th circle forms the middle), only the order of sizes must be reversed, so that the round closes with the smallest circle. Then fasten both ends of the cotton together, so that the circles are joined into a circle. Then work round this row of circles another round, the circles of which must be of graduated sizes like those of the first round. Fasten the cotton on to the middle purl of the first small circle of the first round, and work one circle as follows:--3 double, 1 purl, 6 times alternately 2 double, 1 purl, then 3 double; fasten the cotton on to the middle purl of the next circle, &c.c. The remaining circles are worked in the same manner, only they must be increased and decreased in size gradually like the circles of the first round; this is done by increasing or decreasing the number of purl, instead of working the first purl of every following circle, fasten it on to the last purl of the preceding circle. When the round is completed, fasten both ends of the cotton together. In the centre of the oval pattern, fasten 6 five-branched patterns of graduated size, which are worked in one piece. For the smallest of these patterns work first three circles, consisting of 5 double, 1 purl, 5 times alternately 2 double, 1 purl, then again 5 double (these circles must be close to each other; the second and third circles must, moreover, be fastened on to the last purl of the preceding circle). The cotton is then fastened on the first circle between the beginning and the end of the same, then work close to them two small circles, consisting of 6 double, 1 purl, 6 double, fasten the cotton between the beginning and the end of the third circle. The other five-branched patterns are worked in the same manner at intervals of about three-tenths of an inch; but the separate circles of each pattern must become gradually larger. In the largest pattern the three large circles consist of 5 double, 1 purl, [71] 8 times alternately 2 double, 1 purl, 5 double; the two smaller circles consist each of 15 double, 1 purl, 15 double; the size of the other patterns can easily be worked from this; the cotton which joins these last together is covered by over-casting with a needle and thread, so as to imitate double stitches. The five-branched patterns are then fastened in the oval pattern; they must overlap each other to half way, as seen in the illustration.

This pattern is great for trimming cravats, collars, pocket-handkerchiefs, petticoats, etc., depending on the size of the cotton you’re using. Start by working the round of circles that surrounds the leaves, overlapping them at the center. Begin with the smallest circle at the top of the pattern: it consists of 3 double, 1 purl, 7 double, 1 purl, 7 double, 1 purl, 3 double. Then, create another circle a short distance away, similar to the first but with 8 double instead of 7, and instead of the first purl, attach this circle to the last purl of the previous circle; all the other circles are connected similarly. The next circle, also spaced about one-fifth of an inch apart, includes 4 double; attach it to the previous circle with 9 double, 1 purl, 9 double, 1 purl, 4 double. The next four circles will be made the same way, but the first of these circles will have 10 double instead of 9, the second will have 11 double, and the third will have 12 double. The piece of cotton joining the circles must also be somewhat longer between the larger circles. After that, create a circle [69] like this: 5 double, fasten the cotton, 13 double, 1 purl, 13 double, 1 purl, 5 double; then make a similar circle but working 14 double instead of 13. The next circle will consist of 6 double, fasten the cotton, 15 double, 1 purl, 15 double, 1 purl, 6 double; the two following circles will be made in the same way but with 16 double instead of 15. Then create the largest circle in the round, which consists of 6 double, 17 double, 1 purl, 17 double, 1 purl, 6 double. Work 11 more circles [70] like circles 2 to 12 that were just described (the 13th circle will form the center), just remember to reverse the order of sizes so that the round ends with the smallest circle. After that, join both ends of the cotton together to form a complete circle. Next, work another round around this row of circles, where the circles will have graduated sizes just like those in the first round. Attach the cotton to the middle purl of the first small circle of the first round, and create one circle like this: 3 double, 1 purl, alternating 2 double and 1 purl six times, then finish with 3 double; attach the cotton to the middle purl of the next circle, and so on. The remaining circles will be made in the same way but should gradually increase and decrease in size like the circles of the first round; this is achieved by adjusting the number of purls—instead of working the first purl of each following circle, attach it to the last purl of the previous circle. Once the round is finished, connect both ends of the cotton together. For the center of the oval pattern, attach 6 five-branched patterns of graduated sizes, created as one piece. For the smallest of these patterns, start with three circles that consist of 5 double, 1 purl, alternating 2 double and 1 purl five times, and then finish again with 5 double (these circles should be close together; the second and third circles should be attached to the last purl of the previous circle). Fasten the cotton on the first circle between the beginning and end of that same circle, then closely work two small circles consisting of 6 double, 1 purl, 6 double, and attach the cotton between the beginning and end of the third circle. The other five-branched patterns are made similarly, spaced about three-tenths of an inch apart; however, the individual circles of each pattern should gradually increase in size. In the largest pattern, the three large circles consist of 5 double, 1 purl, [71] alternating 2 double and 1 purl eight times, and then 5 double; the two smaller circles each consist of 15 double, 1 purl, 15 double; you can easily scale the sizes of the other patterns from this. The cotton connecting these last circles is covered by overcasting with a needle and thread to imitate double stitches. Finally, attach the five-branched patterns within the oval pattern, ensuring they overlap halfway, as shown in the illustration.

59.--Tatted Diamond.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40, or 80 if required finer; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 40, or No. 80 if a finer thread is needed; tatting-pin No. 3.

This pattern is meant to ornament lingerie; it is worked with fine tatting cotton in the following manner:--Work a * circle consisting of 6 double, 1 purl, 6 double, turn the circle downwards and work at a short distance another circle consisting of 5 double, 4 purl divided by 2 double, 5 double; at a similar distance a circle of 5 double fastened on to the last purl of the preceding circle, 2 double, 5 purl divided by 2 double, 5 double; then again a circle consisting of 5 double fastened on to the last purl of the preceding circle, 2 double, 3 purl divided by 2 [72] double, 5 double: fasten the cotton on to the first circle. Then turn the work so that the last three circles are turned downwards, leave an interval of at least three-fourths of an inch, and repeat three times more from *, fastening the circles on to each other from illustration. Knot together the beginning and end of the cotton, work button-hole stitches round the cotton which joins the circles, as shown in illustration. The purl stitches of the four middle circles of the diamond are knotted together.

This pattern is designed to decorate lingerie; it is created using fine tatting cotton in the following way: First, make a * circle with 6 double stitches, 1 purl, and 6 double stitches, then turn the circle downwards. Work another circle at a short distance that has 5 double stitches, 4 purl stitches divided by 2 double stitches, and 5 double stitches; then create a circle of 5 double stitches attached to the last purl of the previous circle, followed by 2 double stitches, 5 purl stitches divided by 2 double stitches, and 5 double stitches. Next, make another circle with 5 double stitches attached to the last purl of the previous circle, then 2 double stitches, 3 purl stitches divided by 2 double stitches, and 5 double stitches. Secure the cotton to the first circle. Now turn the work so that the last three circles face downwards, leave a gap of at least three-fourths of an inch, and repeat this three more times from *, fastening the circles together as shown in the illustration. Tie the beginning and end of the cotton together, and work button-hole stitches around the cotton connecting the circles, as illustrated. The purl stitches of the four middle circles of the diamond should be knotted together.

60.--Tatted Cravat End.

60.--Tattooed Cravat End.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50; tatting-pin No. 3; 2 shuttles.

Materials: Walter Evans and Co.'s tatting cotton No. 50; tatting pin No. 3; 2 shuttles.

This cravat end is given in full size. It is ornamented with a tatted medallion, edged with lace. The tatting is worked with tatting fine cotton and two shuttles. Make first the two rosettes which form the centre of the medallion, then the insertion-like part which edges the rosettes. The larger rosette is worked as follows:--Knot the cotton of both shuttles together and work with 1 shuttle only 1 circle consisting of 10 double, 1 purl one-fifth of an inch long, 10 double; * close to this circle, which is turned downwards, work over the cotton with the other shuttle, 1 double, 1 purl, 8 double; this forms one of the scallops joining two circles. Then turn the work again and work close to the just completed scallop another circle like the first, but which is joined to the first circle instead of working the purl. Repeat 4 times more from *. Then work another scallop and fasten both ends of cotton on to the cotton over which the first scallop has been worked, at the place where the scallop is joined to the first circle. The first round of the rosette is thus completed.

This cravat end is shown at full size. It's decorated with a tatted medallion that's bordered with lace. The tatting is done with fine cotton and two shuttles. Start by making the two rosettes that form the center of the medallion, followed by the insertion-like part that edges the rosettes. The larger rosette is made as follows: Tie the cotton from both shuttles together and use just one shuttle to make a circle consisting of 10 double stitches, followed by a purl stitch that's one-fifth of an inch long, and then 10 double stitches. *Close to this circle, which is pointing downwards, work over the cotton with the other shuttle to create 1 double stitch, 1 purl, and 8 double stitches; this forms one of the scallops connecting two circles. Then turn the work again and create another circle close to the last scallop, similar to the first, but join it to the first circle instead of adding the purl. Repeat this process 4 more times from *. Next, create another scallop and secure both ends of the cotton onto the section where the first scallop was made, at the point where the scallop connects to the first circle. This completes the first round of the rosette.

Work then the 2nd round over the cotton on the 2nd shuttle, beginning to work where the two ends of cotton have [73] been fastened, * 6 double, 1 purl, 5 double, fastened on to the purl of the next scallop of the preceding round, 5 double, 1 purl, 6 double fastened on to the cotton between two scallops of the [74] preceding round; repeat 5 times more from *. The larger rosette is now completed. The smaller rosette is worked like the first, only without the second round. The insertion-like border is worked in two halves as follows:--The half which touches the edge of the medallion is worked as follows:--Knot both ends of cotton together and *, work with 1 shuttle only 1 circle consisting of 8 double, 1 purl one-fifth of an inch long, 8 double; turn the circle downwards and work close to it over the cotton on the 2nd shuttle 6 double, 1 purl, 6 double; this forms a scallop of the border. Then turn the work again and work close to the scallop another circle like the first, but which is fastened on to the first circle instead of working the purl. Turn the work again, work a scallop like the preceding one, and repeat 15 times more from *, only the scallops at the lower edge of the medallion must have a few double stitches more, as can be seen in illustration. After working the last scallop fasten the two ends of the cotton on to the 1st circle; then cut them off. The second inner half is worked like the first; only the circles are worked without any purl stitch, and fastened on to the circles of the first half from illustration; the scallops of this half are somewhat smaller; each consists of 5 double, 1 purl, 5 double. The completed border is sewn on to the rosettes from illustration; the different pieces must be first fastened on cardboard. The cotton must be wound several times round the long threads, as seen in illustration. The medallion is then sewn into the muslin at the top only; the remaining border is edged, before joining it to the muslin, with a straight row of knots to be worked over cotton, and fastened on to each outer scallop of the border at regular intervals. The number of double stitches between two purl is different, as distinctly seen in illustration. For the lace knot both ends of cotton together, * work with one shuttle only 1 circle [75] consisting of 8 double, 1 purl, 8 double; turn the work and make another circle consisting of 2 double, 9 times alternately 1 purl, 2 double; then fasten this circle on to the preceding one, where it has been joined into a circle, so that both circles meet as seen in illustration. After having turned the work again, work 9 double over the cotton on the 2nd shuttle, which form a scallop between the circles, and repeat from *. The lace is then sewn round the edge of the muslin.

Work the 2nd round over the cotton on the 2nd shuttle, starting where the two ends of cotton have been fastened, * 6 double, 1 purl, 5 double fastened onto the purl of the next scallop from the previous round, 5 double, 1 purl, 6 double fastened onto the cotton between two scallops of the previous round; repeat 5 more times from *. The larger rosette is now complete. The smaller rosette is worked like the first, but without the second round. The insertion-like border is worked in two halves as follows:--The half that touches the edge of the medallion is worked as follows:--Knot both ends of cotton together and *, work with 1 shuttle only 1 circle consisting of 8 double, 1 purl one-fifth of an inch long, 8 double; turn the circle downwards and work close to it over the cotton on the 2nd shuttle 6 double, 1 purl, 6 double; this forms a scallop of the border. Then turn the work again and work close to the scallop another circle like the first, but fastened onto the first circle instead of working the purl. Turn the work again, work a scallop like the previous one, and repeat 15 more times from *, only the scallops at the lower edge of the medallion must have a few more double stitches, as can be seen in the illustration. After working the last scallop, fasten the two ends of the cotton onto the 1st circle; then cut them off. The second inner half is worked like the first; only the circles are worked without any purl stitch and fastened onto the circles of the first half from the illustration; the scallops of this half are somewhat smaller; each consists of 5 double, 1 purl, 5 double. The completed border is sewn onto the rosettes from the illustration; the different pieces must be first fastened onto cardboard. The cotton must be wound several times around the long threads, as seen in the illustration. The medallion is then sewn into the muslin at the top only; the remaining border is edged, before joining it to the muslin, with a straight row of knots worked over cotton, and fastened onto each outer scallop of the border at regular intervals. The number of double stitches between two purl is different, as distinctly seen in the illustration. For the lace, knot both ends of cotton together, * work with one shuttle only 1 circle consisting of 8 double, 1 purl, 8 double; turn the work and make another circle consisting of 2 double, then 9 times alternately 1 purl, 2 double; then fasten this circle onto the preceding one, where it has been joined into a circle, so that both circles meet as seen in the illustration. After turning the work again, work 9 double over the cotton on the 2nd shuttle, which forms a scallop between the circles, and repeat from *. The lace is then sewn around the edge of the muslin.

61.--Rosette in Tatting and Embroidery.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60, or No. 40 if desired in a larger size.

Materials: Walter Evans and Co.'s tatting cotton No. 60, or No. 40 if you prefer a larger size.

This rosette is suitable for ornamenting lingeries, cravats, &c.c. It is worked in white embroidery and lace stitch, and edged all round with a tatted lace. For the latter work with very fine cotton * 1 large circle, consisting of 5 double, 1 purl, 7 times alternately 2 double, 1 purl, then 5 double. At a short distance from this circle work a smaller one, consisting of 5 double fastened on to the last purl of the large circle, 5 double. Leave again an interval as small as the last, and repeat from [76] * 11 times more. But in working the large circles, instead of working the 1st purl, fasten them on the same purl of the large circle on which the small circle has been fastened; besides this, in working the last (12th) large circle, instead of working the last purl, fasten it on the 1st purl of the 1st circle; the last small circle is fastened on to the same purl. The lace is thus joined into a circle, and is sewn round the outside of the rosette with button-hole stitches.

This rosette is perfect for decorating lingerie, ties, etc. It’s made with white embroidery and lace stitch, and finished all around with tatted lace. For this, use very fine cotton. Start with a large circle, which consists of 5 double stitches, 1 purl, and repeat that 7 times alternating with 2 double stitches and 1 purl, ending with 5 double stitches. A little distance from this large circle, create a smaller one made up of 5 double stitches attached to the last purl of the large circle, followed by 5 double stitches. Leave another small gap like the last one and repeat this step [76] a total of 11 more times. However, while making the large circles, don’t work the first purl; instead, attach them to the same purl of the large circle where the small circle was attached. Also, when making the last (12th) large circle, instead of finishing with the last purl, attach it to the first purl of the first circle; the last small circle attaches to the same purl. This way, the lace forms a circle, which is then sewn around the outer edge of the rosette with buttonhole stitches.

62--Cravat End in Tatting.

62--Tatted Cravat End.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 60; tatting pin No. 3.

The illustration shows the end of a tatted cravat. Work first the middle row of the cravat at the same time with the row of circles on the left side of the middle row in illustration; begin with the first circle of [77] the middle row. It consists of 7 times alternately 3 double, 1 small purl, then 3 double. Work close to this circle, which must be turned downwards, a Josephine knot, consisting of 5 plain stitches, then a circle consisting of 5 double, 1 purl one-fifth of an inch long, 5 times alternately 3 double, 1 small purl; 3 double, 1 long purl, 5 double. *Turn this circle (which is the first of the side row) downwards, work close to it a Josephine knot, then a circle consisting of 12 double, 1 small purl, 12 double. Turn this circle downwards, work a Josephine knot, and then again a circle like the first of the side row, but instead of working the first long purl, fasten it on to the last purl of the preceding circle of the same row. Then hold the work so that the circles of the side row are turned downwards, work a Josephine knot, 1 circle like the first circle of the middle row, turn the work, make 1 Josephine knot, and then a circle like the second circle of the side row. Repeat from * till the cravat is sufficiently long. The last circle of the middle row must correspond to the first circle of the same row. Then begin to work the lower edge at the same time with the last circle of the middle row, * 1 Josephine knot, then a circle like the circles of the side row, again 1 Josephine knot, fastened on to the next purl of the last circle of the middle row; repeat 3 times more from *. Then continue as before, and work on the right side of the middle row a row of circles exactly like those which have been worked at the same time with those of the middle row.

The illustration shows the end of a tatted cravat. Start by making the middle row of the cravat along with the row of circles on the left side of the middle row in the illustration; begin with the first circle of [77] in the middle row. It consists of 7 times alternating between 3 doubles, 1 small purl, then 3 doubles. Close to this circle, which should be turned downward, make a Josephine knot using 5 plain stitches, then a circle made of 5 doubles, 1 purl one-fifth of an inch long, followed by 5 times alternating between 3 doubles and 1 small purl; 3 doubles, 1 long purl, 5 doubles. *Turn this circle (which is the first of the side row) downward, work a Josephine knot close to it, then a circle made of 12 doubles, 1 small purl, and 12 doubles. Turn this circle downward, make a Josephine knot, and then create another circle like the first one of the side row, but instead of making the first long purl, attach it to the last purl of the previous circle in the same row. Then hold the work so that the circles of the side row are turned downward, make a Josephine knot, then a circle like the first circle of the middle row, turn the work, make a Josephine knot, and then a circle like the second circle of the side row. Repeat from * until the cravat is long enough. The last circle of the middle row must match the first circle of that same row. Then start working on the lower edge at the same time as the last circle of the middle row, * 1 Josephine knot, then a circle like the circles of the side row, again 1 Josephine knot fastened to the next purl of the last circle of the middle row; repeat 3 more times from *. Then continue as before, and on the right side of the middle row, create a row of circles exactly like those that were made at the same time as the ones in the middle row.

The fastening on of the cotton between two Josephine knots is seen in illustration. The circles at the other end of the cravat are fastened like those of the first-described end. The cravat is edged all round with a row of circles with Josephine knots worked exactly like those of the preceding row, and the manner of fastening which is seen in the illustration.

The fastening of the cotton between two Josephine knots is shown in the illustration. The circles at the other end of the cravat are secured in the same way as those at the first end. The cravat is bordered all around with a line of circles featuring Josephine knots made just like those in the previous row, and the fastening method is illustrated.

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63.--Rosette in Tatting and Embroidery.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60, or 40 if required larger; tatting-pin No. 3.

Materials: Walter Evans and Co.'s tatting cotton No. 60, or No. 40 if a larger size is needed; tatting pin No. 3.

The centre of this rosette is worked in lace stitch on muslin, edged round with button-hole stitch and trimmed with a tatted lace, which is worked at the same time with the centre. Work first * a small circle consisting of 5 double, 1 purl, 3 double, fastened on to the button-hole stitch edging of the rosette, then 3 double, 1 purl, 5 double. Then turn the just-completed circle downwards, and afterwards work at a short distance a large circle consisting of 7 double, 6 times alternately 1 purl, 2 double, lastly 1 purl, 7 double, then 1 Josephine knot consisting of 7 plain. Then turn the work again, so that the last large circle is turned downwards, and repeat from * 12 times more; the large and small circles must be fastened on to one another, as seen in illustration. The fastening of the small circles on to the centre is likewise done from the illustration.

The center of this rosette is made using lace stitch on muslin, bordered with button-hole stitch and finished with tatted lace, which is created at the same time as the center. First, create a small circle made up of 5 double, 1 purl, and 3 double stitches, attaching it to the button-hole stitch edge of the rosette. Then, make 3 double, 1 purl, and 5 double stitches. After that, flip the completed circle downwards, and then work a short distance away a large circle consisting of 7 double stitches, followed by 6 repetitions of 1 purl, 2 double, and finally 1 purl and 7 double stitches. Then make 1 Josephine knot with 7 plain stitches. Next, turn the work again so the last large circle is facing downwards, and repeat from the star 12 more times; the large and small circles must be connected to each other, as shown in the illustration. The attachment of the small circles to the center is also done according to the illustration.

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64.--Cravat End in Tatting and Darned Netting.

Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50; tatting-pin No. 3; square of netting; fine Mecklenburg thread No. 80.

Materials: Walter Evans and Co.'s tatting cotton No. 50; tatting-pin No. 3; square of netting; fine Mecklenburg thread No. 80.

Cravat End in Tatting and Darned Netting.

The end of this cravat is ornamented with a square of darned netting, edged with a tatted border, and sewn on to the material of the cravat. But the diamond in tatting (page 18), or the square (page 31) will look [80] very pretty with this border. The square is worked in diamond netting, and has seven holes in length and breadth. They are darned in linen stitch, darning stitch, and point d'esprit, with Mecklenburg thread. The ground is worked over a mesh measuring three-tenths of an inch round. For each square one more row than is needed must be worked, and the cast-on stitches are cut off, as they are longer than the stitches of the other rows. The tatted border is worked with fine tatting cotton. Fasten the cotton at one corner of the square and work * a circle consisting of 7 double, 1 purl, then six times alternately 2 double, 1 purl, 7 double, fasten the cotton on to the same stitch of the ground where it was first fastened; #work a second circle like the first, but fasten it, instead of working the first purl on to the last purl of the preceding circle; fasten the cotton again on to the same stitch, then on to the next stitch, and work a small circle, consisting of 5 double fastened on to the last purl of the preceding circle, 4 double, 1 purl, 5 double. The cotton is fastened on to the same netted stitch as before, and then on to the next stitch; repeat twice more from #, and then repeat from * in all three times more, so that the square is edged all round. It is sewn into the material from the illustration.

The end of this cravat features a square of darned netting, trimmed with a tatted border, and attached to the fabric of the cravat. However, the diamond in tatting (page 18) or the square (page 31) will look [80] very pretty with this border. The square is created in diamond netting and has seven holes in both length and width. They are darned in linen stitch, darning stitch, and point d'esprit, using Mecklenburg thread. The base is worked over a mesh measuring three-tenths of an inch in diameter. For each square, one additional row needs to be worked, and the cast-on stitches are cut off, as they are longer than the stitches in the other rows. The tatted border is made with fine tatting cotton. Start by fastening the cotton at one corner of the square and work * a circle consisting of 7 double, 1 purl, then six times alternately 2 double, 1 purl, 7 double. Secure the cotton to the same stitch of the base where it was first attached; #work a second circle like the first, but instead of working the first purl on to the last purl of the preceding circle, fasten it there; attach the cotton again to the same stitch, then to the next stitch, and create a small circle consisting of 5 double fastened to the last purl of the preceding circle, 4 double, 1 purl, 5 double. The cotton is secured to the same netted stitch as before, and then to the next stitch; repeat this twice more from #, and then repeat from * three more times, so that the square is edged all the way around. It is sewn into the fabric from the illustration.

65.--Tatted Antimacassar. (See pages 574-5).

65.--Tatted Armrest Cover. (See pages __A_TAG_PLACEHOLDER_0__).

Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 30, or tatting cotton No. 24, or for a larger size tatting cotton No. 20; tatting-pin No. 1; large shuttle.

Materials: Walter Evans and Co.'s Boar's Head cotton No. 30, or tatting cotton No. 24, or for a larger size, tatting cotton No. 20; tatting-pin No. 1; large shuttle.

The illustration shows the fourth of the antimacassar and the whole of the rosette which forms the centre. Begin with the latter, with the five-branched pattern in the centre, at the same time with the following round of circles:--*Work first one circle of this round, consisting of 3 double, 1 purl, 4 times alternately 2 double, 1 purl, 3 double; then at [81] a short distance a circle like the one just made, in which, however, instead of working the first purl, the cotton must be joined on to the last purl of the preceding circle. Then work at a short distance the first leaf of the five-branched pattern, which consists of 4 double, 1 purl, 4 double. When this branch is completed, repeat at a short distance 4 times more from *; but in working the branches of the five-branched pattern, instead of working the purl, join it on to the purl of the first branch of the five-branched pattern (this purl forms the centre of the pattern). All the circles must also be joined one to each other, as can be seen from illustration. Then work the scallops round the border of the rosette, * fasten the cotton on to the purl which joins the two next circles of the preceding round, and work one scallop consisting of 11 times alternately 2 double, 1 purl, then 2 double. Repeat 9 times more from *. When the rosette is completed, work eight rosettes in the same manner and join them into a circle from illustration by means of small three-branched patterns, and then join them on to the middle rosette.

The illustration shows the fourth antimacassar and the entire rosette at the center. Start with the rosette, which has a five-branched pattern in the middle, along with the next round of circles: *Begin by making one circle of this round, consisting of 3 double stitches, 1 purl, and then alternating 4 times with 2 double stitches, 1 purl, and 3 double stitches; then at [81] a short distance away, create a circle similar to the first, but instead of starting with the first purl, connect the cotton to the last purl of the previous circle. Next, at a short distance, do the first leaf of the five-branched pattern, which consists of 4 double stitches, 1 purl, and 4 double stitches. Once this branch is finished, repeat the process 4 more times from *; but when creating the branches of the five-branched pattern, instead of working the purl, connect it to the purl of the first branch (this purl is the center of the pattern). All the circles must also be joined together, as shown in the illustration. Then, work the scallops around the edge of the rosette: *Attach the cotton to the purl that links the next two circles of the previous round and create one scallop consisting of alternating 2 double stitches, 1 purl, for 11 times, then finish with 2 double stitches. Repeat this 9 more times from *. Once the rosette is finished, create eight more rosettes in the same way and join them into a circle as per the illustration, using small three-branched patterns, and then attach them to the central rosette.

The strip of insertion which comes next is worked in two halves as follows:--Work first, for the half turned towards the centre, two rows of circles lying opposite each other; begin with one of the largest circles, consisting of 4 double, 1 purl, 3 times alternately 2 double, 1 purl, then 4 double; * at a short distance work a smaller circle of 4 double, 1 purl, 4 double; after another short distance, a circle like the first joined on to it; then again a smaller circle, which at the place of the first purl is joined on to the purl of the preceding small circle. A short distance from this work again one of the larger circles just described, which is fastened on to the preceding similar circle; then repeat from * till the double row has nine larger and eight smaller circles. The first half of the strip of insertion is completed; the [82] second outer half is worked like the first, only the small circles must here be worked without any purl, and two of them together must always be fastened on to the two joined small circles of the first half, as was done for the five-branched pattern of the rosette; besides this, each of the large circles has 4 double, 1 purl, 4 times alternately 2 double, 1 purl, then 4 double. When eight similar patterns have been worked, join them into a circle from illustration by means of small rosettes; this circle is then joined to the already-finished part of the cover. The small rosettes and remaining patterns of the antimacassar are easily worked from illustration. The completed patterns are joined together in the course of the work.

The insertion strip that comes next is made in two halves as follows: First, for the half facing the center, create two rows of circles that face each other; start with one of the larger circles, which consists of 4 doubles, 1 purl, then 3 times alternating between 2 doubles and 1 purl, and finally 4 doubles; * after a short space, make a smaller circle with 4 doubles, 1 purl, 4 doubles; after another short space, attach a circle like the first one to it; then again, make a smaller circle, which connects at the place of the first purl to the purl of the preceding small circle. A short distance from this, make another of the larger circles just described, which is attached to the previous similar circle; then repeat from * until the double row has nine larger and eight smaller circles. The first half of the insertion strip is finished; the [82] second outer half is worked like the first, except the small circles must be done without any purl, and two of them together must always be attached to the two joined small circles of the first half, just like was done for the five-branched pattern of the rosette; moreover, each of the large circles has 4 doubles, 1 purl, 4 times alternating between 2 doubles, 1 purl, then 4 doubles. Once eight similar patterns are created, connect them into a circle from the illustration using small rosettes; this circle is then attached to the already finished part of the cover. The small rosettes and remaining patterns of the antimacassar can be easily worked from the illustration. The completed patterns are joined together as you work.

TATTING COTTON

Tatting thread

Is supplied by Messrs. Walter Evans and Co., of Derby, in all sizes from 20 to 120. Crochet Cotton, which is preferred by some Tatters, is sold in all sizes from to 120.

Is provided by Walter Evans and Co., of Derby, in all sizes from 20 to 120. Crochet Cotton, which is preferred by some Tatters, is available in all sizes from 20 to 120.

The following table will assist ladies in selecting the size of either tatting or crochet cotton. All these cottons are on reels containing 100 yards:--

The following table will help women choose the right size of either tatting or crochet cotton. All these cottons come on reels that contain 100 yards:--

	Tatting.	Crochet.
Petticoat Edgings and Insertions	20	0 and 12
Night Dress Trimmings	40	60
Lingerie Trimming	50	70
Collars and Cravats	50	70
Pocket Handkerchiefs	100	120
Parasol Covers	100	120
Antimacassars	20, 30	0 and 20
Pincushions	60	80
Caps	100	120
Lace	60, 80, 100	80, 100, 120
Insertions	20, 40, 80	40, 80, 100

Ladies at a distance from town or on the Continent will be glad to have some guide as to the quantity of cotton required to complete their work. The quantity of tatting or crochet cotton used by an average worker is found to be two yards to the square inch with a single shuttle; three yards to the square inch with two shuttles.

Ladies who are far from town or overseas will appreciate having some guidance on how much cotton is needed to finish their projects. The amount of tatting or crochet cotton an average person uses is about two yards per square inch with one shuttle and three yards per square inch with two shuttles.

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EMBROIDERY

EMBROIDERY INSTRUCTIONS

The art of embroidering with cotton on linen, muslin, cambric, piqué, &c.c., is very easy to learn by strictly attending to the following instructions.

The art of embroidering with cotton on linen, muslin, cambric, piqué, etc., is very easy to learn by carefully following these instructions.

The size of the thread and needle must correspond to that of the material on which you embroider; the needle must not be too long, and the cotton must be soft. Messrs. Walter Evans and Co.'s embroidery cotton is the best. Skilful embroiderers never work over anything, because when you tack the material on paper or cloth each stitch shows, and if the material is very fine, leaves small holes; but for those that are learning we should advise them to tack the material to be embroidered upon a piece of toile cirée. If you work without this, place the material straight over the forefinger of the left hand; the material must never be held slantways. The three other fingers of the left hand hold the work; the thumb remains free to give the right position to each stitch. The work must always, if possible, lie so that the outline of the pattern is turned towards the person who works. For the sake of greater clearness one part of the following illustrations is given in larger size than nature. Preparing the patterns is one of the most important things in embroidery, for the shape of the patterns is often spoiled merely because they have not been prepared with sufficient care.

The size of the thread and needle should match the material you're embroidering on; the needle shouldn't be too long, and the cotton should be soft. Messrs. Walter Evans and Co.'s embroidery cotton is the best. Skilled embroiderers never work directly over anything because when you tack the material onto paper or cloth, each stitch shows, and if the fabric is very fine, it leaves tiny holes. However, for beginners, we recommend tacking the material to be embroidered onto a piece of toile cirée. If you're working without that, place the material straight over the forefinger of your left hand; the material should never be held at an angle. The other three fingers of the left hand should hold the work while the thumb stays free to position each stitch correctly. The work should always lie so that the outline of the pattern faces the person working. For clarity, one part of the illustrations is shown in a larger size than in reality. Preparing the patterns is one of the most important aspects of embroidery because the shape of the patterns can often be ruined just because they weren't prepared carefully enough.

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ILLUSTRATION 66 shows how to prepare a scallop. Take thicker cotton than that with which you work; never commence with a knot, and do not take a thread longer than sixteen or eighteen inches. The outlines of the scallops are first traced with short straight stitches. In the corners particularly the stitches must be short. The space between the outlines is filled with chain stitches, as can be seen from illustration; they must not be too long, otherwise the embroidery will look coarse. It is in this way that every pattern to be worked in button-hole or satin stitch is to be prepared.

ILLUSTRATION 66 shows how to prepare a scallop. Use thicker thread than what you usually work with; never start with a knot, and don’t take a thread longer than sixteen or eighteen inches. First, trace the outlines of the scallops with short straight stitches. In the corners especially, the stitches should be short. Fill the space between the outlines with chain stitches, as shown in the illustration; they shouldn't be too long, or the embroidery will look rough. This is how you prepare every pattern that will be worked in button-hole or satin stitch.

ILLUSTRATION 67 shows the double overcast stitch or button-hole stitch in a straight line. After having traced the outline begin to work from left to right; fasten the cotton with a few stitches, hold it with the thumb of the left hand under the outline, insert the needle downwards above the outline, draw it out under the same above the cotton which you hold in the left hand, and draw it up. Repeat for all the stitches in the same manner; they must be regular and lie close to one another. Great care should be taken that the material on which you embroider is not puckered.

ILLUSTRATION 67 shows the double overcast stitch or buttonhole stitch in a straight line. After tracing the outline, start working from left to right; secure the thread with a few stitches, hold it with your left thumb under the outline, insert the needle downwards above the outline, pull it out underneath the same area above the thread in your left hand, and pull it up. Repeat this process for all the stitches in the same way; they should be even and close together. Be careful to ensure that the fabric you’re embroidering on is not puckered.

ILLUSTRATION 68 (Overcast Stitch).--The double overcast and the button-hole stitches are worked from left to right, whilst back stitches, knotted and satin stitches are worked from right to left. The stitch is worked in the same way as the double overcast, only the needle must never be drawn out above, but below, the cotton with which you work, and which you keep down with the thumb of the left hand.

ILLUSTRATION 68 (Overcast Stitch).--The double overcast and buttonhole stitches are done from left to right, while back stitches, knotted stitches, and satin stitches are done from right to left. The stitch is made the same way as the double overcast, but the needle should never be pulled out above, only below, the thread you’re using, which you hold down with the thumb of your left hand.

ILLUSTRATION 69.--The slanting overcast stitch is worked without tracing the outline, always inserting the needle downwards--that is, from top to bottom. The needle must be inserted in the manner shown in illustration--that is, not straight, but slanting; insert it a little farther than the last stitch, and draw it out close to it. The wrong side of the work must show back stitches. This sort of stitch is used for the fine outlines in patterns or letter.

ILLUSTRATION 69.--The slanting overcast stitch is done without tracing the outline, always inserting the needle downward—from top to bottom. The needle should be inserted as shown in the illustration—not straight, but at an angle; push it in a bit further than the last stitch, and pull it out close to it. The back side of the work should display back stitches. This type of stitch is used for fine outlines in patterns or letters.

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ILLUSTRATION 70.--This shows the back stitch, the working of which is well known; it is worked in several rows close to each other.

ILLUSTRATION 70.--This shows the back stitch, which is widely understood; it is done in several rows right next to one another.

ILLUSTRATIONS 71 & 72 show another kind of back stitch, called point croisé, which is only used on very thin and transparent materials. This stitch forms on the wrong side a sort of darned pattern, which is seen by transparence on the right side, and gives the embroidered pattern a thicker appearance, contrasting with the rest of the work (see the lower leaves of the flower on illustration 110). For this stitch insert the needle into the material as for the common back stitch, draw it out underneath the needle on the opposite outline of the pattern, so as to form on the wrong side a slanting line. Insert the needle again as for common back stitch; draw it out slanting at the place marked for the next stitch on the opposite outline, as shown in illustration 71.

ILLUSTRATIONS 71 & 72 show another type of back stitch, called point croisé, which is only used on very thin and transparent fabrics. This stitch creates a sort of darning pattern on the back, which is visible through to the front, giving the embroidered design a thicker look that stands out from the rest of the work (see the lower leaves of the flower in illustration 110). For this stitch, insert the needle into the fabric just like you would for a regular back stitch, pull it out underneath the needle on the opposite outline of the design, forming a slanting line on the back. Insert the needle again as you would for a regular back stitch; pull it out at an angle where the next stitch should go on the opposite outline, as shown in illustration 71.

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ILLUSTRATION 73 shows the knotted stitch; the simplest way of working it is to work two back stitches at a short distance from each other over the same thread.

ILLUSTRATION 73 shows the knotted stitch; the easiest way to do it is to make two back stitches a short distance apart over the same thread.

The knotted stitch seen in ILLUSTRATION 74 is worked thus:--Take about four threads of the material on the needle, draw the needle half out, wind the cotton twice round the point of the needle, hold it tight with the thumb, draw the needle out carefully and insert it at the place where the stitch was begun, and draw it out at the place where the next stitch is to be worked.

The knotted stitch shown in ILLUSTRATION 74 is done like this: Take about four threads of the fabric on the needle, pull the needle halfway out, wrap the cotton around the tip of the needle twice, hold it tight with your thumb, carefully pull the needle out, then insert it where the stitch started and pull it out where the next stitch will be made.

The knotted stitch seen on ILLUSTRATION 75 is worked in nearly the same manner as the preceding one. Before drawing the cotton out of the material hold it tight with the left-hand thumb; leave the needle in the same position, wind the cotton twice round it, turn the needle from left to right, so (follow the direction of the arrow) that its point arrives where the cotton was drawn out (marked by a cross in illustration), insert the needle there, and draw it out at the place of the next stitch.

The knotted stitch shown in ILLUSTRATION 75 is done almost exactly like the previous one. Before pulling the cotton out of the fabric, hold it tight with your left thumb; keep the needle in the same spot, wrap the cotton around it twice, turn the needle from left to right (following the direction of the arrow) so that the tip ends up where the cotton was pulled out (marked by a cross in the illustration), insert the needle there, and pull it out at the spot for the next stitch.

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ILLUSTRATIONS 76 & 77.--Raised satin stitch is principally used for blossoms, flowers, leaves, letters, &c.c. After having traced the outlines of the pattern, fill the space left between them with chain stitches in a direction different from that in which the pattern is to be embroidered; begin at the point of the leaf, working from right to left, make short straight stitches, always inserting the needle close above the outline and drawing it out below. The leaves on the flowers, as well as on the branches, must be begun from the point, because they thus acquire a better shape. If you wish to work a leaf divided in the middle, as seen in illustration 77, you must trace the veining before you fill it with chain stitches, then begin at one point of the leaf and work first one half and then the other.

ILLUSTRATIONS 76 & 77.--Raised satin stitch is mainly used for blossoms, flowers, leaves, letters, etc. After you've traced the outlines of the pattern, fill the space between them with chain stitches in a different direction than the pattern will be embroidered. Start at the tip of the leaf, working from right to left, make short straight stitches, always inserting the needle just above the outline and pulling it out below. The leaves on the flowers, as well as on the branches, should be started from the tip to achieve a better shape. If you want to work on a leaf divided in the middle, as shown in illustration 77, you should trace the veining before filling it with chain stitches. Then begin at one end of the leaf and work on one half first, followed by the other half.

ILLUSTRATION 78 shows the so-called point de plume on a scalloped leaf. It is worked like the satin stitch, only the needle is drawn through the material in a slanting direction.

ILLUSTRATION 78 shows the so-called point de plume on a scalloped leaf. It is done like the satin stitch, except the needle is pulled through the material at an angle.

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ILLUSTRATION 79 (Point de Minute).--This stitch is often used instead of satin stitch when the patterns must appear raised. Wind the cotton several times round the point of the needle, which is inserted into the material half its length (the number of times the cotton is to be wound round the needle depends on the length of the pattern), hold fast the windings with the thumb of the left hand, draw the needle and the cotton through the windings, insert the needle into the material at the same place, and draw it out at the place where the next stitch is to begin.

ILLUSTRATION 79 (Point de Minute).--This stitch is often used instead of satin stitch when the designs need to look raised. Wrap the cotton several times around the point of the needle, which should be inserted into the fabric halfway down its length (the number of wraps depends on the length of the design), hold the wraps in place with your left thumb, pull the needle and cotton through the wraps, insert the needle back into the fabric at the same spot, and pull it out where the next stitch will start.

ILLUSTRATIONS 80 & 81 show the ladder stitch, often used in ornamental embroidery. Trace first the outlines as seen in illustrations; mark also the cross stitches between the outlines, so that the first touch the outlines only at both ends. The outlines are embroidered in overcast stitch or double overcast; the material is cut away underneath the ladder stitch between the outlines.

ILLUSTRATIONS 80 & 81 show the ladder stitch, often used in decorative embroidery. Start by tracing the outlines as shown in the illustrations; also mark the cross stitches between the outlines, ensuring that they only touch the outlines at both ends. The outlines are stitched using an overcast stitch or double overcast; the fabric beneath the ladder stitch between the outlines is cut away.

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We have now shown the different kinds of stitches used in embroidery; the following illustrations show them used for different patterns.

We have now demonstrated the various types of stitches used in embroidery; the following images show them applied to different patterns.

ILLUSTRATIONS 82 TO 85 (Different Button-hole Stitch Scallops).--These scallops are prepared as above described. Take care to have the stitches even and regular; the scallops must be wide in the centre and very fine at both ends.

ILLUSTRATIONS 82 TO 85 (Different Button-hole Stitch Scallops).--These scallops are made as described above. Make sure the stitches are even and consistent; the scallops should be wide in the center and very fine at both ends.

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ILLUSTRATIONS 86 & 87 (Button-holes and Eyelets).--This kind of embroidery is used only in round or long patterns. Trace first the outline of the hole, cut away a small round piece of material, not too close to the outlines (when the button-hole is very small merely insert the point of the scissors or a stiletto into the material), fold the edge of the material back with the needle, and work the hole in overcast stitch, inserting the needle into the empty place in the centre and drawing it out under the outline. Some button-holes are worked separately; sometimes they are in a row; if so, take care to begin to work each button-hole at the place where it touches the next. In the following button-holes the outside must be traced double, so as to reach as far as the next one, but each button-hole is finished at once. Illustration 86 shows a button-hole worked round in button-hole stitch, 87 an eyelet-hole worked in overcast.

ILLUSTRATIONS 86 & 87 (Button-holes and Eyelets).--This type of embroidery is used only in circular or long shapes. First, outline the hole, then cut out a small round piece of fabric, making sure not to cut too close to the outline (for very small button-holes, just insert the tip of the scissors or a stiletto into the fabric). Fold the edge of the fabric back with the needle and stitch the hole using an overcast stitch, inserting the needle into the empty spot in the center and pulling it out under the outline. Some button-holes are done separately; sometimes they are done in a row. If that's the case, make sure to start each button-hole at the point where it touches the next one. For the following button-holes, the outer edge should be traced double to extend to the next one, but each button-hole should be completed individually. Illustration 86 shows a button-hole stitched in a round shape, while 87 shows an eyelet hole stitched in overcast.

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ILLUSTRATIONS 88 & 89.--Shaded button-holes are worked like the others, only they are prepared, as can be seen in illustration 89, so as to mark the thickness. The stitches must gradually get narrower or wider, and be worked very close to each other.

ILLUSTRATIONS 88 & 89.--Shaded buttonholes are made like the others, but they are prepared, as shown in illustration 89, to indicate the thickness. The stitches should gradually become narrower or wider and be stitched very close together.

ILLUSTRATIONS 90 & 91 (Two Leaves in Raised Satin Stitch).--In a leaf like the one seen in 90 work first the outline and veining in overcast stitch; work one half of the leaf in satin stitch, and the other half between the overcast outline and veining in back stitch. The stem of a leaf is always worked last.

ILLUSTRATIONS 90 & 91 (Two Leaves in Raised Satin Stitch).--For a leaf like the one shown in 90, start by outlining and adding veining with overcast stitch; stitch one half of the leaf in satin stitch, and the other half between the overcast outline and veining using back stitch. The stem of a leaf should always be stitched last.

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ILLUSTRATIONS 92 & 93 (Two Leaves in Satin Stitch and Point de Plume).--For leaves like the one seen in 93 begin with the veinings, then work the inner points, then the outer ones, and lastly the raised spots in the centre. The leaf seen in 92 is worked, one half in point de plume, the other half in back stitch or point d'or.

ILLUSTRATIONS 92 & 93 (Two Leaves in Satin Stitch and Point de Plume).--For leaves like the one shown in 93, start with the veins, then work on the inner points, followed by the outer ones, and finally the raised spots in the center. The leaf shown in 92 is done, with one half in point de plume and the other half in back stitch or point d'or.

ILLUSTRATION 94.--- The outline of this leaf is embroidered in overcast stitch; the open-work veining consists of eyelets; one half of the leaf is worked in back stitch, the other half in a kind of satin stitch worked without chain stitches underneath; [94]the stitches are worked across the leaf, leaving between two stitches an interval as wide as the stitch itself. The next row is then worked in these intervals, and each stitch begins half-way up the one before and after it.

ILLUSTRATION 94.--- The outline of this leaf is embroidered in overcast stitch; the open-work veins are made with eyelets; one half of the leaf is worked in back stitch, while the other half is done in a type of satin stitch without chain stitches underneath; [94]the stitches cross the leaf, leaving a gap between two stitches that’s as wide as the stitch itself. The next row is then worked in these gaps, with each stitch starting halfway up the stitches before and after it.

ILLUSTRATIONS 95 to 97 (Leaf in Raised Embroidery).--This kind of embroidery is particularly beautiful, as it is worked separately and sewn on the material with an outline in very fine cotton, this produces the shade seen in 95 (see also illustrations 98 to 113). For such leaves work first one half in overcast and satin stitch (illustration 96); the other half is worked on a separate piece of material (see illustration 97); cut away the material along the overcast outline, and fasten it on the foundation material along the outline which forms the veining on illustration 96.

ILLUSTRATIONS 95 to 97 (Leaf in Raised Embroidery).--This type of embroidery is especially beautiful because it is created separately and then sewn onto the fabric with a very fine cotton outline, resulting in the shading shown in 95 (see also illustrations 98 to 113). For these leaves, start by working one half with overcast and satin stitch (illustration 96); the other half is done on a separate piece of fabric (see illustration 97); cut away the fabric along the overcast outline, and attach it to the main fabric along the outline that represents the veining in illustration 96.

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ILLUSTRATIONS 98 TO 100 show a similar leaf; both halves are worked separately (see 99); the centre is worked in open lace stitch. The latter (see No. 100) is traced, then make ladder stitches across, work the outlines in overcast stitch, and cut away the material underneath the ladder stitch. The cross stitches are then worked in darning stitch with very fine cotton wherever two threads meet.

ILLUSTRATIONS 98 TO 100 show a similar leaf; both halves are worked separately (see 99); the center is done in open lace stitch. The latter (see No. 100) is traced, then ladder stitches are made across, work the outlines in overcast stitch, and cut away the material underneath the ladder stitch. The cross stitches are then worked in darning stitch with very fine cotton wherever two threads meet.

ILLUSTRATION 101 (Blossom in Satin Stitch).--The eyelet is worked in overcast stitch, then work the upper part of the blossom all in one piece as far as the beginning of the veining, thence the blossom is worked in two halves.

ILLUSTRATION 101 (Blossom in Satin Stitch).--The eyelet is done using an overcast stitch, then create the upper part of the blossom all in one piece up to where the veining starts; after that, the blossom is made in two halves.

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ILLUSTRATIONS 102 & 103 (Blossom in Satin Stitch).--The raised centre of this flower is formed by a bead, over which the embroidery is worked. When the leaves have been worked one after the other, place a bead in the centre, left free in such a manner that one hole lies on the material, and work over the bead by inserting the needle into its upper hole, then underneath the material, drawing it out above the material close to the bead, and so on (see 103).

ILLUSTRATIONS 102 & 103 (Blossom in Satin Stitch).--The raised center of this flower is made by a bead, over which the embroidery is done. After stitching the leaves one by one, position a bead in the center, leaving it free so that one hole rests on the fabric. Work over the bead by inserting the needle into its upper hole, then under the fabric, pulling it out above the fabric close to the bead, and continue in that manner (see 103).

ILLUSTRATION 104 (Star Pattern in Satin Stitch).--The centre, which forms a wheel, is worked first. Draw the threads across the circle [97] marked by an outline; in the centre they are wound round, always taking one thread on the needle and leaving the next thread under the needle, as can be seen in 122 on the half-finished pattern. The material underneath the wheel is only cut away when the rest of the pattern has been embroidered.

ILLUSTRATION 104 (Star Pattern in Satin Stitch).--Begin by working on the center, which creates a wheel shape. Pull the threads across the outlined circle [97]; in the middle, wrap the threads around, always taking one thread on the needle and leaving the next thread under the needle, as shown in 122 on the partially completed pattern. The material underneath the wheel should only be cut away after the rest of the pattern has been stitched.

ILLUSTRATIONS 105 & 106 (Patterns in Back, Satin, and Ladder Stitches).--The small star in the centre of No. 105 is worked in point de reprise.

ILLUSTRATIONS 105 & 106 (Patterns in Back, Satin, and Ladder Stitches).--The small star in the center of No. 105 is made using point de reprise.

ILLUSTRATION 107 (Flower in Satin Stitch).--The fine veinings are worked with fine black silk in point russe, which renders the effect of the flower very beautiful.

ILLUSTRATION 107 (Flower in Satin Stitch).--The delicate details are done with fine black silk in point russe, which makes the flower look really beautiful.

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ILLUSTRATIONS 108 & 109 (Rose in Satin Stitch).--No. 109 shows one petal larger than full size. The outer circle only is prepared with chain stitches underneath, so as to appear raised; the inner circles are worked flat. The centre of the rose is embroidered in open work.

ILLUSTRATIONS 108 & 109 (Rose in Satin Stitch).--No. 109 shows one petal larger than actual size. The outer circle is only finished with chain stitches underneath to give it a lifted appearance; the inner circles are done flat. The center of the rose is embroidered with an openwork design.

ILLUSTRATION 110 (Embroidered Heartsease).--For the knotted stitch see No. 75. for the point croisé see 71 and 72.

ILLUSTRATION 110 (Embroidered Heartsease).--For the knotted stitch, see No. 75. For the point croisé, see 71 and 72.

ILLUSTRATION 111 (Flower in Raised Satin Stitch).

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ILLUSTRATION 112 (An Ear of Corn in Point de Minute).

ILLUSTRATIONS 113, 114, & 116 (Bluebell in Raised Satin Stitch).--This flower is worked partly in separate pieces, as has [100]been described. Illustration 116 shows the raised part stretched out flat. When it is finished it is fastened down along the dotted line on No. 114, which shows the inner part of the flower.

ILLUSTRATIONS 113, 114, & 116 (Bluebell in Raised Satin Stitch).--This flower is made up of separate pieces, as has [100]been described. Illustration 116 shows the raised part flattened out. Once it's complete, it gets secured along the dotted line on No. 114, which displays the inner part of the flower.

ILLUSTRATION 115 (Flower in Point de Minute).--This stitch is here worked over a thick foundation of chain stitches. For raised patterns it looks very well.

ILLUSTRATION 115 (Flower in Point de Minute).--This stitch is worked over a thick base of chain stitches. It looks really good for raised patterns.

ILLUSTRATIONS 116 & 117 (Flower worked in Appliqué).--To work in appliqué, two materials, either similar or different, are needed. You can work either in appliqué of muslin on muslin, or of muslin on net, or of net on net. Muslin on Brussels net is the prettiest way of working in appliqué; we will therefore describe it: the other materials are worked in the same manner. [101]Trace the pattern on the muslin, fasten the latter on the net, and trace the outlines of the pattern with very small stitches work them in overcast stitch with very fine cotton, taking care not to pucker the material. The veinings are worked in overcast. When the pattern has been embroidered cut away the muslin round the outlines with sharp scissors, so that the net forms the grounding (see No. 117). The greatest care is required in cutting out the muslin to avoid touching the threads of the net.

ILLUSTRATIONS 116 & 117 (Flower worked in Appliqué).--To do appliqué, you need two materials, which can be similar or different. You can use appliqué of muslin on muslin, muslin on net, or net on net. The prettiest way to do appliqué is muslin on Brussels net, so we will describe that method; the other materials can be used in the same way. [101]First, trace the pattern onto the muslin, then attach the muslin to the net, and trace the edges of the pattern with very tiny stitches using very fine cotton, making sure not to pucker the fabric. The vein details are done in overcast stitch. Once the pattern is embroidered, carefully cut away the muslin around the outlines with sharp scissors, so that the net serves as the background (see No. 117). Extreme care is needed when cutting the muslin to avoid touching the threads of the net.

ILLUSTRATIONS 118 & 119 (Narrow Borders).--It will be easy to work these borders from the above instructions. Observe only that on border 118 the outer row of scallops is worked first, then the button-hole stitch row, and the rest afterwards. The spots are edged all round in knotted stitch. The wheels in the centre of the eyelets of No. 119 are worked with very fine cotton in loose button-hole stitch; they are wound round with the cotton in a second row.

ILLUSTRATIONS 118 & 119 (Narrow Borders).--You can easily create these borders using the instructions above. Just note that for border 118, you start with the outer row of scallops, followed by the button-hole stitch row, and then finish with the rest. The spots are outlined all around in knotted stitch. The wheels in the center of the eyelets for No. 119 are done with very fine cotton in a loose button-hole stitch; they're wrapped with cotton in a second row.

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ILLUSTRATIONS 120 TO 122.--Three strips of insertion, which are worked nearly like the ladder stitch. For No. 120, in tracing the outlines, make two small knots at short distances by winding the cotton four times round the needle, as can be seen in illustration; the windings are held down with the thumb of the left hand, draw the needle through, and a knot is formed. The outlines are worked in button-hole stitch only when all the knots have been made, and then the material is cut away underneath. Illustration 121 is a variety of the slanting ladder stitch.

ILLUSTRATIONS 120 TO 122.--Three strips of insertion that are worked almost like the ladder stitch. For No. 120, when tracing the outlines, make two small knots at short intervals by wrapping the cotton four times around the needle, as shown in the illustration; hold the wraps down with your left thumb, pull the needle through, and a knot is created. The outlines are stitched in buttonhole stitch only after all the knots have been made, and then the material underneath is cut away. Illustration 121 shows a variation of the slanting ladder stitch.

Illustration 122.--The cross threads are worked in two rows in the common herring-bone stitch, as can be seen by the black lines on the illustration. The straight lines at the top and at the bottom are worked in double overcast; lastly, the wheels are worked in a row as described for the star pattern, No. 104.

Illustration 122.--The cross threads are done in two rows using the standard herringbone stitch, as shown by the black lines in the illustration. The straight lines at the top and bottom are stitched with double overcast; finally, the wheels are stitched in a row as explained for the star pattern, No. 104.

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ILLUSTRATIONS 123 To 129 (Embroidered Initials).--To learn to work initials the Roman characters are the easiest to begin with. They must be traced and prepared like other embroidery in satin stitch, only the chain stitches underneath must not be too thick: it would take away the shape of the letters. All depends on the fineness and regularity of the stitches; they must be worked in overcast stitch. Work from left to right, and the letter when completed must look rather like raised printing than like embroidery. Gothic letters are much more difficult to work on account of the many flourishes; it requires great practice in needlework to embroider them well.

ILLUSTRATIONS 123 TO 129 (Embroidered Initials).--To get started with working on initials, Roman characters are the easiest to learn. They need to be traced and prepared like other embroidery using satin stitch, but the underlying chain stitches shouldn't be too thick, as that can distort the shape of the letters. Success relies on the finesse and consistency of the stitches; they should be done in an overcast stitch. Work from left to right, and when finished, the letter should resemble raised printing rather than typical embroidery. Gothic letters are much harder to work with due to their numerous flourishes, requiring a lot of practice in needlework to embroider them effectively.

Illustration 123.--The small black dots are worked in black silk on the thick parts of the letter: the fine strokes are covered with cross threads of black silk.

Illustration 123.--The small black dots are done in black silk on the thick parts of the letter: the thin strokes are secured with cross threads of black silk.

Illustration 124.--The outlines of the letter and the fine strokes are worked in black silk.

Illustration 124.--The outlines of the letter and the fine strokes are done in black silk.

Illustration 125.--This letter is embroidered in raised satin stitch and point de plume.

Illustration 125.--This letter is stitched in raised satin stitch and point de plume.

Illustration 126.--This letter is worked in back stitches, over which are worked at regular distances cross stitches of black silk.

Illustration 126.--This letter is created using back stitches, with evenly spaced cross stitches of black silk worked over it.

Illustration 127.--Letter in satin and back stitch.

Illustration 128 to be worked in overcast and double overcast.

Illustration 128 should be done in overcast and double overcast.

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ILLUSTRATION 129.--Letter G in point russe with black silk.

ILLUSTRATION 130 (Embroidered Figures).--They are worked like the letters in point de plume and overcast; the dots are worked in knotted stitch.

ILLUSTRATION 130 (Embroidered Figures).--They are done like the letters in point de plume and overstitched; the dots are made with a knotted stitch.

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EMBROIDERY

EMBROIDERY PATTERNS

[In working the following Embroidery Patterns it will be found advisable to trace the design clearly upon tracing-paper with a sharp-pointed lead pencil. The pattern thus traced must be perforated with a fine needle in a succession of tiny holes, at the rate of about twenty to the inch. Those ladies who possess a sewing-machine will find no difficulty in accomplishing this. Several thicknesses of paper can be perforated at the same time, if required, by any ordinary machine. To transfer the traced and perforated design to the fabric to be embroidered, it is only necessary to rub a small quantity of powder blue through the holes.]

[When working with the following Embroidery Patterns, it's best to clearly trace the design onto tracing paper using a sharp lead pencil. The traced pattern should then be pierced with a fine needle to create a series of tiny holes, about twenty per inch. Those who have a sewing machine will find this easy to do. You can pierce several layers of paper at once if needed, using a standard machine. To transfer the traced and pierced design onto the fabric you’re going to embroider, simply rub a small amount of powder blue through the holes.]

131.--Insertion in Embroidery.

131.--Embroidery Insertion.

Material: Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

Material: Walter Evans and Co.'s embroidery cotton No. 16.

This insertion is worked in raised satin stitch and buttonhole stitch. The outlines must first be traced and the space filled up with chain stitches. To work a leaf, begin at the point, working from right to left, making short stitches, and always inserting the needle close above the outline and drawing it out below. The holes left for the ribbon to pass through are worked in plain button-hole stitch, the dots are worked in raised satin stitch.

This insertion is done using raised satin stitch and buttonhole stitch. First, trace the outlines and fill in the space with chain stitches. To create a leaf, start at the tip, stitching from right to left with short stitches, always putting the needle in just above the outline and pulling it out below. The openings for the ribbon are made with plain buttonhole stitch, and the dots are created using raised satin stitch.

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132.--Insertion in Embroidery and Stitching.

132.--Embroidery and Stitching Insertion.

Materials: Messrs. Walter Evans and Co.'s embroidery cotton Nos. 10 and 16.

Materials: Walter Evans and Co.'s embroidery cottons #10 and #16.

The veinings of this pretty insertion must be worked in overcast stitch (No. 68, Embroidery Instructions), the leaves and flowers in raised satin stitch, the scallops in button-hole stitch, and the outer edge of the leaves in back stitch (No. 70, Embroidery Instructions) with No. 10 cotton.

The details of this lovely design should be done in an overcast stitch (No. 68, Embroidery Instructions), the leaves and flowers in raised satin stitch, the scallops in buttonhole stitch, and the outer edge of the leaves in back stitch (No. 70, Embroidery Instructions) using No. 10 cotton.

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133.--Cravat End in Embroidery.

133.--Embroidered Cravat End.

Materials: Muslin, cambric, or linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 24, or fine black China silk.

Materials: Muslin, cambric, or linen; Walter Evans and Co.'s embroidery thread No. 24, or fine black Chinese silk.

This graceful design is worked in raised satin stitch (see Nos. 76 and 77, Embroidery Instructions) and back stitching, or point Russe. Black silk may be introduced at will, and the delicate leaves may be stitched in fine black silk, and the flowers embroidered in white, with the stamens in black silk.

This elegant design is done using raised satin stitch (see Nos. 76 and 77, Embroidery Instructions) and back stitching, or point Russe. You can add black silk as desired, and the delicate leaves can be stitched in fine black silk, while the flowers are embroidered in white with the stamens in black silk.

Embroidered Pattern for Cravat Ends, &c.

134.--Basket Embroidered in Chenille.

134.--Chenille Embroidered Basket.

Materials: A basket of fine wicker-work; 1 skein of black chenille, and 3 of blue chenille.

Materials: A basket made of fine wicker; 1 skein of black chenille, and 3 skeins of blue chenille.

This small round basket measures seven inches across; it has a cover and two handles. The wicker is very delicately [108]plaited, and is ornamented with a pattern in chenille which is very easy to work. Upon the cover, work in point Russe one large star in blue chenille, with the centre and outer circle in black. All round, work small stars in blue chenille, with a black stitch in the centre. The position of these stars is shown in our illustration. The basket requires no mounting; it is not even lined.

This small round basket is seven inches wide; it has a lid and two handles. The wicker is very finely woven, and it's decorated with a pattern in chenille that's simple to work with. On the lid, create one large blue chenille star using point Russe, with a black center and an outer circle. All around, add small blue chenille stars with a black stitch in the middle. The arrangement of these stars is illustrated in our image. The basket doesn’t need any additional mounting; it isn’t even lined.

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135.--Pattern for Collars and Cuffs in Embroidery.

Materials: Muslin, cambric or lawn; Messrs. Walter Evans and Co.'s embroidery cotton perfectionné No. 40.

Work the outer circle in long even scallops (see page 90 of Embroidery Instructions) in raised button-hole stitch; the spray of flowers is embroidered in raised satin stitch, the leaves in the same, and the rosebud calyx in tiny eyelet-holes. The centres of the roses are embroidered in open-work.

Work the outer circle in long, even scallops (see page 90 of Embroidery Instructions) using raised buttonhole stitch; the flower spray is embroidered with raised satin stitch, the leaves in the same style, and the rosebud calyx with tiny eyelet holes. The centers of the roses are embroidered in open work.

Embroidery Pattern for Collars, Cuffs, &c.

136.--Cravat End in Embroidery.

136.--Embroidered Cravat End.

Materials: Muslin, Brussels net; Messrs. Walter Evans and Co.'s embroidery cotton No. 30.

Materials: Muslin, Brussels net; Walter Evans and Co.'s embroidery cotton No. 30.

Tack the traced muslin over the net and work the scallop of the inner edge; next the design in the centre must be worked in raised satin stitch (see No. 77 in Embroidery Instructions). The raised dots are also worked in satin stitch (see page 90 of Embroidery Instructions). Lastly, work the outer edging of round scallops and the lines of raised dots, and with a pair of embroidery scissors carefully cut away the muslin from the outer edge and from the leaves of the centre pattern.

Tack the traced muslin onto the net and stitch the scallop along the inner edge; next, the design in the center should be created using raised satin stitch (see No. 77 in Embroidery Instructions). The raised dots are also made using satin stitch (see page 90 of Embroidery Instructions). Finally, create the outer edge with round scallops and lines of raised dots, and using a pair of embroidery scissors, carefully cut away the muslin from the outer edge and from the leaves of the central pattern.

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137.--Embroidery Pattern for Collars, Cuffs, &c.

Materials: Linen; Messrs. Walter Evans and Co.'s cotton perfectionné No. 40.

Materials: Linen; Walter Evans and Co.'s cotton perfection No. 40.

This pretty star should be worked in fine overcast stitch (see No. 68 in Embroidery Instructions). The centre is worked in raised satin stitch leaves round a circle of button-hole stitch, in the middle of which a wheel is worked thus:--Slip the cotton under the thick edge and fasten it, then cross it over and back so as to make 8 bars, then twist the cotton twice round 1 bar; this will bring it to the centre; work over and under each of the bars until a thick dot is formed; fasten the cotton beneath this, and twist it twice round the bar opposite to the first one you worked, and finish off.

This pretty star should be done in a fine overcast stitch (see No. 68 in Embroidery Instructions). The center is worked in raised satin stitch leaves around a circle of button-hole stitch, in the middle of which a wheel is created like this: Slip the cotton under the thick edge and secure it, then cross it over and back to make 8 bars. Next, twist the cotton twice around 1 bar; this will bring it to the center. Work over and under each of the bars until a thick dot forms; secure the cotton underneath this, and twist it twice around the bar opposite the first one you worked, then finish off.

138.--Embroidery Covering for a Quilted Counterpane.

138.--Embroidery Cover for a Quilted Bedspread.

Materials: Cashmere, cambric muslin, or linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 4.

Materials: Cashmere, cambric muslin, or linen; Walter Evans and Co.'s embroidery cotton No. 4.

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Embroidery Covering for a Quilted Counterpane.

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This is an embroidery-pattern for a woollen or silk quilted counterpane. Such counterpanes generally have a lining which is turned back on the right side, and buttoned down at the point of each scallop. The pattern is a quilted counterpane of scarlet cashmere; the lining is of fine linen. Before embroidering it, make the points for the corners. The embroidery is worked in button-hole stitch, overcast, satin, and ladder stitch. It can also be worked on fine cambric or muslin, and then the embroidered pattern sewn on the piece of linen which forms the cover on the wrong side. Make the button-holes as seen on illustration, and sew on mother-of-pearl or china buttons.

This is an embroidery pattern for a wool or silk quilted bedspread. These bedspreads usually have a lining that’s turned back on the front and buttoned down at each scallop point. The design is a quilted bedspread made of scarlet cashmere, with a fine linen lining. Before you start embroidering, outline the corner points. The embroidery is done using button-hole stitch, overcast stitch, satin stitch, and ladder stitch. You can also work it on fine cambric or muslin, and then sew the embroidered design onto the linen that forms the backing on the inside. Make the buttonholes as shown in the illustration, and sew on mother-of-pearl or china buttons.

139.--Embroidery Pattern for Ornamenting Collars, Cuffs, &c.

139.--Embroidery Pattern for Decorating Collars, Cuffs, etc.

Materials: Muslin, cambric, or linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.

Materials: Muslin, cambric, or linen; Walter Evans and Co.'s embroidery cotton No. 40.

This pattern is worked in satin stitch, point Russe, and point d'or on muslin, cambric, or linen; it is suitable for collars, or cravat ends, or handkerchief corners.

This pattern is done in satin stitch, Russian stitch, and gold stitch on muslin, cambric, or linen; it’s ideal for collars, cravat ends, or handkerchief corners.

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140.--Handkerchief in Embroidery

140.--Embroidered Handkerchief

Materials: French cambric; Messrs. Walter Evans and Co.'s embroidery cotton No. 50.

Materials: French cambric; Walter Evans and Co.'s embroidery cotton No. 50.

Three rows of hem-stitching ornament this handkerchief; the pattern forms an insertion within the outer rows, the flowers are worked in [116] raised satin stitch, with eyelet-hole centres (see No. 87 of Embroidery Instructions); the tendrils are worked in overcast stitch; three rows of raised dots, in groups of four, are worked on the inner side of the last row of hem-stitching. This pattern looks very handsome on a broad-hemmed handkerchief.

Three rows of hem-stitching decorate this handkerchief; the design includes an insert within the outer rows, with flowers created in [116] raised satin stitch, featuring eyelet-hole centers (see No. 87 of Embroidery Instructions); the tendrils are made with overcast stitch; three rows of raised dots, grouped in fours, are done on the inner side of the last row of hem-stitching. This design looks really nice on a handkerchief with a wide hem.

141.--Convolvulus Leaf Insertion.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 20.

Materials: Muslin; Walter Evans and Co.'s embroidery cotton No. 20.

The convolvulus leaves are worked in raised satin stitch, the veinings and stems in overcast stitch, the eyelet-holes in slanting overcast stitch. (See No. 69 of Embroidery Instructions.)

The convolvulus leaves are done in raised satin stitch, the veins and stems in overcast stitch, and the eyelet holes in slanting overcast stitch. (See No. 69 of Embroidery Instructions.)

142.--Insertion.

142.--Insert.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 20.

Materials: Muslin; Walter Evans and Co.'s embroidery cotton No. 20.

This simple insertion is worked in raised satin stitch, the stems alone excepted; these are embroidered in overcast stitch.

This simple addition is done in raised satin stitch, except for the stems, which are embroidered in overcast stitch.

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143 and 144.--Two Patterns in Embroidery for Trimming Lingerie.

143 and 144.--Two Patterns in Embroidery for Lingerie Trim.

Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 20, and Mecklenburg thread No. 50.

Materials: Walter Evans and Co.'s embroidery cotton No. 20, and Mecklenburg thread No. 50.

These patterns are worked in point Russe and stitching; the spots in satin and knotted stitch. Illustration 143 is ornamented in the centre with lace stitches.

These patterns are done in point Russe and stitching; the spots are in satin and knotted stitch. Illustration 143 is decorated in the center with lace stitches.

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145 and 146.--Insertion.

145 and 146.--Insertion.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

Materials: Muslin; Walter Evans and Co.'s embroidery cotton No. 16.

The two insertions, Nos. 145 and 146, are worked partly in satin stitch, partly in open-work embroidery, and are edged on either side with an open-work hem.

The two inserts, Nos. 145 and 146, are done partly in satin stitch and partly in open-work embroidery, and they are finished on both sides with an open-work hem.

147.--Couvrette in Appliqué Embroidery.

Materials: Net, fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

Materials: Net, fine muslin; Walter Evans and Co.'s embroidery cotton No. 16.

The pattern must be traced on the muslin, which should be tacked on the net. The outline of the design must be traced with very small stitches, and worked in overcast stitches, as are also the veinings; the dots are worked in raised satin stitch; the border is embroidered with satin stitch flowers and scallop button-hole stitch. To work appliqué on net, see No. 117 of Embroidery Instructions.

The pattern should be traced onto the muslin, which needs to be tacked onto the net. The outline of the design must be traced with tiny stitches and stitched with overcast stitches, just like the vein patterns; the dots are done in raised satin stitch; the border is decorated with satin stitch flowers and scallop buttonhole stitch. For instructions on how to do appliqué on net, refer to No. 117 of Embroidery Instructions.

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148.--Wreath for centre of Pincushion or Toilet Mat.

148.--Wreath for center of Pincushion or Toilet Mat.

Materials for Pincushion: Jaconet muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16. For toilet mat: White piqué; cotton No. 12.

Materials for Pincushion: Jaconet muslin; Walter Evans & Co.'s embroidery cotton No. 16. For toilet mat: White piqué; cotton No. 12.

Wreath for centre of Pincushion or Toilet Mat.

The leaves and flowers are worked in satin stitch; the eyelet-holes and stems in overcast stitch.

The leaves and flowers are done in satin stitch; the eyelet holes and stems in overcast stitch.

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149.--Corner for Handkerchief In Point Russe.

149.--Handkerchief Corner in Russian Style.

Materials: French cambric, fine China black sewing-silk, or filoselle.

Materials: French cambric, fine China black sewing silk, or filoselle.

Point Russe stitch is made by a succession of back stitches. These stitches carefully follow every line of the design, and are worked in black China sewing-silk or filoselle. The pattern should be repeated at each corner of the handkerchief.

Point Russe stitch is created by a series of back stitches. These stitches carefully trace every line of the design and are made with black China sewing-silk or filoselle. The pattern should be repeated at each corner of the handkerchief.

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150 to 152.--Borders and Insertions.--White Embroidery.

150 to 152.--Borders and Insertions.--White Embroidery.

Materials: Lawn; Messrs. Walter Evans and Co.'s embroidery cotton No. 30, and Mecklenburg thread No. 50; fine black sewing-silk.

Materials: Lawn; Walter Evans and Co.'s embroidery cotton No. 30, and Mecklenburg thread No. 50; fine black sewing silk.

For the border No. 150, trace first the outlines of the scallop, then draw the threads which are to form the wheel in each scallop (take for this fine Mecklenburg thread, for the rest embroidery cotton), fasten them at the places where they cross each other, and work at these places small and large spots in satin stitch. Then work the scallops in button-hole stitch; edge each larger spot with button-hole stitch all round, and make a row of button-hole stitches for the upper edge of the border, and above this a row of herring-bone stitches. The material is cut away underneath the wheels.

For border No. 150, first outline the scallop shapes, then draw the threads that will create the wheel within each scallop (use fine Mecklenburg thread for this and embroidery cotton for the rest). Secure the threads where they cross each other and work small and large spots in satin stitch at those points. Next, stitch the scallops using button-hole stitch; outline each larger spot with button-hole stitch all around, and create a row of button-hole stitches along the top edge of the border, followed by a row of herring-bone stitches above that. Cut away the material underneath the wheels.

The corner borders, illustrations 151 and 152, are worked in point Russe, chain and satin stitch, with fine black sewing silk.

The corner borders, illustrations 151 and 152, are created using point Russe, chain, and satin stitch, with fine black sewing silk.

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153.--Muslin Cravat.

153.--Muslin Neck Scarf.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 50; No. 40 for the edges.

Materials: Muslin; Walter Evans and Co.'s embroidery cotton No. 50; No. 40 for the edges.

This cravat is worked on fine muslin, embroidered upon both ends in raised satin stitch; the scalloped edge is worked in button-hole stitch; the bouquet in the centre is worked in appliqué satin stitch--that is, the leaves of the rose and the foliage are worked separately on muslin; they are then cut out and worked in appliqué (see Nos. 113 and 116, Embroidery Instructions) upon the cravat, as seen in the illustration.

This cravat is made from fine muslin, with embroidery on both ends in raised satin stitch; the scalloped edge is finished in buttonhole stitch; the bouquet in the center is done in appliqué satin stitch—that is, the leaves of the rose and the foliage are separately stitched on muslin; they are then cut out and applied (see Nos. 113 and 116, Embroidery Instructions) onto the cravat, as shown in the illustration.

154.--Sandwich Case.

Materials: Strip of grey kid; strip of oil silk; 1 skein black silk; 1 skein red purse silk; 1 hank steel beads; steel button.

Materials: Strip of gray kid leather; strip of oil silk; 1 skein black silk; 1 skein red purse silk; 1 hank steel beads; steel button.

This case will be found very useful on the occasion of a journey or picnic, as it can be carried in the pocket without any inconvenience.

This case will be super handy for a trip or picnic since it can fit right in your pocket without any hassle.

The case is made of a strip of grey kid, scalloped out at the edges. The words "Bon appetit," or "Good appetite," at will, are worked over it in overcast with black purse silk and steel beads, the scroll pattern in chain stitch with red silk. The back and front of the case are formed of the same strip, which is lined with oilskin, and to which narrow side-pieces are added to form the pocket. These pieces are lined and scalloped out in the same way as the back and front, and then the scallops of both sides are joined together, and worked round in button-hole stitch with purse silk.

The case is made from a strip of gray kid leather, shaped with scalloped edges. The words "Bon appetit," or "Good appetite," as you prefer, are embroidered on it in dark thread with black purse silk and steel beads, with a scroll pattern in chain stitch using red silk. Both the back and front of the case are made from the same strip, lined with oilskin, and narrow side pieces are added to create the pocket. These pieces are also lined and scalloped in the same manner as the back and front, after which the scallops on both sides are stitched together using button-hole stitch with purse silk.

The case is fastened down with a steel button.

The case is secured with a metal button.

If another colour is preferred, the sandwich case can be made of [125]brown kid. The scroll pattern should then be worked in rich blue purse silk, and gold beads used for the letters, which should be embroidered as before in black silk. The edge may be worked in double overcast stitch in blue or black silk. A gold button must replace the steel when this alteration of colour is made.

If you prefer a different color, the sandwich case can be made from brown kid leather. The scroll pattern should then be done in rich blue purse silk, and gold beads should be used for the letters, which should be embroidered like before in black silk. The edge can be finished with a double overcast stitch in blue or black silk. A gold button must replace the steel one when this color change is made.

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155.--Insertion.

155.--Insert.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

Materials: Muslin; Walter Evans and Co.'s embroidery cotton No. 16.

This insertion is worked in raised satin stitch between two rows of hem-stitching; a small eyelet-hole is worked in the centre of each flower.

This design is created with raised satin stitch between two rows of hem-stitching; a small eyelet hole is made in the center of each flower.

156.--Cravat End in Raised Embroidery.

156.--Raised Embroidery Cravat End.

Materials: Messrs. Walter Evans and Co.'s. embroidery cotton Nos. 50 and 16.

Materials: Walter Evans and Co.'s embroidery cotton, Nos. 50 and 16.

This pattern is a muslin cravat 32 inches long. The greater part of the embroidered ends is worked in satin stitch; the leaves in the bouquet of the centre are worked in raised embroidery. (See Nos. 113 and 116, Embroidery Instructions.)

This pattern is a muslin cravat that’s 32 inches long. Most of the embroidered ends are done in satin stitch, and the leaves in the center bouquet are done in raised embroidery. (See Nos. 113 and 116, Embroidery Instructions.)

The dotted lines are raised by taking four threads of the muslin on the needle, draw it half out, wind the cotton twice round the point, holding it tightly under the thumb, draw the needle out and insert it at the place where the stitch was begun, and draw it out where the next stitch is to be worked.

The dotted lines are created by taking four threads of the muslin on the needle, pulling it halfway out, wrapping the cotton twice around the tip while keeping it tight under your thumb, pulling the needle out, and then inserting it back where the stitch started, pulling it out where the next stitch will be made.

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157.--Lady's Purse.

157.--Women’s Purse.

Materials: Russia leather; blue silk; black purse silk; blue silk soutache; fine gold braid; and gold thread.

Materials: Russian leather; blue silk; black purse silk; blue silk soutache; fine gold braid; and gold thread.

This purse is embroidered upon Russia leather; an oval-shaped medallion is cut out in the centre; a piece of blue silk is gummed on under the leather so as to show within the oval; both leather and silk are then lined with calico and stretched upon a small embroidery frame. The front and back of the purse are made all of one piece, the centre of which is the bottom; after the embroidery is completed a piece of leather is added on each side to give the necessary fullness. Four flowrets are worked over the blue silk, with black purse silk, in raised satin stitch, with a dot in gold thread for the centre. The stems are black and the leaflets gold. The inner border round the [129]oval medallion is worked in gold braid, and the outer one in blue soutache. The network upon the leather is formed of threads of black purse silk, fastened at every crossing with a stitch of gold thread; the outer border round this network is formed entirely of gold braid. On the opposite side of the purse initials may be worked in black and gold, over the blue silk oval medallion.

This purse is embroidered on Russian leather; an oval-shaped cutout is in the center; a piece of blue silk is glued underneath the leather so it shows through the oval. Both the leather and silk are lined with calico and stretched on a small embroidery frame. The front and back of the purse are made from one piece, with the center as the bottom; after the embroidery is finished, a piece of leather is added to each side for fullness. Four flowers are stitched over the blue silk using black purse silk in raised satin stitch, with a gold thread dot in the center. The stems are black and the leaves are gold. The inner border around the [129]oval medallion is worked in gold braid, and the outer border is in blue soutache. The network on the leather is made of threads of black purse silk, secured at every crossing with a stitch of gold thread; the outer border around this network is entirely gold braid. On the other side of the purse, initials can be embroidered in black and gold over the blue silk oval medallion.

The purse is lined with brown watered silk, and mounted with a clasp of gilt steel.

The purse is lined with brown watered silk and features a clasp made of gold-plated steel.

158.--Table-Napkin Ring.

158.--Napkin Ring.

Materials: Crimson cashmere; toile cirée; 1 reel each of white, black, green, blue, and yellow Chinese silk.

Materials: Crimson cashmere; waxed cotton; 1 reel each of white, black, green, blue, and yellow Chinese silk.

Stretch a strip of cashmere of a bright shade of crimson over a piece of toile cirée, and work the pattern over it in point Russe with fine silk. The outer borders have white and black outlines, and leaflets of green silk. The stars have black and blue outlines, a yellow cross and dots. The figure between the stars is black and yellow.

Stretch a strip of bright crimson cashmere over a piece of toile cirée, and stitch the pattern onto it in point Russe with fine silk. The outer borders feature white and black outlines, along with green silk leaflets. The stars have black and blue outlines, a yellow cross, and dots. The figure between the stars is black and yellow.

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159 and 160.--Knife Basket.

159 and 160.--Knife Basket.

Materials: Grey American cloth; red cloth; black jet beads and bugles; red worsted braid, three-quarters of an inch wide; some strong wire; a cigar-box.

Materials: Grey American fabric; red fabric; black jet beads and bugle beads; red worsted braid, three-quarters of an inch wide; some sturdy wire; a cigar box.

This basket is meant for holding dessert knives. It consists of a common cigar-box nine inches and two-fifths long, five inches and four-fifths wide, and two inches and one-fifth high, covered inside and out with grey American cloth, which is ornamented with embroidery worked in appliqué. The seams are made in overcast stitch. The feet consist of four pieces of strong wire three inches and two-fifths long. These pieces of wire are first covered with wool, and then with jet beads; they are then bent into loops, and fastened on at the bottom of the box by means of holes bored into it for that purpose. The feet must be [131] fastened before covering the inside of the box. The inside of the basket is ornamented with an embroidered pattern in appliqué, which must also be worked before covering the box. The leaves are made of red cloth, the stems and veinings of black bugles. No. 160 shows the pattern in full size; the flowers and leaves are edged with light grey purse silk, over which small stitches in black silk are fastened at regular intervals. Inside the box fasten a deal board covered on both sides with American cloth, so as to divide the basket into two compartments, and fasten on to this board a handle consisting of a piece of wire seven inches long, wound round with beads. The basket is ornamented with ruches of red worsted braid; between two box pleats of the ruche a black bugle is fastened.

This basket is designed to hold dessert knives. It is made from a typical cigar box that is nine inches and two-fifths long, five inches and four-fifths wide, and two inches and one-fifth high. The inside and outside are covered with grey American cloth, enhanced with embroidery done in appliqué. The seams are stitched with an overcast stitch. The feet are made from four strong wire pieces, each three inches and two-fifths long. These wires are first wrapped in wool and then decorated with jet beads. They are bent into loops and secured to the bottom of the box through holes drilled for this purpose. The feet must be [131] secured before lining the inside of the box. The inside of the basket features an embroidered appliqué pattern that should also be completed before covering the box. The leaves are crafted from red fabric, while the stems and veins are made from black bugles. No. 160 displays the full-size pattern; the flowers and leaves are bordered with light grey purse silk, with small black silk stitches sewn at regular intervals. Inside the box, secure a board that’s covered on both sides with American cloth to create two compartments, and attach a handle made from a seven-inch piece of wire wrapped in beads. The basket is decorated with ruches of red worsted braid, with a black bugle placed between two box pleats of the ruche.

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161.--Satin Stitch Embroidery.

Satin Stitch Embroidery

Materials: Purse silk of two colours, in 4 shades of green and 4 shades of red or magenta for the flowers, gold twist.

Materials: Two colors of purse silk, featuring 4 shades of green and 4 shades of red or magenta for the flowers, along with gold twist.

This branch is embroidered with purse silk of the natural colours of the flowers and leaves, or in different shades of one colour, on silk canvas. Fuchsia blossoms are here designed, and should be worked in raised embroidery; the stamens to be worked in gold twist.

This branch is decorated with purse silk in the natural colors of the flowers and leaves, or in various shades of a single color, on silk canvas. Fuchsia flowers are designed here and should be done in raised embroidery; the stamens should be done in gold twist.

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162.--Acacia Spray in Raised Satin Stitch Embroidery.

Materials: Four shades of green purse silk for the leaves; 1 skein of brown silk; 3 shades of white or gold silk for the flowers.

Materials: Four shades of green silk for the leaves; 1 skein of brown silk; 3 shades of white or gold silk for the flowers.

This spray of acacia is worked in raised satin stitch embroidery; the flowers should be carefully shaded, and the veinings should be worked before the leaves are embroidered. The flowers may be worked gold colour, or imitate the white acacia blossom.

This acacia spray is done in raised satin stitch embroidery; the flowers should be carefully shaded, and the veins should be done before the leaves are embroidered. The flowers can be worked in gold or mimic the white acacia blossom.

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163 and 164.--Tobacco Pouch.

Tobacco Pouch

Materials: Fine crimson cloth; bits of coloured and white cloth for the pattern; purse silk of various colours; white kid; brass rings; gimp cord; and silk tassels.

Materials: Fine red fabric; pieces of colored and white fabric for the design; purse silk in various colors; white leather; brass rings; gimp cord; and silk tassels.

This pouch is cut in four pieces, two of which are given in full size; the two others must be worked after the same patterns. These patterns represent the attributes of a lover of tobacco; they are cut out of cloth and worked in appliqué over crimson cloth.

This pouch is made up of four pieces, two of which are provided in full size; the other two need to be made using the same patterns. These patterns symbolize the characteristics of a tobacco lover; they are cut from fabric and sewn in appliqué onto crimson cloth.

In No. 163 the outer chain stitch border is green. The knot from which the different articles are suspended is black, the cigar-case yellow in cloth appliqué, the cigars brown in satin stitch. The case is crossed by two rows of chain stitch in blue silk, and edged all round with button-hole stitch, also blue. The two pipes are of white cloth, edged round with yellow silk; the shade is imitated by long stitches of grey silk. The upper part of the pouch is of blue cloth, with a white silk edging and yellow dots; the under part of brown cloth with a black edging and a pattern worked in chain stitch with white; the three tassels are embroidered with black and yellow silk.

In No. 163, the outer chain stitch border is green. The knot from which the different items hang is black, the cigar case is yellow in cloth appliqué, and the cigars are brown in satin stitch. The case has two rows of chain stitch in blue silk running across it and is edged all around with button-hole stitch, also in blue. The two pipes are made of white cloth, bordered with yellow silk; the shading is created with long stitches of grey silk. The top part of the pouch is made of blue cloth, with a white silk border and yellow dots; the bottom part is brown cloth with a black border and a pattern worked in chain stitch with white; the three tassels are embroidered with black and yellow silk.

In No. 164 the outer border is yellow, the knots black, the small pattern at the top is of blue cloth edged with yellow; the pipes of white cloth edged with blue and shaded with grey. The bundle of cigars is of brown cloth, shaded with black silk stitches, and fastened on with double rows of chain stitch in yellow silk. The cigar-case is of light green cloth, edged with white; the Grecian pattern and dots are embroidered over it with white silk also.

In No. 164, the outer border is yellow, the knots are black, and the small pattern at the top is made of blue fabric with a yellow edge; the pipes are white fabric with a blue edge and shaded with gray. The bundle of cigars is brown fabric, shaded with black silk stitches, and secured with double rows of chain stitch in yellow silk. The cigar case is light green fabric with a white edge; the Grecian pattern and dots are embroidered on it with white silk as well.

To make up the pouch, cut out the four pieces and join them together by seams, which are hidden under yellow [137] soutache; cut out also and join in the same way four pieces of white kid for the lining, and fasten it on to the crimson cloth at the top only. Sew small brass rings round the top, and pass a double piece of crimson silk cord through them. Add silk tassels of various colours at the bottom of the pouch, and at each of its four corners.

To create the pouch, cut out the four pieces and stitch them together with seams that are concealed under yellow [137] soutache. Also, cut out and join four pieces of white kid for the lining in the same manner, and attach it to the crimson cloth only at the top. Sew small brass rings around the top, and thread a double piece of crimson silk cord through them. Finally, attach silk tassels in various colors at the bottom of the pouch and at each of its four corners.

165.--Insertion

Materials: Linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

Materials: Linen; Walter Evans and Co.'s embroidery cotton No. 16.

This strong and simple insertion is useful for petticoat trimmings. It is worked in button-hole stitch; the stems in overcast stitch; the circles can be filled up with lace stitches or with wheels, or the pattern may be worked upon Brussels net and the linen cut away.

This sturdy and straightforward addition is great for petticoat trimmings. It’s done in buttonhole stitch, with the stems in overcast stitch. The circles can be filled with lace stitches or wheels, or the design can be created on Brussels net, with the linen cut away.

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166.--Embroidery Pattern for Ornamenting Needlebooks, Workbaskets, &c.

166.--

Materials: Coloured purse silk; silk or cashmere; glacé silk; gold beads.

Materials: Colored purse silk; silk or cashmere; glazed silk; gold beads.

This pattern is worked in French embroidery and point Russe, with coloured purse silk on silk or cashmere. The thimble, cotton, and ribbon are worked in appliqué with glacé silk. The colours are chosen according to personal taste. The thimble is ornamented with small gold beads. A bead is placed in the centre of each pair of scissors to imitate the screw.

This design is created using French embroidery and Russian stitch, with colorful purse silk on silk or cashmere. The thimble, cotton, and ribbon are applied using glazed silk. The colors are selected based on personal preference. The thimble is decorated with small gold beads. A bead is placed in the center of each pair of scissors to mimic the screw.

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167.--Embroidery Pattern for Ornamenting Needlebooks, &c.

167.--

Materials: Coloured purse silk; silk or cashmere; beads.

Materials: Colored purse silk; silk or cashmere; beads.

The shuttlecocks are worked in raised satin stitch; the feathers in point Russe; the battledores in very thickly raised double overcast; the interior is filled with a netting worked in chain stitch or dotted stitch; the flowers are worked in satin stitch and beads; the ribbon is embroidered in appliqué, with a contrasting shade of silk ribbon.

The shuttlecocks are crafted with raised satin stitch; the feathers are done in point Russe; the battledores are made with a thick raised double overcast; the inside is filled with a netting made in chain stitch or dotted stitch; the flowers are created using satin stitch and beads; and the ribbon is embroidered in appliqué with a contrasting shade of silk ribbon.

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168 and 169.--Travelling Bag

168 and 169.--Travel Bag

Materials: 20 inches of Java canvas; single Berlin wool of 2 shades of a pretty green; 2 shades of bronze colour and white; floss silk--white, brown, and 2 shades of yellow; purse silk--black, yellow, cerise, blue, and grey; steel beads; brown silk fancy braid.

Materials: 20 inches of Java canvas; single Berlin wool in 2 shades of a nice green; 2 shades of bronze and white; floss silk in white, brown, and 2 shades of yellow; purse silk in black, yellow, cerise, blue, and grey; steel beads; brown silk fancy braid.

This pattern is of the ordinary shape of travelling-bags, but it is very prettily worked. Besides the engraving showing the bag when completed, the bouquet in the centre in full size is given. This bouquet is also worked upon the Java canvas. For each petal the white wool is passed several times from one stitch of the canvas to another till the required thickness is obtained, then 1 stitch is worked at the point with white silk. The centres are filled up in point d'or with 2 shades of yellow silk. [141]The buds are made like the petals, but with 3 stitches of white silk at the point instead of 1. The leaves are worked in 2 shades of green wool with 1 stitch of brown silk in the centre; the stems are embroidered in overcast with light brown wool. The scroll-pattern border round the bouquet is made with brown fancy braid put on with steel beads.

This pattern resembles the typical shape of travel bags, but it's beautifully designed. In addition to the engraving of the finished bag, the bouquet in the center is shown in full size. This bouquet is also embroidered on the Java canvas. For each petal, white wool is threaded several times from one stitch on the canvas to another until the desired thickness is achieved, then one stitch is made at the tip with white silk. The centers are filled in point d'or with two shades of yellow silk. [141]The buds are created like the petals but feature three stitches of white silk at the tip instead of one. The leaves are worked in two shades of green wool with one stitch of brown silk in the center; the stems are embroidered with light brown wool using an overcast stitch. The scroll-pattern border around the bouquet is made with brown decorative braid attached with steel beads.

[142]

The remaining space outside this border is worked in coloured purse silk. The 1st outline of the squares is worked in black silk, by inserting the needle in and out of the stitches of the canvas. When you have worked all the square thus, 12 stitches one from the other, work on either side, at one stitch's distance, the outlines of yellow silk, which are worked in back stitch, two strips of the Java canvas being covered by each stitch. Next to the inner yellow outline comes a border worked over two strips of the canvas, in slanting stitches; this border is alternately blue in one square and grey in the other. A star is embroidered in point Russe in the centre of each square; it is grey in the blue squares and blue in the grey; a steel bead is placed in the middle of each star. The small crosses between the squares are worked in cerise. The outer border of the work is composed of a piece of black soutache, edged with a tiny trefoil pattern in cerise silk. The front and back pieces of the bag are worked in the same manner. The side pieces are made of plain Java canvas. The embroidered part measures 14 inches in its widest part, and is 11 inches deep. The bag is lined with [143] light brown silk, and made up with a steel clasp.

The space outside this border is filled with colored purse silk. The first outline of the squares is done in black silk, using the needle to go in and out of the canvas stitches. Once you’ve completed all the squares like this, with 12 stitches apart, work on either side, one stitch apart, adding yellow silk outlines using back stitch, covering two strips of the Java canvas with each stitch. Next to the inner yellow outline, add a border over two strips of canvas in slanting stitches; this border alternates between blue in one square and grey in the other. A star is embroidered in point Russe at the center of each square; it is grey in the blue squares and blue in the grey ones, with a steel bead placed in the middle of each star. The small crosses between the squares are done in cerise. The outer border of the work is made of black soutache, edged with a tiny trefoil pattern in cerise silk. The front and back pieces of the bag are created in the same way. The side pieces are made of plain Java canvas. The embroidered part measures 14 inches at its widest and is 11 inches deep. The bag is lined with [143] light brown silk and finished with a steel clasp.

170.--Embroidery Trimming for Muslin Bodices.

170.--Embroidery Trimming for Muslin Tops.

Materials: Fine muslin; fine black silk; Messrs. Walter Evans and Co.'s embroidery cotton No. 24.

Materials: Fine muslin; fine black silk; Walter Evans and Co.'s embroidery cotton No. 24.

This pattern is very easily worked, and looks very nice for a trimming. It is worked on fine white muslin; the border is worked in button-hole stitch with white cotton; these scallops are covered with loose [144] button-hole stitch in black silk. The feather-like branches are worked likewise in black silk in herringbone stitch. The white spots are worked in raised embroidery. The large oval openings through which a narrow ribbon velvet is drawn are worked round with button-hole stitches:

This pattern is really easy to make and looks great as a trim. It’s done on fine white muslin; the border is stitched with white cotton in a buttonhole stitch, and the scallops are topped with loose [144] buttonhole stitches in black silk. The feather-like branches are also made in black silk using herringbone stitch. The white spots are done in raised embroidery. The large oval openings where a narrow velvet ribbon is threaded are finished off with buttonhole stitches:

171, 172, and 173--Toilet Cushion Cover in White Embroidery.

This handsome embroidery pattern is to be worked on fine muslin; if lined with coloured silk or satin it is very effective. The patterns, which are covered white dots on illustration, are worked in point d'or; the outlines of these patterns are worked in fine double overcast. The flower-leaves and wings of birds, which appear raised on illustration on account of the dark shadows, are worked separately and sewn on at the corresponding places. No. 172 shows the wing of a bird, No. 173 a rose-leaf somewhat increased in size; the former is worked entirely in button-hole stitch, or trimmed with a ruche of coloured ribbon. This pattern may also be worked on glacé silk with purse silk.

This beautiful embroidery pattern should be done on fine muslin; it's very effective when lined with colored silk or satin. The patterns, which are represented by white dots in the illustration, are stitched in point d'or; the outlines of these patterns are done in fine double overcast. The flower petals and bird wings, which look raised in the illustration due to the dark shadows, are stitched separately and attached in the appropriate spots. No. 172 shows the wing of a bird, while No. 173 displays a rose petal that’s slightly larger; the former is completely done in button-hole stitch, or accented with a ruffle of colored ribbon. This pattern can also be stitched on glazed silk using purse silk.

[145]

Wing of Bird,Rose Leaf,Toilet Cushion Cover in White Embroidery.

[146]

174 and 175.--Glove Box.

174 and 175.--Glove Box.

Materials: 15 inches of French blue cashmere; silks of various colours. A shape in bamboo cane, painted brown and varnished.

Materials: 15 inches of French blue cashmere; silks in various colors. A shape made from bamboo cane, painted brown and varnished.

[147]

The ornamentation of this box is both novel and tasteful. It is embroidered in coloured silks, upon light blue cashmere. Part of the embroidery pattern is given in full size. All the outlines are worked in overcast, the stitches being made rather long and slanting, and the small leaves are each composed of one stitch, as in point Russe. The leaves are alternately red and yellow upon a green stem; the scalloped outline which has no leaves is red. The pine patterns are worked in satin stitch--the centre one is green, edged with red; the side ones are pink, edged with red; the small wing-like figures are black, edged with maize; the diamond, maize, edged with black, with an outer rim of maize. In the round pattern the centre is pink; the edge red, with red and yellow leaves; the 3 outer circles are successively white, green, and [148] red; at the top the centre branch is yellow, the leaves red and yellow, the side ones are green, with the leaves pink and green.

The decoration on this box is both unique and stylish. It's embroidered with colorful silks on light blue cashmere. A part of the embroidery design is shown in full size. All the outlines are stitched in overcast, with the stitches being a bit long and slanted, and each small leaf is made with one stitch, similar to point Russe. The leaves alternate between red and yellow on a green stem; the scalloped outline without leaves is red. The pine designs are done in satin stitch—the center one is green with a red edge; the side ones are pink with a red edge; the small wing-like shapes are black with a maize edge; the diamond is maize with a black edge, surrounded by an outer rim of maize. In the round pattern, the center is pink; the edge is red, adorned with red and yellow leaves; the three outer circles are white, green, and [148] red in that order; at the top, the center branch is yellow, with red and yellow leaves, and the side branches are green, with pink and green leaves.

The strip of embroidered cashmere is lined with blue silk, slipped through the bamboo-canes of the mounting, and joined together at the side by a seam. The cover is lined with plain blue cashmere, upon which initials might be embroidered at discretion. The four corners are ornamented with pretty silk tassels, of colours to match with the embroidery. To fasten the box, sew on a blue ribbon to the cover, and one to the box.

The strip of embroidered cashmere is lined with blue silk, threaded through the bamboo supports of the frame, and stitched together at the side. The cover is lined with plain blue cashmere, where initials can be embroidered as desired. The four corners are decorated with cute silk tassels in colors that match the embroidery. To secure the box, attach a blue ribbon to the cover and another one to the box.

176 and 177.--Hanging Letter Case.

176 and 177.--Hanging Letter Box.

Materials: Crimson velvet; white satin beads; gold soutache; and fine gold bouillon.

Materials: Crimson velvet, white satin beads, gold soutache, and fine gold bouillon.

No. 176 shows the letter case when completed in a reduced size, No. 177 the principal part of the embroidered pattern in full size.

No. 176 shows the letter case when finished in a smaller size, No. 177 shows the main part of the embroidered design in full size.

The letter case is composed of two parts. The larger part is 11 inches long, 8 inches wide; it is ornamented on the upper part with a pattern in gold soutache, and the word LETTERS or LETTRES embroidered in gold bouillon; underneath there is a pattern embroidered in oval white satin beads, edged round with fine white chenille; the scroll pattern is embroidered in gold bouillon.

The letter case has two sections. The main section is 11 inches long and 8 inches wide; the top features a gold soutache design and the words LETTERS or LETTRES stitched in gold bouillon. Below that, there's a design made of oval white satin beads, bordered with fine white chenille; the scroll pattern is also embroidered in gold bouillon.

The second part is placed over the lower part of the first, and forms the pocket which contains the letters. The centre flower is composed of 11 oval beads, edged round with white chenille; another white bead is placed in the centre, and edged with gold bouillon. The other flowers are also composed of white satin beads, edged with gold bouillon.

The second part is positioned over the lower part of the first, creating the pocket that holds the letters. The center flower is made up of 11 oval beads, bordered with white chenille; another white bead sits in the center, trimmed with gold bouillon. The other flowers are similarly made of white satin beads, edged with gold bouillon.

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[150]

[151]

178.--Embroidered Edging.

178.--Embroidered Trim.

Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 24

Materials: Muslin; embroidery cotton No. 24 from Walter Evans and Co.

This edging is worked in broderie Anglaise or overcast stitch; the edge in scallop button-hole stitch; the ovals and dots in raised satin [152] stitch. The stems are worked in slanting overcast stitch (No. 122, Embroidery Instructions).

This edging is made using broderie Anglaise or overcast stitch; the edge is in scallop buttonhole stitch; the ovals and dots are in raised satin [152] stitch. The stems are done in slanting overcast stitch (No. 122, Embroidery Instructions).

179.--Border in Oriental Embroidery.

179.--Border in Eastern Embroidery.

Materials: Purse silk of the following shades:--dark red, bright red, 2 shades of green, 2 of blue, 2 of yellow violet.

Materials: Purse silk in the following colors: dark red, bright red, 2 shades of green, 2 shades of blue, and 2 shades of yellow violet.

The four ovals placed together are worked of four contrasting colours. These ovals are composed of two rows of chain stitch. The outer row of the first oval is dark red, and the inner one bright red. Following the same arrangement, the second oval is of two shades of green; the third of two shades of blue; and the fourth of two shades of yellow. The knotted stitch in the centre is violet. The dots outside the ovals are worked in satin stitch, and are alternately red, yellow, violet, and blue. The stems are long stitches of black silk. The arabesque patterns between those formed of four ovals are worked in chain stitch with silk [153] of two shades of brown. The colours of the ovals may be varied as much as you please, but the brown shades of the arabesque patterns should remain the same for the whole of the border.

The four ovals placed together are made up of four contrasting colors. These ovals consist of two rows of chain stitch. The outer row of the first oval is dark red, and the inner one is bright red. Following the same pattern, the second oval features two shades of green; the third has two shades of blue; and the fourth contains two shades of yellow. The knotted stitch in the center is violet. The dots outside the ovals are done in satin stitch, alternating between red, yellow, violet, and blue. The stems are long stitches made of black silk. The arabesque patterns in between the four ovals are worked in chain stitch with silk [153] in two shades of brown. The colors of the ovals can be changed however you like, but the brown shades of the arabesque patterns should stay the same for the entire border.

180 and 181.--Embroidery Stars.

180 and 181.--Embroidery Stars.

Materials: Fine linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.

Materials: High-quality linen; Walter Evans and Co.'s embroidery cotton No. 40.

These stars are designed for medallions, to be worked on linen collars and cuffs. No. 180 is worked in successive rows of back-stitching, round an open wheel; ladder stitch (see No. 81, Embroidery Instructions) is worked round this, and a raised scallop in button-hole stitch forms the edge.

These stars are made for medallions, to be applied on linen collars and cuffs. No. 180 is made in consecutive rows of back-stitching around an open wheel; ladder stitch (see No. 81, Embroidery Instructions) is done around this, and a raised scallop in button-hole stitch creates the edge.

No. 181 is worked in raised satin stitch; the interior of the star is filled with lace wheels.

No. 181 is done in raised satin stitch; the inside of the star is filled with lace wheels.

182 and 183.--Key Bag.

182 and 183.--Key Bag.

Materials: Grey kid; grey silk; steel-coloured glacé silk; purse silk of 5 shades of blue-green, 4 shades of brown, and silver-grey, scarlet, and white; grey silk cord; grey glacé silk ribbon.

Materials: Grey kid leather; grey silk; steel-colored glacé silk; purse silk in 5 shades of blue-green, 4 shades of brown, silver-grey, scarlet, and white; grey silk cord; grey glacé silk ribbon.

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[155]

This bag is made of grey kid, and lined with grey silk. The embroidery imitates on one side a key formed of poppies, leaves, and stems, in the upper part of which sits an owl, "the bird of night." [156] The poppies are worked with blue-green purse silk in 5 shades; the plumage of the owl is worked with brown silk of 4 shades in satin stitch, the colours blending one into the other, as can be clearly seen in illustration No. 182. The eyes of the owl are embroidered in scarlet and white silk. Illustration No. 183 shows the other side of the bag, which is ornamented with steel-coloured silk appliqué figures, in the form of a Gothic lock. They are edged with fine grey silk cord. The screws of the lock are imitated in satin stitch embroidery with silver-grey silk. After having lined each part, join the two halves of the bag with a border of grey glacé silk ribbon, which must, of course, continue round the revers. The bag is fastened by means of a loop and steel button.

This bag is made of grey kid leather and lined with grey silk. On one side, the embroidery features a design of a key made of poppies, leaves, and stems, with an owl, “the bird of night,” perched at the top. [156] The poppies are embroidered using blue-green purse silk in five shades; the owl’s feathers are created with brown silk in four shades using satin stitch, with the colors blending seamlessly, as shown in illustration No. 182. The owl's eyes are stitched in scarlet and white silk. Illustration No. 183 displays the other side of the bag, decorated with steel-colored silk appliqué figures resembling a Gothic lock. These figures are outlined with fine grey silk cord. The screws of the lock are represented in satin stitch embroidery with silver-grey silk. After lining each section, join the two halves of the bag with a trim of grey glacé silk ribbon, which should wrap around the edges. The bag closes with a loop and a steel button.

184 and 185--- Embroidery Patterns for Trimming Cravats, Bodices, Morning Caps, &c.

184 and 185--- Embroidery Patterns for Trimming Cravats, Bodices, Morning Caps, etc.

Materials: Muslin or cambric; Messrs. Walter Evans and Co.'s No. 24 for lingerie, No. 12 for couvrettes.

Materials: Muslin or cambric; Walter Evans and Co.'s No. 24 for lingerie, No. 12 for coverlets.

[157]

These patterns, worked on muslin or cambric, are suitable for trimming various articles of lingerie; joined on to other squares they make pretty covers. They can also be embroidered with coloured silk, wool, or thread, on cloth, rep, or cashmere, for trimming couvrettes and toilet pincushions. The patterns should be embroidered in satin stitch and edged with chain stitch; they can also be worked in button-hole stitch. When the pattern is worked on woollen material this material must be cut away inside the leaves and spots.

These patterns, created on muslin or cambric, are great for embellishing different pieces of lingerie; when combined with other squares, they can make lovely covers. They can also be embroidered with colorful silk, wool, or thread on cloth, rep, or cashmere for decorating couvrettes and dressing table pincushions. The patterns should be embroidered in satin stitch and bordered with chain stitch; they can also be done in buttonhole stitch. If the pattern is done on woolen material, the fabric must be cut away from inside the leaves and spots.

186 and 187.--Pen-Wiper in Cloth Appliqué.

186 and 187.--Cloth Appliqué Pen Wiper.

Materials: 4 circles of black cloth; 1 large white, 4 small white, and 4 red circles of cloth; 4 white and 4 red stars of cloth; small black beads; gold and black purse silk; small ivory handle or figure.

Materials: 4 circles of black fabric; 1 large white circle, 4 small white circles, and 4 red circles of fabric; 4 white stars and 4 red stars of fabric; small black beads; gold and black silk for the purse; small ivory handle or figure.

This pretty little pen-wiper is covered with small circles of cloth. No. 187 is one of these circles seen in full size. There are 4 white and 4 red ones, and they are pinked out round the edge. In the centre of each red circle place a white, and in the centre of each white circle a red [158] star, and work a cross over it with small round black beads. The border, in herring-bone stitch, is worked with gold-coloured purse silk on the red, and with black on the white cloth. The centre of the pen-wiper is covered with a circle of white cloth larger than the side ones, worked in point Russe and point Mexico in black silk. When all the circles are prepared, sew them neatly on to a round piece of red cloth, placing alternately 1 white and 1 red, so as to overlap one another, and between each a circle of black cloth, also pinked out round the edge. The work is then fastened upon a round of cardboard lined with black [159] glazed calico, and a small handle of carved ivory, or an ivory figure, is fixed in the centre. The circles of black cloth are used to wipe the pens.

This cute little pen-wiper is covered with small fabric circles. No. 187 is one of those circles shown in full size. There are 4 white and 4 red circles, all trimmed around the edges. In the center of each red circle, place a white star, and in the center of each white circle, place a red star, then stitch a cross over it with small round black beads. The border is done in a herringbone stitch using gold-colored purse silk on the red fabric and black silk on the white fabric. The center of the pen-wiper is covered with a larger circle of white fabric, stitched in point Russe and point Mexico using black silk. Once all the circles are prepared, sew them neatly onto a round piece of red fabric, alternating 1 white and 1 red to overlap each other, and place a circle of black fabric between each, also trimmed around the edges. The work is then attached to a round piece of cardboard lined with black glazed calico, and a small handle made from carved ivory, or an ivory figure, is fixed in the center. The black fabric circles are used to wipe the pens.

188.--Insertion.

Materials: Fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 30.

Materials: Fine muslin; Walter Evans and Co.'s embroidery cotton No. 30.

The flowers of this insertion are embroidered in raised satin stitch round an open eyelet hole, worked in overcast stitch the stars are worked in point Russe stitch; the four eyelet holes which surround each flower, in overcast stitch; and the edge is finished with a row of hem-stitching on each side.

The flowers in this section are embroidered in raised satin stitch around an open eyelet hole, done in overcast stitch. The stars are created in point Russe stitch; the four eyelet holes surrounding each flower are done in overcast stitch, and the edge is finished with a row of hem-stitching on each side.

189.--Insertion.

Materials: Fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton No. 24.

Materials: Fine muslin; Walter Evans and Co.'s embroidery cotton No. 24.

This insertion is entirely embroidered in raised satin stitch; the dots and stems should be worked first, and the leaves afterwards. It is edged on both sides with a row of hem-stitching.

This design is completely stitched in raised satin stitch; start with the dots and stems, then work on the leaves. It has a row of hem-stitching along both edges.

[160]

190.--Cigar Case.

Cigar Case

Materials: Russia leather; fine silk cord; black purse silk; gold thread.

Materials: Russian leather; fine silk cord; black silk for the purse; gold thread.

The material of this cigar case should be finely-embossed light brown Russia leather; the centre pattern to be embroidered in well-raised satin stitch with black purse silk. All the lighter outlines shown in the illustration are worked in gold thread. The border to be worked in fine silk cord of the same colour as the leather, with a network of black purse silk, stitched with gold at all the crossings. On the opposite side of the cigar case initials may be worked. The lining of light brown watered silk, or fine leather, and the mountings gilt or steel.

The material for this cigar case should be high-quality, embossed light brown Russian leather; the center design should be embroidered with raised satin stitch using black purse silk. All the lighter outlines in the illustration are done in gold thread. The border should be stitched with fine silk cord that matches the leather color, featuring a pattern of black purse silk, with gold stitching at all the intersections. Initials can be embroidered on the opposite side of the cigar case. The lining should be light brown watered silk or fine leather, and the fittings should be either gold or steel.

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[162]

191.--Wicker Waste Paper Basket.

Wicker Trash Bin

Materials: Basket and stand; coloured Berlin wools; cloth fringe; and glazed calico.

Materials: Basket and stand; colored Berlin wool; cloth fringe; and glazed cotton.

The basket may be of any size, but of the shape of the pattern. It rests upon two brass hooks fastened upon a stand. This stand can be made by any joiner, and should match the furniture of the room. The trimming consists of an embroidered border, lined with glazed calico, and put on round the edge; the lower part of the border is trimmed with a woollen [163] fringe. The shades selected should correspond with the prevailing colour of the room.

The basket can be any size, but it should follow the shape of the design. It sits on two brass hooks attached to a stand. This stand can be made by any carpenter and should match the room's furniture. The trimming includes an embroidered border, lined with shiny fabric, and is applied around the edge; the bottom part of the border is decorated with a woolen [163] fringe. The chosen shades should match the room's main color.

192.--Insertion.

192.--Addition.

Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 16.

Materials: Walter Evans and Co.'s embroidery cotton No. 16.

The edge of this insertion is worked in raised button-hole [164] stitch, and embroidered in sharply-pointed scallops; the dotted line is worked in raised satin stitch, as are also the flowers which compose the centre wreath; the eyelet holes are worked in overcast stitch.

The edge of this insertion is finished with raised button-hole [164] stitch and embroidered with sharply-pointed scallops; the dotted line is done in raised satin stitch, as are the flowers that make up the center wreath; the eyelet holes are stitched in overcast stitch.

193 and 194.--Embroidered Linen Collars.

193 and 194.--Embroidered Linen Collars.

Materials: Double linen; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.

Materials: Double linen; Walter Evans and Co.'s embroidery cotton No. 40.

These patterns are to be worked on linen taken double. [165] No. 194 is worked in button-hole, satin, and knotted stitch (see Nos. 81, 82, 76, and 73 of Embroidery Instructions), and point d'or with white cotton, and point Russe with black silk. No. 193 is worked entirely with white cotton in button-hole, satin, knotted ladder, and overcast stitch. (See Nos. 82, 76, 73, 81, and 68 of Embroidery Instructions.)

These patterns should be done on double linen. [165] No. 194 uses buttonhole, satin, and knotted stitch (see Nos. 81, 82, 76, and 73 of Embroidery Instructions), along with point d'or in white cotton and point Russe in black silk. No. 193 is done entirely with white cotton using buttonhole, satin, knotted ladder, and overcast stitch. (See Nos. 82, 76, 73, 81, and 68 of Embroidery Instructions.)

[166]

195 and 196.--What-not.

195 and 196.--Miscellaneous.

Materials: Fine canvas; 3 shades of violet floss silk; 4 shades of green floss silk; sea-green wool, or floss silk; 1 skein of yellow floss silk; green chenille; cord and tassels.

Materials: High-quality canvas; 3 shades of violet embroidery silk; 4 shades of green embroidery silk; sea-green wool or embroidery silk; 1 skein of yellow embroidery silk; green chenille; cord and tassels.

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This small what-not or jewel-stand is very elegant. It is meant to place upon the toilet-table. No. 195 shows the hammock when completed, No. 196 one-half of the embroidery pattern in full size; it is worked upon fine [168] canvas. The violets are in floss silk of three shades of violet, with a raised spot worked in yellow silk in the centre, the leaves are worked in Berlin wool of various shades of green, and the stems in overcast of a light green shade. The pattern is grounded in tent stitch with sea-green silk. The hammock is composed of two sides and an under-piece cut out in cardboard, covered with the embroidered canvas outside, lined and quilted with plain green silk inside. It is edged round the top with green chenille. The mounting is composed of bamboo-canes; the hammock is fastened on to it with green silk cord, finished off with tassels.

This small display or jewelry stand is very elegant. It's designed to be placed on the vanity table. No. 195 shows the hammock when it's finished, and No. 196 displays half of the embroidery pattern in full size; it's worked on fine [168] canvas. The violets are in embroidery floss of three shades of violet, with a raised spot in the center done in yellow silk. The leaves are embroidered in various shades of green Berlin wool, and the stems are done in overcast of a light green shade. The pattern is filled in with tent stitch using sea-green silk. The hammock consists of two sides and a base made from cardboard, covered with the embroidered canvas on the outside and lined and quilted with plain green silk on the inside. It's finished around the top with green chenille. The frame is made of bamboo canes, and the hammock is attached to it with green silk cord, ending in tassels.

197.--Embroidered Handkerchief.

Materials: Grass lawn or French cambric; Messrs. Walter Evans and Co.'s embroidery cotton No. 40.

Materials: Grass lawn or French cambric; Walter Evans and Co.'s embroidery thread No. 40.

This embroidery pattern is worked between the borders of a handkerchief, which may be either of French cambric or grass lawn. The design is simple, but effective, and very easy to work. If worked on fine French cambric, the handkerchief should be lightly tacked upon toile cirée. The rows of raised dots should be worked first, and then the graceful branches of pointed leaves in satin stitch. The plain round dots might be worked in bright red marking cotton in either of the patterns. To produce a good effect, rather fine cotton must be selected, and No. 40 will be found very effective on either lawn or cambric. For mourning wear, this pattern should be embroidered with black filoselle, or the leaves can be worked in white cotton, and the dots in filoselle.

This embroidery pattern is created between the edges of a handkerchief, which can be either French cambric or grass lawn. The design is simple but effective and very easy to do. If you're using fine French cambric, lightly tack the handkerchief onto toile cirée. Start by working the rows of raised dots, and then add the elegant branches of pointed leaves using satin stitch. The plain round dots can be done in bright red marking cotton in either pattern. For the best results, choose a finer cotton; No. 40 works very well on both lawn and cambric. For mourning wear, this pattern should be embroidered with black filoselle, or you can work the leaves in white cotton and the dots in filoselle.

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198 and 199.--Two Medallions for a Purse in Embroidery.

Materials: Light brown russia leather; black, scarlet, and gold silk; steel or gold clasp.

Materials: Light brown Russian leather; black, red, and gold silk; steel or gold clasp.

These medallions are intended to ornament a small purse, but may be employed on a variety of articles.

These medallions are meant to decorate a small purse, but they can also be used on various items.

The raised spots of No. 198 should be worked in black silk, in satin [171] stitch, the branched sprays in point Russe in scarlet and gold, the four largest being in scarlet and the intermediate sprays in gold silk. Medallion No. 199 is worked entirely in point Russe, and may be embroidered in one colour, or in alternate branches of scarlet and gold, or scarlet and black.

The raised areas of No. 198 should be done in black silk with satin [171] stitch, while the branched sprays should be in point Russe using scarlet and gold, with the four largest ones in scarlet and the middle sprays in gold silk. Medallion No. 199 is completely done in point Russe and can be embroidered in a single color, or in alternating branches of scarlet and gold, or scarlet and black.

200.--Work-Bag.

200.--Work Bag.

Materials: Drab cloth; small pieces of cloth of different colours; embroidery silk of different colours; scarlet satin; red silk braid; red cord; cardboard; cotton wool; and a strap of light-coloured leather.

Materials: dull fabric; small patches of fabric in various colors; embroidery thread in different shades; bright red satin; red silk ribbon; red cord; cardboard; cotton wool; and a strip of light-colored leather.

This work-bag is made in the shape of a rolled-up plaid. The outside consists of drab cloth, trimmed with appliqué embroidery. The inside of the bag is slightly wadded and lined with red satin, which is quilted in diamonds. The seams are covered with red braid, and a leather strap completes the whole. Cut out a good pattern in paper, and then cut the [172] satin and wadding and the drab cloth which forms the outside. After having traced the pattern on the cloth, work it with small pieces of coloured cloth in appliqué embroidery. The different figures are sewn over the centre partly in point Russe, partly in button-hole stitches, with embroidery silk. The stems in the middle are worked with silk in chain stitches. The colours may be chosen according to taste. Cut a pattern in cardboard, and fasten the drab cloth on it. The edge must be bordered with red satin, and the satin lining must be sewed in. The ends of the bag are likewise cut out of cardboard; the inside is wadded and lined with red satin; the outside worked in appliqué embroidery like the rest of the bag. All the seams are covered with red silk cord. The straps are fastened with a few stitches, as seen in the illustration.

This work bag is designed to look like a rolled-up plaid. The outside is made of plain fabric, trimmed with appliqué embroidery. The interior is slightly padded and lined with red satin that has a diamond quilted pattern. The seams are covered with red braid, and a leather strap finishes the look. First, cut out a good pattern from paper, then cut the red satin, padding, and the plain fabric for the exterior. After tracing the pattern onto the fabric, decorate it with small pieces of colored cloth using appliqué embroidery. The various shapes are sewn onto the center using a mix of point Russe and button-hole stitches with embroidery silk. The stems in the center are worked in chain stitches with silk. Choose colors based on your preference. Cut a pattern from cardboard and attach the plain fabric to it. The edge should be bordered with red satin, and the satin lining should be sewn in. The ends of the bag are also cut from cardboard; the interior is padded and lined with red satin, with the exterior embroidered in appliqué like the rest of the bag. All seams are covered with red silk cord. The straps are secured with a few stitches, as shown in the illustration.

201 to 203.--Pattern for Braces.

201 to 203.--Pattern for Braces.

Materials: Java canvas; black silk; red wool; calico.

These braces are made of Java canvas lined with calico ornamented with embroidery in black silk and red wool, and edged on either side with [173] loose button-hole stitch and crochet vandykes in red wool. Illustration 201 shows part of the embroidered braces, full size. Work first the embroidery of the braces, then line them with calico; work loose button-hole stitch and crochet vandykes on all the edges of the cross bands as well as at the top and bottom of these strips, and sew on the tabs for the braces between the lining and the canvas. The latter are then edged with button-hole stitch and crochet-vandykes. The vandykes are worked as follow--in one row: 1 double in 1 button-hole stitch, * 1 purl (3 chain, 1 double in the 1st), missing the next button-hole stitch under it; 1 double in the following button-hole stitch, repeat from *. The tabs are made of tape worked round with red button-hole stitch, with button-holes worked with red cotton. No. 203 shows another [174] way of working these braces on fine ribbed piqué. Work any Berlin wool work pattern in the common cross stitch over the ribs of the piqué. For the vandyke border work in every other button-hole stitch, 2 double divided by 3 chain stitches.

These braces are made of Java canvas lined with calico, decorated with embroidery in black silk and red wool, and edged on both sides with [173] loose button-hole stitch and crochet vandykes in red wool. Illustration 201 shows a full-size view of part of the embroidered braces. First, do the embroidery on the braces, then line them with calico; create loose button-hole stitch and crochet vandykes on all the edges of the cross bands as well as at the top and bottom of these strips, and attach the tabs for the braces between the lining and the canvas. The edges are then finished with button-hole stitch and crochet vandykes. The vandykes are made as follows—in one row: 1 double in 1 button-hole stitch, * 1 purl (3 chain, 1 double in the 1st), skipping the next button-hole stitch below it; 1 double in the next button-hole stitch, repeat from *. The tabs are made of tape wrapped with red button-hole stitch, with button-holes worked in red cotton. No. 203 shows another [174] method of making these braces on fine ribbed piqué. Use any Berlin wool pattern in common cross stitch over the ribs of the piqué. For the vandyke border, work in every other button-hole stitch, with 2 doubles separated by 3 chain stitches.

204.--Embroidery Border for a Reading-Desk.

204.--Embroidery Border for a Desk.

Materials: White silk rep; black velvet, rep, or cloth; gold and silver brocade; gold and silver braid; silk cord and thread.

Materials: White silk rep; black velvet, rep, or fabric; gold and silver brocade; gold and silver trim; silk cord and thread.

This pattern is embroidered on white silk rep with silver and gold thread, and sewn on over a black velvet, rep, or cloth centre. The dark patterns are worked in appliqué with black velvet, the two other shades in gold and silver brocade. The embroidery is worked in satin stitch with gold and silver braid, silk and cord of the same material. The border can also be worked upon the material for the centre if it is not intended to contrast with it. The pattern can also be worked entirely in silk with satin stitch. The size of the border may, of course, be increased if desired, but the third pattern in the darkest shade must, in any case, form the centre of it.

This design is embroidered on white silk rep with silver and gold thread, and attached to a black velvet, rep, or cloth center. The dark patterns are made with black velvet appliqué, while the other two shades use gold and silver brocade. The embroidery is done in satin stitch using gold and silver braid, silk, and cord of the same material. The border can also be applied directly to the center material if it’s not meant to contrast with it. The pattern can alternatively be fully embroidered in silk with satin stitch. The border size can be increased if needed, but the third pattern in the darkest shade must always be at the center.

205.--Lappet or Sash End in Venetian Embroidery.

Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 6 and No. 12; net and muslin.

Materials: Walter Evans and Co.'s embroidery cotton No. 6 and No. 12; net and muslin.

The pattern must first be traced on muslin, which is then tacked over net. The outlines are worked in button-hole stitch, and the veinings are sewn over, using the coarse cotton for tracing; the muslin is then cut away all round the pattern.

The pattern needs to be first traced on muslin, which is then tacked onto net. The outlines are worked in buttonhole stitch, and the veinings are sewn over, using the coarse cotton for tracing; the muslin is then cut away all around the pattern.

206.--Venetian Border.

Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 12 and No. 16; net and muslin.

Materials: Walter Evans and Co.'s embroidery cotton No. 12 and No. 16; net and muslin.

This design is elegant and effective, without there being a great deal of work in it. It is useful for tuckers for evening dresses or handkerchief borders. The muslin is laid over the net, sewn neatly over, and then cut away between the pattern, leaving the net for the ground work.

This design is stylish and works well, without requiring a lot of effort. It's great for detailing evening dresses or finishing handkerchief edges. The muslin is placed over the net, sewn neatly on top, and then cut away between the pattern, leaving the net as the base.

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207.--Lace Insertion.

Lace Insertion

Materials: Fine black sewing silk; black Brussels net.

This lace insertion is first outlined in running stitch upon the net; the leaves are then darned across the net holes; the stems are worked in overcast stitch; the dots are embroidered by darning across the circle previously outlined; the lace stitches in the centre are formed by gently enlarging the net holes with a fine stiletto, and then sewn lightly round, the remaining holes being filled with lace stitches consisting of fine button-hole stitches, very evenly worked over the entire space surrounding the open holes.

This lace insertion is first traced using running stitch on the net; then, the leaves are darned across the net holes; the stems are sewn with overcast stitch; the dots are embroidered by darning across the previously outlined circle; the lace stitches in the center are created by gently enlarging the net holes with a fine stiletto and then sewn lightly around, while the remaining holes are filled with lace stitches made up of fine buttonhole stitches, evenly worked over the entire area surrounding the open holes.

To be effective the very finest black silk should be employed. This pattern may be worked in appliqué by placing muslin over net, sewing all the outlines in fine overcast stitch, and when finished, carefully cutting away the muslin.

To be effective, the best black silk should be used. This pattern can be done in appliqué by putting muslin over net, sewing all the outlines with a fine overcast stitch, and when finished, carefully cutting away the muslin.

208 and 209.--Slipper on Java Canvas.

Materials: Light brown Java canvas; green silk; green filoselle and purse silk; green silk ribbon three-fifths of an inch wide; some wadding; 2 cork soles.

Materials: Light brown Java canvas; green silk; green filoselle and purse silk; green silk ribbon ⅗ inch wide; some padding; 2 cork soles.

This slipper is very pretty, and easy to work. It is made of light [181] brown Java canvas, and embroidered in point Russe with green filoselle. It is lined with green silk, and slightly quilted. The soles are of cork. The slipper is trimmed all round with a ruche of green silk ribbon three-fifths of an inch wide, pleated in double box pleats. The heel is turned down inside. No. 209 shows the pattern of the point Russe stitch nearly full size.

This slipper is really pretty and easy to make. It's made from light brown Java canvas and embroidered in point Russe with green thread. The inside is lined with green silk and slightly quilted. The soles are made of cork. The slipper is finished all around with a ruffle of green silk ribbon that’s three-fifths of an inch wide, pleated in double box pleats. The heel is tucked in. No. 209 shows the pattern of the point Russe stitch almost full size.

Point Russe Stitch for Slipper (No. 208)

210 and 211.--Medallions in Point Russe.

210 and 211.--Medallions in Point Russe.

Materials: Coloured filoselle, cloth, velvet, cashmere, or silk.

Materials: Colored filoselle, fabric, velvet, cashmere, or silk.

These medallions can be alternated for ornamenting small covers, cushions, borders, &c. They are worked with coloured filoselle in point Russe, herring-bone stitch, coral stitch, and knotted stitch, on cloth, velvet, cashmere, or silk. The middle oval of both medallions contrasts with the colour of the ground, and must therefore be worked in appliqué on the latter with herring-bone stitch, before working the outer border. The wreath on No. 211 is worked in coral stitch; the knots, which imitate small blossoms, in knotted stitch. The choice of colours is left to the personal taste of the worker.

These medallions can be mixed and matched to decorate small covers, cushions, borders, etc. They are made using colored filoselle in point Russe, herringbone stitch, coral stitch, and knotted stitch, on fabric, velvet, cashmere, or silk. The center oval of both medallions contrasts with the background color, so it should be applied with herringbone stitch on the background before working on the outer border. The wreath in No. 211 is done in coral stitch; the knots, which look like small flowers, are created using knotted stitch. The choice of colors is left up to the worker’s personal preference.

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212.--Butterfly for Handkerchief Corner.

Materials: French lawn or cambric; fine black silk.

This butterfly is worked in the finest black silk procurable, in order more closely to imitate etching. It is worked in point Russe and scallop stitch; the dark shaded scallops are worked in button-hole scallop stitch, the stitches being taken very closely together, but not raised by the usual method of placing chain stitches beneath the button-hole stitches. The outlines and flowers are worked in point Russe, the dot in knotted stitch (see No. 73, Embroidery Instructions.)

This butterfly is made from the finest black silk available, to better imitate etching. It's done in point Russe and scallop stitch; the dark shaded scallops are created in button-hole scallop stitch, with the stitches placed very closely together but not raised by the usual method of adding chain stitches beneath the button-hole stitches. The outlines and flowers are worked in point Russe, and the dot is made in knotted stitch (see No. 73, Embroidery Instructions.)

The initials are embroidered in raised slanting overcast stitch, and should be worked with great regularity.

The initials are stitched in raised slanting overcast stitch and should be done with great consistency.

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213 to 215.--Pattern for a Couvrette in Appliqué. (see pages 576-7.)

Materials: Messrs. Walter Evans and Co.'s embroidery cotton Nos. 24 and 30; cambric muslin; Brussels net; flesh-coloured silk; sewing silk of the same shade; 1 skein of a darker shade; blue silk; brown silk; gold thread.

Materials: Walter Evans and Co. embroidery cotton Nos. 24 and 30; cambric muslin; Brussels net; flesh-colored silk; sewing silk in the same shade; 1 skein of a darker shade; blue silk; brown silk; gold thread.

This style of work is most effective for couvrettes or bed covers. It is worked in cambric muslin and silk, over Brussels net.

This style of work is most effective for bed covers. It's made with cambric muslin and silk, over Brussels net.

The arabesque patterns are worked in cambric muslin, the outlines are embroidered in overcast, and the material is cut away all round. The medallions are made of blue silk; the figures upon them are cut out of flesh-coloured silk, and are gummed first upon tissue-paper, then upon the blue silk; the figures are further fastened upon the medallions in overcast stitch with fine silk of a rather darker shade of flesh-colour. The scarfs are cut out of bright rose-coloured silk; the quiver and arrows and all the other attributes are worked in gold thread; the hair in fine brown silk. The edge of the blue silk medallions is worked round in button-hole stitch, but so as to be easily unripped when the couvrette has to be cleaned. A border in open ladder stitch is worked round them (see No. 81, Embroidery Instructions). The openings in the centre pattern are also filled in with lace stitches.

The arabesque patterns are created using cambric muslin, with the outlines embroidered in overcast stitch, and the material is cut away around the edges. The medallions are made of blue silk; the figures on them are cut from flesh-colored silk and are glued first onto tissue paper and then onto the blue silk. The figures are additionally attached to the medallions using overcast stitch with fine silk in a slightly darker flesh tone. The scarves are cut from bright rose-colored silk; the quiver and arrows along with all the other details are worked in gold thread, and the hair is made from fine brown silk. The edges of the blue silk medallions are finished in button-hole stitch, designed to be easily unripped when the item needs cleaning. A border in open ladder stitch is worked around them (see No. 81, Embroidery Instructions). The openings in the central pattern are also filled with lace stitches.

CROCHET

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CROCHET INSTRUCTIONS

A Crochet-Needle

Cotton or thread, wool or silk, with a crochet-needle, are the materials required for working crochet. The needle, whether it be steel or bone, must be smoothly polished. The long wooden and bone crochet-needles are used for wool; for cotton and silk work short steel needles screwed into a bone handle are best. The beauty of the crochet-work depends upon the regularity of the stitches, as is the case with every other style of needlework. The stitches must be elastic, but if too loose they look as bad as if too tight. The size of the needle and that of the cotton or wool must correspond; work only with the point of the needle, and never move the stitch up and down the needle. The cotton with which you work must be of the very best quality; for borders, insertions, rosettes, imitation of guipure, use Evans's crochet cotton; for couvrettes, counterpanes, covers, &c., use knitting-cotton. All crochet-work [186] patterns are begun on a foundation chain; there are three kinds of foundation chains--the plain foundation, the double foundation, and the purl foundation chain.

Cotton or thread, wool or silk, along with a crochet hook, are the materials needed for crocheting. The hook, whether made of steel or bone, should be smoothly polished. Long wooden and bone crochet hooks are used for wool, while short steel hooks screwed into a bone handle are best for cotton and silk. The beauty of the crochet work relies on the consistency of the stitches, just like in any other type of needlework. The stitches should be stretchy, but if they're too loose, they look just as bad as if they’re too tight. The size of the hook and the yarn must match; only work with the tip of the hook, and never slide the stitch up and down the hook. The yarn you use should be of the highest quality; for borders, insertions, rosettes, and imitations of guipure, use Evans's crochet cotton; for throws, bedspreads, and covers, use knitting cotton. All crochet patterns start with a foundation chain; there are three types of foundation chains: the plain foundation, the double foundation, and the purl foundation chain.

The plain foundation chain consists of chain stitches.

The basic foundation chain is made up of chain stitches.

ILLUSTRATION 216.--Form a loop with the cotton or other material with which you work, take it on the needle, and hold the cotton as for knitting on the forefinger and other fingers of the left hand. The crochet-needle is held in the right hand between the thumb and forefinger, as you hold a pen in writing; hold the end of the cotton of the loop between the thumb and forefinger of the left hand, wind the cotton once round the needle by drawing the needle underneath the cotton from left to right, catch the cotton with the hook of the needle and draw it as a loop through the loop already on the needle, which is cast off the needle by this means and forms one chain stitch. The drawing the cotton through the loop is repeated until the foundation chain has [187] acquired sufficient length. When enough chain stitches have been made, take the foundation chain between the thumb and forefinger of the left hand, so that these fingers are always close to and under the hook of the needle. Each stitch must be loose enough to let the hook of the needle pass easily through. All foundation chains are begun with a loop.

ILLUSTRATION 216.--Make a loop with the cotton or any material you are using, place it on the needle, and hold the cotton as you would for knitting, using your forefinger and other fingers of your left hand. Hold the crochet needle in your right hand between your thumb and forefinger, just like you would hold a pen while writing; keep the end of the cotton loop between the thumb and forefinger of your left hand. Wrap the cotton once around the needle by drawing the needle underneath the cotton from left to right, then use the hook of the needle to catch the cotton and pull it through the loop that’s already on the needle, which will remove that loop and create one chain stitch. Repeat the process of drawing the cotton through the loop until the foundation chain has [187] reached a sufficient length. Once you have made enough chain stitches, hold the foundation chain between the thumb and forefinger of your left hand, ensuring these fingers stay close to and underneath the hook of the needle. Each stitch should be loose enough for the hook of the needle to pass through easily. All foundation chains start with a loop.

ILLUSTRATION 217 (The Double Foundation Chain).--Crochet 2 chain stitches, insert the needle downwards into the left side of the 1st chain stitch, throw the cotton forward, draw it out as a loop, wind the cotton again round the needle and draw it through the two loops on the needle, * draw the cotton as a loop through the left side of the last stitch (see illustration), wind the cotton round the needle, and draw it through both loops on the needle. Repeat from * till the foundation chain is long enough.

ILLUSTRATION 217 (The Double Foundation Chain).--Crochet 2 chain stitches, then insert the needle down into the left side of the 1st chain stitch. Pull the yarn forward, draw it out as a loop, wrap the yarn again around the needle, and pull it through the two loops on the needle. * Pull the yarn as a loop through the left side of the last stitch (see illustration), wrap the yarn around the needle, and pull it through both loops on the needle. Repeat from * until the foundation chain is long enough.

ILLUSTRATION 218 (Purl Foundation Chain).--* Crochet 4 chain stitch, then 1 treble stitch--that is, wind the cotton round the needle, insert the needle downwards into the left side of the 1st of the 4 chain stitches, wind the cotton round the needle, draw it through the stitch, wind the cotton again round the needle, and at the same time draw the cotton through the last loop and through the stitch formed by winding the cotton round the needle. Wind the cotton once more round the needle, and draw it through the 2 remaining loops on the needle. The 4 chain stitches form a kind of scallop or purl. Repeat from *. The following [188] crochet stitches require foundation chains like Nos. 216 and 217; they are all worked in separate rows excepting the two Nos. 222 and 234. Make a loop at the beginning of every row, as has been described (No. 216), and take it on the needle.

ILLUSTRATION 218 (Purl Foundation Chain).--* Crochet 4 chain stitches, then 1 treble stitch--that is, wrap the yarn around the hook, insert the hook down into the left side of the 1st of the 4 chain stitches, wrap the yarn around the hook, pull it through the stitch, wrap the yarn again around the hook, and at the same time pull the yarn through the last loop and through the stitch formed by wrapping the yarn around the hook. Wrap the yarn once more around the hook and pull it through the 2 remaining loops on the hook. The 4 chain stitches create a kind of scallop or purl. Repeat from *. The following [188] crochet stitches require foundation chains like Nos. 216 and 217; they are all worked in separate rows, except for Nos. 222 and 234. Make a loop at the beginning of every row, as described (No. 216), and put it on the hook.

ILLUSTRATION 219 (Slip Stitch).--Draw the needle through the back part of a foundation chain stitch, or in the course of the work through the back part of a stitch of the preceding row, wind the cotton round the needle, and draw it through the stitch and loop on the needle. The illustration shows a number of slip stitches, the last of which is left quite loose; the arrow marks the place where the needle is to be inserted for the next stitch.

ILLUSTRATION 219 (Slip Stitch).--Insert the needle through the back of a foundation chain stitch, or in the course of the work, through the back of a stitch from the previous row. Wrap the cotton around the needle and pull it through the stitch and the loop on the needle. The illustration displays several slip stitches, with the last one left quite loose; the arrow indicates where to insert the needle for the next stitch.

ILLUSTRATION 220 (Double Stitch).--These are worked nearly like the preceding ones. Draw the cotton as a loop through the back part of a stitch, wind the cotton round the needle, and draw it through the two loops on the needle.

ILLUSTRATION 220 (Double Stitch).--These are done almost like the previous ones. Pull the cotton through the back of a stitch to form a loop, wrap the cotton around the needle, and pull it through the two loops on the needle.

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ILLUSTRATION 221.--These double stitches are worked nearly like the preceding ones; the 1st row is worked like that of No. 220; in the following ones insert the needle into the two upper sides of a stitch of the preceding row.

ILLUSTRATION 221.--These double stitches are done almost the same way as the ones before; the 1st row is worked like that of No. 220; in the next rows, insert the needle into the two upper sides of a stitch from the preceding row.

ILLUSTRATION 222 (The Ribbed Stitch).--This stitch is worked backwards and forwards--that is, the right and wrong sides are worked together, which forms the raised ribs. Insert the needle always into the back part of every stitch. Work 1 chain stitch at the end of every row, which is not worked, however, in the following row.

ILLUSTRATION 222 (The Ribbed Stitch).--This stitch is worked back and forth—that is, you work both the front and back sides together, which creates the raised ribs. Always insert the needle into the back part of each stitch. Work 1 chain stitch at the end of every row, but don’t work it in the next row.

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ILLUSTRATION 223 (Slanting Stitch, double stitch).--This stitch is worked like that described in No. 220; the cotton is not wound round the needle the first time in the usual manner, but the needle is placed in the direction of the arrow, above the cotton. Draw the cotton through as a loop; the stitch is finished like the common double stitch.

ILLUSTRATION 223 (Slanting Stitch, double stitch).--This stitch is done like the one described in No. 220; instead of winding the cotton around the needle the first time as usual, place the needle in the direction of the arrow, above the cotton. Pull the cotton through to create a loop; finish the stitch like a regular double stitch.

ILLUSTRATION 224 (Cross Stitch).--This stitch is worked like No. 223 on a foundation like No. 217, only insert the needle through the two upper sides of a stitch.

ILLUSTRATION 224 (Cross Stitch).--This stitch is done like No. 223 on a base like No. 217, but you should insert the needle through the two upper sides of a stitch.

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Illustration 225 (Long Double).--For this stitch wind the cotton round the needle, insert it into the back part of a stitch, draw the cotton out as a loop, wind the cotton again round the needle, and cast off together the two loops and the loop formed by winding the cotton round the needle.

Illustration 225 (Long Double).--For this stitch, wrap the cotton around the needle, insert it into the back part of a stitch, pull the cotton out to create a loop, wrap the cotton around the needle again, and cast off all three loops: the two loops and the loop made by wrapping the cotton around the needle.

ILLUSTRATION 226 (Treble Stitch).--These stitches are worked as has been described for the purl foundation chain, No. 218. The treble stitches are worked on a foundation chain or in the stitches of the preceding row.

ILLUSTRATION 226 (Treble Stitch).--These stitches are worked as described for the purl foundation chain, No. 218. The treble stitches are made on a foundation chain or in the stitches of the row before.

ILLUSTRATION 227 (Long Treble).--These are worked like treble stitches, only the cotton is wound twice round the needle; the double [192] long treble (illustration 228) is worked by winding the cotton three times round the needle. The loops formed by winding the cotton round the needle are cast off one by one with one of the loops on the needle. The two loops that remain at the end are cast off together after winding the cotton round the needle.

ILLUSTRATION 227 (Long Treble).--These are done like treble stitches, but you wrap the cotton around the needle twice; the double [192] long treble (illustration 228) is done by wrapping the cotton three times around the needle. The loops created by wrapping the cotton around the needle are removed one by one with one of the loops still on the needle. The two loops that are left at the end are removed together after wrapping the cotton around the needle.

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ILLUSTRATION 229-231 (Cross Treble).--Illustration 229 shows this stitch completed; illustrations 230 and 231 show them in the course of the work. Wind the cotton twice round the needle as for a long treble, insert the needle into the stitch in which the first half of the cross treble is to be worked, wind the cotton round the needle, draw the cotton through as a loop, wind the cotton again round the needle and cast off together with the same the loop on the needle and the loop formed by throwing the cotton forward; you have now 3 loops left on the needle, 1 of which has been formed by winding the cotton round the needle; missing these, wind the cotton again round the needle, miss the 2 next stitches of the foundation chain, and draw a loop through the third stitch. You have now 5 loops on the needle. Always cast off 2 loops at a time till only 1 loop remains on the needle. Work 2 chain stitches (if you wish to have the stitches more or less) slanting, work 1, 2, or 3 chain stitches, missing, of course, the same number of foundation chain, work 1 treble stitch, inserting the needle, as shown by the arrow on No. 231, into the 2 cross chain of the completed treble stitch.

ILLUSTRATION 229-231 (Cross Treble).--Illustration 229 shows this stitch finished; illustrations 230 and 231 show it in progress. Wrap the cotton around the needle twice like you would for a long treble, insert the needle into the stitch where you want to work the first half of the cross treble, wrap the cotton around the needle again, pull the cotton through to make a loop, wrap the cotton around the needle once more and cast off both the loop on the needle and the loop created by throwing the cotton forward; now you have 3 loops on the needle, 1 of which was formed by wrapping the cotton. To proceed, wrap the cotton around the needle again, skip the next 2 stitches of the foundation chain, and pull a loop through the third stitch. You now have 5 loops on the needle. Always cast off 2 loops at a time until only 1 loop is left on the needle. Work 2 chain stitches (if you want the stitches to be at an angle), then work 1, 2, or 3 chain stitches, skipping the same number of foundation chains, and work 1 treble stitch by inserting the needle as indicated by the arrow in No. 231 into the 2 cross chains of the completed treble stitch.

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ILLUSTRATION 232 (Raised Spots).--The grounding on which these spots are worked consists of double crochet. They are worked across 3 rows of the ground, and formed of treble stitches, the spots of one row being placed between those of the preceding. Work first 2 rows of double stitch, in the 3rd row work first 2 double stitches and then 1 spot as follows:--1 treble, inserting the needle into both sides of 1 stitch of the first row (the preceding row is missed); the treble stitch is only completed so far that 2 loops remain on the needle; then work 2 treble [195] stitches in the same stitch as the first, which are also only completed as far as the first treble stitch, so that after the 2nd treble there remain 3 loops and after the 3rd 4 loops on the needle (see illustration). The 4 loops are cast off together by winding the cotton once more round the needle and drawing it through. Miss under the spot the next double stitch of the preceding row; the spots are repeated at intervals of 5 stitches and in every other row.

ILLUSTRATION 232 (Raised Spots).--The base for these spots is made with double crochet. They are created across 3 rows of the base, using treble stitches, with the spots of one row positioned between those of the previous row. Start by working the first 2 rows in double stitch, and then in the 3rd row, do the first 2 double stitches followed by 1 spot as follows:--1 treble, inserting the needle into both sides of 1 stitch of the first row (skip the preceding row); complete the treble stitch only until 2 loops remain on the needle; then work 2 more treble [195] stitches in the same stitch as the first, also stopping at 2 loops, which means after the 2nd treble there are 3 loops, and after the 3rd, 4 loops on the needle (see illustration). The 4 loops are cast off together by wrapping the cotton around the needle once more and pulling it through. Skip the next double stitch from the previous row under the spot; the spots are repeated every 5 stitches and on every other row.

ILLUSTRATION 233 (Hollow Spots).--The ground is worked in double crochet (illustration 220). These spots, which appear raised, consist of 5 treble stitches; they are worked in every other row at intervals of 5 stitches. For working them leave 1 loop on the needle, insert the needle between the 2 long sides of the last-worked double stitch, and work 5 treble stitches, always inserting the needle into the front part of 1 stitch of the preceding row. The first 4 treble are completed entirely without taking up the loop which was on the needle; with the fifth treble stitch only the 3 loops are cast off together by winding the cotton round the needle. Miss 1 stitch of the preceding row under the spot.

ILLUSTRATION 233 (Hollow Spots).--The ground is worked in double crochet (illustration 220). These raised spots consist of 5 treble stitches; they are made every other row at intervals of 5 stitches. To create them, leave 1 loop on the needle, insert the needle between the 2 long sides of the last-worked double stitch, and work 5 treble stitches, always inserting the needle into the front part of 1 stitch of the previous row. The first 4 trebles are completed fully without picking up the loop on the needle; with the fifth treble stitch, only the 3 loops are cast off together by winding the yarn around the needle. Skip 1 stitch of the previous row under the spot.

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ILLUSTRATION 234 (Open-work Spots).--These spots are treble stitches divided by 2 chain; miss 2 stitches under the latter; for the rest, they are worked like the raised spots (illustration 232).

ILLUSTRATION 234 (Open-work Spots).--These spots are made with treble stitches separated by 2 chain stitches; skip 2 stitches below the chain; for the remaining ones, they are worked just like the raised spots (illustration 232).

ILLUSTRATION 235 (Raised Treble Stitch).--These stitches are long treble worked on a ribbed ground (illustration 222), and are thrown across 3 rows of the same. The raised treble are always worked on the [197] same side of the work and in the long side of the corresponding stitch of the last row but two. After every row with treble stitch comes a row in ribbed stitch. At the beginning work 3 rows of ribbed stitch; the treble stitches begin only in the 4th row.

ILLUSTRATION 235 (Raised Treble Stitch).--These stitches are long treble stitches worked on a ribbed background (illustration 222), and they are thrown across 3 rows of the same. The raised treble stitches are always worked on the [197] same side of the work and in the long side of the corresponding stitch from the row before last. After every row of treble stitches, there should be a row of ribbed stitches. Start by working 3 rows of ribbed stitches; the treble stitches begin only in the 4th row.

ILLUSTRATION 236 (Purl Stitch).--These purl stitches imitate a lace edging perfectly well. Work 1 double, draw out the loop to a certain length (this forms the purl), take the needle out of it, insert it in the front part of the last stitch which has been worked (see illustration), wind the cotton round the needle and draw it through as a loop; 1 double, 1 purl, and so on.

ILLUSTRATION 236 (Purl Stitch).--These purl stitches perfectly imitate a lace edging. Start by making 1 double stitch, then pull the loop to a certain length (this creates the purl). Remove the needle from the loop, insert it into the front part of the last stitch that was made (see illustration), wrap the cotton around the needle, and pull it through to create a loop; repeat with 1 double stitch, 1 purl, and so on.

ILLUSTRATION 237 (Purl Stitch turned upwards).--Work 1 treble, then 7 chain stitch. Insert the needle into the 2nd of the 7 chain stitch [198] downwards, so that the chain stitches form a scallop upwards (see illustration), wind the cotton round the needle and draw the cotton through; work 1 chain stitch and 1 treble in the next stitch but 3, missing 3 stitches under it.

ILLUSTRATION 237 (Purl Stitch turned upwards).--Work 1 treble, then 7 chain stitches. Insert the needle into the 2nd of the 7 chain stitches [198] downward, so that the chain stitches form a scallop upwards (see illustration), wrap the cotton around the needle and pull the cotton through; work 1 chain stitch and 1 treble in the next stitch but 3, skipping 3 stitches below it.

ILLUSTRATION 238 (Purl Stitch turned downwards).--The chain stitches form a scallop turned downwards. After having worked the 7 chain stitches take the needle out of the loop, insert it underneath the upper chain of the 2nd chain stitch, from right to left, and draw it through the loop in the direction of the arrow. Wind the cotton round the needle and cast all the loops off together. It is evident that the purl stitches may be worked at larger or smaller distances.

ILLUSTRATION 238 (Purl Stitch turned downwards).--The chain stitches create a downward scallop. After working the 7 chain stitches, remove the needle from the loop, insert it under the top chain of the 2nd chain stitch, from right to left, and pull it through the loop in the direction of the arrow. Wrap the cotton around the needle and cast off all the loops together. Clearly, the purl stitches can be done at greater or lesser distances.

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CROCHET PATTERNS

239.--Small Crochet Basket.

239.--Mini Crochet Basket.

Materials: 2 balls of closely-covered white and silver, and 1 ball of pink and silver twine; a crochet needle.

Materials: 2 balls of tightly wound white and silver yarn, and 1 ball of pink and silver twine; a crochet hook.

For the bottom:Make a chain of 4 stitches and unite it, work 3 long, 3 chain, and repeat three times more.

For the bottom: Create a chain of 4 stitches and join it, work 3 long stitches, 3 chain stitches, and repeat this three more times.

2nd round:Work 3 long into the 1st 3 chain, make 3 chain, work 3 long [200] into the next 3 chain, make 3 chain, work 3 long into the same place, make 3 chain, and repeat.

2nd round: Work 3 double crochets into the first 3 chains, make 3 chains, work 3 double crochets into the next 3 chains, make 3 chains, work 3 double crochets into the same spot, make 3 chains, and repeat.

3rd round: 3 long, 3 chain, working twice into the 3 chain of last round.

3rd round: 3 long, 3 chain, working twice into the 3 chain of the last round.

4th round: 3 long, 3 chain, increasing in every other 3rd chain by working twice into it.

5th round: Increasing in every 3rd chain, repeat.

5th round: Increase in every 3rd chain, repeat.

For the leaves: Make a chain of 32 stitches, then work a row of 1 long stitch and 1 chain stitch with the silver twine.

For the leaves: Make a chain of 32 stitches, then work a row of 1 long stitch and 1 chain stitch with the silver yarn.

2nd round: Work 1 long stitch into each chain stitch in 1st row, make 1 chain stitch, repeat. (At the point, make 4 long, with a chain stitch between each), repeat on the other side of the chain, 1 long stitch and 1 chain stitch alternately.

2nd round: Work 1 long stitch into each chain stitch in the 1st row, make 1 chain stitch, and repeat. (At the point, make 4 long stitches, with a chain stitch between each), then repeat on the other side of the chain, alternating 1 long stitch and 1 chain stitch.

3rd round: With pink: Work over a wire in double crochet 1 stitch into each loop, work 15 more leaves in the same way, join each leaf half way, then sew it to the centre, work a row of double crochet 1 yard in length, and twist it for the handle. This should also be crocheted over wire.

3rd round: With pink: Work over a wire in double crochet 1 stitch into each loop, make 15 more leaves in the same way, join each leaf halfway, then sew it to the center, work a row of double crochet 1 yard long, and twist it for the handle. This should also be crocheted over wire.

240 to 243.--Couvrette in Crochet.

Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 10, and steel crochet needle.

Materials: Walter Evans and Co.'s Boar's Head cotton No. 10 and a steel crochet hook.

This very pretty pattern is composed of separate circles representing dahlias in raised work upon an open centre. No. 242 shows one of these large circles in full size, No. 241 one of the small circles placed in the spaces between the larger ones, No. 243 part of the border, and No. 240 the couvrette when completed, but in reduced size.

This beautiful pattern consists of individual circles representing dahlias in raised work on an open center. No. 242 displays one of these large circles in full size, No. 241 shows one of the small circles positioned in the gaps between the larger ones, No. 243 depicts part of the border, and No. 240 illustrates the completed couvrette, but at a smaller size.

For each large circle make a chain of 20 stitches, and join it into a circle.

For each large circle, create a chain of 20 stitches and connect it into a circle.

1st round: 30 stitches of double crochet over the circle of chain stitches.

1st round: 30 double crochet stitches around the circle of chain stitches.

2nd round: 36 stitches of double crochet.

3rd round: 1 double, 5 chain, miss 1.

4th round: The same as the preceding--the 1 double always on the 3rd chain.

4th round: The same as the previous one--the 1 double always on the 3rd chain.

5th round: Close double crochet; 3 stitches in 1 in the centre stitch of each loop.

5th round: Close double crochet; 3 stitches into the center stitch of each loop.

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6th to 12th round: The same as the 5th, close double crochet, increasing in the centre of each small scallop, which forms the 18 raised petals of the dahlia.

6th to 12th round: The same as the 5th, close double crochet, increasing in the center of each small scallop, which creates the 18 raised petals of the dahlia.

13th round: Here begins the open-work border round the dahlia. Work 1 double between 2 petals, taking together the 2 centre stitches, 1 double in the next, 5 chain. There will be 18 loops of 5 chain in the round.

13th round: Here starts the open-work border around the dahlia. Crochet 1 double crochet between 2 petals, working the 2 center stitches together, then 1 double crochet in the next stitch, followed by 5 chains. You will have 18 loops of 5 chains in this round.

14th to 17th round: 1 double in centre of each loop, 5 chain between.

14th to 17th round: 1 double in the center of each loop, 5 chains in between.

18th round: 1 double in centre of 1st loop, 4 chain, 1 treble in next loop; in the top of this treble stitch work 3 double, with 3 chain between each; make 4 chain. Repeat the same all round, and the large circle is completed. Six of these are required.

18th round: 1 double in the center of the 1st loop, 4 chains, 1 treble in the next loop; at the top of this treble stitch, work 3 doubles, with 3 chains between each; make 4 chains. Repeat this all the way around, and the large circle is finished. You need six of these.

Showing one of the small Circles full size of No.240.

For each small circle make a chain of 10 stitches, and join it into a round.

For each small circle, create a chain of 10 stitches and join it into a circle.

1st round: 16 stitches of close double crochet.

2nd round: 1 treble, 3 chain, miss 1, 8 times.

3rd round: 9 treble over each loop of chain, 1 double between. This [203] completes 1 of the 6 small circles placed round the large ones in the centre of the couvrette. The 6 that are placed between the 5 other large circles have 1 more round, which is worked as follows:--1 treble in the centre of 1 scallop in the top of this treble stitch, 3 double, with 3 chain between each, 6 chain. Repeat the same all round.

3rd round: 9 treble stitches over each chain loop, 1 double stitch in between. This [203] completes 1 of the 6 small circles around the large ones in the center of the couvrette. The 6 that are placed between the 5 other large circles have 1 additional round, which is worked as follows: 1 treble in the center of 1 scallop at the top of this treble stitch, 3 double stitches with 3 chains in between each, followed by 6 chains. Repeat the same all the way around.

Showing one of the large Circles full size of No. 240.

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When all the circles are completed, join them together, as seen in illustration 217, and work the border as follows:--

When all the circles are finished, connect them as shown in illustration 217, and create the border like this:--

1st round: 1 treble in one of the trefoil branches of a small circle, 8 chain, 1 treble in next trefoil, 8 chain, 1 treble in 3rd trefoil, 8 chain, 1 long treble in 4th trefoil, 10 chain, 1 long treble in 1 trefoil of a large circle, 1 treble in each of the 4 next trefoils of the large circle, 8 chain between each 8 chain, 1 long treble in the last trefoil of the large circle,10 chain. Repeat all round.

1st round: 1 triple crochet in one of the trefoil branches of a small circle, 8 chains, 1 triple crochet in the next trefoil, 8 chains, 1 triple crochet in the 3rd trefoil, 8 chains, 1 long triple crochet in the 4th trefoil, 10 chains, 1 long triple crochet in one of the trefoils of a large circle, 1 triple crochet in each of the next 4 trefoils of the large circle, 8 chains between each pair, 1 long triple crochet in the last trefoil of the large circle, 10 chains. Repeat all the way around.

2nd round: 2 treble, with 1 chain between, in first stitch of last round, * 4 chain, miss 5, 2 treble with 1 chain between next stitch. Repeat from *.

2nd round: 2 double crochets, with 1 chain between, in the first stitch of the last round, * 4 chains, skip 5, 2 double crochets with 1 chain between the next stitch. Repeat from *.

3rd and 4th rounds:The same as the 2nd. The 2 treble always in 1 chain.

5th round: In each 1 chain, 4 treble, with 1 chain between the 2nd and 3rd, 4 chain after the 4 treble. The same all round.

5th round: In each 1 chain, 4 treble, with 1 chain between the 2nd and 3rd, 4 chain after the 4 treble. The same all around.

6th round: The same as the 5th.

7th round: 1 treble in 1 chain, 1 trefoil in the top of the treble, 6 chain. Repeat the same all round, which completes the couvrette.

7th round: 1 triple crochet in 1 chain, 1 trefoil at the top of the triple crochet, 6 chain. Repeat the same all around, which finishes the couvrette.

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244.--Star in Crochet.

244.--Crochet Star.

Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 80, or with No. 8 or 10 for couvrettes.

Materials: Walter Evans and Co.'s crochet cotton No. 80, or No. 8 or 10 for coverlets.

A number of these stars joined together will make very pretty strips of insertion. For this purpose they should be worked with fine cotton. They may also be used for trimming collars, cuffs, and cravats, the material being cut away underneath. If worked with crochet cotton No. 8 or 10, they will make nice couvrettes, bed-quilts, &c.

A bunch of these stars put together will create really nice strips for inserting. For this, they should be made with fine cotton. They can also be used to decorate collars, cuffs, and cravats, with the material cut away from underneath. If made with crochet cotton No. 8 or 10, they will create lovely covers, bed quilts, etc.

The star is begun by the outer circle. Make a chain of 70 stitches, and join it into a circle. * Make 10 chain, miss 3, work 1 extra long treble, 1 treble, and 1 double, inserting the needle under the chain, then 1 double worked as usual, 1 long double, 2 extra long double, miss [206] 4, and work 1 double, inserting the needle under the 5th. Repeat 13 times from * Fasten off, and for the centre of the star work as follows:--

The star starts with the outer circle. Make a chain of 70 stitches and join it into a circle. * Make 10 chains, skip 3, and work 1 extra-long treble, 1 treble, and 1 double, inserting the needle under the chain, then work 1 double as usual, 1 long double, 2 extra-long doubles, skip [206] 4, and work 1 double, inserting the needle under the 5th. Repeat this 13 times from *. Fasten off, and for the center of the star, work as follows:--

1st round: * 10 chain, turn, miss 1 and work 1 double in the next 7 chain, 1 double in the 1st of the 10 chain, thus forming 1 loop. Repeat from * 5 times more.

1st round: * 10 chains, turn, skip 1 and work 1 double in the next 7 chains, 1 double in the 1st of the 10 chains, creating 1 loop. Repeat from * 5 more times.

2nd round: 12 double on the first loop of chain of the first branch, 1 double in the centre of the branch, 2 chain; slip the stitch which is upon the needle in one of the stitches of the foundation chain of the outer circle, work 1 double in the first of the 2 chain last made, then 12 double in the remaining loop of chain of the branch, and 1 double at the bottom of the branch. Repeat 5 times more from *. The centre star must be joined on to the outer circle at regular distances.

2nd round: 12 double crochets in the first loop of the chain on the first branch, 1 double crochet in the center of the branch, 2 chains; slip the stitch that's on the needle into one of the stitches of the foundation chain of the outer circle, work 1 double crochet in the first of the last 2 chains made, then 12 double crochets in the remaining loop of the chain of the branch, and 1 double crochet at the bottom of the branch. Repeat 5 more times from *. The center star must be attached to the outer circle at even intervals.

245.--Crochet Silk Bag over Rings.

245.--Crochet Silk Bag on Rings.

Materials: 2 skeins each of black, blue, rose, and drab coarse purse twist; 8 skeins of the spangled silk for the top part of the bag and strings; the tassel for the bottom is made of the silks that are left; rings.

Materials: 2 skeins each of black, blue, pink, and gray coarse purse twist; 8 skeins of spangled silk for the top part of the bag and strings; the tassel for the bottom is made from the leftover silks; rings.

Work over a ring in double crochet, with black, 48 stitches and fasten off; this is for the centre ring. Then with the rose colour take a ring and work 24 stitches in double crochet as before, take a second ring, and work 24 double crochet over it without cutting off the silk, work over 4 more rings in the same manner, then work on the other side of the rings to correspond, join the first and last ring together, and sew in the centre ring; this completes the 1st circle. Work 12 more rounds in the same way, 3 rose colour, with drab centre, 3 blue with black, 3 drab with rose centre, 3 black with blue, join 6 circles of the alternate colours to the 1st circle, 1 to each ring, then sew the second ring to the corresponding one of the next circle, till the 6 are united; join [207] the other 6 circles in the following manner: join one ring to the second from the one that was sewed to the 1st circle, join the next ring to the corresponding one of the next circle (which will be the one opposite to the one sewed in the 1st circle), and repeat, joining the other 5 in the same way.

Work over a ring in double crochet with black, making 48 stitches, and fasten off; this forms the center ring. Then, using rose color, create a ring and work 24 double crochet stitches as before. Take a second ring and work 24 double crochet over it without cutting the silk. Continue this process over 4 more rings in the same way, then work on the opposite side of the rings to match. Join the first and last ring together and sew in the center ring; this completes the 1st circle. Next, work 12 more rounds in the same pattern: 3 in rose color with a drab center, 3 in blue with black, 3 in drab with a rose center, and 3 in black with blue. Join 6 circles of alternating colors to the 1st circle, attaching 1 to each ring, and then sew the second ring to the corresponding one of the next circle until all 6 are united. For the other 6 circles, join one ring to the second ring from the one that was sewn to the 1st circle, then join the next ring to the corresponding one in the next circle (which will be opposite the one sewn in the 1st circle), and repeat this process to join the remaining 5 in the same manner.

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For the small diamond make a chain of 5 stitches and unite it, work 4 long stitches into the circle, make 2 chain, work 1 single stitch to the centre of the ring missed in joining the last circle, make 2 chain, work 4 long into the circle, make 2 chain, and work a stitch of single crochet to the centre of the next ring, make 2 chain, work 4 long into the same place, make 5 chain, work 4 long into the same place, make 2 chain, and work a stitch of single crochet to the next ring, make 2 chain, and join it to the first of the long stitches; this completes the diamonds; work 5 more, joining them in the same way, then work over 12 rings, and join one on each side of every diamond; this completes the lower part of the bag. For the top part of the bag work 3 stitches of double crochet to the centre of each ring, make 5 chain, and repeat. 1st round: Work 1 long stitch, make 1 chain, miss 1 loop, and repeat. Work 12 more rounds in the same way, working the long stitch into the chain stitch of last row. Run some cord in the top of the bag to match one of the colours used, and make the tassel for the bottom from the silk that is remaining after working the crochet.

For the small diamond, make a chain of 5 stitches and connect it, work 4 long stitches into the circle, make 2 chains, and do 1 single stitch to the center of the ring that was skipped when joining the last circle. Make 2 chains, work 4 long stitches into the circle, make 2 chains, and do a single crochet stitch to the center of the next ring. Make 2 chains, work 4 long stitches into the same spot, make 5 chains, work 4 long stitches into the same spot, make 2 chains, and do a single crochet stitch to the next ring. Make 2 chains, and join it to the first of the long stitches; this completes the diamonds. Make 5 more, joining them the same way, then work over 12 rings, joining one on each side of every diamond; this completes the lower part of the bag. For the top part of the bag, work 3 double crochet stitches to the center of each ring, make 5 chains, and repeat. 1st round: Work 1 long stitch, make 1 chain, skip 1 loop, and repeat. Work 12 more rounds in the same way, putting the long stitch into the chain stitch of the last row. Thread some cord through the top of the bag to match one of the colors used, and make the tassel for the bottom from the silk that remains after finishing the crochet.

246.--Crochet Sovereign Purse.

246.--Crochet Wallet.

Materials: 1 skein of black purse silk: 1 skein of coloured ditto; a few steel beads; and a steel clasp.

Materials: 1 skein of black purse silk; 1 skein of colored silk; a few steel beads; and a steel clasp.

The open portion of this purse is worked in coloured, and the raised rose and outer border in black, silk, the latter being dotted with steel beads. A few rows of plain double crochet are worked, increasing where necessary, to make the work lie flat; then 4 rows of loops of chain in coloured silk, and then 3 rows of thick double crochet, threading the beads first on the silk, and pushing them up to the stitches when required.

The open part of this purse is made with colored yarn, while the raised rose and outer border are in black silk, which is dotted with steel beads. A few rows of plain double crochet are created, increasing as needed to keep the work flat; then 4 rows of loops of chain in colored silk, followed by 3 rows of thick double crochet, threading the beads onto the silk first and pushing them up to the stitches when needed.

[209]

The black silk must now be joined on to the centre, and the little [210] raised piece worked in treble crochet, inserting the hook on the upper side of the stitches. Three rounds of treble are executed, and when both sides of the purse are finished they should be joined together (except where the clasp is put on) by a row of open treble, ornamented with beads. This purse is so easy to make, that it might be worked without the least difficulty from the illustration.

The black silk now needs to be attached to the center, and the little [210] raised piece should be made with treble crochet, inserting the hook on the upper side of the stitches. Complete three rounds of treble, and once both sides of the purse are done, they should be joined together (except where the clasp will be attached) with a row of open treble, decorated with beads. This purse is so simple to make that you could work from the illustration without any trouble.

247.--Stars in Crochet.

Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 8 or 20.

Materials: Walter Evans and Co.'s crochet cotton No. 8 or 20.

This pattern can be used for a couvrette or pincushion cover, according to the size of the cotton with which it is worked.

This pattern can be used for a couvrette or a pincushion cover, depending on the size of the cotton you are using.

Each star is begun in the centre by a chain of 8 stitches. In the 1st stitch work 1 treble, * 4 chain, 1 treble in this same 1st stitch, repeat from * 3 times more, 4 chain, 1 slip stitch in the 4th of the 8 chain. You have thus formed 8 rays, joined to the 1st stitch. Now work (without cutting the cotton) the branches, which are begun from the centre.

Each star starts in the center with a chain of 8 stitches. In the 1st stitch, work 1 treble, *4 chain, 1 treble in the same 1st stitch, and repeat from * 3 more times, then 4 chain, 1 slip stitch in the 4th of the 8 chain. You've now created 8 rays connected to the 1st stitch. Now, work (without cutting the cotton) the branches that begin from the center.

1st branch.--1st round: 18 chain, 1 treble in the 13th, so as to form a purl with the last 5, 2 chain, 3 treble with 2 chain between, missing 2 stitches under the 2 chain, 2 chain, 1 slip stitch in the last of the 18 chain.

1st branch.--1st round: 18 chains, 1 treble in the 13th, creating a purl with the last 5, 2 chains, 3 treble with 2 chains in between, skipping 2 stitches under the 2 chains, 2 chains, 1 slip stitch in the last of the 18 chains.

2nd round: 2 double over the 1st 2 chain, 2 double with 1 purl between over the next 2 chain, 2 double over the next 2 chain, 1 purl, 7 double over the next 5 chain; then, on the other side of the branch, 1 purl, 2 double, 1 purl, 2 double, 2 double with 1 purl between, 2 double on the last 2 chain of the branch, 1 slip stitch in the stitch from which the leaf was begun, 5 double over the 4 chain of the circle. Here begins the second branch.

2nd round: 2 double crochet over the first 2 chains, 2 double crochet with 1 purl between over the next 2 chains, 2 double crochet over the next 2 chains, 1 purl, 7 double crochet over the next 5 chains; then, on the other side of the branch, 1 purl, 2 double crochet, 1 purl, 2 double crochet, 2 double crochet with 1 purl between, 2 double crochet on the last 2 chains of the branch, 1 slip stitch in the stitch from which the leaf started, 5 double crochet over the 4 chains of the circle. Here begins the second branch.

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1st round of the 2nd leaf: 22 chain, 1 double in the last so as to form a circle.

1st round of the 2nd leaf: 22 chains, 1 double in the last to create a circle.

2nd round: 1 double in each of the 10 first chain, in the next stitch work 1 double, 1 chain, 1 double to form the point, 1 double in each [212] of the 10 remaining stitches, 1 slip stitch in the 1st stitch of the 1st round.

2nd round: 1 double in each of the first 10 stitches, in the next stitch work 1 double, 1 chain, 1 double to form the point, 1 double in each [212] of the remaining 10 stitches, 1 slip stitch in the 1st stitch of the 1st round.

3rd round: 3 double, 1 purl, repeat from * twice more, then work in double crochet as far as the point, work 2 double with 1 chain between, then work the 2nd half of the branch the same as the 1st. Before beginning the next leaf, work 5 double on the chain stitches of the circle; work 6 branches, repeating alternately the 2 above explained; cut the cotton and fasten it on again to the point of one of the branches, in order to join them together by the two following rounds:--

3rd round: 3 doubles, 1 purl, repeat from * two more times, then do double crochet up to the point, do 2 doubles with 1 chain in between, then make the 2nd half of the branch just like the 1st. Before starting the next leaf, do 5 doubles on the chain stitches of the circle; create 6 branches, alternating between the 2 described above; cut the cotton and reattach it at the point of one of the branches to connect them together with the next two rounds:--

1st round: 1 double in the point of one of the leaves, * 4 chain, 1 purl under the chain; thus make 5 chain, turn the chain with the crochet to the right, insert the needle downwards in the first chain, and make a slip stitch, 4 chain, 1 purl under, 4 chain, 1 purl under, 4 chain, 1 slip stitch in the point of the next leaf, repeat from * five times more.

1st round: 1 double in the tip of one of the leaves, * 4 chains, 1 purl under the chain; then make 5 chains, turn the chain with the crochet to the right, insert the needle downwards into the first chain, and make a slip stitch, 4 chains, 1 purl under, 4 chains, 1 purl under, 4 chains, 1 slip stitch in the tip of the next leaf, repeat from * five more times.

2nd round: * 4 double over the nearest 4 chain; 1 purl as usual--that is, above the chain--4 double over the next 4 chain. Now work 1 trefoil (thus: 1 chain, 1 purl, 1 chain, 1 purl, 1 chain, 1 double in the 1 double coming just before the 3 purl). 1 double on each of the next 4 chain of last round, 1 purl, 5 double, 1 trefoil, repeat five times from *.

2nd round: * 4 double crochets over the nearest 4 chains; 1 purl as usual—that is, over the chain—4 double crochets over the next 4 chains. Now make 1 trefoil (like this: 1 chain, 1 purl, 1 chain, 1 purl, 1 chain, 1 double crochet in the 1 double crochet that comes just before the 3 purls). 1 double crochet on each of the next 4 chains from the last round, 1 purl, 5 double crochets, 1 trefoil, repeat five times from *.

Join the stars by a few stitches, as seen in the illustration.

Join the stars with a few stitches, as shown in the illustration.

248.--Crochet Purse over Rings.

248.--Crochet Purse on Rings.

Materials: 67 rings; 2 skeins each of cerise and black, and 1 of maize coarse purse silk.

Materials: 67 rings; 2 skeins each of bright pink and black, and 1 of yellow coarse purse silk.

Work in double crochet with maize over one ring 38 stitches; this is the centre ring for the bottom of the purse.

Work in double crochet with yellow yarn over one ring, using 38 stitches; this will be the center ring for the bottom of the purse.

[213]

[214]

Then work with cerise colour over a ring 19 stitches, take another ring and work 19 stitches, repeat this till you have 6 rings, then work round the other half of each ring 19 stitches; and when the 6 are finished, join the first to the last to make a circle; sew the maize ring into the centre of it, then work over 12 rings with black in the same manner, and place them outside the cerise circle. Then work over 16 rings with maize colour, and join them beyond the black, but not to lie flat down; they are to stand up to form the sides of the purse. Work over 16 rings with cerise, and these you can join one to each of the former rounds in working the second half of the crochet, as it will save the sewing. Work over 16 rings in black, and join them in the same manner to the cerise. For the edge, with cerise, work into the centre stitch of the ring a stitch of double crochet, make 5 chain, work into the stitch joining the 8 rings an extra long stitch, make 5 chain, repeat. Then work 4 rounds of single open crochet.

Then, use cerise color to work over a ring with 19 stitches, take another ring, and work 19 stitches. Repeat this until you have 6 rings, then work around the other half of each ring with 19 stitches. When the 6 are finished, join the first to the last to form a circle. Sew the maize ring into the center of it, then work over 12 rings with black in the same way, placing them outside the cerise circle. Next, work over 16 rings with maize color and join them beyond the black, but don't let them lie flat; they should stand up to create the sides of the purse. Work over 16 rings with cerise, and you can join each one to the former rounds while working the second half of the crochet to save on sewing. Work over 16 rings in black, and join them the same way to the cerise. For the edge, using cerise, work into the center stitch of the ring with a double crochet stitch, make 5 chains, then work into the stitch joining the 8 rings with an extra long stitch, make 5 chains, and repeat. Finally, work 4 rounds of single open crochet.

6th round: * Work a stitch of double crochet and 1 chain alternately, missing 1 loop between each 4 times, then work a long stitch, make 1 chain, work into the next loop 1 long stitch, make 2 chain, work another long stitch into the same place, make 1 chain, work a long stitch into the next loop, repeat from *.

6th round: * Alternate between double crochet and 1 chain, skipping 1 loop between each four times, then make a long stitch, chain 1, make a long stitch into the next loop, chain 2, make another long stitch in the same spot, chain 1, and make a long stitch into the next loop, repeat from *.

7th round:Work into the 2 chain 1 long stitch, make 2 chain, work another long stitch into the same place, * make 1 chain, work a stitch of double crochet into the 1 chain in last round, repeat from * 3 times more, miss the next 1 chain, * work a stitch of double crochet into the next 1 chain, make 1 chain, repeat from * 3 times more, then repeat from the beginning.

7th round: Work into the 2 chain 1 long stitch, make 2 chains, work another long stitch into the same spot, * make 1 chain, work a double crochet stitch into the 1 chain from the last round, repeat from * 3 more times, skip the next 1 chain, * work a double crochet stitch into the next 1 chain, make 1 chain, repeat from * 3 more times, then repeat from the beginning.

8th round: Join the black, work into the 2 chain 1 long stitch, make 2 chain, work another long stitch into the same place, make 2 chain, work another long stitch into the same place, make 1 chain, work a 4th long [215] stitch into the same place, * make 1 chain, work a stitch of double crochet into the 1 chain, repeat from * 3 times more, miss the next 2 stitches of double crochet, * work a stitch of double crochet into the 1 chain, make 1 chain, repeat from * 3 times more, then repeat from the beginning.

8th round: Join the black yarn, create 2 chains, do 1 long stitch, make 2 chains, and do another long stitch into the same spot. Make 2 chains, do yet another long stitch into the same spot, then make 1 chain. Do a 4th long [215] stitch into the same place. * Make 1 chain, do a double crochet stitch into the 1 chain, and repeat from * 3 more times. Skip the next 2 double crochet stitches. * Do a double crochet stitch into the 1 chain, make 1 chain, and repeat from * 3 more times, then go back to the beginning.

9th round: Work into the 2 chain 1 long stitch, make 2 chain, work another long stitch into the same place, repeat the stitches of double crochet with 1 chain between, as in last round, then repeat from the beginning. 10th and 11th rounds the same as the 9th. Add a tassel at the bottom, and strings run into the last row of open crochet complete the purse.

9th round: Work into the 2 chain 1 long stitch, make 2 chain, work another long stitch into the same spot, then repeat the double crochet stitches with 1 chain in between, just like in the last round, and then repeat from the beginning. The 10th and 11th rounds are the same as the 9th. Add a tassel at the bottom, and weave strings into the last row of open crochet to finish the purse.

249.--Crochet Brioche Cushion.

249.--Crochet Brioche Pillow.

Materials: 10 skeins of 12-thread fleecy, of six shades of red (these should be most of the darker shades); 2 skeins of white ditto; 1 skein of white filoselle.

Materials: 10 skeins of 12-thread fluffy yarn in six shades of red (mostly darker shades); 2 skeins of white yarn; 1 skein of white filoselle.

[216]

Make a chain of 196 stitches with the darkest shade of red wool, and join it into a circle.

Make a chain of 196 stitches with the darkest shade of red yarn, and join it into a circle.

Work 1 round of raised spots thus:--Turn the wool 5 times round the needle, insert the needle in 1 chain, and draw it through all the loops, then work 1 slip stitch, insert the needle in the next stitch, work 1 double, and begin a fresh spot. Continue in the same way all round.

Work 1 round of raised spots like this:--Wrap the wool 5 times around the needle, insert the needle into 1 chain, and pull it through all the loops, then make 1 slip stitch, insert the needle into the next stitch, make 1 double, and start a new spot. Keep going in the same way all around.

2nd round: Divide the round into 7 parts; work 12 spots with the 3rd shade of red, always working 1 double between each spot, and taking care to place them between those of preceding round: after 12 spots, work 1 double, then 12 more, and so on.

2nd round: Split the round into 7 sections; create 12 spots using the 3rd shade of red, always placing 1 double crochet between each spot, making sure to position them between those from the previous round: after 12 spots, do 1 double crochet, then 12 more, and repeat.

3rd round: 3rd shade of red, 11 spots, 1 double.

4th round: 4th shade, 10 spots, 3 double.

4th round: 4th color, 10 positions, 3 doubles.

5th round: 5th shade, 9 spots, 5 double.

5th round: 5th shade, 9 spots, 5 doubles.

6th round: Same shade, 8 spots, 7 double.

6th round: Same color, 8 spots, 7 doubles.

7th round: 5th shade, 7 spots, 9 double.

7th round: 5th shade, 7 spots, 9 doubles.

8th round: Same shade, 6 spots, 11 double.

8th round: Same color, 6 spots, 11 doubles.

9th round: Same shade, 5 spots, 13 double.

9th round: Same color, 5 spots, 13 double.

10th round: 6th shade, 4 spots, 15 double.

10th round: 6th color, 4 locations, 15 doubles.

11th round: Same shade, 3 spots, 17 double.

11th round: Same color, 3 spots, 17 doubles.

12th round: Same shade, 2 spots, 19 double.

12th round: Same color, 2 spots, 19 doubles.

13th round: Same shade, 1 spot, 21 double. The pattern of raised spots being now completed, continue to work with the lightest shade of red in double stitches, decreasing once above each pattern, so as to close up the circle gradually. The white flowers are worked over the plain part of the cushion with white wool, and silk for the petals, and a black dot in the centre. The cushion is stuffed with horsehair and lined with glazed calico. A round of thick pasteboard is stitched in at the bottom, to make it stand firmer.

13th round: Same color, 1 spot, 21 double. Now that the pattern of raised spots is complete, keep going with the lightest shade of red in double stitches, decreasing once above each pattern to gradually close up the circle. The white flowers are done over the plain part of the cushion with white wool and silk for the petals, with a black dot in the center. The cushion is filled with horsehair and lined with glazed cotton. A round piece of thick cardboard is stitched in at the bottom to make it stand more firmly.

250.--Daisy Pattern for a Crochet Couvrette.

250.--Daisy Pattern for a Crochet Cozy.

Materials: For a large couvrette, Messrs. Walter Evans and Co.'s Boar's Head cotton No. 8; for pincushion covers, mats, and such-like small articles, Boar's Head cotton No. 16 or 20.

Materials: For a large cushion, use Boar's Head cotton No. 8 from Walter Evans and Co.; for pincushion covers, mats, and similar small items, use Boar's Head cotton No. 16 or 20.

A pattern of this description is most useful, as it can be converted to [217] so many purposes. Counterpanes, couvrettes of every description, mats, pincushions, and a thousand other things can all be arranged from the design.

A pattern like this is really helpful because it can be turned into [217] for all kinds of uses. Bedspreads, covers of every kind, mats, pincushions, and a ton of other items can all be made from the design.

Each circle is made separately, and joined to the others, as the last row is crocheted. Begin in the centre; make 8 chain, insert the needle in the first, and make * a long treble stitch, then make 3 chain, [218] repeat 4 times from *, always inserting the needle in the 1st chain stitch, join the last chain to the 5th of the 1st 8 chain to close the round.

Each circle is made individually and attached to the others as you crochet the last row. Start in the center; make 8 chains, insert the needle into the first chain, and then make * a long treble stitch, followed by 3 chains, [218] and repeat 4 times from *, always inserting the needle into the 1st chain stitch. Join the last chain to the 5th of the initial 8 chains to close the round.

2nd round: Work 1 double crochet, * 9 chain, turn, work a slip stitch in each of the 9 chain; work round the stem thus made in close crochet, working 3 stitches in 1 to turn at the point; miss 1 stitch of preceding row, work 2 double crochet, and repeat from * 5 times more, making 6 petals in all.

2nd round: Make 1 double crochet, * 9 chains, turn, and make a slip stitch in each of the 9 chains; crochet around the stem created, making 3 stitches in 1 to turn at the point; skip 1 stitch from the previous row, make 2 double crochets, and repeat from * 5 more times, creating a total of 6 petals.

3rd round: Work at the back of the last row, behind the petals; make 1 petal between each petal in last row, 1 double crochet at the back of each, and cut the cotton at the end of the round.

3rd round: Work at the back of the last row, behind the petals; make 1 petal between each petal in the last row, 1 double crochet at the back of each, and cut the cotton at the end of the round.

4th round: 2 double crochet at the point of each of the 12 petals, 5 chain between each petal.

4th round: 2 double crochet at the tip of each of the 12 petals, 5 chain between each petal.

5th round: 2 treble, 5 chain, repeat.

6th and last round: 1 double crochet in the centre of the 1st 5 chain, * 5 chain, 1 treble in the centre of the next 5 chain, 5 chain, 1 slip stitch in the top of the treble stitch, 6 chain, 1 slip stitch in the same place, 5 chain, a 3rd slip stitch in the same place, 5 chain, 1 double crochet in the centre of the next 5 chain, repeat from * to the end of the round. There should be 12 trefoil patterns in the round.

6th and last round: 1 double crochet in the center of the 1st 5 chain, * 5 chain, 1 treble in the center of the next 5 chain, 5 chain, 1 slip stitch in the top of the treble stitch, 6 chain, 1 slip stitch in the same spot, 5 chain, a 3rd slip stitch in the same spot, 5 chain, 1 double crochet in the center of the next 5 chain, repeat from * to the end of the round. There should be 12 trefoil patterns in the round.

For the couvrette join the circles together, as shown in illustration, in working the last round. As many circles can be added as may be required for the couvrette.

For the couvrette, join the circles together, as shown in the illustration, when completing the last round. You can add as many circles as needed for the couvrette.

251.--Crochet Lace.

Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 40 or 60.

Materials: Walter Evans and Co.'s crochet cotton No. 40 or 60.

This lace produces a very good effect when worked with fine cotton. Make a sufficiently long foundation chain, and work the 1st row entirely in double stitch.

This lace looks really great when made with fine cotton. Start with a long enough foundation chain and crochet the first row entirely in double stitch.

2nd row: * 1 treble in the next stitch, 1 chain, miss 1 stitch under it; repeat from *.

2nd row: * 1 treble in the next stitch, 1 chain, skip 1 stitch underneath it; repeat from *.

[219]

3rd row: 1 long treble in the 3rd stitch of the preceding row, * 3 purl (each consisting of 5 chain, 1 double, in the 1st of the same), 1 long treble in the same stitch of the preceding row, 1 purl, miss 3, 3 double in the 3 following stitches, 1 purl, miss 3 stitches, 1 long treble in the 4th stitch; repeat from *.

3rd row: 1 long treble in the 3rd stitch of the previous row, * 3 purl (each made up of 5 chains, 1 double in the 1st of the same), 1 long treble in the same stitch of the previous row, 1 purl, skip 3, 3 doubles in the next 3 stitches, 1 purl, skip 3 stitches, 1 long treble in the 4th stitch; repeat from *.

4th row: * 3 double in the middle of the next 3 purl of the preceding row, 1 purl, 2 long treble divided by 3 purl in the middle of the 3 next double in the preceding row, 1 purl; repeat from *.

4th row: * 3 double crochet in the middle of the next 3 purl stitches from the previous row, 1 purl stitch, 2 long treble crochet separated by 3 purl stitches in the middle of the next 3 double crochet from the previous row, 1 purl stitch; repeat from *.

5th row: * 2 long treble, divided by 3 purl in the middle of the next 3 double of the preceding row, 1 purl, 3 double in the middle of the next 3 purl of the preceding row, 1 purl; repeat from *. Repeat the 4th and 5th rows alternately till the border is wide enough.

5th row: * 2 long treble, split by 3 purl in the center of the next 3 double from the previous row, 1 purl, 3 double in the center of the next 3 purl from the previous row, 1 purl; repeat from *. Alternate repeating the 4th and 5th rows until the border is wide enough.

[220]

252.--Crochet Border.

Material: Messrs. Walter Evans and Co.'s crochet cotton No. 12, 16, 24, or 40.

Material: Walter Evans and Co.'s crochet cotton No. 12, 16, 24, or 40.

This border is suitable for a great variety of purposes, according to the size of the cotton employed; in coarse cotton it will make a trimming for couvrettes and berceaunette covers; with fine cotton it can be used for children's clothes, small curtains, &c. Make a sufficiently long foundation chain, and work

This border is suitable for a wide range of uses, depending on the thickness of the cotton used; with coarse cotton, it can make a trim for bed covers and baby blankets; with fine cotton, it’s great for children’s clothing, small curtains, etc. Start with a long enough foundation chain and work

the 1st row: * 2 treble divided by 3 chain in the 1st foundation chain stitch, miss 3; repeat from *.

the 1st row: * 2 treble stitches divided by 3 chains in the 1st foundation chain stitch, skip 3; repeat from *.

2nd row: * In the 1st scallop of the preceding row, 1 double, 5 treble, 1 double, then 1 chain, 1 purl (4 chain, 1 slip stitch in the 1st of the four), 1 chain, miss under these the next chain stitch scallop; repeat from *.

2nd row: * In the 1st scallop of the previous row, 1 double crochet, 5 treble crochets, 1 double crochet, then 1 chain stitch, 1 purl stitch (4 chain stitches, 1 slip stitch in the 1st of the four), 1 chain stitch, skip the next chain stitch scallop under these; repeat from *.

3rd row: 1 treble in the chain stitch on either side of the purl in the preceding row, 5 chain.

3rd row: 1 treble in the chain stitch on either side of the purl in the previous row, 5 chain.

4th row: * 2 double divided by 7 chain in the two first treble of the preceding row (insert the needle underneath the upper parts of the stitch), 10 chain, 1 slip stitch in the 5th of these 10 stitches so as to form a loop, 4 chain, repeat from *.

4th row: * 2 double crochet stitches in the first two treble stitches of the previous row (insert the hook under the top parts of the stitch), 10 chain stitches, 1 slip stitch in the 5th of these 10 stitches to create a loop, 4 chain stitches, repeat from *.

5th row: * 1 slip in the middle stitch of the scallop formed by 7 chain [221] in the preceding row, 4 treble, 3 chain, 5 treble, 3 chain, 4 treble, all these 13 stitches in the loop of the preceding row, so as to form a clover-leaf pattern; repeat from *, but fasten the 4th treble with a slip stitch on the 10th treble of the preceding figure.

5th row: * 1 slip stitch in the middle stitch of the scallop created by 7 chains [221] in the previous row, 4 treble stitches, 3 chains, 5 treble stitches, 3 chains, 4 treble stitches, all of these 13 stitches in the loop of the previous row to create a clover-leaf pattern; repeat from *, but attach the 4th treble with a slip stitch to the 10th treble of the previous figure.

6th row: In the first and last stitch of the 5 middle treble of the clover-leaf 1 double, 7 chain between, 7th row: * 1 double in the 2nd chain stitch of the scallop which is above the 5 middle treble of the clover-leaf, 2 chain, 1 purl (5 chain, 1 slip stitch in the 1st), 2 chain, 1 double in the next chain stitch of the same scallop, 2 chain, 1 purl, 2 chain, miss one chain of the scallop, 1 double, 2 chain, 1 purl, 2 chain, 1 double in the next chain stitch, 3 chain. 1 double in the middle stitch of the following scallop, 3 chain, repeat from *.

6th row: In the first and last stitch of the 5 center treble of the clover-leaf, 1 double, 7 chains in between. 7th row: * 1 double in the 2nd chain stitch of the scallop above the 5 center treble of the clover-leaf, 2 chains, 1 purl (5 chains, 1 slip stitch in the 1st), 2 chains, 1 double in the next chain stitch of the same scallop, 2 chains, 1 purl, 2 chains, skip one chain of the scallop, 1 double, 2 chains, 1 purl, 2 chains, 1 double in the next chain stitch, 3 chains. 1 double in the middle stitch of the next scallop, 3 chains, repeat from *.

253--Crochet Border

253--Crochet Edging

Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 24, 40, or 60, according to the article for which it is required.

Materials: Walter Evans and Co.'s crochet cotton No. 24, 40, or 60, depending on the item you need it for.

On a sufficiently long foundation chain work the 1st row: 1 double in each chain stitch.

On a long enough foundation chain, work the 1st row: 1 double crochet in each chain stitch.

[222]

2nd row: Alternately 1 double, 7 chain, miss under the latter 3 stitches of the preceding row.

2nd row: Alternatively 1 double crochet, 7 chains, skip the last 3 stitches of the previous row.

3rd row: 1 treble in each double of the preceding row, 1 double in the middle stitch of each scallop, 2 chain between.

3rd row: 1 treble in each double of the previous row, 1 double in the middle stitch of each scallop, 2 chains in between.

4th row: 1 double on each double of the preceding row, 1 treble on each treble, 3 chain between.

4th row: 1 double crochet on each double crochet of the previous row, 1 treble crochet on each treble crochet, 3 chain in between.

5th row: 1 double on each treble of the preceding row, 3 chain between.

5th row: 1 double crochet on each treble from the previous row, 3 chain stitches in between.

6th row: 1 double in each stitch of the preceding row.

6th row: 1 double crochet in each stitch of the previous row.

7th row: * 1 treble in the 1st stitch of the preceding row, 4 chain, miss 1, 3 treble in the following 3 stitches, miss 3 stitches, 3 treble in the following 3 stitches, 4 chain, miss 1 stitch, 1 treble, 3 chain, miss 4; repeat from *.

7th row: * 1 treble in the 1st stitch of the previous row, 4 chains, skip 1, 3 treble in the next 3 stitches, skip 3 stitches, 3 treble in the next 3 stitches, 4 chains, skip 1 stitch, 1 treble, 3 chains, skip 4; repeat from *.

8th row: Repeat regularly 8 treble in the scallop formed of 4 chain in the preceding row, 1 double in the middle of the following 3 chain.

8th row: Continuously repeat 8 treble stitches in the scallop created by the 4 chain in the previous row, and 1 double stitch in the center of the following 3 chain.

9th row: * 1 double in the 4th treble of the preceding row, 2 treble, 1 long treble in next treble but 2, 2 long treble in each of the 2 following treble, 1 long treble, 2 treble in the next treble, 1 double in the next treble but 2, 3 chain, 1 purl (4 chain, 1 slip), 3 chain stitch; repeat from *.

9th row: * 1 double crochet in the 4th treble of the previous row, 2 treble crochets, 1 long treble crochet in the next treble but 2, 2 long treble crochets in each of the next 2 treble stitches, 1 long treble crochet, 2 treble crochets in the next treble, 1 double crochet in the next treble but 2, 3 chains, 1 purl (4 chains, 1 slip), 3 chain stitches; repeat from *.

10th row: * 1 double in the 4th treble of the preceding row, 2 chain, 1 purl, 2 chain, miss 2 under them, 1 double, 2 chain, 1 purl, 2 chain, 1 double in the next chain but 1 of the next scallop, 2 chain, 1 purl, 2 chain, 1 double in the 2 chain stitch after the purl of the preceding row, 2 chain, 1 purl, 2 chain; repeat from *.

10th row: * 1 double crochet in the 4th treble of the previous row, 2 chains, 1 purl stitch, 2 chains, skip 2 below them, 1 double crochet, 2 chains, 1 purl stitch, 2 chains, 1 double crochet in the next chain but 1 of the next scallop, 2 chains, 1 purl stitch, 2 chains, 1 double crochet in the 2 chain stitch after the purl of the previous row, 2 chains, 1 purl stitch, 2 chains; repeat from *.

11th row: In each scallop of the preceding row 2 double (they must meet on either side of the purl); they are divided alternately by 5 chain, and by a scallop formed of 2 chain, 1 purl, and 2 chain, only in the chain stitch scallops which join the two treble figures work no double, but 2 chain, 1 purl, 2 chain.

11th row: In each scallop of the previous row, make 2 double crochets (they should meet on either side of the purl); alternate them by working 5 chains and then a scallop made of 2 chains, 1 purl, and 2 chains. However, in the chain stitch scallops that connect the two treble figures, don't work any doubles; instead, do 2 chains, 1 purl, and 2 chains.

[223]

254 to 257.--Wicker Arm Chair, covered with Crochet.

Material: Berlin wool in two colours.

Material: Berlin wool in two colors.

The seat and back of this arm-chair are covered with two round couvrettes, worked in crochet with Berlin wool of two colours. They are fastened on the chair with woollen braid, finishing off with tassels of the same colour. Begin each couvrette in the centre with a foundation chain of 6 stitches, with the lightest wool; join them into a circle, and work the 1st round in the following manner:--12 double.

The seat and back of this armchair are covered with two round covers made of crochet using two colors of Berlin wool. They're attached to the chair with woolen braid, finished off with matching tassels. To start each cover, make a foundation chain of 6 stitches in the lighter wool; join them into a circle, and for the first round, do the following: 12 double.

2nd round: * 3 chain, 1 double, in the next stitch of the 1st round, [224] inserting the needle in the upper part of the stitch; repeat from * 11 times more; at the end of this round work 1 slip stitch in the 1st chain of this round. We shall not repeat any more the repetitions from * to the end of the round.

2nd round: * 3 chains, 1 double crochet in the next stitch from the 1st round, [224] inserting the needle into the top of the stitch; repeat from * 11 more times; at the end of this round, work 1 slip stitch into the 1st chain of this round. We will not repeat the instructions from * to the end of the round anymore.

3rd round: * 4 chain, 1 double, in the next scallop of the preceding round; at the end of the round 4 chain.

3rd round: * 4 chains, 1 double, in the next scallop of the previous round; at the end of the round, 4 chains.

4th round: 4 double in each scallop of the preceding round.

4th round: 4 doubles in each scallop from the previous round.

5th round: Begin to work with the darker wool and crochet slip stitch, inserting the needle in the front chain of the stitches of the 4th round.

5th round: Start using the darker wool and crochet a slip stitch, inserting the needle into the front chain of the stitches from the 4th round.

The 6th round is worked once more with light wool, and consists entirely of double stitch, worked by inserting the needle at the back of the stitches of the 4th round, so that the slip stitches appear raised on the right side of the work, and form a round of chain stitches. The middle part of the couvrette is then finished.

The 6th round is completed again with light wool and is made up entirely of double stitch. This is done by inserting the needle at the back of the stitches from the 4th round, so the slip stitches look raised on the right side of the work, creating a round of chain stitches. The middle part of the couvrette is then finished.

[225]

Illustration 257 shows it in full size.

Illustration 257 displays it at full size.

7th round: * 2 chain, missing 1 stitch of the preceding round under them, 1 double.

7th round: * 2 chains, skipping 1 stitch from the previous round below them, 1 double.

8th round: * 3 chain, 1 double, in the next scallop of the preceding round.

8th round: * 3 chains, 1 double, in the next scallop of the previous round.

9th round:3 double in each scallop.

9th round: 3 doubles in each scallop.

10th round: like the 5th;

10th round: same as 5th;

11th round: like the 6th;

11th round: like the 6th;

12th, 13th, 14th, 15th, and 16th rounds, like the 7th--11th;

12th, 13th, 14th, 15th, and 16th rounds, just like the 7th--11th;

17th--19th rounds like the 7th--9th.

17th–19th rounds like the 7th–9th.

20th round: Alternately 1 treble with the light wool, 1 treble with the dark; but every treble stitch must be cast off with the wool of the colour of the next stitch; that is, a light treble stitch with the dark wool, and a dark treble stitch with the light wool. Now and then crochet 2 treble stitches in one stitch of the preceding round, so that the couvrette remains perfectly flat.

20th round: Alternate 1 treble with the light yarn and 1 treble with the dark; however, each treble stitch must be finished off with the yarn of the color of the next stitch; meaning, a light treble stitch should be finished with the dark yarn, and a dark treble stitch should be finished with the light yarn. Occasionally, crochet 2 treble stitches into one stitch from the previous round to keep the couvrette completely flat.

[226]

21st round: 1 double in every stitch.

21st round: 1 double crochet in every stitch.

The 22nd--31st rounds consist of a double repetition of the 7th--11th rounds.

The 22nd to 31st rounds are a double repetition of the 7th to 11th rounds.

The 32nd and 33rd rounds are made in open work like the 7th and 8th rounds.

The 32nd and 33rd rounds are created in open work just like the 7th and 8th rounds.

The 34th round is worked in treble stitches like the 20th round. Then work the outer border. It consists of chain stitch scallops which are worked alternately with dark and light wool. Illustration No. 256 shows a part of the border with the treble round in full size. Work from it with the light wool 1 double on 1 light treble stitch of the preceding round, 5 chain, 1 double, on the next light treble, throw the wool off the needle and let it hang over the right side of the work; crochet with the dark wool 1 double on the treble stitch between the 2 double of this round, leave the wool on the right side of the work; 5 chain, 1 double, on the next dark treble. Take the needle again out of the loop, draw the wool on to the right side, and work the next chain stitch scallop again with the light wool.

The 34th round is done in triple stitches like the 20th round. Next, create the outer border. It features chain stitch scallops worked in alternating dark and light yarn. Illustration No. 256 shows a section of the border with the triple round at full size. Using the light yarn, do 1 double stitch on 1 light triple stitch from the previous round, then 5 chains, and 1 double on the next light triple stitch. Let the yarn hang over the right side of the work; then crochet with the dark yarn 1 double on the triple stitch between the 2 doubles of this round, leaving the yarn on the right side of the work; do 5 chains, and 1 double on the next dark triple stitch. Remove the hook from the loop, pull the yarn to the right side, and continue with the next chain stitch scallop using the light yarn.

Instead of this border, pattern No. 255 may be worked. It consists of 3 rounds to be worked after the 34th round of the couvrette.

Instead of this border, you can use pattern No. 255. It consists of 3 rounds to be worked after the 34th round of the couvrette.

1st round of the border: With dark wool, * 1 double in 1 stitch, of the 34th round; 1 double, 3 treble, 1 double, in the next stitch; repeat from *.

1st round of the border: With dark yarn, * 1 double crochet in 1 stitch, of the 34th round; 1 double crochet, 3 treble crochets, 1 double crochet, in the next stitch; repeat from *.

2nd round: With the light wool, * 1 treble, inserting the needle in the next treble stitch of the 34th round, thus working over the double stitch between the spots of the preceding round; 1 chain.

2nd round: With the light wool, * 1 treble, inserting the needle in the next treble stitch of the 34th round, thus working over the double stitch between the spots of the previous round; 1 chain.

3rd round: * 3 double in each chain stitch of the preceding round. To work the 2nd of these 3 double, insert the needle at the same time in the upper part of the middle treble of the 1st round.

3rd round: * 3 double crochets in each chain stitch of the previous round. For the 2nd of these 3 double crochets, insert the needle at the same time into the upper part of the middle treble of the 1st round.

4th round: Dark wool, * 1 double in each double of the preceding round, miss 1, and work 3 treble in the next stitch but one; the last of these [227] 3 treble is cast off with light wool, miss 1, and continue to work with the light wool 1 double in the next stitch but one, miss 1, 3 treble in the next stitch, cast off the last with the dark wool, miss 1; repeat from *.

4th round: With dark wool, * work 1 double crochet in each double crochet from the previous round, skip 1, and make 3 treble crochets in the stitch after the next; the last of these [227] 3 treble crochets is finished with light wool, skip 1, and continue with light wool by working 1 double crochet in the stitch after the next, skip 1, and make 3 treble crochets in the next stitch, finish the last one with dark wool, skip 1; repeat from *.

258 to 260.--Crochet Insertions.

258 to 260.--Crochet Inserts.

Material: Messrs. Walter Evans and Co.'s crochet cotton No. 30, 40, or 60.

Material: Walter Evans and Co.'s crochet cotton No. 30, 40, or 60.

These insertions are worked with crochet cotton of sizes which depend upon the use you wish to make of them. The insertion seen in illustration 258 is worked the long way in 8 rows. Make a sufficiently long foundation chain, and work the 1st row as follows:--1 slip stitch in the 1st stitch of the foundation, * 5 chain, miss 3, 1 double in the next stitch but 3, repeat from *.

These inserts are made with crochet cotton in sizes that depend on how you plan to use them. The insert shown in illustration 258 is worked lengthwise in 8 rows. Make a long enough foundation chain, and work the 1st row like this:--1 slip stitch in the 1st stitch of the foundation, * 5 chain, skip 3, 1 double in the next stitch but 3, repeat from *.

2nd row:1 slip stitch in the middle of the 1st 5 chain, * 3 chain, 1 slip stitch in the middle stitch of the next 5 chain, repeat from *.

2nd row: 1 slip stitch in the center of the 1st 5 chain, * 3 chain, 1 slip stitch in the center stitch of the next 5 chain, repeat from *.

[228]

3rd row: 1 treble in the 1st stitch, * 1 leaf worked as follows: 6 chain, then without noticing the loop left on the needle 1 long treble in the 2nd and 1 in the 1st of the 6 chain; these stitches are not cast off separately, but together with the loop left on the needle. Then 5 chain, miss 7, 1 treble in the 8th stitch, repeat from *.

3rd row: 1 treble in the 1st stitch, * 1 leaf made like this: 6 chains, then without dropping the loop on the needle, 1 long treble in the 2nd and 1 in the 1st of the 6 chains; these stitches aren’t completed separately, but together with the loop still on the needle. Then 5 chains, skip 7, 1 treble in the 8th stitch, repeat from *.

4th row: 1 double in the 1st of the 5 chain, * 8 chain, 1 double in the 1st of the next 5 chain, repeat from *.

5th row: * 1 leaf as in the 3rd row, 1 double in the double stitch of the preceding row, 5 chain, repeat from *.

5th row: * 1 leaf like in the 3rd row, 1 double in the double stitch of the previous row, 5 chain, repeat from *.

6th row: 1 treble in the point of the 1st leaf, * 7 chain, 1 treble in the point of the next leaf, repeat from *.

6th row: 1 treble in the tip of the 1st leaf, * 7 chain, 1 treble in the tip of the next leaf, repeat from *.

7th and 8th rows: Like the 1st and 2nd.

7th and 8th rows: Just like the 1st and 2nd.

The insertion seen in illustration 259 is worked in 6 rows, and is begun in the centre on a foundation chain sufficiently long not to be worked too tight.

The insertion shown in illustration 259 is done in 6 rows, starting in the center on a foundation chain that is long enough to avoid being too tight.

1st row: 4 double in the 1st 4 stitches, * 4 double divided in the same way on the other side of the foundation chain, inserting the needle in the 1st row into the 2 chain. Illustration 260 shows an insertion which imitates darned netting; it is worked on a grounding imitating netting with raised figures. The grounding consists of 9 rows. Work on a sufficiently long foundation chain the 1st row as follows: 1 cross [229] treble in the 1st and 3rd stitch, * 2 chain, missing 2 stitches under them, 1 cross treble in the 6th and 8th stitch, repeat from *.

1st row: 4 double crochet in the 1st 4 stitches, * 4 double crochet divided the same way on the other side of the foundation chain, inserting the needle in the 1st row into the 2 chain. Illustration 260 shows an insertion that mimics darned netting; it’s worked on a base that looks like netting with raised figures. The base consists of 9 rows. Work on a long enough foundation chain for the 1st row as follows: 1 cross treble in the 1st and 3rd stitch, * 2 chain, skip 2 stitches below them, 1 cross treble in the 6th and 8th stitch, repeat from *.

2nd row: 1 double in the 1st stitch, * 9 chain, miss 4 under them, 1 double in the 5th stitch, repeat from *.

2nd row: 1 double in the 1st stitch, * 9 chains, skip 4 under them, 1 double in the 5th stitch, repeat from *.

3rd to 8th rows: 1 double in the middle stitch of every chain stitch scallop, 4 chain between. 9th row: Like the 1st. Work from illustration square patterns on this grounding, consisting each of 4 leaves; for these leaves carry on the cotton taken double in double windings from 1 double stitch to another, so as to have 4 threads lying close to each other; darn these as can be seen in illustration, with single cotton.

3rd to 8th rows: 1 double crochet in the middle stitch of every chain stitch scallop, with 4 chain stitches in between. 9th row: Same as the 1st. Work from the illustrated square patterns on this base, each consisting of 4 leaves; for these leaves use double strands of cotton in double windings from 1 double crochet to another, so that 4 threads lie closely together; weave these as shown in the illustration, using single cotton.

261.--Crochet Lace.

Material: Messrs. Walter Evans and Co.'s crochet cotton No. 30.

Material: Walter Evans and Co.'s crochet cotton No. 30.

A particular kind of purl makes this border look very like guipure lace. Begin with a foundation chain worked in the following manner:--* 3 chain, the last of them forms 1 purl; this is made by drawing out a long [230] loop on the needle, taking the needle out of the loop, inserting it in the chain stitch before the last one, drawing the cotton through it, and continuing to work so that the loop out of which the needle has been drawn forms 1 purl. All the purl must be equally long; to do this more easily the loop may be kept on the needle till a chain stitch has been worked in that which comes just before the purl, continue the foundation chain, and repeat from *.

A specific type of purl gives this border a look similar to guipure lace. Start with a foundation chain like this: * 3 chains, with the last one creating 1 purl; this is done by pulling out a long [230] loop on the needle, removing the needle from the loop, inserting it into the chain stitch just before the last one, pulling the cotton through it, and continuing to work so the loop that was drawn out forms 1 purl. All the purls should be the same length; to make this easier, you can keep the loop on the needle until you've worked a chain stitch in the one right before the purl, then continue with the foundation chain and repeat from *.

1st row: 1 long double in the 1st stitch of the foundation, * 1 chain, 1 slip stitch in the nearest purl of the foundation chain; repeat from *.

1st row: 1 long double crochet in the 1st stitch of the foundation, * 1 chain, 1 slip stitch in the nearest purl of the foundation chain; repeat from *.

2nd row: 1 double in the 1st stitch, * 1 purl, 1 chain, missing 1 stitch under it; 1 slip stitch in the slip stitch of the preceding row; repeat from *.

2nd row: 1 double in the 1st stitch, * 1 purl, 1 chain, missing 1 stitch underneath; 1 slip stitch into the slip stitch from the previous row; repeat from *.

3rd row: Like the 1st.

3rd row: Same as the 1st.

4th row: 1 double in the 1st stitch, * 1 purl, 5 chain, 1 purl, 1 chain, missing 5 stitches under them; 1 double in the 6th stitch; repeat from *.

4th row: 1 double in the 1st stitch, * 1 purl, 5 chains, 1 purl, 1 chain, skip 5 stitches beneath them; 1 double in the 6th stitch; repeat from *.

5th row: 1 long double in the 1st stitch, 3 chain, 1 purl, 1 chain, * 1 double in the middle of the next 5 chain of the preceding row, 1 purl, 5 chain, 1 purl, 1 chain; repeat from *.

5th row: 1 long double in the 1st stitch, 3 chains, 1 purl, 1 chain, * 1 double in the middle of the next 5 chains from the previous row, 1 purl, 5 chains, 1 purl, 1 chain; repeat from *.

6th to 9th rows: Alternately like the 4th and 5th rows.

6th to 9th rows: Alternate like the 4th and 5th rows.

10th row: 1 double in the 1st stitch, * 6 chain, 1 double long treble (throw the cotton 3 times round the needle) in the 1st of these chain stitches; the stitch is only completed so far as still to leave 2 loops on the needle; 1 double long treble in the same chain stitch. This stitch is cast off so as to leave in all 3 loops, and the cotton over the needle; these loops are cast off together by drawing the cotton once through them. This forms 1 leaf, or one-half of the bell-shaped patterns. 3 purl, 1 chain, 1 leaf like the preceding one, 1 slip stitch in the 1st of the first 6 chain stitches; the other half of the pattern is then completed; 1 purl, 5 chain, 1 purl, 1 chain, 1 double in the middle stitch of the next scallop of the preceding row, 1 purl, 5 chain, 1 purl, 1 chain, 1 double in the middle stitch of the following scallop. [231]

10th row: 1 double crochet in the 1st stitch, * 6 chains, 1 long double treble (wrap the yarn around the hook 3 times) in the 1st of these chain stitches; complete the stitch only to leave 2 loops on the hook; 1 long double treble in the same chain stitch. This stitch is finished by leaving all 3 loops and the yarn over the hook; pull the yarn through all the loops at once. This makes 1 leaf, or one-half of the bell-shaped pattern. 3 purls, 1 chain, 1 leaf like the one before, 1 slip stitch in the 1st of the first 6 chain stitches; the other half of the pattern is then completed; 1 purl, 5 chains, 1 purl, 1 chain, 1 double crochet in the middle stitch of the next scallop from the previous row, 1 purl, 5 chains, 1 purl, 1 chain, 1 double crochet in the middle stitch of the next scallop. [231]

11th row: 1 slip stitch in the next purl of the preceding row, 1 purl, 2 chain, 1 slip stitch in the next purl of the preceding row, 1 purl, 2 chain, 1 slip stitch in the following purl, 1 purl (the 3 purl which are worked on the 3 purl of the bell-shaped pattern are made in this row and in the following one as follows:--Crochet 1 chain after the slip stitch, leave it for 1 purl, and work the next chain stitch in the slip stitch), 1 purl, 5 chain, 1 purl, 1 chain, 1 double in the middle stitch of the following scallop, 1 purl, 3 chain, 1 purl, 1 chain. 12th row: 3 purl on the next 3 purl of the preceding row, 3 chain between, 1 purl, 3 chain, 1 purl, 1 chain, 1 double in the middle stitch of the next 5 chain stitches, 1 bell-shaped pattern like those of the 10th row, 1 purl, 3 chain, 1 purl, 1 chain.

11th row: 1 slip stitch in the next purl of the previous row, 1 purl, 2 chains, 1 slip stitch in the next purl of the previous row, 1 purl, 2 chains, 1 slip stitch in the following purl, 1 purl (the 3 purls worked on the 3 purls of the bell-shaped pattern are made in this row and the next one as follows:--Crochet 1 chain after the slip stitch, skip 1 purl, and work the next chain stitch in the slip stitch), 1 purl, 5 chains, 1 purl, 1 chain, 1 double in the middle stitch of the next scallop, 1 purl, 3 chains, 1 purl, 1 chain. 12th row: 3 purls on the next 3 purls of the previous row, 3 chains in between, 1 purl, 3 chains, 1 purl, 1 chain, 1 double in the middle stitch of the next 5 chain stitches, 1 bell-shaped pattern like those from the 10th row, 1 purl, 3 chains, 1 purl, 1 chain.

CROCHET D'OYLEYS IN IMITATION OF POINT LACE.

CROCHET DOILIES MADE TO LOOK LIKE POINT LACE.

262--D'Oyley No. 1.

Material: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20.

Material: Walter Evans and Co.'s Boar's Head cotton No. 20.

Pattern No. 1.--Make a chain of 8 stitches, unite it.

Pattern No. 1.--Create a chain of 8 stitches and join it.

[232]

Round 1: * 1 double crochet, 9 chain, repeat from * 7 times more, 1 double crochet, unite it to the 1st stitch.

Round 1: * 1 double crochet, 9 chains, repeat from * 7 more times, 1 double crochet, join it to the 1st stitch.

Round 2: 3 single crochet up the 3 1st of the chain in last row, *, 5 long into the loop of 9 chain, 1 chain, repeat from *.

Round 2: 3 single crochet into the 3rd chain from the last row, *, 5 long stitches into the loop of 9 chains, 1 chain, repeat from *.

Round 3: 1 long into the 1 chain in last round, 9 chain, repeat.

Round 4: 11 double crochet into the 9 chain in last round, repeat.

Round 4: 11 double crochets into the 9 chain from the last round, repeat.

Round 5: 1 double crochet, 5 chain, miss 1 loop, repeat.

Round 5: 1 double crochet, 5 chains, skip 1 loop, repeat.

Round 6: 1 double crochet into the 5 chain, 5 chain, repeat.

Round 7: The same as 6th.

Round 7: Same as 6th.

No. 2.--Make a chain of 6 stitches, and unite it.

No. 2.--Make a chain of 6 stitches and join it together.

Round 1: * 1 double crochet, 4 chain, repeat from * 5 times more.

Round 1: * 1 double crochet, 4 chain, repeat from * 5 more times.

Round 2: Into the 4 chain 1 double crochet, 4 long, and 1 double crochet, repeat.

Round 3: 1 double crochet over the double crochet in 1st round, 6 chain, repeat.

Round 3: 1 double crochet in the double crochet from the 1st round, 6 chains, repeat.

Round 4: Into the 6 chain in last round 1 double crochet, 6 long, 1 double crochet, repeat.

Round 4: Into the 6 chain in the last round, 1 double crochet, 6 long stitches, 1 double crochet, repeat.

Round 5: 1 double crochet over the one in 3rd round, 8 chain, repeat.

Round 5: 1 double crochet into the one from the 3rd round, 8 chains, repeat.

Round 6: Into the 8 chain 1 double crochet, 8 long, 1 double crochet, repeat.

Round 6: Into the 8, chain 1 double crochet, 8 long, 1 double crochet, repeat.

Round 7: 1 double crochet over the 1 in 5th round, 10 chain, repeat.

Round 7: 1 double crochet in the 1 from the 5th round, 10 chains, repeat.

Round 8: Into the 10 chain 1 double crochet, 10 long, 1 double crochet, repeat.

Round 8: Into the 10 chain, 1 double crochet, 10 long double crochets, 1 double crochet, repeat.

Round 9: 1 double crochet over the 1 in 7th round, 12 chain, repeat.

Round 9: 1 double crochet into the 1 from the 7th round, 12 chains, repeat.

Round 10: Into the 12 chain 1 double crochet, 12 long, 1 double crochet, repeat.

Round 10: Work 12 chain 1 double crochets, 12 long stitches, 1 double crochet, repeat.

Round 11: 1 double crochet over the 1 in 9th round, 14 chain, repeat.

Round 12: Into the 14 chain 1 double crochet, 14 long, 1 double crochet, repeat.

Round 13: 1 double crochet over the 1 in 11th round, 14 chain, repeat. Work 3 patterns of No. 2 for this d'oyley.

Round 13: 1 double crochet over the 1 in the 11th round, 14 chain, repeat. Work 3 patterns of No. 2 for this doily.

No. 3.--Make a chain of 12 stitches, and unite it. Into the circle 1 double crochet, *, 2 long, 3 chain, repeat from * twice more, 2 double long, 4 chain, 2 double long, * 3 chain, 2 long, repeat from * twice more, 1 double crochet, 7 chain. Repeat from the beginning. In working the 2nd pattern, join it to the 1st with the 2nd 3 chain, work 3 leaves in this manner, then make only 3 chain, and work a 4th leaf without joining it to the 3rd, make 3 chain after 4th leaf, and work a stitch of double crochet into last 7 chain, make 3 chain. Work a 5th leaf, and join it to the 4th as before, 3 chain, 1 double crochet into the next 7 chain, 3 chain. Work a 6th leaf in the same way, and join it; but make no chain stitch after the 6th leaf. Work 3 patterns of No. 3 for this d'oyley.

No. 3.--Make a chain of 12 stitches, and join it. Into the circle, do 1 double crochet, *, then 2 long stitches, 3 chain stitches, and repeat from * two more times, then 2 double long stitches, 4 chain stitches, 2 double long stitches, * 3 chain stitches, 2 long stitches, and repeat from * two more times, 1 double crochet, then 7 chain stitches. Repeat from the beginning. When working the 2nd pattern, connect it to the 1st with the 2nd 3 chain stitches, create 3 leaves this way, then do only 3 chain stitches, and make a 4th leaf without connecting it to the 3rd, do 3 chain stitches after the 4th leaf, and work a double crochet stitch into the last 7 chain stitches, then do 3 chain stitches. Create a 5th leaf, and connect it to the 4th as before, 3 chain stitches, 1 double crochet into the next 7 chain stitches, 3 chain stitches. Create a 6th leaf the same way, and connect it; but don’t do a chain stitch after the 6th leaf. Work 3 patterns of No. 3 for this doily.

[233]

No. 4.--The same as No. 3, only work 4 leaves instead of 6, 2 on each side. Work 3 patterns of No. 4 for this d'oyley.

No. 4.--The same as No. 3, but work 4 leaves instead of 6, 2 on each side. Work 3 patterns of No. 4 for this doily.

No. 5.--Work the 3 1st leaves of No. 3 This is not repeated in this d'oyley.

No. 5.--Work the 31st leaves of No. 3. This is not repeated in this doiley.

No. 6.--Make a chain of 15 stitches, and unite it. Work into the circle 1 double crochet, 7 long, 6 double, 6 long, 5 chain, 6 double long, 7 long, 1 double crochet, 7 chain, joining the 7th long stitch to the corresponding stitch in 1st leaf, 3 chain. Work the 3rd leaf the same as the 1st without joining it to the 2nd, 3 chain, 1 double crochet into [234] the 7 chain, 3 chain, work a 4th leaf, and join it to the 3rd, 3 chain, and join it to the 1st stitch of double crochet at the beginning of the 1st leaf. This pattern is not repeated in this d'oyley.

No. 6.--Make a chain of 15 stitches and connect it. In the circle, work 1 double crochet, 7 long stitches, 6 double crochets, 6 long stitches, 5 chains, 6 long double crochets, 7 long stitches, 1 double crochet, 7 chains (joining the 7th long stitch to the matching stitch in the 1st leaf), and 3 chains. Create the 3rd leaf the same way as the 1st, without connecting it to the 2nd, then do 3 chains, and 1 double crochet into [234] the 7 chains, 3 chains, and make a 4th leaf, joining it to the 3rd leaf, then 3 chains, and connect it to the 1st stitch of double crochet at the start of the 1st leaf. This pattern is not repeated in this doily.

No. 7.--Tie a round of cotton about this size O.

No. 7.--Tie a loop of cotton about this size O.

Round 1: 20 double crochet into the round.

Round 1: 20 double crochets into the round.

Round 2: 2 double crochet into successive loops, work 2 into 3rd loop, repeat.

Round 2: 2 double crochets into each of the next loops, then 2 into the 3rd loop, and repeat.

Round 3: 1 double crochet into every loop.

Round 3: 1 double crochet into each loop.

Round 4: 1 double crochet, 5 chain, miss 2 loops, repeat.

Round 4: 1 double crochet, 5 chains, skip 2 loops, repeat.

Round 5: Into the 5 chain in last round 2 long, 5 chain, 2 more long stitches into the same place, 2 chain, repeat.

Round 5: Into the 5 chain from the last round, 2 long stitches, 5 chain, 2 more long stitches into the same spot, 2 chain, repeat.

Round 6: Into the 5 chain 1 double crochet, 6 long, 1 double crochet, 5 chain, repeat. This pattern is not repeated in this d'oyley.

Round 6: Into the 5 chain 1 double crochet, 6 long, 1 double crochet, 5 chain, repeat. This pattern is not repeated in this doily.

No. 8.--Make a chain of 10 stitches, and unite it.

No. 8.--Create a chain of 10 stitches, and connect it.

Round 1: 28 double long into the circle.

Round 1: 28 double longs into the circle.

Round 2: 2 double crochet between each long in last round.

Round 2: 2 double crochets between each long stitch from the last round.

Round 3: 1 long, 2 chain, miss 1 loop, repeat.

Round 3: 1 long stitch, 2 chain stitches, skip 1 loop, repeat.

Round 4: 3 long into the 2 chain, 1 chain, repeat.

Round 5: 1 double crochet into the 1 chain in last round, 5 chain, repeat. This pattern is not repeated in this d'oyley.

Round 5: 1 double crochet into the 1 chain in the last round, 5 chains, repeat. This pattern is not repeated in this doily.

No. 9.--1st row: Make a chain of 30 stitches, work 1 long stitch into the 6th, *, 3 chain stitches, miss 3 loops, 1 long into the next, repeat from * to the end of the row.

No. 9.--1st row: Make a chain of 30 stitches, work 1 long stitch into the 6th, *, 3 chain stitches, skip 3 loops, 1 long stitch into the next, repeat from * to the end of the row.

2nd row: 11 chain, *, 1 double crochet on the other side of the chain into the centre one of the 3 between the long stitch, 1 chain, turn, and work into the 11 chain 3 double crochet and 9 long, 11 chain, repeat from * 7 times more, work into the chain stitches at the end 3 loops of 11 chain with the double crochet and long stitch as before, then work the other half of the pattern to correspond.

2nd row: 11 chains, *, 1 double crochet into the center chain of the 3 between the long stitch on the other side of the chain, 1 chain, turn, and work into the 11 chains: 3 double crochets and 9 long stitches, 11 chains, repeat from * 7 more times, then work into the chain stitches at the end 3 loops of 11 chains with the double crochet and long stitch as before, then work the other half of the pattern to match.

3rd row: Into the space between the long stitches 5 double crochet, 2 chain, repeat. This pattern is not repeated in this d'oyley.

3rd row: Into the gap between the long stitches 5 double crochet, 2 chain, repeat. This pattern is not repeated in this doily.

[235]

No. 10.--Make a chain of 8 stitches, and unite it.

No. 10.--Create a chain of 8 stitches and join them together.

Round 1: Into the circle 24 double long, with 1 chain between each.

Round 1: Into the circle, 24 double crochets, with 1 chain stitch between each.

Round 2: 2 double crochet into the 1 chain in last round, repeat.

Round 2: 2 double crochets into the 1 chain from the last round, repeat.

Round 3: 1 long, 2 chain, miss 1 loop, repeat.

Round 3: 1 long stitch, 2 chain stitches, skip 1 loop, repeat.

Round 4: 1 double crochet into the 2 chain in last round, 5 chain, repeat. This pattern is not repeated in this d'oyley.

Round 4: 1 double crochet into the 2 chain from the last round, 5 chain, repeat. This pattern is not repeated in this doily.

No. 11.--Make a chain of 7 stitches, and unite it.

No. 11.--Make a chain of 7 stitches and join them together.

Round 1: 20 long into the circle.

Round 2: 1 double crochet into every loop.

Round 2: 1 double crochet in each loop.

Round 3: 1 double crochet, 6 chain, miss 2 loops, repeat.

Round 3: 1 double crochet, 6 chains, skip 2 loops, repeat.

Round 4: 1 double crochet into the 6 chain, 7 chain, repeat.

Round 5: 10 double crochet into the 7 chain, repeat.

Round 5: 10 double crochets into the 7 chain, repeat.

Round 6: 1 long, 2 long into the next loop, repeat.

Round 7: 1 double crochet, 5 chain, miss 3 loops, repeat. This pattern is not repeated in this d'oyley.

Round 7: 1 double crochet, 5 chains, skip 3 loops, repeat. This pattern is not repeated in this doily.

No. 12.--Make a chain of 21 stitches, and unite it.

No. 12.--Create a chain of 21 stitches and join it.

Round 1: 30 double crochet into the circle.

Round 1: 30 double crochets into the circle.

Round 2: *, 21 chain, join it to the 18th, work into the circle 1 double crochet, 2 long, 3 chain, 2 long, 5 chain, 2 long, 7 chain, 2 long, 5 chain, 2 long, 3 chain, 2 long and 1 double crochet, 1 single crochet into the 1st double crochet, 3 chain, 4 double crochet into the 3 chain, 2 chain, 6 double crochet into the 5 chain, 2 chain, 4 double crochet into the 7 chain, 3 chain, 4 double crochet into the same place, 2 chain, 6 double crochet into the 5 chain, 2 chain, 4 double crochet into the 3 chain, 3 chain, 1 single crochet into the stitches of double crochet at the end, 3 single crochet down the 3 for the stem, 9 single crochet into successive loops round the circle, repeat from * twice more. This pattern is not repeated in this d'oyley.

Round 2: *, 21 chains, join it to the 18th, work into the circle 1 double crochet, 2 long, 3 chains, 2 long, 5 chains, 2 long, 7 chains, 2 long, 5 chains, 2 long, 3 chains, 2 long and 1 double crochet, 1 single crochet into the 1st double crochet, 3 chains, 4 double crochets into the 3 chains, 2 chains, 6 double crochets into the 5 chains, 2 chains, 4 double crochets into the 7 chains, 3 chains, 4 double crochets into the same place, 2 chains, 6 double crochets into the 5 chains, 2 chains, 4 double crochets into the 3 chains, 3 chains, 1 single crochet into the double crochet stitches at the end, 3 single crochets down the 3 for the stem, 9 single crochets into successive loops around the circle, repeat from * two more times. This pattern is not repeated in this d'oyley.

No. 13.--*, make 9 chain stitches, turn, 1 double crochet into each loop, repeat from * twice more, then work round both sides of these 3 [236] points 1 double crochet, 3 chain, miss 1 loop at the top of each point, work twice into the same loop, then 5 chain, 1 double crochet into each end, unite the 5th to the last of the centre point of 9. This pattern is not repeated in this d'oyley.

No. 13.--*, make 9 chain stitches, turn, and do 1 double crochet into each loop. Repeat from * two more times, then work around both sides of these 3 [236] points: 1 double crochet, 3 chain, skip 1 loop at the top of each point, and work twice into the same loop. Then do 5 chain and 1 double crochet into each end, joining the 5th to the last of the center point of 9. This pattern is not repeated in this doyley.

No. 14.--Round 1: * make a chain of 13 stitches, and unite it, repeat from * 4 more times.

No. 14.--Round 1: * create a chain of 13 stitches, and connect it, repeat from * 4 more times.

Round 2: 1 double crochet into 6 successive loops, 3 stitches into the 7th, 1 into each of the next 6 loops, repeat.

Round 2: 1 double crochet into 6 consecutive loops, 3 stitches into the 7th, 1 into each of the next 6 loops, repeat.

Round 3: 1 double crochet, 7 chain, 1 double crochet into the centre 1 of the 3 in last, 7 chain, miss 6, repeat.

Round 3: 1 double crochet, 7 chains, 1 double crochet into the center of the last 1 of the 3, 7 chains, skip 6, repeat.

Round 4: 1 double crochet, 3 chain, miss 1 loop, repeat. This pattern is not repeated.

Round 4: 1 double crochet, 3 chains, skip 1 loop, repeat. This pattern is not repeated.

No. 15.--*, make a chain of 19 stitches, unite it, 3 long into successive loops, 3 double long, 2 long, 1 double crochet, 5 chain, 1 double crochet into the next loop, 7 chain, 1 double crochet into the same place, 5 chain, work into successive loops 1 double crochet, 2 long, 3 double long, 3 long, unite the last to the first, 9 chain, repeat from * once more, then 5 double crochet into the 5 1st of the 9 chain, 7 chain, 1 double crochet into each, and 1 into each of the 4 remaining of the 9 chain. This pattern is not repeated in this d'oyley.

No. 15.--*, make a chain of 19 stitches, join it, 3 long into successive loops, 3 double long, 2 long, 1 double crochet, 5 chain, 1 double crochet into the next loop, 7 chain, 1 double crochet into the same place, 5 chain, work into successive loops 1 double crochet, 2 long, 3 double long, 3 long, join the last to the first, 9 chain, repeat from * once more, then 5 double crochet into the 5th of the 9 chain, 7 chain, 1 double crochet into each, and 1 into each of the 4 remaining of the 9 chain. This pattern is not repeated in this doily.

No. 16.--Make a chain of 11 stitches, *, work into successive loops 2 double crochet, 7 long, 2 double crochet, 2 more double crochet into the same loop as the last, repeat from * once, make a chain of 24 stitches, unite to the 20th, work into the circle, *, 1 long, 3 chain, 1 long, repeat from * 12 times, work into the 3 chain 1 long, 3 chain, work another long into the same place, repeat, join the last with 1 single crochet to the last of the 24 chain, 2 double crochet over the 2 of the leaf, 7 long into successive loops, 4 double long into successive loops, 4 long into the next loop, and 1 long into the next. This pattern is not repeated. When all these pieces are done, join them as shown in the [237] engraving, sewing them firmly together with the same cotton, then work an edging round in the following manner:--

No. 16.--Make a chain of 11 stitches, *, work into successive loops 2 double crochet, 7 long, 2 double crochet, 2 more double crochet into the same loop as the last, repeat from * once, make a chain of 24 stitches, connect to the 20th, work into the circle, *, 1 long, 3 chain, 1 long, repeat from * 12 times, work into the 3 chain 1 long, 3 chain, work another long into the same place, repeat, join the last with 1 single crochet to the last of the 24 chain, 2 double crochet over the 2 of the leaf, 7 long into successive loops, 4 double long into successive loops, 4 long into the next loop, and 1 long into the next. This pattern is not repeated. When all these pieces are done, join them as shown in the [237] engraving, sewing them securely together with the same cotton, then work an edging round in the following way:--

1st row: 1 double long into the 4 chain at the point of the leaf of No. 4 pattern, 7 chain, 1 double long into the 2nd 3 chain in the same leaf, 8 chain, 1 double long into the 1st 3 chain of the 2nd leaf of the same pattern, 15 chain, 1 long into the 4 chain of No. 6 pattern, 15 chain, 1 long into the 4 chain of the next leaf in the same pattern, 12 chain, 1 long into the 3rd 5 chain from the join of the 11th pattern, 6 chain, 1 single crochet into the 2nd 5 chain from the long stitch, 9 chain, 1 single crochet into the 3rd 5 chain from the last, 6 chain, 1 long into the 2nd 5 chain from the last, 12 chain, work into the 2nd 5 chain from the join of the 7th pattern 1 long, 8 chain, 1 double crochet into the next 5 chain, 9 chain, 1 long into the next 5 chain, 8 chain, 1 double crochet in the 1st 3 chain from the join of 4th pattern, 11 chain, 1 double crochet into the 1st 3 chain of the 2nd leaf of the same pattern, 6 chain, 1 double crochet into the last 3 chain of the same leaf, 4 chain, 1 double crochet into the 3 chain of No. 5 pattern, 6 chain, 1 long into the 7 chain between the leaves of the same pattern, 10 chain, 1 long into the next 7 chain, 6 chain, 1 long into the 1st 3 chain of the 3rd leaf of the same pattern, 12 chain, 1 single crochet into the 3rd 5 of double crochet from the join of 9th pattern, 8 chain, 1 single crochet into the centre of the 2nd 5 double crochet from the last, 11 chain, 1 single crochet into the 2nd 5 of double crochet from the last, 12 chain, 1 double crochet into the 7 chain of 15th pattern, 7 chain, 1 double crochet into the 6th long stitch of the same leaf, 11 chain, 1 double crochet into the end of the stem of 15th pattern, 8 chain, 1 double long into the 1st 3 chain of the 4th pattern, 4 chain, 1 double long into the last 3 chain of the same leaf, 9 chain, 1 double long into the 2nd 3 chain of the 2nd leaf, 12 chain, 1 long into the 3rd 3 chain of No. 16 [238] pattern, 8 chain, 1 long into the 2nd 3 chain of the same pattern from the last, 12 chain, 1 long into the 3rd 5 chain from the join of the 10th pattern, 10 chain, 1 long into the 3rd 5 chain from the last, 12 chain, 1 double crochet into the centre of the 7 of double crochet in 12th pattern, 12 chain, 1 long into the 5 double crochet of same pattern, 8 chain, 1 double crochet into the 3 chain in centre of same leaf, 9 chain, 1 long into the 3rd 5 chain from the join of the 8th pattern, 8 chain, 1 single crochet into the 3rd 5 chain from the last, 10 chain, 1 double long into the 3rd 5 chain from the stitch of single, 13 chain, and join it to the double long stitch at the beginning of the row.

1st row: 1 double crochet into the 4 chain at the tip of the leaf of No. 4 pattern, 7 chain, 1 double crochet into the 2nd 3 chain in the same leaf, 8 chain, 1 double crochet into the 1st 3 chain of the 2nd leaf of the same pattern, 15 chain, 1 long stitch into the 4 chain of No. 6 pattern, 15 chain, 1 long stitch into the 4 chain of the next leaf in the same pattern, 12 chain, 1 long stitch into the 3rd 5 chain from the join of the 11th pattern, 6 chain, 1 single crochet into the 2nd 5 chain from the long stitch, 9 chain, 1 single crochet into the 3rd 5 chain from the last, 6 chain, 1 long stitch into the 2nd 5 chain from the last, 12 chain, work into the 2nd 5 chain from the join of the 7th pattern 1 long stitch, 8 chain, 1 double crochet into the next 5 chain, 9 chain, 1 long stitch into the next 5 chain, 8 chain, 1 double crochet in the 1st 3 chain from the join of 4th pattern, 11 chain, 1 double crochet into the 1st 3 chain of the 2nd leaf of the same pattern, 6 chain, 1 double crochet into the last 3 chain of the same leaf, 4 chain, 1 double crochet into the 3 chain of No. 5 pattern, 6 chain, 1 long stitch into the 7 chain between the leaves of the same pattern, 10 chain, 1 long stitch into the next 7 chain, 6 chain, 1 long stitch into the 1st 3 chain of the 3rd leaf of the same pattern, 12 chain, 1 single crochet into the 3rd 5 of double crochet from the join of 9th pattern, 8 chain, 1 single crochet into the center of the 2nd 5 double crochet from the last, 11 chain, 1 single crochet into the 2nd 5 of double crochet from the last, 12 chain, 1 double crochet into the 7 chain of 15th pattern, 7 chain, 1 double crochet into the 6th long stitch of the same leaf, 11 chain, 1 double crochet into the end of the stem of 15th pattern, 8 chain, 1 double crochet into the 1st 3 chain of the 4th pattern, 4 chain, 1 double crochet into the last 3 chain of the same leaf, 9 chain, 1 double crochet into the 2nd 3 chain of the 2nd leaf, 12 chain, 1 long stitch into the 3rd 3 chain of No. 16 [238] pattern, 8 chain, 1 long stitch into the 2nd 3 chain of the same pattern from the last, 12 chain, 1 long stitch into the 3rd 5 chain from the join of the 10th pattern, 10 chain, 1 long stitch into the 3rd 5 chain from the last, 12 chain, 1 double crochet into the center of the 7 of double crochet in 12th pattern, 12 chain, 1 long stitch into the 5 double crochet of same pattern, 8 chain, 1 double crochet into the 3 chain in center of same leaf, 9 chain, 1 long stitch into the 3rd 5 chain from the join of the 8th pattern, 8 chain, 1 single crochet into the 3rd 5 chain from the last, 10 chain, 1 double crochet into the 3rd 5 chain from the stitch of single, 13 chain, and join it to the double crochet at the beginning of the row.

2nd row: *, 12 chain, and unite it, 1 chain to cross, and on the other side into the circle 1 double crochet, 2 long, 3 chain, 2 long, 3 chain, 2 double long, 4 chain, then work down the other side to correspond, 8 double crochet into successive loops of the foundation, repeat from *, joining the leaves in the 1st 3 chain.

2nd row: *, 12 chains, and connect it, 1 chain to cross, and on the other side into the circle 1 double crochet, 2 long, 3 chains, 2 long, 3 chains, 2 double long, 4 chains, then work down the other side to match, 8 double crochets into the next loops of the foundation, repeat from *, joining the leaves in the 1st 3 chains.

263.--D'Oyley No. 2.

263.--D'Oyley #2.

Material: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20.

Material: Walter Evans and Co.'s Boar's Head cotton No. 20.

Pattern No. 1.--Make a chain of 4 stitches, and unite it.

Pattern No. 1.--Make a chain of 4 stitches and join it together.

Round 1: 2 double crochet into each loop.

Round 1: 2 double crochets into each loop.

Round 2: 2 double crochet into each loop.

Round 2: 2 double crochets into each loop.

Round 3: 1 double crochet, 2 double crochet into the next loop, repeat.

Round 3: 1 double crochet, 2 double crochets into the next loop, repeat.

Round 4: 1 double crochet into each loop.

Round 4: 1 double crochet into each stitch.

Round 5: 1 double crochet, 5 chain, miss 2 loops, repeat.

Round 5: 1 double crochet, 5 chains, skip 2 loops, repeat.

Round 6: 9 double crochet into the 5 chain, repeat.

Round 6: 9 double crochets into the 5-chain, repeat.

Round 7: 9 double crochet into successive loops, beginning on the 5th of [239] the 9 in last round, 5 chain, 1 single crochet into the last double crochet, and repeat.

Round 7: Make 9 double crochets into the next loops, starting on the 5th of [239] the 9 from the last round, then 5 chains, 1 single crochet into the last double crochet, and repeat.

Round 8: 1 double crochet into the centre one of the 9 in last round, 11 chain, repeat.

Round 8: 1 double crochet into the center stitch of the 9 from the last round, 11 chain, repeat.

Round 9: 15 double crochet into the 11 chain in last round, repeat.

Round 9: 15 double crochets into the 11 chain from the last round, and repeat.

Round 10: 15 double crochet into successive loops, beginning on the 8th of the 15 in last round, 5 chain, 1 single crochet into the last double crochet, repeat.

Round 10: 15 double crochets into the next loops, starting with the 8th of the 15 from the last round, 5 chains, 1 single crochet into the last double crochet, repeat.

Round 11: 1 double crochet into the centre one of the 15 in last round, 17 chain, repeat.

Round 11: 1 double crochet into the center one of the 15 from the last round, 17 chains, repeat.

Round 12: 21 double crochet into the 17 chain in last Round.

Round 12: 21 double crochets into the 17 chain from the last round.

[240]

No. 2.--Make a chain of 7 stitches, and unite it.

No. 2.--Create a chain of 7 stitches and connect it.

Round 1: *, 7 chain, 1 double crochet into the circle, repeat from * twice more.

Round 1: *, 7 chains, 1 double crochet into the circle, repeat from * twice more.

Round 2: 12 long into the 7 chain, repeat.

Round 3: 2 long into each loop.

Round 3: 2 long in each loop.

Round 4: 1 long, 2 chain, miss 2 loops, repeat.

Round 4: 1 long stitch, 2 chain stitches, skip 2 loops, repeat.

Round 5: 2 long into the 2 chain in last round, 1 chain, repeat.

Round 5: 2 long into the 2 chain in the last round, 1 chain, repeat.

Round 6: 1 double crochet into the 1 chain, 5 chain, repeat.

Round 6: 1 double crochet into the 1 chain, 5 chains, repeat.

No. 3.--Make a chain of 14 stitches, and unite it.

No. 3.--Create a chain of 14 stitches and connect it.

Round 1: Into the circle 1 double crochet, 7 long, 6 double long, 4 chain, 6 double long, 7 long, 1 double crochet.

Round 2: 1 double crochet into every loop.

Round 2: 1 double crochet in each loop.

Round 3: 2 chain, miss 1 loop, 1 long and repeat, 4 long at the point, finish with a single stitch, 3 chain, and repeat this once more.

Round 3: 2 chains, skip 1 loop, 1 long stitch, and repeat, 4 long stitches at the point, finish with a single stitch, 3 chains, and repeat this one more time.

No. 4.--Make a chain of 13 stitches, and unite it, chain of 15 and unite it, chain of 13 and unite it, work 6 double crochet into successive loops, beginning on the 1st of the 1st loop of 13, 3 into the next loop, and 1 into each of the 6 next, 1 double crochet into each of the 1st 7 of the loop of 15, 3 into the next, 1 into each of the next 7, 1 double crochet into each of the 6 1st of the next loop of 13, 3 into the next, 1 into each of the next 6.

No. 4.--Make a chain of 13 stitches and join it, then make a chain of 15 and join it, followed by a chain of 13 and join it. Work 6 double crochet into the loops, starting at the 1st loop of 13: 3 into the next loop, and 1 into each of the next 6. Then, do 1 double crochet into each of the 1st 7 of the loop of 15, 3 into the next, and 1 into each of the next 7. For the next loop of 13, do 1 double crochet into each of the 6 1st, 3 into the next, and 1 into each of the next 6.

2nd row: 1 double crochet, 3 chain, miss 1 loop, repeat.

2nd row: 1 double crochet, 3 chains, skip 1 loop, repeat.

No. 5.--Make a chain of 13 stitches, and unite it.

No. 5.--Make a chain of 13 stitches and join it together.

Round 1: Into the circle 3 double crochet, 3 long, 3 double long, 5 treble long, 3 double long, 3 long, 3 double crochet.

Round 1: Into the circle, 3 double crochets, 3 longs, 3 double longs, 5 treble longs, 3 double longs, 3 longs, 3 double crochets.

Round 2: 1 double crochet into each of the 9 1st loops, 2 into each of the 2 next, and 3 into the next, 2 into each of the 2 next, and 1 into each of the 9 next.

Round 2: 1 double crochet into each of the 9 first loops, 2 into each of the next 2, and 3 into the following one, 2 into each of the next 2, and 1 into each of the next 9.

Round 3: 1 long, *, 3 chain, 1 long into the next loop, repeat from * at the end, unite the last to the 1st stitch, 9 chain, repeat from the beginning; in uniting the last stitch of the 2nd [241] leaf, take up the centre stitch of the 9 chain with it, make 5 chain, and work a 3rd leaf in the same manner; in uniting the last stitch of the 3rd leaf, take up the last of the 5 chain with it, make 9 chain, turn, and work 1 double crochet into each, join the last to the last of the 5 and 9 chain stitch.

Round 3: 1 long stitch, *, 3 chain stitches, 1 long stitch into the next loop, repeat from * at the end, join the last stitch to the 1st stitch, 9 chain stitches, repeat from the beginning; when joining the last stitch of the 2nd [241] leaf, pick up the center stitch of the 9 chain with it, make 5 chain stitches, and work a 3rd leaf in the same way; when joining the last stitch of the 3rd leaf, pick up the last of the 5 chain stitches with it, make 9 chain stitches, turn, and work 1 double crochet into each, joining the last to the last of the 5 and 9 chain stitches.

No. 6.

Make a chain of 6 stitches, and unite it.

Make a chain of 6 stitches and join it together.

Round 1: 1 double crochet into 1 loop, 5 chain, repeat 5 times more.

Round 1: 1 double crochet into 1 loop, 5 chains, repeat 5 more times.

Round 2: Into the 5 chain 1 double crochet, 3 long, 1 double crochet, repeat.

Round 2: Into the 5-chain, 1 double crochet, 3 stitches long, 1 double crochet, repeat.

Round 3: 1 double crochet over the 1st double crochet in last round, 7 chain, repeat.

Round 3: 1 double crochet in the 1st double crochet from the last round, 7 chains, repeat.

Round 4: Into the 7 chain in last round 2 double crochet, 7 long, 2 double crochet, and repeat.

Round 4: In the 7 chain from the last round, 2 double crochets, 7 long stitches, 2 double crochets, and repeat.

Round 5: 1 double crochet into the 1st double crochet in last round, 11 chain, repeat.

Round 5: 1 double crochet into the 1st double crochet in the last round, 11 chains, repeat.

Round 6: Into the 11 chain in last round 3 double crochet, 9 long, 3 more double crochet, repeat.

Round 6: Into the 11 chain in the last round, 3 double crochets, 9 long stitches, 3 more double crochets, and repeat.

No. 7.

1st row: Make a chain of 20 stitches. 1 long into the 15th, *, 2 chain, miss 2 loops, 1 long into the next, repeat from * to the end of the row.

1st row: Create a chain of 20 stitches. Make 1 long stitch into the 15th stitch, *, 2 chains, skip 2 loops, make 1 long stitch into the next, repeat from * to the end of the row.

2nd row: Turn, into the 2 chain 1 double crochet, 2 long, 1 double crochet, repeat this to the end, then into the 5 chain 1 double crochet, 2 long, 1 double long, 2 long, 1 double crochet, work the other side to correspond.

3rd row: 1 double crochet into the 1st double crochet in last row, 7 chain, and repeat to the point, 7 chain, 1 double crochet into the double long, work the other side to correspond.

3rd row: 1 double crochet into the 1st double crochet in the last row, 7 chains, and repeat to the end, 7 chains, 1 double crochet into the double, work the other side to match.

4th row: Into the 7 chain 4 double crochet, 3 chain, 1 single into the last double crochet, 4 more double crochet into the same place, repeat.

4th row: Insert 4 double crochets into the 7 chain, then 3 chains, followed by 1 single crochet into the last double crochet. Finish with 4 more double crochets into the same spot, and repeat.

No. 8.

1st row: 1 chain of 7 stitches, 1 double crochet into each of the 6 1st, 3 stitches into the 7th, work on the other side of the chain to correspond.

1st row: 1 chain of 7 stitches, 1 double crochet into each of the 6 first, 3 stitches into the 7th, work on the other side of the chain to match.

2nd row: 1 double crochet, 3 chain, miss 1 loop, repeat.

2nd row: 1 double crochet, 3 chains, skip 1 loop, repeat.

3rd row: 5 double crochet into the 3 chain, repeat.

3rd row: 5 double crochets into the 3 chains, repeat.

[242]

No. 9.

The same as No. 3 in the 1st d'oyley, only 5 leaves instead of 6, 2 on each side, and 1 at the end; 2 of these will be required for this d'oyley.

The same as No. 3 in the 1st d'oyley, only 5 leaves instead of 6, 2 on each side, and 1 at the end; 2 of these will be needed for this d'oyley.

No. 10.

Work the 2 1st leaves of No. 4 in the 1st d'oyley; 3 of these will be required for this d'oyley.

Work the 2 first leaves of No. 4 in the 1st doily; 3 of these will be needed for this doily.

No. 11.

Work only 1 leaf of No. 4 in the 1st d'oyley. This is not to be repeated in this d'oyley.

Work only 1 leaf of No. 4 in the 1st doily. This is not to be repeated in this doily.

No. 12.

The same as No. 4 in 1st d'oyley.

No. 13.

The same as No. 5.

Same as No. 5.

No. 14.

The same as No. 8 in 1st d'oyley.

No. 15.

The same as No. 10.

Just like No. 10.

No. 16.

The same as No. 11 in the 1st d'oyley.

No. 17.

The same as No. 2 in 1st d'oyley; 2 of these will be required.

No. 18.

The same as No 6 in 1st d'oyley; 2 of these will be required. When all these pieces are done, sew them firmly together, and work the edging round in the following manner:--1 double crochet into the 1st 4 chain of 9th pattern, 9 chain, 1 double crochet into the last 3 chain of same leaf, 4 chain, 1 double crochet into the 1st 3 chain of 2nd leaf, 10 chain, 1 double crochet in the 4 chain of same leaf, 8 chain, 1 long into the 4th of the 5 chain, from the joining of 15th pattern, 4 chain, 1 double crochet into the 2nd 5 chain, 4 chain, 1 long into the 2nd 5 chain from the last, 12 chain, 1 long into the last 3 chain of 10th pattern, 3 chain, 1 double crochet into the 4 chain of same leaf, 9 chain, 1 double crochet into the 4 chain of 2nd leaf, 12 chain, 1 long into the 1st double crochet from the join of No. 6 pattern, 9 chain, 1 long into the next stitch of double crochet after the long stitch, 16 chain, 1 long into the 3rd 5 chain from the join of 14th pattern, 8 chain, 1 double crochet into the 3rd 5 chain from the long stitch, 9 [243] chain, 1 long into the 3rd 5 chain from the stitch of double crochet, 9 chain, 1 long into the 1st 3 chain of 10th pattern, 8 chain, 1 double crochet into the 4 chain of same leaf, 12 chain, 1 double crochet into the 4 chain of 15th pattern, 8 chain, 1 double crochet into the last 3 chain of same leaf, 9 chain, 1 long into the 1st 14 chain from the join of 17th pattern, 10 chain, 1 long into the next 14 chain of same pattern, 14 chain, 1 long into the 4th 5 chain from the join of 16th pattern, 6 chain, 1 double crochet into the 2nd 5 chain from last, 6 chain, 1 long into the 2nd 5 chain from last, 12 chain, 1 double crochet into the 1st 4 chain of 9th pattern, 8 chain, 1 double crochet into the last 3 chain of same leaf, 4 chain, 1 double crochet into the 1st 3 chain of 2nd leaf, 5 chain, 1 double crochet into the last 3 chain of 2nd leaf, 6 chain, 1 double crochet into the last 3 chain of 10th pattern, 8 chain, 1 double crochet into the 7 chain of same pattern, 6 chain, 1 double crochet into the 1st 3 chain of 2nd leaf, 11 chain, 1 double crochet into the 4 chain of 11th pattern, 9 chain, 1 double crochet into the last 3 chain of same pattern, 8 chain, 1 long into the centre 3 chain of 1st leaf of 12th pattern, 7 chain, 1 double crochet into the 1st 3 chain of 2nd leaf same pattern, 7 chain, 1 double crochet into the 4 chain of same leaf, 10 chain, 1 long into the 5th 3 chain from the join of the 3rd pattern, 4 chain, 1 double crochet into the 2nd 3 chain, 4 chain, 1 long into the 2nd 3 chain of same pattern, 8 chain, 1 long into the 1st 14 chain from join of 17th pattern, 12 chain, 1 long into the next 14 chain of same pattern, 10 chain, and unite. 2nd row: The same edging as to 1st d'oyley.

The same as No 6 in the 1st doily; you'll need 2 of these. Once all these pieces are finished, sew them securely together, and crochet the edging in this way:--1 double crochet into the 1st 4 chains of the 9th pattern, 9 chains, 1 double crochet into the last 3 chains of the same leaf, 4 chains, 1 double crochet into the 1st 3 chains of the 2nd leaf, 10 chains, 1 double crochet into the 4 chains of the same leaf, 8 chains, 1 long stitch into the 4th of the 5 chains from the joining of the 15th pattern, 4 chains, 1 double crochet into the 2nd 5 chains, 4 chains, 1 long stitch into the 2nd 5 chains from the last, 12 chains, 1 long stitch into the last 3 chains of the 10th pattern, 3 chains, 1 double crochet into the 4 chains of the same leaf, 9 chains, 1 double crochet into the 4 chains of the 2nd leaf, 12 chains, 1 long stitch into the 1st double crochet from the join of No. 6 pattern, 9 chains, 1 long stitch into the next double crochet stitch after the long stitch, 16 chains, 1 long stitch into the 3rd 5 chains from the join of the 14th pattern, 8 chains, 1 double crochet into the 3rd 5 chains from the long stitch, 9 [243] chains, 1 long stitch into the 3rd 5 chains from the double crochet stitch, 9 chains, 1 long stitch into the 1st 3 chains of the 10th pattern, 8 chains, 1 double crochet into the 4 chains of the same leaf, 12 chains, 1 double crochet into the 4 chains of the 15th pattern, 8 chains, 1 double crochet into the last 3 chains of the same leaf, 9 chains, 1 long stitch into the 1st 14 chains from the join of the 17th pattern, 10 chains, 1 long stitch into the next 14 chains of the same pattern, 14 chains, 1 long stitch into the 4th 5 chains from the join of the 16th pattern, 6 chains, 1 double crochet into the 2nd 5 chains from the last, 6 chains, 1 long stitch into the 2nd 5 chains from the last, 12 chains, 1 double crochet into the 1st 4 chains of the 9th pattern, 8 chains, 1 double crochet into the last 3 chains of the same leaf, 4 chains, 1 double crochet into the 1st 3 chains of the 2nd leaf, 5 chains, 1 double crochet into the last 3 chains of the 2nd leaf, 6 chains, 1 double crochet into the last 3 chains of the 10th pattern, 8 chains, 1 double crochet into the 7 chains of the same pattern, 6 chains, 1 double crochet into the 1st 3 chains of the 2nd leaf, 11 chains, 1 double crochet into the 4 chains of the 11th pattern, 9 chains, 1 double crochet into the last 3 chains of the same pattern, 8 chains, 1 long stitch into the center 3 chains of the 1st leaf of the 12th pattern, 7 chains, 1 double crochet into the 1st 3 chains of the 2nd leaf of the same pattern, 7 chains, 1 double crochet into the 4 chains of the same leaf, 10 chains, 1 long stitch into the 5th 3 chains from the join of the 3rd pattern, 4 chains, 1 double crochet into the 2nd 3 chains, 4 chains, 1 long stitch into the 2nd 3 chains of the same pattern, 8 chains, 1 long stitch into the 1st 14 chains from the join of the 17th pattern, 12 chains, 1 long stitch into the next 14 chains of the same pattern, 10 chains, and connect. 2nd row: Use the same edging as in the 1st doily.

[244]

264.--D'Oyley No. 3.

Material: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20.

Material: Walter Evans and Co.'s Boar's Head cotton No. 20.

Work 2 patterns from No. 2 in 1st d'oyley, 2 patterns from No. 3 in same d'oyley, 1 pattern from No. 4 in same d'oyley, and 1 pattern from No. 5, 2 patterns from No. 6 in same d'oyley, 1 pattern from No. 7, 1 pattern from No. 8; and 1 from No. 10 in same d'oyley, 2 patterns from No. 11 in 1st d'oyley, 1 pattern from No. 2 in 2nd d'oyley, 1 pattern from No. 3 in same d'oyley, 1 pattern from No. 9 in same d'oyley, and 2 from No. 10.

Work 2 patterns from No. 2 in the 1st doily, 2 patterns from No. 3 in the same doily, 1 pattern from No. 4 in the same doily, and 1 pattern from No. 5, 2 patterns from No. 6 in the same doily, 1 pattern from No. 7, 1 pattern from No. 8, and 1 from No. 10 in the same doily, 2 patterns from No. 11 in the 1st doily, 1 pattern from No. 2 in the 2nd doily, 1 pattern from No. 3 in the same doily, 1 pattern from No. 9 in the same doily, and 2 from No. 10.

Then 1 pattern in the following manner:--

Understood. Please provide the text for modernization.

Round 1: Make a chain stitch of 12 stitches, 1 double crochet, 10 long into successive loops, 1 double crochet, 1 double crochet at the point, and work down the other side to correspond.

Round 1: Make a chain stitch of 12 stitches, 1 double crochet, 10 long stitches into the next loops, 1 double crochet, 1 double crochet at the point, and work down the other side to match.

Round 2: 2 long into each loop.

Round 2: 2 long stitches into each loop.

Round 3: 4 chain, miss 2 loops, 1 double crochet into the next, repeat.

Round 3: 4 chains, skip 2 loops, 1 double crochet into the next, repeat.

Round 4: 1 double crochet into the 1st 4 chain of 3rd round, 5 chain, repeat.

Round 4: Work 1 double crochet into the 1st chain of the 3rd round, then chain 5, and repeat.

Work 1 pattern in this way, 1 chain of 14, 1 double crochet into each, 5 chain, 1 double crochet into the last double crochet, turn, 6 double crochet into the circle, with 3 chain between each, into each 3 chain, 5 long, turn, 1 double crochet between each of the 5 long, with 6 chain between each double crochet, turn, into the 1st double crochet 1 long, 2 chain, 1 double long, 2 chain, 1 treble long, 2 chain, 1 double long, 2 chain, 1 long all into the same place, 1 double crochet into the 6 chain. Repeat this 5 times more, then work down the 7 of 14, 7 long, and 7 of single crochet. The edging to be the same as in the former d'oyleys. The 1st round of the edging takes up so much space to write, that we think it better to leave it to the judgment of the worker. It [245] will be seen by the engraving when it is necessary to work a double long or long stitch, or a stitch of single or double crochet, and the number of chain stitches between must be just sufficient to make the circle perfect. The best way is to cut a round of blue paper and place them on it from the engraving, then sew them together, and tack them to the paper, and work the 1st row of the edging before removing the paper.

Work 1 pattern like this: make a chain of 14, then do 1 double crochet into each chain, followed by 5 chains. Do 1 double crochet into the last double crochet, turn your work, do 6 double crochets into the circle, with 3 chains between each. For each 3 chain, do 5 long stitches, then turn. Do 1 double crochet between each of the 5 long stitches, with 6 chains between each double crochet. Turn again, and into the 1st double crochet, do 1 long stitch, 2 chains, 1 long double crochet, 2 chains, 1 long treble, 2 chains, 1 long double crochet, 2 chains, and 1 long stitch, all into the same spot, then do 1 double crochet into the 6 chains. Repeat this 5 more times, then work down the 7 of 14, doing 7 long stitches and 7 single crochets. The edging should be the same as in the previous doilies. The 1st round of the edging takes up so much space to describe that we think it’s better to leave it to the worker’s judgment. It [245] will be clear from the engraving when to work a long double or long stitch, or a single or double crochet stitch, and the number of chain stitches between must just be enough to make the circle perfect. The best approach is to cut a round piece of blue paper and place them on it according to the engraving, then sew them together, tack them to the paper, and work the 1st row of the edging before removing the paper.

[246]

265.--D'Oyley No. 4.

Material: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20.

Material: Walter Evans and Co.'s Boar's Head cotton No. 20.

Work 3 patterns from No. 2 in 1st d'oyley, and 2 from No. 3, 1 pattern from No. 4, 1 pattern from No. 5 in 1st d'oyley, 2 patterns from No. 6, and 1 from No. 8 in same d'oyley, 1 pattern from No. 2 in 2nd d'oyley, and 1 leaf from No. 3 in 2nd d'oyley, 1 pattern from No. 11 in 2nd d'oyley, and the following pattern.

Work 3 patterns from No. 2 in the 1st doily, 2 from No. 3, 1 pattern from No. 4, and 1 pattern from No. 5 in the 1st doily. Then, do 2 patterns from No. 6 and 1 from No. 8 in the same doily. For the 2nd doily, work 1 pattern from No. 2, 1 leaf from No. 3, and 1 pattern from No. 11, along with the following pattern.

No. 1.

Make a chain of 30 stitches, turn, miss 1 loop, 29 double crochet into successive loops, turn, 1 double crochet, 1 long, 2 double long, 8 treble long into 4 loops, 8 double long, 9 long, 4 double crochet, 3 chain, work down the other side to correspond, then 1 double crochet, 3 chain, miss 1 loop, repeat all round.

Make a chain of 30 stitches, turn, skip 1 loop, and make 29 double crochets into the next loops. Turn, then make 1 double crochet, 1 long stitch, 2 double long stitches, and 8 treble long stitches into 4 loops. Then do 8 double long stitches, 9 long stitches, 4 double crochets, and 3 chains. Work down the other side to match, then 1 double crochet, 3 chains, skip 1 loop, and repeat all the way around.

No. 2.

Make a chain of 20 stitches, turn, miss 1 loop, 2 double crochet into successive loops, * 2 chain, miss two loops, 1 long into the next, repeat from * 3 times more, 2 chain, miss 2 loops, 3 double crochet into successive loops, 1 double crochet into every loop on both sides.

Make a chain of 20 stitches, turn, skip 1 loop, make 2 double crochets into the next loops, * make 2 chains, skip two loops, make 1 long stitch into the next, repeat from * 3 more times, make 2 chains, skip 2 loops, make 3 double crochets into the next loops, then make 1 double crochet into every loop on both sides.

Next round: * 5 chain, turn, miss 1 loop, 1 double crochet, 3 long, miss 2 loops of the foundation, 1 double crochet, repeat from * at the point, miss only 1 loop, work 2 patterns of this number.

Next round: * 5 chains, turn, skip 1 loop, 1 double crochet, 3 long stitches, skip 2 loops of the foundation, 1 double crochet, repeat from * at the point, skip just 1 loop, work 2 patterns of this number.

No. 3.

Make a chain of 36 stitches, turn, miss 2 loops, 2 long, *, 1 chain, 3 long, repeat from * 3 times, 1 double crochet, turn, *, 4 chain, 1 double crochet into the 1st chain stitch, repeat from * 3 times, at the point make 5 chain instead of 4, work down the other side to correspond, turn, and into each of the 4 chain 1 double crochet, 7 long, and 1 double crochet, at the point 10 long instead of 7, 2 double [247] crochet down the stem, 1 chain of 28, turn, miss 12 loops, 1 single crochet, then into the circle 20 long, turn, 1 double crochet, 5 chain, miss 1 loop, repeat, turn, 1 double crochet into the 5 chain in last row, 5 chain, repeat, turn, into the 5 chain 1 double crochet, 7 chain, repeat, turn, into the 7 chain 1 double crochet, 1 long, 7 double long, 1 long, 1 double crochet, repeat, work down the stem, 1 double crochet, 1 long, 4 double long, 1 long, 4 double crochet, 1 chain of 14, turn, miss 3 loops, 10 long, 1 double crochet, 1 double crochet, turn, 1 [248] double crochet, 3 chain, miss 1 loop, repeat, turn, into the 3 chain 1 double crochet, 5 long, 1 double crochet, repeat, work down the stem in double crochet.

Make a chain of 36 stitches, turn, skip 2 loops, do 2 long stitches, *, do 1 chain, then do 3 long stitches, and repeat from * 3 times, do 1 double crochet, turn, *, do 4 chains, then do 1 double crochet into the 1st chain stitch, repeat from * 3 times, at the point do 5 chains instead of 4, work down the other side to match, turn, and do 1 double crochet into each of the 4 chains, then do 7 long stitches, and 1 double crochet, at the point do 10 long stitches instead of 7, do 2 double crochets down the stem, do a chain of 28, turn, skip 12 loops, do 1 single crochet, then into the circle do 20 long stitches, turn, do 1 double crochet, do 5 chains, skip 1 loop, repeat, turn, do 1 double crochet into the 5 chains from the last row, do 5 chains, repeat, turn, do 1 double crochet into the 5 chains, do 7 chains, repeat, turn, do 1 double crochet into the 7 chains, do 1 long stitch, do 7 double long stitches, do 1 long stitch, do 1 double crochet, repeat, work down the stem, do 1 double crochet, do 1 long stitch, do 4 double long stitches, do 1 long stitch, do 4 double crochets, do a chain of 14, turn, skip 3 loops, do 10 long stitches, do 1 double crochet, do another double crochet, turn, do 1 double crochet, do 3 chains, skip 1 loop, repeat, turn, do 1 double crochet into the 3 chains, do 5 long stitches, do 1 double crochet, repeat, work down the stem in double crochet.

No. 4.--Make a chain of 6 stitches, and unite it.

No. 4.--Create a chain of 6 stitches, and join it together.

Round 1: Into the circle 16 long.

Round 2: 1 double crochet into each loop, 3 chain after each.

Round 2: 1 double crochet into each loop, 3 chains after each.

Round 3: 1 double crochet into the 3 chain, 3 chain, repeat.

Round 3: 1 double crochet into the 3 chains, 3 chains, repeat.

Round 4: 4 long into the 3 chain, repeat.

Round 5: 1 double crochet, make 3 chain, miss 1 loop, repeat. *, for the leaves, 1 chain of 22, turn, 4 double crochet, 1 long, 9 double long, 1 long, 1 double crochet, 1 chain to cross the stem, on the other side 1 double crochet, 1 long, 9 double long, 1 long, 4 double crochet, 2 double crochet at the point, work down the other side to correspond, 2 double crochet down the stem, 1 chain of 8, repeat from *, 1 chain of 12, and unite it to the 3 chain of the round, turn, 12 double crochet down the stem, work another leaf in the same manner, then work a stem of 8, and make another leaf the same as before, finish with a stem of 8.

Round 5: 1 double crochet, chain 3, skip 1 loop, repeat. *, for the leaves, chain 22, turn, 4 double crochets, 1 long, 9 double longs, 1 long, 1 double crochet, chain to cross the stem, on the other side 1 double crochet, 1 long, 9 double longs, 1 long, 4 double crochets, 2 double crochets at the point, work down the other side to match, 2 double crochets down the stem, chain 8, repeat from *, chain 12, and join it to the 3 chain of the round, turn, 12 double crochets down the stem, make another leaf the same way, then make a stem of 8, and create another leaf just like before, finish with a stem of 8.

No. 5.--Round 1: Make a chain of 12 stitches, and unite it, 1 double crochet, miss 3 loops, 12 chain, repeat twice more.

No. 5.--Round 1: Make a chain of 12 stitches and join it, 1 double crochet, skip 3 loops, 12 chain, repeat two more times.

Round 2: Into the 12 chain 2 double crochet, 13 long, 2 double crochet, repeat.

Round 2: In the 12 chain, 2 double crochets, 13 long, 2 double crochets, repeat.

Round 3: 2 double crochet into successive loops, 13 long into successive loops, 2 double crochet into successive loops, repeat.

Round 3: 2 double crochets into each of the next loops, 13 long stitches into each of the next loops, 2 double crochets into each of the next loops, repeat.

Round 4: 1 long, 5 chain, miss 3 loops, repeat.

Round 4: 1 long stitch, 5 chain stitches, skip 3 loops, repeat.

Round 5: Into the 5 chain 2 double crochet, 5 long, 2 double crochet, repeat.

Round 5: Work 2 double crochets into the 5 chain, then 5 long stitches, followed by 2 double crochets, and repeat.

No. 6.--Make a chain of 11 stitches, and unite it.

No. 6.--Create a chain of 11 stitches, and join it.

Round 1: 2 double crochet into each loop.

Round 1: 2 double crochets into each stitch.

Round 2: 1 double crochet into each loop.

Round 2: 1 double crochet into each stitch.

Round 3: 2 double crochet into 1 loop, 1 into the next, repeat.

Round 3: 2 double crochets into 1 stitch, 1 into the next, repeat.

Round 4: 1 long, 5 chain, miss 2 loops, repeat.

Round 4: 1 long stitch, 5 chain stitches, skip 2 loops, repeat.

Round 5: Into the 5 chain 3 double crochet, 3 chain, 1 single crochet into the last double crochet, 3 more of double crochet into the same place, 4 chain, repeat.

Round 5: In the 5 chain, 3 double crochets, 3 chains, 1 single crochet into the last double crochet, 3 more double crochets into the same spot, 4 chains, repeat.

Round 6: 1 long into the 4 chain, 7 chain, repeat.

Round 7: Into the 7 chain 4 double crochet, 3 chain, 1 single crochet into the last double crochet, [249] 4 more double crochet into the same place, 4 chain, repeat. When all these pieces are done sew them together, as shown in the engraving, and work the edging to correspond with the other d'oyleys.

266.--D'Oyley No. 5.

Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20; and 1 skein of fine embroidery cotton, by the same makers.

Materials: Walter Evans and Co.'s Boar's Head cotton No. 20; and 1 skein of fine embroidery cotton from the same company.

Pattern No. 1.--Make a chain of 8 stitches, and unite it.

Pattern No. 1.--Create a chain of 8 stitches and join it together.

Round 1: 1 double crochet, 7 chain, miss 1 loop, repeat 5 times more.

Round 1: 1 double crochet, 7 chains, skip 1 loop, repeat 5 more times.

Round 2: Into the 7 chain 11 stitches of double crochet, repeat.

Round 2: Into the 7 chain, make 11 double crochet stitches, then repeat.

Round 3: 1 double crochet into the 1st of the 11, 9 chain, miss 5 loops, 1 double crochet into the next, 9 chain, repeat.

Round 3: 1 double crochet into the 1st of the 11, 9 chain, skip 5 loops, 1 double crochet into the next, 9 chain, repeat.

Round 4: Into the 9 chain 13 double crochet, repeat.

Round 4: Into the 9 chain, make 13 double crochets, then repeat.

Round 5: 1 double crochet into the 1st of the 13, 7 chain, miss 3 loops, repeat.

Round 5: 1 double crochet into the 1st of the 13, 7 chain, skip 3 loops, repeat.

Round 6: 5 double crochet into the 7 chain, and repeat.

Round 6: 5 double crochets into the 7-chain, and repeat.

No. 2.--Make a chain of 8 stitches, and unite it.

No. 2.--Make a chain of 8 stitches, and join it together.

Round 1: 1 double crochet, 5 chain, repeat 7 times more.

Round 1: 1 double crochet, 5 chains, repeat 7 more times.

Round 2: 6 chain, miss the 1st, then work into successive loops 2 double crochet and 3 long, 1 double crochet into the 1 double crochet in 1st round, repeat.

Round 2: 6 chains, skip the 1st, then work into successive loops 2 double crochets and 3 longs, 1 double crochet into the 1 double crochet from the 1st round, repeat.

Round 3: 1 double crochet into the 1 in 1st round, 5 chain, and repeat.

Round 3: 1 double crochet into the 1 in the 1st round, 5 chains, and repeat.

Round 4: 7 chain, miss the 1st, and work into successive loops 2 double crochet, 3 long, 1 double long, 1 double crochet into the 5 chain, repeat.

Round 4: 7 chains, skip the 1st, and work into successive loops: 2 double crochets, 3 longs, 1 double long, 1 double crochet into the 5 chains. Repeat.

Round 5: 1 double crochet into the 1 in the 3rd round, 5 chain, repeat.

Round 5: 1 double crochet into the 1 from the 3rd round, 5 chains, repeat.

Round 6: Same as 4th.

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Round 7: 1 double crochet into the 1 in 5th round, 6 chain, repeat.

Round 8: 8 chain, miss the 1st, and work into successive loops 2 double crochet, 3 long, 2 double long.

Round 8: Chain 8, skip the 1st stitch, and work into consecutive loops with 2 double crochets, 3 long stitches, and 2 double long stitches.

Round 9: Same as 7th.

Round 9: Same as 7.

Round 10: Same as 8th. Two of these patterns will be required for this d'oyley.

Round 10: Same as 8th. You’ll need two of these patterns for this doily.

No. 3.--Make a chain of 16, and unite it.

No. 3.--Make a chain of 16, and connect it.

Round 1: 2 double crochet into 1 loop, 1 double crochet into the next, repeat.

Round 1: 2 double crochets into 1 loop, 1 double crochet into the next, repeat.

Round 2: 6 double crochet into successive loops, 5 chain, 1 single crochet into the last double crochet, repeat.

Round 2: 6 double crochets into the next loops, 5 chains, 1 single crochet into the last double crochet, repeat.

Round 3: 1 double crochet into the 3rd of the 6, 13 chain, repeat.

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Round 4: 17 double crochet into the 13 chain, repeat.

Round 5: 1 long and 1 chain alternately, missing 1 loop between each.

Round 6: 1 double crochet into the 1 chain, 1 chain, 1 double crochet into the next chain, 5 chain, work another double crochet into the same place, 1 chain, repeat.

Round 6: 1 double crochet into the 1 chain, 1 chain, 1 double crochet into the next chain, 5 chains, make another double crochet in the same place, 1 chain, repeat.

No. 4.--Make a chain of 14 stitches, and unite it.

No. 4.--Make a chain of 14 stitches and connect it.

Round 1: 1 double crochet, 7 chain, miss 1 loop, repeat 6 times more.

Round 1: 1 double crochet, 7 chains, skip 1 loop, repeat 6 more times.

Round 2: 5 double crochet into the 7 chain, repeat.

Round 2: 5 double crochets into the 7 chain, repeat.

Round 3: 8 chain, miss the 1st, and work into successive loops 2 double crochet, 3 long, and 2 double long, 1 double crochet into the last of the 5 double crochet, repeat.

Round 3: Chain 8, skip the 1st, and work into successive loops: 2 double crochets, 3 long stitches, and 2 double long stitches, then 1 double crochet into the last of the 5 double crochets, and repeat.

Round 4: 1 double crochet at the top of the point, 4 chain, miss 1 loop, 1 double crochet into the next, 4 chain, miss 2 loops, 1 double crochet into the next, 4 chain, 1 double crochet into the 1 in last round. Work the other side of the point to correspond. Two of these patterns will be required for this d'oyley.

Round 4: 1 double crochet at the top of the point, 4 chains, skip 1 stitch, 1 double crochet into the next stitch, 4 chains, skip 2 stitches, 1 double crochet into the next stitch, 4 chains, 1 double crochet into the 1 from the last round. Work the other side of the point to match. You'll need two of these patterns for this doily.

No. 5.--Make a chain of 8 stitches, and unite it.

No. 5.--Make a chain of 8 stitches and join them together.

Round 1: 2 double crochet into each loop.

Round 1: 2 double crochets into each loop.

Round 2: 2 double crochet into 1 loop, 1 into the next, repeat.

Round 2: 2 double crochets in 1 loop, 1 in the next, repeat.

Round 3: 8 chain, miss the 1st, and work into successive loops, 5 double crochet and 2 long, miss 1 of the last round, work 4 double crochet into successive loops, repeat 3 times more, at the end of the round work 4 more double crochet.

Round 3: Chain 8, skip the 1st, and work into the next loops, 5 double crochets and 2 long ones, skip 1 from the last round, work 4 double crochets into the next loops, repeat 3 more times, and at the end of the round work 4 more double crochets.

Round 4: 1 double crochet, 3 chain, miss 1 loop, repeat all, round the 4 points and 2 stitches beyond the 4th, 7 chain, 1 double crochet into each of the 7, finish the round with 3 chain and 1 double crochet as before.

Round 4: 1 double crochet, 3 chains, skip 1 loop, repeat all around the 4 points and 2 stitches past the 4th, 7 chains, 1 double crochet into each of the 7, finish the round with 3 chains and 1 double crochet as before.

No. 6.--Make a chain of 5 stitches, and unite it.

No. 6.--Create a loop of 5 stitches and connect it.

Round 1: 1 double crochet, 5 chain, repeat 4 times more.

Round 1: 1 double crochet, 5 chains, repeat 4 more times.

Round 2: Into the 5 chain 1 double crochet, 3 chain, repeat till 5 double crochet are done, repeat.

Round 2: Into the 5, chain 1 double crochet, 3 chains, repeat until 5 double crochets are completed, then repeat.

Round 3: 1 double crochet into the 1 in 1st round, 7 chain, repeat.

Round 3: 1 double crochet into the 1 in 1st round, 7 chains, repeat.

Round 4: Same as 2nd.

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Round 5: 1 double crochet into the 1 in 3rd round, 7 chain, repeat.

Round 6: Same as 2nd.

Round 7: Same as 5th.

Round 8: Same as 2nd, only 4 chain instead of 3.

Round 8: Same as 2nd, just 4 chains instead of 3.

Round 9: 1 double crochet into the 1 in 7th round, 8 chain, repeat.

Round 9: 1 double crochet into the 1 in the 7th round, 8 chain, repeat.

Round 10: The same as 8th, only making 5 chain instead of 4. Four of these patterns will be required for this d'oyley.

Round 10: The same as the 8th, but use 5 chains instead of 4. You will need four of these patterns for this doily.

No. 7.--Make a chain of 6 stitches, and unite it.

No. 7.--Make a chain of 6 stitches and join it together.

Round 1: 1 double crochet, 7 chain, miss 1 loop, repeat twice more.

Round 1: 1 double crochet, 7 chains, skip 1 loop, repeat two more times.

Round 2: Into the 7 chain 2 double crochet, 7 long, 2 double crochet, repeat.

Round 2: Into the 7 chain, make 2 double crochets, then 7 long stitches, followed by 2 double crochets, and repeat.

Round 3: 1 double crochet, 3 chain, miss 1 loop, repeat, 11 chain, work 2 more leaves in the same way, 1 double crochet into the 3 chain, 4 chain, repeat round 2 sides of the leaf, 3 chain, repeat the stitch of double crochet and 4 chain round 2 sides of each leaf, joining them with 3 chain. Two of these patterns will be required for this d'oyley.

Round 3: 1 double crochet, 3 chains, skip 1 loop, repeat, 11 chains, make 2 more leaves the same way, 1 double crochet into the 3 chains, 4 chains, repeat round 2 on the sides of the leaf, 3 chains, repeat the double crochet and 4 chain stitch on round 2 for each leaf, connecting them with 3 chains. You will need two of these patterns for this doily.

No. 8.--1st row: Make a chain of 14 stitches, miss the 1st, and work into successive loops 5 double crochet, 5 long, 3 double long, turn.

No. 8.--1st row: Create a chain of 14 stitches, skip the 1st, and work into the next loops 5 double crochet, 5 long, 3 double long, then turn.

2nd row: 2 double long into each of the 3, 9 long into successive loops, 5 long into the double crochet at the point of the leaf, 9 long into successive loops, 6 double long into the next 2 loops, 9 double long into the end of the 1st row, unite the last to the first double long in 2nd row.

2nd row: 2 double crochets in each of the 3 stitches, 9 double crochets in the following loops, 5 double crochets in the double crochet at the tip of the leaf, 9 double crochets in the next loops, 6 double crochets in the next 2 loops, 9 double crochets at the end of the 1st row, connect the last stitch to the first double crochet in the 2nd row.

3rd row: 1 double crochet, 3 chain, miss 1 loop, repeat. No loop to be missed at the point, then work with the embroidery cotton a smaller leaf on it in satin stitch, raising it first with the cotton.

3rd row: 1 double crochet, 3 chains, skip 1 stitch, repeat. Don't skip a stitch at the tip, then use the embroidery cotton to create a smaller leaf on it in satin stitch, raising it first with the cotton.

No. 9.--Make a chain of 10 stitches, and unite it.

No. 9.--Create a chain of 10 stitches and join it.

Round 1: 20 long into the circle.

Round 2: 1 double crochet, taking both sides of the loop, 9 chain, miss 1 loop, repeat.

Round 2: 1 double crochet, working into both sides of the loop, 9 chains, skip 1 loop, repeat.

Round 3: Double crochet into the centre of the 9 chain, 7 chain, repeat.

Round 3: Double crochet into the center of the 9-chain, 7-chain, repeat.

[253]

Round 4: Into the 7 chain of last row 1 double crochet, 1 long, 3 double long, 1 long, 1 double crochet, repeat, then work 2 patterns from No. 2 in 1st d'oyley, 1 pattern from No. 3, 2 patterns with 3 leaves from No. 3 in 1st d'oyley, 2 patterns with 2 leaves, and 1 pattern with 1 leaf, work 3 patterns from No. 6 in 1st d'oyley.

Round 4: Into the 7 chain of the last row, make 1 double crochet, 1 long stitch, 3 double long stitches, 1 long stitch, and 1 double crochet, then repeat. Next, work 2 patterns from No. 2 in the 1st doily, 1 pattern from No. 3, 2 patterns with 3 leaves from No. 3 in the 1st doily, 2 patterns with 2 leaves, and 1 pattern with 1 leaf. Finally, work 3 patterns from No. 6 in the 1st doily.

When all these patterns are done join them as shown in the engraving, and work the edging as directed in the former d'oyleys.

When all these patterns are finished, join them as shown in the engraving, and work the edging as instructed in the earlier doilies.

267.--D'Oyley No. 6.

Material: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20.

Material: Walter Evans and Co.'s Boar's Head cotton No. 20.

Pattern No. 1.--Make a chain of 7 stitches, and unite it.

Pattern No. 1.--Create a chain of 7 stitches and join it together.

Round 1: 2 double crochet into each loop.

Round 1: 2 double crochets into each loop.

Round 2: 2 double crochet into 1 loop, and 1 into the next, repeat.

Round 2: 2 double crochets into 1 loop, and 1 into the next, repeat.

Round 3: Increase to 30 double crochet.

Round 3: Increase to 30 double crochets.

Round 4: 4 chain, 1 single crochet into the 1st chain, 5 double crochet, and repeat 5 times more.

Round 4: 4 chains, 1 single crochet into the 1st chain, 5 double crochets, and repeat 5 more times.

Round 5: 1 double crochet into the centre one of the 5 in last round, 11 chain, repeat.

Round 5: 1 double crochet in the center of the 5 from the last round, 11 chains, repeat.

Round 6: 1 double crochet into every loop.

Round 6: 1 double crochet in each loop.

Round 7: 5 chain, 1 single crochet into the 1st, 12 double crochet, and repeat.

Round 7: 5 chains, 1 single crochet into the 1st, 12 double crochets, and repeat.

Round 8: 1 double crochet into the 6th of the 12, 15 chain, repeat.

Round 9: 1 double crochet into every loop.

Round 9: 1 double crochet into each loop.

Round 10: 7 chain, miss the 1st, and work into successive loops 1 double crochet, 2 long, and 3 double long, miss 5 loops of the last round, work 1 double crochet, repeat.

Round 10: 7 chains, skip the 1st, and work into the next loops: 1 double crochet, 2 long, and 3 double long. Skip 5 loops from the last round, then work 1 double crochet and repeat.

Round 11: 1 double crochet over the 1 in last round, miss 1 loop, 1 double crochet into the next, *, 3 chain, miss 1 loop, repeat from * 4 times more, repeat from the beginning of the row.

Round 11: 1 double crochet over the 1 in the last round, skip 1 loop, 1 double crochet into the next, *, 3 chain, skip 1 loop, repeat from * 4 more times, repeat from the beginning of the row.

No. 2.--Make a chain of 20 stitches, and unite it.

No. 2.--Make a chain of 20 stitches, and join it together.

Round 1: 30 double crochet into the circle.

Round 1: 30 double crochets into the circle.

Round 2: 1 double crochet, 13 chain, miss 5 loops, repeat.

Round 2: 1 double crochet, 13 chains, skip 5 loops, repeat.

[254]

Round 3: 17 double crochet into the 13 chain, repeat.

Round 3: 17 double crochets into the 13 chains, repeat.

Round 4: 1 long, 5 chain, 1 single crochet into the 2nd of the 5 chain, miss 1 loop, repeat. Four patterns of this number will be required for this d'oyley.

Round 4: 1 long stitch, 5 chains, 1 single crochet into the 2nd chain of the 5, skip 1 loop, repeat. Four of this pattern will be needed for this doily.

No. 3.--Make a chain of 8 stitches, and unite it.

No. 3.--Make a chain of 8 stitches and connect it.

Round 1: 1 double crochet, 11 chain, miss 1 loop, repeat 3 times more.

Round 1: 1 double crochet, 11 chains, skip 1 loop, repeat 3 more times.

Round 2: Into the 11 chain, *, 3 double crochet, 5 chain, 1 single crochet into the 1st chain, repeat from * twice more, 3 more double crochet, repeat from the beginning of the row.

No. 4.--Make a chain of 6, and unite it.

No. 4.--Make a chain of 6, and join it.

Round 1: 1 long, 4 chain, repeat 5 times more.

Round 1: 1 long, 4 chains, repeat 5 more times.

[255]

Round 2: Into the 4 chain in last row 1 long, 4 chain, work another long into the same place, 2 chain, repeat.

Round 2: In the 4 chain of the last row, make 1 long stitch, then 4 chains, work another long stitch into the same spot, 2 chains, and repeat.

Round 3: Into the 2 chain 3 double crochet, into the 4 chain 1 double crochet, 11 chain, work another double crochet into the same place, repeat.

Round 4: Into the 11 chain 3 double crochet, 5 chain, 1 single crochet into the 1st of the 5 chain, 3 double crochet, 7 chain, 1 single crochet into the 1st of the 7, 3 double crochet, 5 chain, 1 single crochet into the 1st of the 5 chain, 3 double crochet, 2 chain, 1 double crochet into the centre one of the 3 in last round, 2 chain, repeat; then work 2 patterns from No. 2 in 1st d'oyley, 1 pattern from No. 3, 2 patterns from No. 4, 3 from No. 6, and 1 each from Nos. 11, 13, and 14 in 1st d'oyley, 1 pattern from each of Nos. 3 and 4 in 2nd d'oyley, 2 patterns from No. 2 in 5th d'oyley, and 1 pattern each from Nos. 4 and 6 in the 5th d'oyley. Sew these pieces firmly together as shown in the engraving, and add the edging as before.

Round 4: Work into the 11 chain with 3 double crochets, then 5 chains, and 1 single crochet into the 1st of the 5 chains. Next, work 3 double crochets, then 7 chains, and 1 single crochet into the 1st of the 7 chains. After that, work 3 double crochets, then 5 chains, and 1 single crochet into the 1st of the 5 chains. Continue with 3 double crochets, then 2 chains, and 1 double crochet into the center one of the 3 from the last round. Do 2 chains and repeat; then work 2 patterns from No. 2 in the 1st d'oyley, 1 pattern from No. 3, 2 patterns from No. 4, 3 from No. 6, and 1 each from Nos. 11, 13, and 14 in the 1st d'oyley. For the 2nd d'oyley, work 1 pattern from each of Nos. 3 and 4, 2 patterns from No. 2 in the 5th d'oyley, and 1 pattern each from Nos. 4 and 6 in the 5th d'oyley. Sew these pieces securely together as demonstrated in the engraving, and add the edging as before.

268.--D'Oyley No. 7.

Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20; and 1 skein of their fine embroidery cotton.

Materials: Walter Evans and Co.'s Boar's Head cotton No. 20; and 1 skein of their fine embroidery cotton.

Pattern No. 1.--Make a chain of 16 stitches and unite it.

Pattern No. 1.--Make a chain of 16 stitches and join it.

1st Round: 2 double crochet into each loop.

1st Round: 2 double crochets into each loop.

2nd round: 1 double crochet into each loop.

2nd round: 1 double crochet into each stitch.

3rd round: 1 double crochet, 9 chain, miss 3 loops, repeat.

3rd round: 1 double crochet, 9 chains, skip 3 loops, repeat.

4th round: Into the 9 chain 11 double crochet.

4th round: Into the 9 chain, make 11 double crochets.

5th round: 1 long, 2 chain, miss 2 loops, repeat.

5th round: 1 long stitch, 2 chain stitches, skip 2 loops, repeat.

6th round: Into the 2 chain 1 double crochet, 3 chain, 1 single crochet into the one double crochet, work another double crochet into the 2 chain, 2 double crochet into the next 2 chain, repeat.

6th round: Into the 2 chain, 1 double crochet, 3 chains, 1 single crochet into the double crochet, work another double crochet into the 2 chain, 2 double crochets into the next 2 chain, repeat.

[256]

7th round: 1 double crochet into the 1st of the 2 in last round, 13 chain, repeat.

7th round: 1 double crochet into the 1st of the 2 in the last round, 13 chain, repeat.

8th round: Into the 13 chain 11 double crochet, repeat.

No. 2.--Make a chain of 13 stitches, work 1 double crochet into each, make a chain of 15 stitches, work 1 double crochet into each, make a chain of 13 stitches, 1 double crochet into each.

2nd row: 1 double crochet into the end of each of these points, then work round both sides of these points in double crochet, working twice into the end of each point.

2nd row: 1 double crochet into the end of each of these points, then work around both sides of these points in double crochet, working twice into the end of each point.

3rd row: 3 double crochet over the 3 at the beginning of last row, *, 4 chain, single crochet into the 1st of the 4 chain, miss 1 loop, work a long stitch into the next, repeat from * all round, at the beginning and end of the 3rd point miss 2 loops instead of 1, then work a stitch of double crochet into the 1st of the 3, 6 chain, miss the 1st, work into successive loops 2 long and 3 double crochet, 1 double crochet into the last of the 3. This completes the pattern.

3rd row: Yarn over and make 3 double crochet stitches over the 3 stitches at the start of the last row, *, chain 4, do a single crochet in the 1st of the 4 chains, skip 1 loop, and make a long stitch into the next, repeat from * all the way around. At the beginning and end of the 3rd point, skip 2 loops instead of 1, then make a double crochet stitch into the 1st of the 3 stitches, chain 6, skip the 1st chain, and make 2 long stitches and 3 double crochet stitches into the next loops, then 1 double crochet into the last of the 3. This completes the pattern.

No. 3.--Make a chain of 8 stitches, and unite it.

No. 3.--Make a chain of 8 stitches and join it.

1st round: 2 double crochet into each loop.

1st round: 2 double crochets into each loop.

2nd round: 1 double crochet into 1 loop, 2 double crochet into the next, repeat.

3rd round: 2 double crochet into successive loops, 2 double crochet into the next, repeat.

3rd round: 2 double crochets into each loop, then 2 double crochets into the next one, repeat.

4th round: 11 double crochet into successive loops, *, 9 chain, miss 2 loops, 1 double crochet into the next, repeat from *.

4th round: 11 double crochets into each loop, *, 9 chains, skip 2 loops, 1 double crochet into the next, repeat from *.

5th round: 11 double crochet over the 11 in last round, work into the 9 chain 5 double crochet, 5 chain, 1 single crochet into the 1st of the chain, 5 more double crochet into the same place, repeat.

5th round: 11 double crochets over the 11 from the last round, work into the 9 chain 5 double crochets, 5 chains, 1 single crochet into the 1st of the chain, 5 more double crochets into the same spot, repeat.

6th round: 13 double crochet over the 11 in last round, *, 15 chain, 1 double crochet over the 1st of the 5 in last round, repeat from *.

6th round: 13 double crochet over the 11 from the last round, *, 15 chain, 1 double crochet over the 1st of the 5 from the last round, repeat from *.

7th round: 13 double crochet over the 13 in last round, *, work into the 15 chain 8 double crochet, 5 chain, work a stitch of single crochet into the 1st of the 5, 8 double crochet into the same place, repeat from *. [257] This completes the pattern. Then work a circle in satin stitch on the plain part of the pattern with the Fine Embroidery Cotton. Two of these patterns will be required for this d'oyley.

7th round: 13 double crochets over the 13 from the last round, *, work into the 15 chain 8 double crochets, 5 chains, make a single crochet stitch into the 1st of the 5, 8 double crochets into the same spot, repeat from *. [257] This completes the pattern. Then stitch a circle in satin stitch on the plain area of the pattern using Fine Embroidery Cotton. You will need two of these patterns for this doily.

No. 4.--Make a chain of 16 stitches, and unite it. * make a chain of 10 [258] stitches, miss the 1st, and work into successive loops 3 double crochet, 3 long, and 3 double long, unite the last double long to the 4th of the 16 chain in the circle, repeat from * 3 times more, *, work in single crochet to the top of the point and down 6 stitches of the other side, then make a chain of 8 stitches, miss the 1st, work into successive loops 3 stitches of double crochet, 2 long, and 2 double long, unite the last to the 3rd of the next point, and repeat from * 3 times more. Three of these patterns will be required for this d'oyley. Work 2 patterns from No. 2 in the 1st d'oyley, work 2 patterns from No. 3 in the same d'oyley, work 1 pattern from No. 5, and 1 from No. 6 in 1st d'oyley, work 2 patterns with 1 leaf from No. 3 in 1st d'oyley, and 1 pattern with 2 leaves, work 2 patterns from No. 3 in the 5th d'oyley, and 1 pattern from No. 4 in the same d'oyley, and 1 from No. 6, work 6 patterns from No. 3 in the 6th d'oyley, and 1 pattern from No. 4 in the same d'oyley, work 1 pattern from No. 2 in 6th d'oyley. Join these pieces as before, and add the same edging.

No. 4.--Make a chain of 16 stitches and join it together. * Make a chain of 10 [258] stitches, skip the 1st, and work into the next loops 3 double crochet, 3 long, and 3 double long, connecting the last double long to the 4th stitch of the 16-chain circle, repeat from * 3 more times, *, work in single crochet to the top of the point and down 6 stitches on the other side, then make a chain of 8 stitches, skip the 1st, work into the next loops 3 double crochet, 2 long, and 2 double long, connect the last to the 3rd stitch of the next point, and repeat from * 3 more times. You will need three of these patterns for this doily. Create 2 patterns from No. 2 in the 1st doily, create 2 patterns from No. 3 in the same doily, work 1 pattern from No. 5, and 1 from No. 6 in the 1st doily, create 2 patterns with 1 leaf from No. 3 in the 1st doily, and 1 pattern with 2 leaves, create 2 patterns from No. 3 in the 5th doily, and 1 pattern from No. 4 in the same doily, and 1 from No. 6, create 6 patterns from No. 3 in the 6th doily, and 1 pattern from No. 4 in the same doily, work 1 pattern from No. 2 in the 6th doily. Join these pieces as before, and add the same edging.

269.--D'Oyley No. 8

Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20; and 1 skein of their fine embroidery cotton.

Materials: Walter Evans and Co.'s Boar's Head cotton No. 20; and 1 skein of their fine embroidery cotton.

Pattern No. 1.--Make a chain of 9 stitches, work a stitch of double crochet into each of the 8 1st, work 2 into the 9th, work down the other side of the chain to correspond, and unite it.

Pattern No. 1.--Make a chain of 9 stitches, do a double crochet stitch into each of the first 8 stitches, do 2 into the 9th, work down the other side of the chain to match, and join it.

2nd round: *, Work 1 long, make 4 chain, 1 single crochet into the 1st of the 4 chain, miss 1 loop, and repeat from *. No loop to be missed at the point. When this round is finished, make 10 chain, miss the 1st, and work into successive loops 2 long, and 7 of double crochet, then make 15 chain, unite to the 7th, and work into the circle 1 double crochet, make 5 chain, repeat 5 times more.

2nd round: *, Work 1 long stitch, chain 4, and make 1 single crochet into the 1st of the 4 chains, skip 1 loop, then repeat from *. No loop should be skipped at the point. When this round is done, chain 10, skip the 1st chain, and work into the next loops with 2 long stitches, followed by 7 double crochets. Then chain 15, join to the 7th stitch, and work into the circle with 1 double crochet, chain 5, and repeat 5 more times.

2nd round: Work into the 5 chain 1 double crochet, 3 long, and 1 of double crochet, repeat.

2nd round: In the 5 chain, work 1 double crochet, 3 longs, and 1 double crochet, then repeat.

3rd round: Work 1 double crochet, make 3 chain, miss 1 loop, and repeat. Three of these patterns are required for this d'oyley.

3rd round: Work 1 double crochet, chain 3, skip 1 loop, and repeat. You need three of these patterns for this doily.

[259]

No. 2.--Make a chain of 6 stitches.

No. 2.--Create a chain of 6 stitches.

1st round: Work 2 double crochet into each loop.

1st round: Work 2 double crochets into each loop.

2nd round: Work 1 double crochet, make 9 chain, miss 1 loop, repeat.

2nd round: Work 1 double crochet, chain 9, skip 1 loop, repeat.

3rd round: Work into the 9 chain 1 long, make 1 chain, work another 1 long into the same place, make 1 chain, work a third 1 long into the same place, make 7 chain, and repeat.

3rd round: Yarn over into the 9, make 1 double crochet, chain 1, make another double crochet into the same stitch, chain 1, make a third double crochet into the same stitch, chain 7, and repeat.

4th round: Work into the centre of 3 long 2 long, make 5 chain, work 2 [260] more long into the same place, make 5 chain, work into the centre of the 7 chain 1 double crochet, make 3 chain, work another of double crochet into the same place, make 5 chain, and repeat. Two of these patterns will be required for this d'oyley. Work 1 pattern from No. 2 in 1st d'oyley, work 1 pattern from Nos. 3, 4, and 6, work 1 pattern with 3 leaves from No. 3 in 1st d'oyley, and 2 with only 1 leaf, work 1 pattern from each of Nos. 13 and 14 in 1st d'oyley, work 1 pattern from 2 in 5th d'oyley, and 1 from No. 4 in the same d'oyley, work 2 patterns from No. 6 in 5th d'oyley, work 3 patterns from No. 3 in 6th d'oyley, and 2 from No. 4 in the same d'oyley, work 1 pattern from No. 1 in 7th d'oyley, work 2 patterns from No. 3, and 1 pattern from No. 4 in 7th d'oyley, then sew them together as before.

4th round: Work into the center of 3 long, 2 long, make 5 chain, work 2 [260] more long into the same place, make 5 chain, work into the center of the 7 chain 1 double crochet, make 3 chain, work another double crochet into the same place, make 5 chain, and repeat. You will need two of these patterns for this d'oyley. Work 1 pattern from No. 2 in the 1st d'oyley, work 1 pattern from Nos. 3, 4, and 6, work 1 pattern with 3 leaves from No. 3 in the 1st d'oyley, and 2 with only 1 leaf, work 1 pattern from each of Nos. 13 and 14 in the 1st d'oyley, work 1 pattern from 2 in the 5th d'oyley, and 1 from No. 4 in the same d'oyley, work 2 patterns from No. 6 in the 5th d'oyley, work 3 patterns from No. 3 in the 6th d'oyley, and 2 from No. 4 in the same d'oyley, work 1 pattern from No. 1 in the 7th d'oyley, work 2 patterns from No. 3, and 1 pattern from No. 4 in the 7th d'oyley, then sew them together as before.

270.--D'Oyley No. 9.

Material: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20.

Material: Walter Evans and Co.'s Boar's Head cotton No. 20.

Pattern No. 1--Make a chain of 10 stitches, and unite ir.

Pattern No. 1--Make a chain of 10 stitches, and join it together.

1st round: Work into the circle 1 long, make 3 chain, repeat 11 times more.

1st round: Work into the circle 1 long, make 3 chain, repeat 11 more times.

2nd round: Work 1 double crochet into every loop.

2nd round: Make 1 double crochet in each loop.

3rd round: *, Make 11 chain, turn, miss 1 loop, work 10 double crochet down the chain, miss 1 loop, work 7 double crochet and repeat from * 5 times more.

3rd round: *, Make 11 chains, turn, skip 1 stitch, work 10 double crochets down the chain, skip 1 stitch, work 7 double crochets and repeat from * 5 more times.

4th round: Work 1 double crochet, beginning on the 1st of the 10, make 5 chain, miss 3 loops, work 1 double crochet, make 5 chain, miss 3 loops, work 1 double crochet, make 5 chain, work 1 double crochet into the point, work down the other side to correspond, make 2 chain, miss 3 loops, work 1 double crochet, make 2 chain, miss 3 loops, and repeat.

4th round: Make 1 double crochet, starting from the 1st of the 10, then make 5 chains, skip 3 stitches, make 1 double crochet, make 5 chains, skip 3 stitches, make 1 double crochet, make 5 chains, and then make 1 double crochet into the point. Work down the other side to match, make 2 chains, skip 3 stitches, make 1 double crochet, make 2 chains, skip 3 stitches, and repeat.

5th round: Work into each of the 5 chain 1 double crochet, 5 long stitches, and 1 double crochet.

5th round: In each of the 5 chains, work 1 double crochet, 5 long stitches, and 1 double crochet.

No. 2.--Make a chain of 20 stitches, and unite it.

No. 2.--Create a chain of 20 stitches, and join it together.

1st round: Work a stitch of double crochet into 1 loop, work 2 double crochet into the next, repeat.

1st round: Make a double crochet stitch into 1 loop, then make 2 double crochets into the next loop, and repeat.

[261]

2nd round: * Work 3 double crochet, make 5 chain, work 1 single crochet into the 1st of the 5 chain, repeat from * 9 times more, work 2 double crochet.

2nd round: * Work 3 double crochets, make 5 chains, work 1 single crochet into the 1st of the 5 chains, repeat from * 9 more times, work 2 double crochets.

3rd round: * Make 21 chain stitches, work 1 double crochet in the centre one of the 3, turn, work 7 double crochet into the 21 chain, make 5 chain, work 1 single crochet into the 1st of the 5 chain, work 7 double crochet into the 21 chain, repeat from * 8 times more.

3rd round: * Make 21 chain stitches, then do 1 double crochet in the center stitch of the 3. Turn and do 7 double crochets into the 21 chain stitches. Make 5 chain stitches, and do 1 single crochet into the 1st of the 5 chain stitches. Then, do 7 double crochets into the 21 chain stitches. Repeat from * 8 more times.

4th round: Work 15 double crochet into each loop of 21 chain, above the last 7 work 20 double crochet into the last loop of 21, make 5 chain, turn, work 1 single crochet into the last of the 5 chain, 7 double crochet, make 4 chain.

4th round: Work 15 double crochets into each loop of the 21 chains, then above the last 7, work 20 double crochets into the last loop of the 21. Make 5 chains, turn, work 1 single crochet into the last of the 5 chains, then 7 double crochets, and make 4 chains.

5th round: Work 19 double crochet, beginning on the 1st of the 7 in the [262] 1st loop of 21 chain, * make 6 chain, turn, miss 1 loop, work into successive loops a stitch of double, 3 long, 1 double long, then miss 4 double crochet stitches, work 5 double crochet into successive loops, make 5 chain, 1 single crochet into the 1st of the 5 chain, miss 1 loop, 5 double crochet into successive loops, repeat from * 8 times more, then work 12 double crochet. Two of these patterns will be required for this d'oyley.

5th round: Make 19 double crochets, starting with the 1st of the 7 in the [262] 1st loop of 21 chains. * Create 6 chains, turn, skip 1 loop, then work into the next loops: 1 double crochet, 3 long crochets, 1 double long crochet. After that, skip 4 double crochet stitches, then make 5 double crochets into the next loops. Create 5 chains, then do 1 single crochet into the 1st of the 5 chains, skip 1 loop, and do 5 double crochets into the next loops. Repeat from * 8 more times, then finish with 12 double crochets. You will need two of these patterns for this d'oyley.

No. 3.--Make a chain of 8 stitches, and unite it.

No. 3.--Make a chain of 8 stitches and join it together.

1st round: Work into the circle 1 long, make 3 chain, repeat 9 times more.

1st round: Work into the circle 1 long stitch, make 3 chains, repeat 9 more times.

2nd round: Work into the 3 chain 1 double crochet, make 17 chain, work another stitch of double crochet into the same place, make 1 chain, work 1 double crochet into the next 3 chain, make 1 chain, and repeat.

2nd round: Yarn over and do 1 double crochet in the 3 chains, then chain 17. Do another double crochet in the same spot, chain 1, do 1 double crochet in the next 3 chains, chain 1, and repeat.

3rd round: Work into the 17 chain 20 double crochet, work 1 double crochet into the 1 chain, make 1 chain, work 1 double crochet into the next 1 chain, and repeat.

3rd round: Work into the 17 chain 20 double crochet, make 1 double crochet into the 1 chain, chain 1, make 1 double crochet into the next 1 chain, and repeat.

4th round: Work a stitch of double crochet into the 1 chain in last round, * work 5 double crochet into successive loops, beginning on the 1st of the 20, make 5 chain, work 1 single crochet into the 1st of the 5, repeat from * twice more, then work 5 double crochet into successive loops, and repeat from the beginning of the round. Two of these patterns will be required for this d'oyley.

4th round: Work a double crochet stitch into the 1 chain from the last round, * work 5 double crochets into consecutive loops, starting with the 1st of the 20, make 5 chains, then work 1 single crochet into the 1st of the 5, repeat from * two more times, then work 5 double crochets into consecutive loops, and repeat from the beginning of the round. You will need two of these patterns for this doily.

No. 4.--Make 21 chain and unite it, make a chain of 27 and unite it, make a chain of 21 and unite it.

No. 4.--Make a chain of 21 and connect it, make a chain of 27 and connect it, make a chain of 21 and connect it.

1st round: Work in the 21 chain 25 stitches of double crochet, work into the 27 chain 31 double crochet, work into the 21 chain 25 double crochet.

1st round: Chain 21 and work 25 double crochets. Chain 27 and work 31 double crochets. Chain 21 and work 25 double crochets.

2nd round: Work 3 stitches of [263] double crochet into successive loops, make 5 chain, work 1 single crochet into the 1st of the 5 chain, repeat this 6 times more, then work 3 double crochet and repeat from the beginning in the centre loop, repeat this 9 times instead of 7. Two of these are required for this d'oyley.

2nd round: Work 3 double crochet stitches into successive loops, make 5 chains, work 1 single crochet into the 1st chain, and repeat this 6 more times. Then work 3 double crochet and repeat from the beginning in the center loop. Do this 9 times instead of 7. You need two of these for this doily.

No. 5.--Make a chain of 44 stitches, work 1 double crochet into each, turn, make 21 chain, work 1 double crochet into the 4th chain on the other side, * make 21 chain, miss 3 loops, work 1 double crochet into the next, repeat from * 9 times more, work 1 single crochet into the end loop, work 44 double crochet into successive loops, work 15 double into the 1st loop of 21, work 4 double crochet into each loop of 21, and 15 into the end one, then * work 2 double crochet, make 3 chain, work 1 single crochet into the 1st of the 3, repeat from * all round.

No. 5.--Make a chain of 44 stitches, work 1 double crochet into each stitch, turn, make 21 chains, work 1 double crochet into the 4th chain on the other side, * make 21 chains, skip 3 loops, work 1 double crochet into the next one, repeat from * 9 more times, work 1 single crochet into the end loop, work 44 double crochets into successive loops, work 15 double crochets into the 1st loop of the 21, work 4 double crochets into each loop of the 21, and 15 into the end one, then * work 2 double crochets, make 3 chains, work 1 single crochet into the 1st of the 3, repeat from * all around.

Work 2 patterns from No. 2 in 1st d'oyley, 1 from No. 3, 2 with 3 leaves, and 2 with 2 leaves, from No. 3 in 1st d'oyley, 2 patterns from No. 6 in same d'oyley, and 3 patterns from No. 3 in 6th d'oyley, sew them together as shown in the engraving, and add the edging as before.

Work 2 patterns from No. 2 in the 1st doily, 1 from No. 3, 2 with 3 leaves, and 2 with 2 leaves from No. 3 in the 1st doily, 2 patterns from No. 6 in the same doily, and 3 patterns from No. 3 in the 6th doily. Sew them together as illustrated in the engraving, and add the edging as previously indicated.

271.--D'Oyley No. 10.

Material: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20.

Material: Walter Evans and Co.'s Boar's Head cotton No. 20.

Pattern No. 1.--Make a chain of 19 stitches, turn, miss 5 loops, work 10 double crochet, make 3 chain, miss 3 loops, work 1 long, make 3 chain stitches, miss 3 loops, work 1 long stitch, make 3 chain stitches, work a stitch of double crochet into the last loop, then work into the 1st 3 chain on the other side, 1 double crochet, 5 long, work into the next 3 chain 4 long stitches, work 4 long stitches into the next 3 chain stitches, then work into the 5 chain at the point 8 long stitches, then work down the other side to correspond, * make 3 chain, miss 1 loop, [264] work 1 long, make 1 chain, work 1 long stitch into the same place, make 1 chain, work another long stitch into the same place, miss 1 loop, work 1 double crochet, repeat from * 7 times more, then work into the 1st 3 chain 1 double crochet, make 1 chain, work 1 long stitch, * make 1, work 1 double long stitch, repeat from * twice more, make 1 chain, work 1 long; all these stitches are worked into the same 3 chain, then work 1 double crochet into the chain stitch between the 2nd and 3rd long [265] stitches, repeat this 7 times more; this finishes the leaf; then make 16 chain, and work a second leaf the same as 1st, then work 2 double crochet down, then make 12 chain, and work a third leaf the same as 1st, work 14 stitches down the stem, and work a 4th leaf the same as 1st, work 8 double crochet down the stem, work a 5th leaf the same as 1st, make a chain of 40 stitches, turn, and work back in double crochet.

Pattern No. 1.--Make a chain of 19 stitches, turn, skip 5 loops, work 10 double crochet, make 3 chains, skip 3 loops, work 1 long stitch, make 3 chains, skip 3 loops, work 1 long stitch, make 3 chains, work a double crochet into the last loop, then work into the first 3 chain on the other side, 1 double crochet, 5 long stitches, work into the next 3 chains with 4 long stitches, work 4 long stitches into the next 3 chains, then work into the 5 chains at the point with 8 long stitches, then work down the other side to match up, * make 3 chains, skip 1 loop, [264] work 1 long stitch, make 1 chain, work 1 long stitch into the same place, make 1 chain, work another long stitch into the same place, skip 1 loop, work 1 double crochet, repeat from * 7 more times, then work into the first 3 chains 1 double crochet, make 1 chain, work 1 long stitch, * make 1, work 1 double long stitch, repeat from * two more times, make 1 chain, work 1 long; all these stitches are worked into the same 3 chains, then work 1 double crochet into the chain stitch between the 2nd and 3rd long [265] stitches, repeat this 7 more times; this finishes the leaf; then make 16 chains, and work a second leaf the same as the first, then work 2 double crochets down, then make 12 chains, and work a third leaf the same as the first, work 14 stitches down the stem, and work a 4th leaf the same as the first, work 8 double crochets down the stem, work a 5th leaf the same as the first, make a chain of 40 stitches, turn, and work back in double crochet.

No. 2.--Make a chain of 10 stitches, and unite it, *, work a stitch of double crochet into the circle, make 13 chain, and repeat from * five times more, then work 17 stitches into each of the 13 chain, then work 2 stitches of double crochet, beginning on the second of the 13, *, make 5 chain stitches, and work a stitch of single crochet into the 1st of the 5 chain, then work 2 stitches of double crochet, and repeat from * 5 times more; for the stem make a chain of 30 stitches, turn, * work 5 stitches of double crochet, make 5 chain, turn, and work a stitch of single crochet into the 1st, repeat from * 4 times more, then work down the other side to correspond; then work 1 pattern from No. 2 in 1st d'oyley, and 2 from No. 3, 2 with only two leaves, and 2 from No. 6 in the same d'oyley; work 1 pattern from No. 6 in 5th d'oyley, and 3 from No. 3 in 6th d'oyley; work 1 pattern from No. 2 in 9th d'oyley, and 1 from No. 3; work 3 patterns from No. 4 in the same d'oyley, sew the pieces together as before, and work the edging.

No. 2.--Make a chain of 10 stitches and join it, *, work a double crochet stitch into the circle, make 13 chains, and repeat from * five more times, then work 17 stitches into each of the 13 chains, then work 2 double crochet stitches, starting on the second of the 13, *, make 5 chain stitches, and work a single crochet into the 1st of the 5 chain, then work 2 double crochet stitches and repeat from * 5 more times; for the stem, make a chain of 30 stitches, turn, * work 5 double crochet stitches, make 5 chains, turn, and work a single crochet into the 1st, repeat from * 4 more times, then work down the other side to match; then work 1 pattern from No. 2 in the 1st d'oyley, and 2 from No. 3, 2 with only two leaves, and 2 from No. 6 in the same d'oyley; work 1 pattern from No. 6 in the 5th d'oyley, and 3 from No. 3 in the 6th d'oyley; work 1 pattern from No. 2 in the 9th d'oyley, and 1 from No. 3; work 3 patterns from No. 4 in the same d'oyley, sew the pieces together as before, and work the edging.

272 and 273.--Work-Basket in Straw and Silk Crochet-Work.

272 and 273.--Work-Basket in Straw and Silk Crochet Work.

Materials: Straw; brown floss silk; brown ribbon, 1-1/4 inch wide; small glass beads; a piece of bamboo cane.

Materials: Straw; brown floss silk; 1-1/4 inch wide brown ribbon; small glass beads; a piece of bamboo cane.

This basket has a cover formed of two pieces. It can be employed for [266] many things, and is formed entirely of crochet-work with brown silk over straw. A ruche trimmed with beads and bows of brown silk ribbon form the trimming of the basket. The straws over which you crochet must be damp, so as not to be stiff. They should be of unequal length, and when you join the two ends of two straws together, try to hide the beginning with the other straws. Begin the basket in the centre of the bottom part with 46 stitches; then work 9 rounds on either side of this first row, working alternately 1 double stitch, 1 or 2 chain stitches, the double stitch in the chain stitch of the preceding round, the last round over wire.

This basket has a lid made from two pieces. It can be used for [266] many things and is completely made of crochet work with brown silk over straw. A ruffle trimmed with beads and brown silk ribbon decorates the basket. The straw you use for crocheting needs to be damp so it isn't stiff. They should be of different lengths, and when you join the ends of two straws, try to conceal the start with the other straws. Start the basket in the center of the bottom with 46 stitches; then work 9 rounds on each side of this first row, alternating between 1 double stitch and 1 or 2 chain stitches, placing the double stitch in the chain stitch of the previous round, with the last round over wire.

[267]

[268]

It is necessary to increase regularly in all the rounds to keep the work flat. When you have finished the bottom begin the border of the basket, which is worked of the same piece with it, and consists of 11 rounds.

It’s important to consistently increase in every round to keep the work flat. Once you finish the bottom, start the border of the basket, which is made from the same piece and consists of 11 rounds.

It is worked in the same way as the bottom, the first 2 rounds without increasing the number of stitches, but in the following 9 rounds increase 2 double stitches at both ends, in order that the edge may be a little wider in the upper part. In the last round add a piece of wire to the straws.

It is done the same way as the bottom, starting with the first 2 rounds without increasing the number of stitches. In the next 9 rounds, add 2 double stitches at both ends to make the edge a bit wider at the top. In the last round, include a piece of wire with the straws.

The cover of the basket is formed of two pieces. Begin in the middle with 28 stitches; crochet each half in rows forming a half circle, working backwards and forwards; at the beginning of each row turn the straws, and take care that the rows which are finished form a straight line. Each half of the cover requires 9 rows; the last one is worked over wire. The two halves are united at the straight sides by a brown silk ribbon 1-1/4 inch wide, which is sewed on underneath, and which forms a sort of hinge; sew on also a piece of wire covered with brown silk, so as to make the hinge stronger. Form the handle with a piece of bamboo cane 23 inches long, and covered with straws; work over it in long stitches of brown silk, and let it go down to the bottom of the basket; then sew the cover on the handle with the brown ribbon, which forms the two parts. Trim the basket with a ruche of double box pleats, ornamented with glass beads and with bows of brown silk ribbon.

The basket cover is made up of two pieces. Start in the center with 28 stitches; crochet each half in rows to create a half-circle, working back and forth. At the start of each row, turn the straws, and make sure the finished rows form a straight line. Each half of the cover needs 9 rows; the last one is worked over wire. The two halves are joined at the straight edges with a 1-1/4 inch wide brown silk ribbon sewn on underneath, which acts like a hinge; also sew on a piece of wire covered with brown silk to make the hinge stronger. Create the handle using a 23-inch long piece of bamboo cane, covered with straws; wrap it in long stitches of brown silk, allowing it to reach the bottom of the basket; then attach the cover to the handle with the brown ribbon, which connects the two parts. Decorate the basket with a ruffle of double box pleats, embellished with glass beads and bows of brown silk ribbon.

274 and 275.--Two Crochet Borders.

274 and 275.--Two Crochet Borders.

Materials: Messrs. Walter Evans and Co.'s crochet cotton Nos. 30 and 80.

Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 30 and No. 80.

No. 274.--Crochet cotton of two sizes is used for this border (No. 30 and No. 80); it is begun in the centre by a chain of stitches of the length required.

No. 274.--Crochet cotton in two sizes is used for this border (No. 30 and No. 80); it starts in the center with a chain of stitches of the desired length.

1st row: 1 double in each stitch of the chain.

1st row: 1 double crochet in each stitch of the chain.

2nd row: Turn and work on the opposite side of the chain, * 1 double, 11 chain, miss 7. Repeat from *. [269]

2nd row: Turn and work on the other side of the chain, * 1 double, 11 chain, skip 7. Repeat from *. [269]

3rd row: * 1 double on the 1st loop of chain, 2 chain, 1 double in the centre of the 7 stitches which are under the 1st loop of chain, 2 chain, 1 double on the same loop, 5 chain. Repeat from *.

3rd row: * 1 double crochet in the 1st chain loop, 2 chains, 1 double crochet in the center of the 7 stitches below the 1st chain loop, 2 chains, 1 double crochet in the same loop, 5 chains. Repeat from *.

4th row: * 1 double in the centre of the 1st loop of chain, 3 chain, 1 treble in the 1st, but before you complete the treble stitch make 1 chain. Repeat from *. This row completes the upper half of the border. The lower half is worked over the 1st row of plain double crochet.

4th row: * 1 double crochet in the center of the 1st loop of the chain, 3 chains, 1 treble crochet in the 1st, but before you finish the treble stitch, make 1 chain. Repeat from *. This row finishes the upper half of the border. The lower half is worked over the 1st row of plain double crochet.

5th row: 1 double in each of the first 5 stitches, 15 chain, miss 9, 1 double, come back over the loop of chain and work 1 double in each stitch, come back again and work 6 small points, each made thus: 5 chain, 1 double in the 4th, and 1 treble in each of the 3 others, 1 double over the round scallop. When you have worked the 6 small points repeat from *, but always join the 1st point of one scallop to the last point of the next scallop. The pattern inside the scallops is worked in 2 rows with fine cotton. (See illustration.)

5th row: 1 double crochet in each of the first 5 stitches, 15 chain stitches, skip 9, 1 double crochet, go back over the chain loop and work 1 double crochet in each stitch, come back again and work 6 small points, each made like this: 5 chain stitches, 1 double crochet in the 4th chain, and 1 treble crochet in each of the 3 remaining chains, 1 double crochet over the round scallop. After you’ve worked the 6 small points, repeat from *, but always join the 1st point of one scallop to the last point of the next scallop. The pattern inside the scallops is worked in 2 rows with fine cotton. (See illustration.)

No. 275.--The border is begun above the pointed scallops, filled up with lace stitches, by making alternately 3 chain, 1 purl (i.e., 5 chain and 1 slip stitch in the 1st). When the chain is long enough, turn and work [270]

No. 275.--The border starts above the pointed scallops, filled with lace stitches, by alternating between 3 chains and 1 purl (i.e., 5 chains and 1 slip stitch in the 1st). When the chain is long enough, turn and work [270]

the 1st row: Alternately 7 chain, 1 double in the centre stitch between the 2 purl.

the 1st row: Instead, 7 chains, then 1 double in the center stitch between the 2 purls.

2nd row: Turn, work 1 double in the centre of the 1st loop of 7 chain, 1 chain, 1 purl, 1 chain, 1 double in the centre of next loop, and so on.

2nd row: Turn, work 1 double in the center of the 1st loop of 7 chains, 1 chain, 1 purl, 1 chain, 1 double in the center of the next loop, and continue this pattern.

The 3rd row (which is the last) is worked on the opposite side of the chain with purl. * In each of the 8 first stitches work 1 double, make 12 chain, miss the 4 last of the 8 double just worked, and work 1 double in the 5th, come back over the loop of chain, and work 7 small points over it. For each point make 3 chain, work 1 double in the 2nd, 1 treble in the 1st of the 3 chain, 1 double upon the loop of chain. Repeat from * 6 times more.

The 3rd row (which is the last) is done on the opposite side of the chain with purl. * In each of the first 8 stitches, make 1 double crochet, then chain 12, skip the last 4 of the 8 double crochets just made, and make 1 double crochet in the 5th stitch. Come back over the chain loop and make 7 small stitches over it. For each stitch, make 3 chains, make 1 double crochet in the 2nd chain, 1 treble crochet in the 1st of the 3 chains, and 1 double crochet on top of the chain loop. Repeat from * 6 more times.

In the following scallops always fasten the first point of one scallop to the last point of the preceding scallop. When this row is completed fill up the inner part of each scallop with a network of fine thread, joining the threads at all the places where they cross each other by 2 or 3 stitches with a sewing needle.

In the following scallops, always attach the first point of one scallop to the last point of the previous scallop. Once this row is done, fill in the inner part of each scallop with a fine thread network, joining the threads wherever they intersect with 2 or 3 stitches using a sewing needle.

276.--Crochet Antimacassar

276.--Crochet Armrest Cover

Materials: 18 reels of Messrs. Walter Evans and Co.'s Boar's Head cotton No. 10

Materials: 18 reels of Boar's Head cotton No. 10 from Walter Evans and Co.

[271]

This pattern can be adapted for a round couvrette or a square one, and is also pretty done in silk for a sofa cushion. Make a chain of 4 stitches, and unite it

This pattern can be adjusted for either a round or square cushion, and it also looks nice in silk for a sofa pillow. Start by making a chain of 4 stitches, and join it.

1st round: Work into 1 loop a long stitch, make 1 chain stitch, work another long stitch into the same place, make 1 chain, repeat.

1st round: Make a long stitch into 1 loop, create 1 chain stitch, make another long stitch in the same spot, make 1 chain, and repeat.

2nd round: 3 long stitches into 1 loop, make 2 chain stitches, miss 1 loop, and repeat. [272]

2nd round: 3 long stitches into 1 loop, make 2 chain stitches, skip 1 loop, and repeat. [272]

3rd round: 1 double crochet into the 2 chain in last round, make 7 chain, and repeat.

3rd round: 1 double crochet into the 2 chains from the last round, make 7 chains, and repeat.

4th round: Into the 7 chain 2 double crochet, 5 long stitches, and 2 more double crochet, and repeat.

4th round: In the 7 chain, make 2 double crochets, 5 long stitches, and 2 more double crochets, then repeat.

5th round: 1 long stitch into the 1st double crochet in last round, make 9 chain, and repeat.

5th round: 1 long stitch into the 1st double crochet in the last round, make 9 chains, and repeat.

6th round: Into the 9 chain 2 double crochet, * make 4 chain, work 2 double crochet, repeat from * 3 times more, make 5 chain, work a stitch of single crochet into the 2nd of the 5, make 1 chain stitch, and repeat from the beginning of the round.

6th round: Into the 9 chain, 2 double crochet; * make 4 chains, work 2 double crochet, and repeat from * 3 more times. Make 5 chains, work a single crochet stitch into the 2nd of the 5, make 1 chain stitch, and repeat from the beginning of the round.

7th round: 1 long stitch into the loop formed with the 5 chain, make 12 chain, and repeat.

7th round: 1 long stitch into the loop created with the 5 chains, make 12 chains, and repeat.

8th round: Into the 12 chain 2 double crochet into successive loops, make 4 chain, work 1 double crochet into each of the 2 next loops, make 1 chain, work into the 6th loop 1 double crochet, 5 long stitches, and another double crochet, make 1 chain, miss 1 loop, work 2 double crochet into successive loops, make 4 chain, work 1 double crochet into each of the 2 next, make 5 chain, and repeat. This completes the circle. 120 circles sewn together like the engraving will make a good-sized couvrette, 12 in the length, and 10 in the width. If a round couvrette is wished, work 1 circle for the centre larger than the others; this can be done by repeating the 5th and 6th rounds, then sew 8 circles round the centre one, and increase the number of circles in each row till you have made it the size you wish. For the square one, tassels are required for the end and sides; these are made by winding the cotton over a cardboard 4 inches deep about 80 times, then twist 8 threads of the cotton into a cord, cut the cotton wound on the cardboard at one end, make 2 inches of the cord into a loop and tie it firmly with the middle of the tassel, then turn it, tie a thread tightly round, about an inch below the cord, and net over the head; 40 of these tassels will be sufficient.

8th round: Into the 12 chain, do 2 double crochet into successive loops, make 4 chains, and work 1 double crochet into each of the next 2 loops. Make 1 chain, then into the 6th loop, work 1 double crochet, 5 long stitches, and another double crochet. Make 1 chain, skip 1 loop, and work 2 double crochet into successive loops. Make 4 chains, work 1 double crochet into each of the next 2 loops, make 5 chains, and repeat. This completes the circle. 120 circles sewn together as shown in the engraving will create a good-sized couvrette, 12 inches long and 10 inches wide. If you want a round couvrette, make 1 circle for the center larger than the others by repeating the 5th and 6th rounds, then sew 8 circles around the center one, increasing the number of circles in each row until it's the size you want. For a square one, you'll need tassels for the ends and sides; to make these, wind the cotton around a piece of cardboard that’s 4 inches deep about 80 times. Then twist 8 strands of the cotton into a cord, cut the cotton wound on the cardboard at one end, make 2 inches of the cord into a loop, and tie it securely with the middle of the tassel. Turn it, tie a thread tightly around it about an inch below the cord, and net over the head. 40 of these tassels will be enough.

[273]

277.--

Crochet Insertion

Material: Messrs. Walter Evans and Co.'s crochet cotton No. 40.

Material: Walter Evans & Co.'s crochet cotton No. 40.

The patterns of this insertion are worked in a row, and always two opposite circles at a time. Make a foundation chain of 16 stitches, join them into a circle, then work a 2nd circle consisting again of 16 chain stitches. Work round this circle 24 double stitches, and 24 double round the 1st circle; after the last stitch begin again at the 2nd circle, and work 10 chain scallops as follows:--3 double in the next 3 stitches, * 5 chain, 2 double in the next 2 stitches, repeat 8 times more, 3 double in the last 3 stitches; work in the same manner round the other circle. To get to the next pattern, work 4 slip stitches between the 2 circles in the middle of the just-completed pattern, leaving the cotton under the work and drawing it through the stitch upwards through the loop on the needle; 7 chain stitches, and then 2 circles like those just described, and so on.

The patterns for this insertion are done in a row, always working on two opposite circles at a time. Start with a foundation chain of 16 stitches, then join them into a circle. Next, create a 2nd circle with another 16 chain stitches. Work 24 double stitches around this circle, and 24 double stitches around the 1st circle; after the last stitch, go back to the 2nd circle and make 10 chain scallops like this: 3 double in the next 3 stitches, *5 chain, 2 double in the next 2 stitches, and repeat this 8 more times, finishing with 3 double in the last 3 stitches; then do the same around the other circle. To move on to the next pattern, make 4 slip stitches between the 2 circles in the middle of the pattern you've just completed, keeping the cotton under the work and pulling it through the stitch up through the loop on the needle; then make 7 chain stitches, and create 2 circles like the ones just described, and continue.

278 and 279.--Tobacco Pouch in Crochet Work.

278 and 279.--Tobacco Pouch in Crochet.

Materials: Black purse silk; crimson ditto; gold thread.

Materials: Black silk purse; red silk purse; gold thread.

The pouch is begun at the bottom, in the centre of the star. [274] With crimson silk make a chain of 3 stitches, and join it into a circle. Work 4 rounds of double crochet, 2 stitches in each stitch.

The pouch starts at the bottom, in the center of the star. [274] Use crimson silk to create a chain of 3 stitches and join it into a circle. Work 4 rounds of double crochet, adding 2 stitches in each stitch.

5th round: 2 crimson stitches, 1 gold stitch, and so on.

5th round: 2 red stitches, 1 yellow stitch, and so on.

6th round: All gold stitches.

6th round: All gold threads.

7th round: 2 crimson stitches, 2 gold, and so on.

7th round: 2 red stitches, 2 gold, and so on.

8th round: All crimson stitches.

8th round: All red stitches.

9th round: 3 crimson stitches, 2 gold, &c.

9th round: 3 red stitches, 2 gold, etc.

10th round: Similar to the preceding. [275]

10th round: Same as before.

[276]

11th round: 4 gold stitches, 3 crimson, &c.

11th round: 4 gold stitches, 3 red, etc.

12th round: 4 gold stitches, 2 black stitches over the 2 centre gold stitches of preceding round, &c.

12th round: 4 gold stitches, 2 black stitches over the 2 center gold stitches of the previous round, etc.

13th round: 3 gold stitches, 4 black stitches, &c.

14th round: 1 gold stitch, 6 black stitches, &c.

15th round: 3 gold stitches, 4 black stitches, &c.

16th round: 4 gold stitches, 2 black stitches, &c.

17th round: 4 gold stitches, 2 over the black stitches of preceding round, and 1 on either side, 4 crimson stitches, &c.

17th round: 4 gold stitches, 2 over the black stitches from the previous round, and 1 on either side, 4 crimson stitches, &c.

18th round: 2 gold stitches over the centre ones of preceding round, 7 crimson stitches, &c.

18th round: 2 gold stitches over the center ones from the previous round, 7 crimson stitches, etc.

Now work 4 plain crimson rounds, and begin the pattern from No. 279. The centre is crimson, and the pattern is black and gold. The border round the top is of the same colours.

Now work 4 plain red rounds, and start the pattern from No. 279. The center is red, and the pattern is black and gold. The border around the top uses the same colors.

Complete the work by 2 rounds of open treble crochet, and 1 round of gold scallops.

Complete the project with 2 rounds of open treble crochet and 1 round of gold scallops.

In the open rounds pass a double cord of black silk, finished off with small balls of black silk gimp and gold; and on either side of the pouch fasten one of these same balls with two tassels, one crimson and one black. The pouch is lined with white kid.

In the open rounds, pass a double cord of black silk, finished off with small balls made of black silk gimp and gold. On either side of the pouch, attach one of these same balls with two tassels, one crimson and one black. The pouch is lined with white kid leather.

280 and 281.--Crochet Rosettes.

280 and 281.--Crochet Flowers.

Material: Messrs. Walter Evans and Co.'s crochet cotton No. 4, 24, or 40.

Material: Walter Evans & Co.'s crochet cotton No. 4, 24, or 40.

These rosettes are suitable for trimming cuffs, collars, and bodices, or for making couvrettes, according to the size of the cotton with which they are worked.

These rosettes are great for decorating cuffs, collars, and bodices, or for making small covers, depending on the size of the cotton used.

280.--Make a foundation chain of 22 chain; join them into a circle and work the 1st round; 44 double.

280.--Make a foundation chain of 22; join them into a circle and complete the 1st round with 44 double crochets.

2nd round: * 7 chain, missing 3 stitches of the preceding round under them, 1 double; repeat 10 times more from *.

2nd round: * 7 chain, missing 3 stitches from the previous round underneath, 1 double; repeat 10 more times from *.

3rd round: 1 slip stitch in the first 4 stitches of the next scallop, * 5 chain, miss the last and work back on the other 4, 1 double, 1 treble, [277] 1 long treble, 1 double long treble (throw the cotton 3 times round the needle), 1 slip stitch in the middle stitch of the next scallop; repeat 10 times more from *. Work a wheel in the centre of the rosette, which is ornamented with a circle of chain stitch, as can be seen in illustration; take up one thread of the wheel with every other chain stitch.

3rd round: 1 slip stitch in the first 4 stitches of the next scallop, * 5 chains, skip the last and work back on the other 4, 1 double crochet, 1 treble crochet, [277] 1 long treble crochet, 1 double long treble crochet (wrap the yarn 3 times around the needle), 1 slip stitch in the middle stitch of the next scallop; repeat 10 more times from *. Create a wheel in the center of the rosette, decorated with a circle of chain stitch, as shown in the illustration; pick up one thread of the wheel with every other chain stitch.

281.--Begin the rosette with a leaf-like pattern in the centre, and work the 1st row: * 11 chain, miss the last, work back over the following 8 stitches, 1 double, 1 treble, 2 long treble, 1 double long treble, 2 long treble, 1 treble, 1 double in the upper part of the chain stitch before the last, 1 slip stitch in the lower part of the same stitch. The first leaf of the middle pattern is then completed; repeat 6 times more from *. Join the first and last leaves together by working 1 slip stitch in the 1st of the 11 chain stitch.

281.--Start the rosette with a leaf-like design in the center, and work the 1st row: * 11 chain, skip the last, and work back over the next 8 stitches: 1 double, 1 treble, 2 long treble, 1 double long treble, 2 long treble, 1 treble, 1 double in the upper part of the chain stitch before the last, and 1 slip stitch in the lower part of the same stitch. The first leaf of the middle pattern is then finished; repeat 6 more times from *. Join the first and last leaves together by making 1 slip stitch in the 1st of the 11 chain stitch.

2nd round: (Fasten on the cotton afresh), 1 slip stitch in the point of each leaf, 12 chain between.

2nd round: (Reattach the cotton), 1 slip stitch at the tip of each leaf, 12 chains in between.

3rd round: 24 double in each scallop. The rosette is then completed.

3rd round: 24 doubles in each scallop. The rosette is then finished.

[278]

282.--Crochet Trimming, with Embroidered Flowers worked in Appliqué, and Velvet Ribbon.

282.--Crochet Trimming, with Embroidered Flowers in Appliqué, and Velvet Ribbon.

This trimming consists of 2 strips of crochet insertion, ornamented with embroidery patterns worked in appliqué, and velvet ribbon drawn through. They are worked the long way with fine crochet cotton. Begin on a sufficiently long foundation chain of stitches which can be divided by 20, and work the1st row: 1 chain, * 5 double, on the first 5 stitches of the foundation, 1 leaf, as follows:--10 chain, without reckoning the loop left on the needle, 1 extra long treble (for which the cotton is [279] wound 5 times round the needle) in the second of the 10 chain, a similar treble in the first, then cast off the 2 treble stitches together, wind the cotton once round the needle, and cast off the last loop with the loop left on the needle. Miss under the leaf 15 stitches of the foundation, and repeat from *.

This trimming is made up of 2 strips of crochet insertion, decorated with embroidery patterns done in appliqué, and velvet ribbon threaded through. They are worked lengthwise with fine crochet cotton. Start with a foundation chain that is long enough and can be divided by 20, and work the 1st row: 1 chain, * 5 double crochet in the first 5 stitches of the foundation, then make 1 leaf like this: 10 chain, without counting the loop left on the needle, work 1 extra long treble (for which the cotton is [279] wrapped 5 times around the needle) in the second of the 10 chain, then do a similar treble in the first chain, and cast off the 2 treble stitches together, wind the cotton once around the needle, and cast off the last loop with the loop left on the needle. Skip 15 stitches of the foundation under the leaf, and repeat from *.

2nd row: 5 double on the 5 double of the preceding row, inserting the needle in the whole stitches, 15 chain stitches between.

2nd row: 5 double crochet into the 5 double crochet from the previous row, inserting the needle into the whole stitches, with 15 chain stitches in between.

3rd row: * 5 double in the first 5 double of the preceding row, 7 chain, 1 slip stitch in every other stitch of the next scallop of the preceding row, 7 chain between, 7 chain stitches; repeat from *.

3rd row: * 5 doubles in the first 5 doubles of the preceding row, 7 chains, 1 slip stitch in every other stitch of the next scallop of the preceding row, 7 chains in between, 7 chain stitches; repeat from *.

4th row: * 1 double in the middle of the 5 double of the preceding row, 3 chain, 1 slip stitch in the middle stitch of each of the 8 scallops, consisting of 7 chain in the preceding row, 3 chain between, 3 chain; repeat from *. These 2 last rows (the third and fourth) are repeated on the other side of the foundation chain.

4th row: * 1 double crochet in the center of the 5 doubles from the previous row, 3 chains, 1 slip stitch in the middle stitch of each of the 8 scallops, which consist of 7 chains in the previous row, 3 chains in between, 3 chains; repeat from *. These last 2 rows (the third and fourth) are repeated on the other side of the foundation chain.

When the 2 strips of insertion are completed, sew them together so that 2 opposite scallops meet, and ornament them with the embroidery patterns and velvet ribbon.

When the 2 strips of insertion are finished, sew them together so that 2 opposite scallops align, and decorate them with embroidery patterns and velvet ribbon.

283.--Crochet Insertion.

283.--Crochet Insert.

This pretty insertion is very suitable for cerceaunette covers or pillowcases, and should be worked with middle-sized cotton. If the insertion is used for anything but a pillowcase, omit the lower border on which the button-holes are made. Begin the insertion in the middle of one of the star-like figures, with a foundation chain of 9 stitches; join them into a circle by making 1 slip stitch, and crochet thus:--* [280] 10 chain, 1 slip stitch in the 5th of these chain; this forms 1 purl; 4 chain, 1 slip stitch in the circle, repeat from * 5 times more. Work 4 slip stitches in the next 4 chain, then crochet * in the next purl; 5 double divided by 5 chain, 4 chain, repeat 5 times from *. Fasten the thread after having fastened the last 4 chain-stitches with a slip stitch to the 1st double stitch of this round. This completes the star-like figure. Work on one side of these figures the following rows:--

This lovely insertion is perfect for cerceaunette covers or pillowcases and should be made with medium-sized cotton. If you're using the insertion for anything other than a pillowcase, skip the lower border where the buttonholes are located. Start the insertion in the middle of one of the star-like shapes, with a foundation chain of 9 stitches; join them into a circle with 1 slip stitch, and crochet like this:--* [280] 10 chain, 1 slip stitch in the 5th chain; this creates 1 purl; 4 chain, 1 slip stitch in the circle, and repeat from * 5 more times. Make 4 slip stitches in the next 4 chain, then crochet * in the next purl; 5 double crochets divided by 5 chain, 4 chain, and repeat 5 times from *. Secure the thread after fastening the last 4 chain stitches with a slip stitch to the 1st double crochet of this round. This finishes the star-like shape. Now work on one side of these shapes the following rows:--

1st row: * 1 treble in the 2nd scallop of the four placed together, 3 chain, 1 double in the next scallop, 3 chain, 1 treble in the last of the 4 scallops, 3 chain, 1 treble in the 1st scallop of the following 4 placed together, 3 chain, 1 double in the next 2nd scallop, 3 chain, 1 treble in the 3rd scallop, 3 chain. Repeat from *.

1st row: * 1 treble in the 2nd scallop of the four placed together, 3 chains, 1 double in the next scallop, 3 chains, 1 treble in the last of the 4 scallops, 3 chains, 1 treble in the 1st scallop of the next 4 placed together, 3 chains, 1 double in the 2nd scallop, 3 chains, 1 treble in the 3rd scallop, 3 chains. Repeat from *.

2nd row: 3 treble in the 1st stitch of the preceding row, * miss 3 stitches, 3 treble in the 4th following stitch. Repeat from *.

2nd row: 3 treble in the 1st stitch of the previous row, * skip 3 stitches, 3 treble in the 4th following stitch. Repeat from *.

3rd row: * 3 treble cast off together as one stitch on the next 3 stitches of the preceding row, 2 chain. Repeat from *.

3rd row: * 3 treble crochet together as one stitch on the next 3 stitches of the previous row, 2 chains. Repeat from *.

[281]

4th row: 1 double on the next stitch of the preceding row, * 4 chain, 1 slip stitch in the 3 double; this forms 1 purl; 3 double on the next 3 stitches of the preceding row. Repeat from *. After having worked these four rows likewise on the other side of the star figures, work over the last the following 5 rows for the button-holes:--

4th row: 1 double crochet in the next stitch of the previous row, * 4 chains, 1 slip stitch in the 3 doubles; this creates 1 purl; 3 double crochets in the next 3 stitches of the previous row. Repeat from *. After completing these four rows on the other side of the star figures, continue with the following 5 rows for the buttonholes:--

1st row: 1 double in the next purl, * 2 chain, 1 double in the next purl. Repeat from *.

1st row: 1 double crochet in the next purl, * 2 chains, 1 double crochet in the next purl. Repeat from *.

2nd row: 1 double in each stitch of the preceding row.

2nd row: 1 double crochet in each stitch of the previous row.

3rd row: Alternately 11 double, 7 chain, under which miss 7 stitches.

3rd row: Instead, 11 double crochets, 7 chains, and skip 7 stitches.

4th row: Like the 2nd row.

4th row: Same as the 2nd row.

5th row; * 3 double on the next 3 double of the preceding row, 1 purl (4 chain, 1 slip stitch in the last double stitch). Repeat from *.

5th row; * 3 double crochet in the next 3 double crochet from the previous row, 1 purl (4 chain, 1 slip stitch in the last double crochet). Repeat from *.

284.--Crochet Insertion.

284.--Crochet Insert.

Material: Messrs. Walter Evans and Co.'s crochet cotton No. 30.

Material: Walter Evans and Co.'s crochet cotton No. 30.

This insertion is worked in our pattern with fine crochet cotton on a double foundation chain. For the outer edge work a row of purl stitches as follows:--1 double in the 1st stitch, * 1 chain, 1 purl, consisting of 5 chain, 1 slip stitch in the 1st 2 chain, 1 double in the next stitch but 2; repeat from *. The open-work centre consists of 6 rows of scallops; the 1st of these rows is worked on the other side of the foundation chain; 1 double in the middle stitch of every scallop, 5 chain between, then 1 row of slip stitches, and finally a row of purl [282] stitches like the 1st row of the insertion. For the raised flowers, which are fastened over the grounding at unequal distances, * make a foundation chain of 10 stitches, fasten it on over the grounding from illustration by taking the needle out of the loop, inserting it into the 1 chain of the grounding, and drawing the loop through; miss the last of the 10 chain, and work back over the others; 1 slip stitch, 1 double, 1 long double, 3 treble, 1 long double, 1 double, 1 slip stitch, then 1 slip stitch in the 1st stitch, * 9 chain, missing 5 stitches under them, 1 double in the 6th stitch; repeat from *. Each following row consists of 1 double in the middle stitch of every scallop of the preceding row, 9 chain between. Then work the 1st row of the border on the other side of the insertion; 1 double in the 1st stitch of the foundation, inserting the needle into the back part of the stitch; repeat 8 times more from *, and the flower is completed.

This piece is made using our pattern with fine crochet cotton on a double foundation chain. For the outer edge, make a row of purl stitches as follows: 1 double in the 1st stitch, * 1 chain, 1 purl (which is 5 chain, 1 slip stitch in the 1st 2 chain, 1 double in the next stitch but 2); repeat from *. The open-work center has 6 rows of scallops; the 1st of these rows is worked on the opposite side of the foundation chain: 1 double in the middle stitch of every scallop, with 5 chain in between, then 1 row of slip stitches, and finally a row of purl [282] stitches like the 1st row of the insertion. For the raised flowers, which are attached over the grounding at uneven distances, * make a foundation chain of 10 stitches, attach it over the grounding from the illustration by taking the needle out of the loop, inserting it into the 1 chain of the grounding, and pulling the loop through; skip the last of the 10 chain, and work back over the others: 1 slip stitch, 1 double, 1 long double, 3 treble, 1 long double, 1 double, 1 slip stitch, then 1 slip stitch in the 1st stitch; * 9 chain, skipping 5 stitches below them, 1 double in the 6th stitch; repeat from *. Each following row consists of 1 double in the middle stitch of every scallop from the previous row, with 9 chain in between. Then work the 1st row of the border on the opposite side of the insertion: 1 double in the 1st stitch of the foundation, inserting the needle into the back part of the stitch; repeat 8 more times from *, and the flower is finished.

285.--Crochet Garter.

Materials: Grey thread of medium size; fine red wool; fine round white elastic cord; a pearl button.

Materials: Medium-sized grey thread; fine red wool; fine round white elastic cord; a pearl button.

[283]

This garter is worked in close double crochet, over fine elastic cord; the border and pattern in red wool, the centre in grey thread.

This garter is made with close double crochet over fine elastic cord; the border and pattern are in red wool, and the center is in grey thread.

Begin in the middle by a chain of 98 stitches, with red wool; take the elastic cord, which must always be stretched out a little, and work over it. Work on both sides of the foundation chain; the pattern is completed in the course of the two first rounds; the button-hole is made at the beginning of the first round; make a loop of 21 stitches, and, when you come to it, work over this loop instead of over the foundation chain. Increase the number of stitches at either end of the garter, to round it off. When the second round is completed work two plain grey rounds, then a plain red one. The last round (grey thread) is composed of alternately 1 double, 1 purl formed of 3 chain, 1 slip stitch in the first, missing 1 stitch under the 1 purl. Sew on a pearl button to correspond with the button-hole. The garter would be both more elegant and more elastic if worked entirely in silk.

Begin in the middle with a chain of 98 stitches using red yarn; take the elastic cord, which should always be slightly stretched, and work over it. Work on both sides of the foundation chain; the pattern is completed in the first two rounds. The buttonhole is made at the start of the first round; create a loop of 21 stitches, and when you get to it, work over this loop instead of over the foundation chain. Increase the number of stitches at either end of the garter to round it off. After completing the second round, work two plain gray rounds, followed by one plain red round. The last round (using gray thread) consists of alternating 1 double stitch, 1 purl made of 3 chains, and 1 slip stitch in the first, skipping 1 stitch under the 1 purl. Sew on a pearl button that matches the buttonhole. The garter would be both more elegant and more elastic if made entirely from silk.

[284]

286.--Crochet Trimming for a Lady's Chemise.

286.--Crochet Trimming for a Woman's Chemise.

Materials: Messrs. Walter Evans and Co.'s crochet cotton, and a needle to match.

Materials: Walter Evans and Co.'s crochet cotton, and a matching needle.

This pattern, as can be seen in illustration, is an imitation of old guipure lace; it is worked all in one piece for the bosom and sleeves, and is part of one of the shoulder-pieces in full size. Both strips of rosettes join at that place, and one is continued for the part round the bosom and the other for the sleeve. In the pattern there are 42 rosettes round the bosom, and 14 round each sleeve. These rosettes are fastened one to another in the course of the work. They are made in the following manner:--Make a chain of 6 stitches, and join it into a ring.

This design, as shown in the illustration, resembles old guipure lace; it's all made in one piece for the bodice and sleeves, and it's part of one of the shoulder pieces in full size. Both strips of rosettes connect at that point, with one continuing for the area around the bodice and the other for the sleeve. In the design, there are 42 rosettes around the bodice and 14 around each sleeve. These rosettes are linked to each other as you work. They are made like this: Start by making a chain of 6 stitches and join it into a ring.

1st round: 8 chain, 1 slip stitch in the 4th chain, which forms a purl (the 3 first chain are reckoned as 1 treble), 1 chain, 1 treble in the ring, * 5 chain, 1 slip stitch in the 1st to form a purl, 1 chain, 1 treble in the ring. Repeat 6 times from *. Instead of the last treble, work a slip stitch to fasten the end of the round to the 3 chain of the beginning, which thus form 1 treble.

1st round: 8 chains, 1 slip stitch in the 4th chain, which creates a purl (the first 3 chains count as 1 treble), 1 chain, 1 treble in the ring, * 5 chains, 1 slip stitch in the 1st chain to create a purl, 1 chain, 1 treble in the ring. Repeat from * a total of 6 times. Instead of the last treble, work a slip stitch to connect the end of the round to the 3 chains at the beginning, which will count as 1 treble.

2nd round: 9 chain (the 3 first to be reckoned as 1 treble), * 1 treble on the 1st treble of last round, 6 chain. Repeat 6 times from *. 1 slip stitch in the treble at the beginning.

2nd round: 9 chains (the first 3 are counted as 1 treble), * 1 treble in the 1st treble of the last round, 6 chains. Repeat 6 times from *. 1 slip stitch in the treble at the start.

3rd round: On each scallop of preceding round work 2 double, 1 purl, 2 double, 1 purl, 2 double, 1 purl, 2 double. This completes the rosette. Each rosette is fastened to the last by joining the 2 middle purl of both. In the illustration, which is full-size, the purl that are to be joined to those of another rosette are marked by a cross. The joining between the part round the bosom and the sleeve is made in the same manner. The space left between 4 rosettes is filled up with a star formed of chain stitches, marked in our illustration with an asterisk. For this star make a chain of 5 stitches, the 1st of which forms the [285] centre; slip the loop you have on the needle through one of the 8 purl that are free, make 5 chain, 1 double in the centre stitch. Repeat 7 times from *; then tie the two ends tightly, or sew them together 3 of these stars are required for each shoulder.

3rd round: On each scallop from the previous round, work 2 double crochets, 1 purl, 2 double crochets, 1 purl, 2 double crochets, 1 purl, and 2 double crochets. This finishes the rosette. Each rosette is attached to the last one by joining the 2 middle purls of both. In the full-size illustration, the purls that need to be connected to those of another rosette are marked with a cross. The connection between the area around the bosom and the sleeve is made in the same way. The space left between 4 rosettes is filled with a star made of chain stitches, indicated in our illustration with an asterisk. For this star, create a chain of 5 stitches, with the 1st stitch forming the [285] center; slip the loop on the needle through one of the 8 free purls, make 5 chain stitches, and 1 double in the center stitch. Repeat 7 times from *; then tie the two ends tightly, or sew them together. You will need 3 of these stars for each shoulder.

[286]

For the Border.--It is worked at the same time both round the bosom and sleeves.

For the Border.--It is worked simultaneously around the neckline and sleeves.

1st round: * 1 double in the centre purl of the 1st scallop of the rosette, which we will call the first rosette; 5 chain, 1 double in the centre purl of the 2nd scallop of the same rosette, 4 chain; then work the kind of cross which comes between each rosette (see illustration). To make this cross throw the cotton 3 times round the needle, work 1 double treble in the last purl left free of the 1st rosette, keep the last loop on the needle, throw the cotton twice round it, and work a double treble in the 1st purl left free in the 2nd rosette, throw the thread twice round the needle, work 1 treble with the loop left on the needle, make 2 chain, and work 1 treble in the last double treble, which completes the cross; make 4 chain. Repeat from * at each slit on the shoulders; after the last cross make 6 chain, 1 slip stitch in the 2 purl at the end of the slit, 6 chain to come to the next space, where a cross is to be made.

1st round: * 1 double in the center purl of the 1st scallop of the rosette, which we will call the first rosette; 5 chain, 1 double in the center purl of the 2nd scallop of the same rosette, 4 chain; then make the type of cross that goes between each rosette (see illustration). To create this cross, wrap the cotton 3 times around the needle, work 1 double treble in the last purl left free of the 1st rosette, keep the last loop on the needle, wrap the cotton twice around it, and work a double treble in the 1st purl left free in the 2nd rosette, wrap the thread twice around the needle, work 1 treble with the loop still on the needle, make 2 chain, and work 1 treble in the last double treble, which completes the cross; make 4 chain. Repeat from * at each slit on the shoulders; after the last cross make 6 chain, 1 slip stitch in the 2 purl at the end of the slit, 6 chain to reach the next space, where a cross is to be made.

2nd round: Work alternately 1 treble, 2 chain, miss 2; at the slit on the shoulders work 6 double over the 6 chain. The two rounds just explained are also worked round the upper edge, and finished round the sleeves by the following round:--1 double in one of the spaces in last round, * 6 chain, 1 double in the 2nd of the 6 chain, which forms a purl, 1 chain, 1 double on the next but one of the last round, 6 chain, 1 double in the 2nd of the 6 chain, 1 chain, 1 double in the next space. Repeat from *. On the upper edge of the bosom, between the 1st and 2nd rounds of the border, work 1 round of crosses, but throwing the cotton twice only round the needle, so that the treble stitches are not double; make 3 chain between each cross.

2nd round: Alternate working 1 treble, 2 chains, and skipping 2; at the slit on the shoulders, work 6 doubles over the 6 chains. The two rounds just described are also worked around the upper edge and finished around the sleeves with the following round:--1 double in one of the spaces from the last round, * 6 chains, 1 double in the 2nd of the 6 chains (which forms a purl), 1 chain, 1 double in the next but one from the last round, 6 chains, 1 double in the 2nd of the 6 chains, 1 chain, and 1 double in the next space. Repeat from *. On the upper edge of the bosom, between the 1st and 2nd rounds of the border, work 1 round of crosses, but wrap the cotton around the needle twice only, so that the treble stitches are not doubled; make 3 chains between each cross.

[287]

KNITTING

[288]

KNITTING INSTRUCTIONS

[289]

287.--KNITTING, though considered to be an old-fashioned art, is by no means so ancient as lacemaking. Knitting has never entirely quitted the hands of English and German ladies; indeed, among all good housewives of any civilised country, it is reckoned an indispensable accomplishment. Knitting schools have been established of late years both in Ireland and Scotland, and Her Majesty the Queen has herself set an example of this industry, as well as largely patronised the industrial knitters of Scotland. Of the rudiments of this useful art many ladies are at present ignorant; it is in the hope of being useful to these that the following instructions are offered.

287.--KNITTING, while often seen as an old-fashioned skill, is definitely not as ancient as lacemaking. Knitting has never completely disappeared from the hands of English and German women; in fact, among all good housewives in any civilized country, it's considered an essential skill. Recently, knitting schools have been established in both Ireland and Scotland, and Her Majesty the Queen has personally set an example for this craft, as well as significantly supported the industrial knitters of Scotland. Many women today are unfamiliar with the basics of this valuable skill; the following instructions are offered in the hope of being helpful to them.

To knit, two, three, four, or five needles, and either thread, cotton, silk, or wool are required.

To knit, you'll need two, three, four, or five needles, along with some yarn—like thread, cotton, silk, or wool.

Knitting needles are made of steel, of ivory, or of wood; the size to be used depends entirely upon the material employed, whether thread, cotton, silk, single or double wool, for knitting. As the size of the needles depends upon that of the cotton, a knitting gauge is used (see No. 287). The gauge (page 290) is the exact size of Messrs. H. Walker and Co.'s knitting gauge. Our readers will remark that English and foreign gauges differ very essentially; the finest size of German [290] needles, for example, is No. 1, which is the size of the coarsest English wooden or ivory needle. Straight knitting is usually done with two needles only for round knitting for socks, stockings, &c., three, four, and five needles are employed.

Knitting needles can be made from steel, ivory, or wood; the size you use totally depends on the type of material, whether it's thread, cotton, silk, or single or double wool. Since the size of the needles is based on the thickness of the cotton, a knitting gauge is used (see No. 287). The gauge (page 290) shows the exact size of Messrs. H. Walker and Co.'s knitting gauge. You’ll notice that English and foreign gauges are quite different; for instance, the smallest size of German [290] needles is No. 1, which is the same size as the thickest English wooden or ivory needle. Generally, straight knitting is done with just two needles, while round knitting for socks, stockings, etc., typically requires three, four, or five needles.

288.--Casting On.

288.--Cast On.

This term is used for placing the first row or round of knitting stitches on the needles--"casting them on"--and is done in two ways--by "knitting on" the stitches, or as follows:--

This term refers to putting the first row or round of knitting stitches onto the needles—“casting them on”—and can be done in two ways: by “knitting on” the stitches, or as follows:—

Hold the thread between the first and second finger of the left hand, throw it over the thumb and first finger so as to form a loop, and pass the needle in the loop; throw the thread lightly round the needle, pass it through the loop, and draw up the thread; this forms the first stitch (see No. 288).

Hold the thread between your index and middle fingers of your left hand, wrap it around your thumb and index finger to create a loop, and then pass the needle through the loop; lightly wrap the thread around the needle, pull it through the loop, and tighten the thread; this creates the first stitch (see No. 288).

289.--To Knit On.

289.--Keep Knitting.

Take the needle on which the stitches are cast in the left hand, and another needle in the right hand--observe the position of the hands [291] (No. 289). Hold the left-hand needle between the thumb and third finger, leaving the first finger free to move the points of the needles. (The wonderful sense of touch in the first or index finger is so delicate, that an experienced knitter can work without ever looking at her fingers, by the help of this touch only--in fact, knitting becomes a purely mechanical labour, and as such is most useful.) Insert the point of the right-hand needle in the loop or stitch formed on the left-hand needle, bring the thread once round, turning the point of the needle in [292] front under the stitch, bringing up the thread thrown over, which in its turn becomes a stitch, and is placed on the left-hand needle.

Take the needle with the stitches in your left hand, and another needle in your right hand—note how your hands are positioned [291] (No. 289). Hold the left-hand needle between your thumb and third finger, leaving your index finger free to move the needles. (The incredible sense of touch in your index finger is so refined that an experienced knitter can work without even looking at her fingers, using this touch alone—in fact, knitting becomes a purely mechanical task, which is very useful.) Insert the tip of the right-hand needle into the loop or stitch on the left-hand needle, wrap the yarn around once, turning the tip of the needle in [292] front under the stitch, pulling up the wrapped yarn, which then becomes a stitch and is placed on the left-hand needle.

290.--Simple Knitting (plain).

290.--Basic Knitting (plain).

Pass the right-hand needle into the 1st stitch of the left-hand needle, at the back throw the thread forward, and with the first finger pass the point of the needle under the stitch in forming a fresh stitch with the thread already thrown over, as in "knitting on," only, instead of placing the newly-formed stitch on the left-hand needle, leave it on the right-hand needle, and let the stitch drop off the point of the left-hand needle. Continue thus until all the stitches are taken from the left to the right-hand needle, and the row is then complete.

Pass the right-hand needle into the first stitch on the left-hand needle, bring the thread forward from the back, and with your index finger, guide the tip of the needle under the stitch to create a new stitch with the thread already brought over, like in "knitting on." However, instead of moving the newly created stitch to the left-hand needle, keep it on the right-hand needle and let the stitch fall off the tip of the left-hand needle. Keep going until all the stitches have moved from the left-hand needle to the right-hand needle, completing the row.

291.--To Purl, Pearl, or Seam.

291.--To Purl, Pearl, or Sew.

Seaming or purling a stitch is done by taking up the stitch in front instead of at the back, throwing the thread over and knitting the stitch as in plain knitting; but before beginning to purl, the thread must be brought in front of the needle, and if a plain stitch follows, the thread is passed back after the purl stitch is made (see No. 291).

Seaming or purling a stitch is done by picking up the stitch in front instead of at the back, throwing the thread over, and knitting the stitch like you would in regular knitting. However, before you start to purl, the thread needs to be in front of the needle, and if a regular stitch comes after, the thread is moved back after completing the purl stitch (see No. 291).

292.--To Increase. [293] Increasing or making a stitch is done by throwing the thread once round the needle and in the next row knitting it as an ordinary stitch.

292.--To Increase. [293] To increase or create a stitch, wrap the thread around the needle once, and in the next row, knit it like a regular stitch.

293.--To Decrease.

293.--To Reduce.

This is done in two ways: firstly, taking up two stitches and knitting them together as one; secondly, by taking up a stitch without knitting it, called slipping, then by knitting the following stitch in the usual way, and then slipping the 1st (unknitted) over the 2nd (knitted) (see No. 293). When it is necessary to decrease two stitches at once, proceed thus:--Slip one, knit two stitches together, then slip the unknitted stitch over the two knitted together.

This can be done in two ways: first, take two stitches and knit them together as one; second, take a stitch without knitting it, called slipping, then knit the next stitch as usual, and then slip the first (the one you didn’t knit) over the second (the one you did knit) (see No. 293). When you need to decrease two stitches at once, do the following: slip one, knit the next two stitches together, then slip the unknitted stitch over the two stitches you just knitted together.

[294]

294.--Round Knitting.

294.--Circular Knitting.

To knit a round four or five needles are used; it is thus that stockings, socks, cuffs, mittens, &c., are made. To knit with four needles, cast on, say, 32 stitches upon one needle, insert a second needle in the last stitch of the first, and cast on 30 stitches; proceed in a similar way with a third needle, but casting on 28 only; when this is done, knit the two extra stitches on the first needle on to the last; this makes 30 stitches upon each needle, and completes the round.

To knit in the round, you typically use four or five needles; this is how you make stockings, socks, cuffs, mittens, etc. To start knitting with four needles, cast on about 32 stitches on one needle, then insert a second needle into the last stitch of the first and cast on 30 stitches. Follow this pattern with a third needle, casting on only 28 stitches. Once that's done, knit the two extra stitches from the first needle onto the last needle; this gives you 30 stitches on each needle and completes the round.

295.--Casting Off.

295.--Letting Go.

Knit two stitches, and with the left-hand needle slip the first stitch over the second; continue this to the end of the row. Note.--The last knitted row, before casting off, should be knitted loosely. [295]

Knit two stitches, then use the left-hand needle to slip the first stitch over the second; keep going until you finish the row. Note.--The last knitted row before casting off should be knitted loosely. [295]

296.--To Pick up a Stitch.

296.--To Pick Up a Stitch.

This is done by taking up the thread between two stitches and forming a stitch with it.

This is done by picking up the thread between two stitches and creating a stitch with it.

The following Designs of New Stitches can be used for a variety of work:--

The following designs for new stitches can be used for a variety of projects:--

297.--Peacock's Tail Pattern.

297.--Peacock Tail Pattern.

Needles, wood or ivory; Messrs. Walter Evans and Co.'s knitting cotton.

Needles, wood or ivory; Walter Evans and Co.'s knitting cotton.

Cast on a number of stitches divisible by nine, as it takes nine stitches for each pattern, and two for each border; the border, which [296] is in plain knitting, will not be mentioned after the first row.

Cast on a number of stitches that can be divided by nine, since each pattern takes nine stitches and two stitches for each border. The border, which [296] is in plain knitting, won’t be mentioned after the first row.

1st Row.--2 plain for border; 2 plain *, make 1, 1 plain, repeat this four times from *, make 1, 2 plain; repeat from the beginning--then 2 plain for border.

1st Row.--2 knit for the border; 2 knit *, make 1, 1 knit, repeat this four times from *, make 1, 2 knit; repeat from the beginning--then 2 knit for the border.

2nd Row.--2 purl, 11 plain, 2 purl; repeat.

2nd Row.--2 purl, 11 knit, 2 purl; repeat.

3rd Row.--Take 2 together, 11 plain, take 2 together; repeat.

4th Row.--Purl 2 together, purl 9, purl 2 together; repeat.

4th Row.--Knit 2 together, knit 9, knit 2 together; repeat.

5th Row.--Take 2 together, 7 plain, take 2 together.

Begin from the 1st row.

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Thirteen stitches are large enough for a stripe for a sofa-cover. These stripes should be sewn together after all are finished.

Thirteen stitches are big enough for a stripe for a sofa cover. These stripes should be sewn together once they’re all done.

[297]

298.--Spiral Stitch.

Materials: Needles, thick steel or bone; double wool.

This stitch is far more effective worked in thick wool than in cotton. It is done in stripes alternately wide and narrow. For wide stripes cast on twenty-one stitches, for narrow fifteen; this without counting the first and last stitch, the first being slipped, the last always plainly knitted.

This stitch works much better in thick wool than in cotton. It's done in alternating wide and narrow stripes. For wide stripes, cast on twenty-one stitches, and for narrow stripes, cast on fifteen; this doesn’t include the first and last stitch, where the first is slipped and the last is always knitted normally.

1st Row.--Purl 3 together to end of row.

1st Row.--Knit 3 together to the end of the row.

2nd Row.--Make 1, * 1 plain, make 2, repeat from * end by making the last stitch before the plain knitted one at end of row.

2nd Row.--Knit 1, * knit 1 plain, knit 2, repeat from * ending with the last stitch before the plain knitted one at the end of the row.

[298]

299.--Knotted Stitch.

Materials: Needles, wood or ivory; double wool.

Materials: Needles, wood or ivory; double yarn.

Cast on 11 stitches.

1st Row.--All plain, throwing the wool twice round the needle before each stitch.

1st Row.--All simple, wrapping the yarn around the needle twice before each stitch.

2nd Row.--Each stitch on the needle is now composed of 3 threads of wool: knit the first plain, the second purl, the third plain; cast off the second over the third, and the first over the second; this leaves but one stitch; repeat from first row until a sufficient length is obtained. This pattern makes very pretty borders.

2nd Row.--Each stitch on the needle is now made up of 3 threads of wool: knit the first stitch plain, the second stitch purl, the third stitch plain; cast off the second stitch over the third, and the first stitch over the second; this leaves you with just one stitch; repeat from the first row until you have a sufficient length. This pattern creates very nice borders.

300.--Knitted Moss Borders.

300.--Knitted Moss Edges.

Materials: Steel needles; moss wool of several shades of green.

Materials: Steel needles; moss wool in various shades of green.

Cast on enough stitches for double the width required, say twenty, and knit very tightly in plain knitting, row by row, until a sufficient length has been obtained. Cut off and place the strip on a sieve over a basin of boiling water, and cover it over. When it has absorbed the steam, and while wet, iron it with a box-iron. Then cut the strip down the centre, and unravel the wool on each side. The threads of wool all curling, resemble moss. They are held firmly by the selvedge of the knitting.

Cast on enough stitches for double the width you need, like twenty, and knit really tightly in plain knitting, row by row, until you've got enough length. Cut it off and lay the strip on a sieve over a bowl of boiling water, then cover it. Once it has absorbed the steam, and while it’s still wet, iron it with a box-iron. Next, cut the strip down the middle and unravel the wool on each side. The threads of wool will curl up, looking like moss. They are held securely by the edges of the knitting.

301.--German Brioche Stitch

Materials: Wood or ivory needles; wool.

Materials: Wooden or ivory needles; wool.

Cast on an even number of stitches.

All the rows are knitted as follows:--Slip 1, taken as for purling, [299] make 1, take 2 together. In the following rows the made stitch must always be slipped, the decreased stitch and the slipped stitch of the previous row knitted together.

All the rows are knitted like this:--Slip 1, as you would for purling, [299] make 1, knit 2 together. In the next rows, the made stitch should always be slipped, and the decreased stitch along with the slipped stitch from the previous row should be knitted together.

Ordinary Brioche Stitch is made by casting on an even number of stitches, and working the rows as follows:--

Ordinary Brioche Stitch is created by casting on an even number of stitches and working the rows like this:--

Make 1, slip 1, take 2 together; repeat. Note.--The made stitch and the slipped stitch of the previous row must always be knitted together, and the decreased stitch of that row slipped.

Make 1, slip 1, knit 2 together; repeat. Note.--The made stitch and the slipped stitch from the previous row must always be knit together, and the decreased stitch from that row slipped.

[300]

NETTING.

[301]

NETTING INSTRUCTIONS

302.--NETTING is one of the prettiest and one of the easiest accomplishments of a lady. The materials are simple, while the effects produced by good netting are most elegant and of great durability. One great advantage of netting is that each stitch is finished and independent of the next, so that if an accident happens to one stitch it does not, as in crochet or knitting, spoil the whole work.

302.--NETTING is one of the most beautiful and easiest skills a woman can have. The materials are straightforward, yet the results from good netting are very elegant and lasting. One major benefit of netting is that each stitch is complete and separate from the others, meaning that if something goes wrong with one stitch, it won't ruin the entire piece like it would in crochet or knitting.

Netting, so easy to do, is most difficult to describe. The materials required are--a netting-needle and mesh (see illustration No. 302). These are made of bone, of wood, of ivory, and most commonly of steel. The wood, bone, and ivory are only used for netting wool, the steel for silk, cotton, &c.

Netting is really simple to do, but it’s hard to explain. The materials you need are a netting needle and mesh (see illustration No. 302). These can be made from bone, wood, ivory, and most commonly, steel. Wood, bone, and ivory are only used for netting with wool, while steel is used for silk, cotton, etc.

The needle is filled by passing the end of the thread through the little hole at the left-hand point, and tying it; then the thread is wound on the needle as on a tatting shuttle. The needles are numbered from 12 to 24; these last are extremely fine. The meshes correspond to the sizes of the needles, and are made of the same materials. The larger the size of the stitch required the thicker the mesh must be selected; indeed, large hat meshes are often used for some patterns. A stirrup to slip over the foot to which the foundation is attached is required by those who do [302] not use a netting cushion, placed before them on the table and heavily weighted; to this the foundation is fastened.

The needle is threaded by putting the end of the thread through the small hole at the left tip and tying it. Then, the thread is wrapped around the needle like you would on a tatting shuttle. Needles are numbered from 12 to 24, with the higher numbers being very fine. The mesh corresponds to the needle sizes and is made from the same materials. The larger the stitch you need, the thicker the mesh you should choose; in fact, larger hat meshes are often used for certain patterns. For those who don’t use a netting cushion placed on the table and weighed down, a stirrup that slips over the foot is needed to which the foundation is attached.

The stirrup is made of a loop of ribbon, to which the foundation is tied. Some ladies work a pretty stirrup of the exact shape of a horseman's stirrup; a loop of ribbon is passed through this, and the foundation fixed as before.

The stirrup is made from a loop of ribbon, to which the base is attached. Some women create a nice stirrup that looks exactly like a horseman's stirrup; a loop of ribbon is threaded through this, and the base is secured as before.

303.--To Net.

303.--To Connect.

Place the mesh under the thread, between the thumb and finger of the left hand; it must rest on the middle of the finger and be held only by the thumb (see illustration No. 303). Take the needle in the right hand, pass the thread over the middle and ring finger and over the mesh, pass the needle upwards and behind the mesh in the large loop which forms the thread round the fingers, and at the same time through the first stitch or loop of the foundation. Draw the needle out, retaining the loops on the fingers and dropping them off, the little finger being the last to release the thread. As the thread tightens and the knot is firm, the loop on the little finger should be drawn up quickly and smartly. The next stitches are precisely similar, and row upon row is formed in the [303] same manner. Having learnt the stitch, the next task is to make a foundation. Tie a large loop of strong thread on the stirrup ribbon, and net fifty stitches into this loop, then net four or five rows, and the foundation is ready.

Place the mesh under the thread, between the thumb and finger of your left hand; it should rest on the middle of your finger and be held only by your thumb (see illustration No. 303). Take the needle in your right hand, pass the thread over your middle and ring fingers and over the mesh, then bring the needle upwards and behind the mesh in the large loop that forms the thread around your fingers, and at the same time through the first stitch or loop of the foundation. Pull the needle out, keeping the loops on your fingers and dropping them off, with your little finger being the last to let go of the thread. As the thread tightens and the knot becomes firm, quickly and smartly draw up the loop on your little finger. The next stitches are exactly the same, and you'll form row after row in the [303] the same way. Once you've learned the stitch, your next task is to create a foundation. Tie a large loop of strong thread on the stirrup ribbon, and net fifty stitches into this loop, then net four or five rows, and your foundation is ready.

Simple netting as above explained forms diamonds or lozenges. When a piece of netting is finished it is cut off the foundation, and the little ends of thread that held the stitches are drawn out.

Simple netting, as explained above, forms diamonds or lozenges. When a piece of netting is finished, it is cut off the foundation, and the short ends of thread that held the stitches are pulled out.

304.--Square Netting.

Is done precisely in the same manner as plain netting, only begin from one stitch, then net two stitches into this first, and increase by making two in the last loop of every row. As soon as the right number of stitches is complete diminish exactly in the same way by netting two stitches as one at the end of each row until one stitch alone remains. These squares are used for guipure d'art and for darning on.

Is done exactly like regular netting, but start with one stitch, then net two stitches into that first one, increasing by making two in the last loop of every row. Once you have the right number of stitches, decrease in the same way by netting two stitches as one at the end of each row until only one stitch is left. These squares are used for guipure d'art and for darning.

305.--Round Netting

[304]

Is nearly similar to plain netting. A little difference exists in the way of passing the needle through the stitch; this is shown in No. 305. After having passed the needle through the stitch it is drawn out and passed from above into the loop just made. This stitch is very effective for purses.

Is almost the same as plain netting. There's a slight difference in how the needle is passed through the stitch; this is illustrated in No. 305. After passing the needle through the stitch, it is pulled out and then passed from above into the loop just created. This stitch works really well for purses.

306.--Diamond Netting

Is often called "pointed netting," and is made by netting from one stitch, increasing one stitch at the end of each row, and decreasing in the same way, as described at page 303.

307.--To Net Rounds.

To form a circle, as for a purse, the needle must pass through the first stitch, keeping the last three or four on the mesh and removing this when required by the work. [305]

To create a circle, like for a purse, the needle should go through the first stitch, keeping the last three or four on the mesh and taking them off when needed for the work. [305]

308.--"English" Netting

Is made as follows:--Net a row of plain netting, begin the second row by netting the second stitch, then net the first; repeat, always passing by one stitch and taking it up.

Is made as follows:--Net a row of plain netting, start the second row by netting the second stitch, then net the first; repeat, always skipping one stitch and picking it up.

3rd Row--Plain.

3rd Row--Basic.

4th Row--Begin by a plain stitch, then continue as in the 2nd row.

4th Row--Start with a plain stitch, then keep going as in the 2nd row.

5th Row--Plain.

5th Row - Basic.

309.--Lace Edging.

Lace Trim

Begin by one stitch and net two in one at the end of each row until as many stitches are required for the narrowest part of the edge. * Increase one then in the two loops until the point of the edge or scallop is reached; at the next row leave the squares which form the point, and begin from *.

Begin with one stitch and net two together at the end of each row until you have enough stitches for the narrowest part of the edge. * Increase one in the two loops until you reach the tip of the edge or scallop; on the next row, skip the squares that form the point, and start from *.

310.--Open Lace.

This kind of edging is made with two meshes of different sizes and extremely fine crochet cotton.

This type of edging is created using two meshes of different sizes and very fine crochet cotton.

[306]

Tie the thread to the foundation, net 3 rows with the small mesh of the required length.

Tie the thread to the base, and create 3 rows with the small mesh to the needed length.

4th Row--On the large mesh, one stitch in each stitch.

4th Row--In the large mesh, make one stitch in each stitch.

5th Row--On the small mesh take 3 stitches together to form 1 loop; repeat to end of row.

5th Row--On the small mesh, knit 3 stitches together to make 1 loop; repeat until the end of the row.

6th Row--On the large mesh make 5 loops in each stitch; repeat to end of row.

6th Row--In the large mesh, make 5 loops in each stitch; repeat until the end of the row.

7th Row--On the small mesh, one loop in each of the 4 first stitches, pass over the 5th, repeat to end.

7th Row--On the small mesh, make one loop in each of the first 4 stitches, skip the 5th, and repeat until the end.

8th Row--On the small mesh make a loop in each of the two first stitches, pass over the 4th; repeat.

8th Row--In the small mesh, create a loop in each of the first two stitches, skip the 4th; repeat.

9th Row--On the small mesh make a loop in each of the two first stitches, pass over the 3rd; repeat.

9th Row--In the small mesh, make a loop in each of the first two stitches, skip the 3rd; repeat.

This lace is often used in fine wool of two colours to trim opera-caps, children's hoods, &c.

This lace is often used in fine wool of two colors to trim opera caps, children's hoods, etc.

311.--Shell Border.

This border is intended as an edging for square netting for couvrettes, d'oyleys, &c. The mesh must be three times as long as that employed for the square netting.

This border is meant to edge square netting for covers, doilies, etc. The mesh should be three times as long as what’s used for the square netting.

[307]

Make 12 stitches in the first stitch of the edge, pass over 8, make 12 in the ninth, and repeat. Then take the mesh used for the square netting, and net one stitch in each stitch, take a still smaller mesh, and complete by adding another row of one stitch in each stitch.

Make 12 stitches in the first edge stitch, skip 8, make 12 in the ninth stitch, and repeat. Then use the mesh for square netting and add one stitch in each stitch, then take an even smaller mesh and finish by adding one more row of one stitch in each stitch.

This border forms a very appropriate edging for all articles in square netting, as couvrettes, mats, also for trimming guipure d'art work, and should be netted in the row of holes edging the work; two sets of shells must be worked at the corners when a little fulness is required.

This border is a perfect trim for all items made from square netting, like couvrettes, mats, and for decorating guipure d'art pieces. It should be netted along the row of holes at the edge of the work; two sets of shells should be added at the corners when a bit of fullness is needed.

[309]

KNITTING AND NETTING PATTERNS

312.--Knitted Sock for a Child.

312.--Kids' Knitted Sock.

Materials for 1 pair: 1 ounce of single Berlin wool; 1 yard of narrow pink or blue ribbon; 2 fine steel pins.

This sock fits well, and is easy to make. It is knitted upon two pins, backwards and forwards. Cast on 22 stitches and knit 22 rows, but increase once at the end of every other row on the right side of the work, so that there are 33 stitches in the 22nd row. Now cast off 28 stitches and knit 12 rows, increasing 1 stitch at the end of every other row. Now 12 more rows, decreasing 1 stitch at the end of every other row; this forms the toe. Cast on 28 stitches on the same needle, and knit 22 rows, decreasing 1 stitch at the end of every other row, and cast off. Pick up the 68 stitches on the upper part of shoe, and knit 20 rows, alternately 2 plain and 2 purl rows, decreasing 1 stitch on each side of the 12 stitches in every other row, which forms the toe and front of sock. Knit 14 rows of 2 plain, 2 purl stitches alternately, then 3 open rows with 1 plain row between. [310] The open rows are worked as follows:--* Purl 2 together, purl 1, make 1, repeat *, 3 plain rows, 1 open row, 1 plain row, and cast off. The sock is sewn together down the back of leg, centre of sole, and the point joined like a gusset to form the toe.

This sock fits well and is easy to make. It’s knitted on two needles, back and forth. Cast on 22 stitches and knit 22 rows, increasing once at the end of every other row on the right side, so there are 33 stitches in the 22nd row. Now cast off 28 stitches and knit 12 rows, increasing 1 stitch at the end of every other row. Then knit 12 more rows, decreasing 1 stitch at the end of every other row; this creates the toe. Cast on 28 stitches on the same needle and knit 22 rows, decreasing 1 stitch at the end of every other row, and cast off. Pick up the 68 stitches on the upper part of the shoe and knit 20 rows, alternating 2 plain rows and 2 purl rows, decreasing 1 stitch on each side of the 12 stitches every other row, which shapes the toe and front of the sock. Knit 14 rows in an alternating pattern of 2 plain and 2 purl stitches, then 3 open rows with 1 plain row in between. [310] The open rows are worked as follows: * Purl 2 together, purl 1, make 1, repeat *, 3 plain rows, 1 open row, 1 plain row, and cast off. The sock is sewn together down the back of the leg, center of the sole, with the toe joined like a gusset.

313.--Knitted Pattern for Counterpanes, Berceaunette Covers, Couvrettes, Antimacassars, &c.

313.--Knitted Pattern for Bedcovers, Cradle Covers, Throw Blankets, Anti-Macassars, etc.

Materials: Messrs. Walter Evans and Co.'s knitting cotton; 5 steel knitting-needles of a corresponding size.

Materials: Walter Evans and Co. knitting cotton; 5 steel knitting needles of a matching size.

Knitted Pattern for Counterpanes, Berceaunette Covers, &c.

According to the size of the cotton employed, this beautiful square makes different articles, such as counterpanes, couvrettes, &c. &c. If [311] worked with Evans's cotton No. 10, it will be suitable for the first-mentioned purpose.

According to the size of the cotton used, this beautiful square creates various items, like bedspreads, covers, etc. If [311] worked with Evans's cotton No. 10, it will be suitable for the first-mentioned purpose.

Begin the square in the centre, cast on 8 stitches, 2 on each needle; join them into a circle, and knit plain the 1st round.

Start in the center of the square by casting on 8 stitches, 2 on each needle; connect them into a circle and knit the first round plain.

[312]

2nd round: * Knit 1, throw the cotton forward, knit 1; repeat 3 times more from *.

2nd round: * Knit 1, bring the cotton forward, knit 1; repeat 3 more times from *.

3rd round: Plain knitting. This knitted round is repeated after every pattern round. We shall not mention this again, nor the repetition from *.

3rd round: Basic knitting. This knitted round is repeated after each pattern round. We won't mention this again, nor the repeat from *.

4th round: * Knit 1, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

4th round: * Knit 1, bring the yarn to the front, knit 1, bring the yarn to the front, knit 1.

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

6th round: * Knit 1, bring the yarn to the front, knit 3, bring the yarn to the front, knit 1.

8th round: * Knit 1, throw the cotton forward, knit 5, throw the cotton forward, knit 1.

8th round: * Knit 1, bring the yarn to the front, knit 5, bring the yarn to the front, knit 1.

The 9th to 18th rounds are knitted in the same manner, only in every other round the number of stitches between the 2 stitches formed by throwing the cotton forward increases by 2, so that in the 18th round 15 stitches are knitted between.

The 9th to 18th rounds are knitted the same way, except that in every other round, the number of stitches between the 2 stitches made by throwing the cotton forward increases by 2, so by the 18th round, there are 15 stitches knitted in between.

20th round: * Knit 1, throw the cotton forward, knit 1, throw the cotton forward, knit 5, slip 1, knit 1, draw the slipped over the knitted stitch, knit 1, knit 2 together, knit 5, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

20th round: * Knit 1, yarn forward, knit 1, yarn forward, knit 5, slip 1, knit 1, pass the slipped stitch over the knitted stitch, knit 1, knit 2 together, knit 5, yarn forward, knit 1, yarn forward, knit 1.

22nd round: * Knit 1, throw the cotton forward, knit 1, throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, throw the cotton forward, knit 4, slip 1, knit 1, draw the slipped over the knitted stitch, knit 1, knit 2 together, knit 4, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

22nd round: * Knit 1, bring the yarn to the front, knit 1, bring the yarn to the front, slip 1, knit 1, pass the slipped stitch over the knitted stitch, bring the yarn to the front, knit 4, slip 1, knit 1, pass the slipped stitch over the knitted stitch, knit 1, knit 2 together, knit 4, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 1, bring the yarn to the front, knit 1.

24th round: * Knit 1, throw the cotton forward, knit 1, throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch; throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, throw the cotton forward, knit 3, slip 1, knit 1, draw the slipped over the knitted stitch, knit 1, knit 2 together, knit 3, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

24th round: * Knit 1, bring the yarn to the front, knit 1, bring the yarn to the front, slip 1, knit 1, pull the slipped stitch over the knitted stitch; bring the yarn to the front, slip 1, knit 1, pull the slipped stitch over the knitted stitch, bring the yarn to the front, knit 3, slip 1, knit 1, pull the slipped stitch over the knitted stitch, knit 1, knit 2 together, knit 3, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 1, bring the yarn to the front, knit 1.

[313]

26th round: * Knit 1, throw the cotton forward, knit 1, throw the cotton forward 3 times alternately, slip 1, knit 1, draw the first over the last, throw the cotton forward; knit 2, slip 1, knit 1, draw the first over the last, knit 1, knit 2 together, knit 2, three times alternately, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

26th round: * Knit 1, yarn over, knit 1, yarn over 3 times alternately, slip 1, knit 1, pull the first stitch over the last, yarn over; knit 2, slip 1, knit 1, pull the first stitch over the last, knit 1, knit 2 together, knit 2, three times alternately, yarn over, knit 2 together, yarn over, knit 1, yarn over, knit 1.

28th round: * Knit 1, throw the cotton forward, knit 1, four times alternately, throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch; throw the cotton forward, knit 1, slip 1, knit 1, draw the slipped over the knitted stitch; knit 1, knit 2 together, knit 1, four times alternately throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

28th round: * Knit 1, wrap the yarn forward, knit 1, four times alternating, wrap the yarn forward, slip 1, knit 1, pull the slipped stitch over the knitted stitch; wrap the yarn forward, knit 1, slip 1, knit 1, pull the slipped stitch over the knitted stitch; knit 1, knit 2 together, knit 1, four times alternating wrap the yarn forward, knit 2 together, wrap the yarn forward, knit 1, wrap the yarn forward, knit 1.

30th round: * Knit 1, throw the cotton forward, knit 1, six times alternately throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, knit 1 six times alternately, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

30th round: * Knit 1, bring the yarn to the front, knit 1, six times alternate between bringing the yarn to the front, slipping 1, knitting 1, pulling the slipped stitch over the knitted stitch, knit 1 six times alternately, knit 2 together, bring the yarn to the front, knit 1, bring the yarn to the front, knit 1.

32nd round:

Round 32:

34th round: * Knit 1, throw the cotton forward, knit 1, 7 times alternately throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, knit 1, 7 times alternately knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

34th round: * Knit 1, bring the yarn to the front, knit 1, 7 times alternate between bringing the yarn to the front, slipping 1, knitting 1, pulling the slipped stitch over the knitted stitch, knit 1, 7 times alternate between knitting 2 together, bringing the yarn to the front, knit 1, bringing the yarn to the front, knit 1.

36th round: * Knit 1, throw the cotton forward, knit 1, 7 times alternately throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, throw the cotton forward, knit 4 stitches together, 7 times alternately throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

36th round: * Knit 1, bring the yarn forward, knit 1, 7 times alternate bringing the yarn forward, slipping 1, knitting 1, pulling the slipped stitch over the knitted stitch, bring the yarn forward, knit 4 stitches together, 7 times alternate bringing the yarn forward, knitting 2 together, bringing the yarn forward, knit 1, bring the yarn forward, knit 1.

[314]

38th round: * Knit 1, throw the cotton forward, knit 1, 8 times alternately throw the cotton forward, slip 1, knit 1, draw the, slipped over the knitted stitch, 8 times alternately knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1.

38th round: * Knit 1, bring the yarn to the front, knit 1, 8 times alternately bring the yarn to the front, slip 1, knit 1, pass the slipped stitch over the knitted stitch, 8 times alternately knit 2 together, bring the yarn to the front, knit 1, bring the yarn to the front, knit 1.

40th round: * Knit 1, throw the cotton forward, knit 1, 8 times alternately throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, throw the cotton forward, knit 3 stitches together as 1 stitch, 8 times alternately throw the cotton forward, knit 2 together, throw the cotton torward, knit 1, throw the cotton forward, knit 1. You now have 41 stitches on each needle; knit 1 round, and cast off. When completed, the squares are joined together on the wrong side.

40th round: * Knit 1, bring the yarn forward, knit 1, 8 times alternately bring the yarn forward, slip 1, knit 1, pull the slipped stitch over the knitted stitch, bring the yarn forward, knit 3 stitches together as 1 stitch, 8 times alternately bring the yarn forward, knit 2 together, bring the yarn forward, knit 1, bring the yarn forward, knit 1. You now have 41 stitches on each needle; knit 1 round, and bind off. When you’re done, the squares are stitched together on the back side.

314.--Knitted Sleeping Sock.

314.--Cozy Knitted Sleep Sock.

Materials for one pair: 4 ounces white fleecy, 3 ply; 1 ounces light blue fleecy.

Materials for one pair: 4 ounces of white fluffy fabric, 3 ply; 1 ounce of light blue fluffy fabric.

These socks are knitted with white and blue wool in a diamond pattern, and in rounds like a stocking. Begin at the upper part of the sock; cast on 103 stitches with blue wool on pretty thick steel knitting-needles, and knit 20 rounds of the diamond pattern as follows:--

These socks are knitted with white and blue wool in a diamond pattern, and in rounds like a stocking. Start at the top of the sock; cast on 103 stitches with blue wool using fairly thick steel knitting needles, and knit 20 rounds of the diamond pattern as follows:--

1st round: Quite plain.

1st round: Pretty basic.

2nd round: Purled; both these rounds are worked with blue wool.

2nd round: Purl; both of these rounds are worked with blue wool.

3rd to 6th rounds: Knitted plain with white wool.

3rd to 6th rounds: Knit simply using white wool.

7th round:With blue wool; knit 3, draw the wool through the next stitch of the 2nd round worked with blue wool, draw it out as a loop, keep it on the needle, knit again 3 stitches, and so on. 8th round: With blue wool; the loop which has been taken up on the preceding round is purled off together with the preceding stitch. Repeat the 3rd and 8th rounds [315] twice more; the loop of one round must be placed between those of the preceding one. Then knit with white wool 31 rounds, alternately 2 stitches knitted, 2 stitches purled, then work the foot in the diamond pattern in the same way as usual for a stocking. The heel is formed by leaving 23 stitches on each side the seam stitch, and knitted backwards and forwards in the diamond pattern. At the toe decrease so that the decreasings form a seam on both sides of the toe. This is obtained by knitting the 3rd and 4th stitches of the 1st needle together; on the 2nd needle slip the 4th stitch before the last, knit the next stitch and draw the slipped stitch over the knitted one; decrease in the same manner on the other 2 needles of this round. Repeat these decreasings [316] exactly in the same direction and at the same places, so that there are always 4 stitches between the 2 decreasings at the end and at the beginning of 2 needles; they always take place after 3 or 2 plain rounds, and at last after 1 plain round. The remaining stitches are knitted off 2 and 2 together. To complete the sock, the outline of the sole is marked by working slip stitches with blue wool in crochet all round it; work also slip stitches on the selvedge stitch of the heel. The stocking is finished off at the top with a double round of loops in blue wool, worked over a mesh four-fifths of an inch wide.

7th round: With blue yarn; knit 3, pull the yarn through the next stitch from the 2nd round done with blue yarn, pull it out as a loop, keep it on the needle, knit another 3 stitches, and repeat. 8th round: With blue yarn; the loop picked up in the previous round is purled off together with the stitch before it. Repeat the 3rd and 8th rounds [315] two more times; the loop from one round should be placed between those of the previous round. Then knit with white yarn for 31 rounds, alternating between 2 knitted stitches and 2 purled stitches, then work the foot in the diamond pattern just like you normally do for a sock. The heel is formed by leaving 23 stitches on each side of the seam stitch, knitting back and forth in the diamond pattern. At the toe, decrease so that the decreases create a seam on both sides. This is done by knitting the 3rd and 4th stitches of the 1st needle together; on the 2nd needle, slip the 4th stitch before the last, knit the next stitch, and pull the slipped stitch over the knitted one; decrease in the same way on the other 2 needles for this round. Repeat these decreases [316] in exactly the same direction and at the same places, making sure there are always 4 stitches between the 2 decreases at the start and end of the 2 needles; they should happen after 3 or 2 plain rounds, and finally after 1 plain round. The remaining stitches are knitted off 2 at a time. To finish the sock, outline the sole by working slip stitches with blue yarn all around it; also work slip stitches on the edge stitch of the heel. The top of the stocking is finished off with a double round of loops in blue yarn, worked over a mesh that is four-fifths of an inch wide.

315 and 316.--Netted Fichu or Cape.

Material: Fine wool, or white and blue silk; netting needle and meshes.

Material: Fine wool or white and blue silk; netting needle and meshes.

This fichu or cape is made either with fine wool or with silk used three or four times double. It may be worn as an evening wrap, either over a cap or on the hair, or as a necktie. The ground in our pattern is white, the border blue. The illustration of the ground and of the border, in full size, will serve as a guide for the size of the meshes to be used. For the ground cast on the first mesh, with white silk, 56 stitches; work 2 rows on the 56 stitches. From the 3rd row, always miss the last stitch, so that each row is decreased 1 stitch. Continue in this manner till the 39th row, when there will be but 19 stitches left. From the 40th row, miss 2 stitches at the end of each row. The ground is completed with the 46th row. The 1st row of the work is the cross-way side; the last, the point at the bottom; fasten on the blue silk to the 1st stitch of the 1st row, and on a larger mesh work 1 row round the ground of the fichu, not forgetting that the stitch on the outer edge at the sides must always be taken, and 2 stitches made in the 5th, 10th, 14th, 18th, 21st, 23rd, and 25th stitches at the sides, as well as in each of the 2 middle stitches of the last row; in each of the other stitches 1 stitch should be made. On the corners of the sides increase once, on the cross-way side, seven times in all.

This fichu or cape is made from either fine wool or silk used three or four times doubled. It can be worn as an evening wrap, either over a cap or on the hair, or as a necktie. The pattern background is white, with a blue border. The illustration of the background and border, shown full size, will help guide the size of the stitches to be used. For the background, cast on the first stitch with white silk, using 56 stitches; then work 2 rows on those 56 stitches. From the 3rd row, always skip the last stitch, reducing each row by 1 stitch. Continue this way until the 39th row, when you'll have only 19 stitches left. Starting from the 40th row, skip 2 stitches at the end of each row. The background is completed in the 46th row. The 1st row of the work is the cross-way side; the last, the point at the bottom; attach blue silk to the 1st stitch of the 1st row, and using a larger stitch, work 1 row around the background of the fichu, making sure to always include the outer edge stitch on the sides, and create 2 stitches in the 5th, 10th, 14th, 18th, 21st, 23rd, and 25th stitches at the sides, as well as in each of the 2 middle stitches of the last row; in each of the other stitches, make 1 stitch. At the corners of the sides, increase once on the cross-way side, for a total of seven times.

[317]

Netted Fichu, or Cape, for Evening Dress.

[318]

This forms the 1st round of the edging or lace.

This makes up the 1st round of the edging or lace.

Showing the Netting full size for Border of Fichu.

2nd round of the lace: In each stitch make 2 stitches--still on the larger mesh. 3rd round: Always miss the small flat scallop formed in last row, and work 2 stitches in the stitch which forms a tight loop. Keep thus the same number of stitches, with which work 6 more rounds. For the last round, work 1 stitch in each tight loop.

2nd round of the lace: In each stitch, make 2 stitches—still on the larger mesh. 3rd round: Always skip the small flat scallop formed in the last row, and work 2 stitches in the stitch that forms a tight loop. Keep the same number of stitches, and then work 6 more rounds. For the last round, work 1 stitch in each tight loop.

317.--Lady's Knitted Purse.

317.--Women's Knitted Purse.

Materials: 2 skeins of black purse silk; 2 skeins of scarlet ditto; black jet beads; a steel clasp with chain; a tassel of black beads; 5 steel knitting-needles.

Materials: 2 skeins of black purse silk; 2 skeins of scarlet silk; black jet beads; a steel clasp with chain; a tassel of black beads; 5 steel knitting needles.

[319]

[320]

This purse is knitted with black and scarlet purse silk, and ornamented with black beads and a black bead tassel. Begin the purse with the black silk in the centre of the bottom part, and cast on for one part of it 7 stitches. Knit 14 rows on these backwards and forwards, in such a manner that the work is knitted on one side and purled on the other. The 1st stitch of every row is slipped, the 1st row of this part is purled. * On that side where hangs the thread with which you work take the back chain of the 7 selvedge stitches of the part you have just knitted on a separate needle, and knit another part, which must have 15 rows, and the 1st row of which is knitted. Repeat 10 times more from *. The stitches of several parts can be taken on the same needle, so as not to be hindered in working by too many needles. When the 12th part is completed, take the selvedge stitches on the left hand on another needle, cast them off together with the cast on stitches of the 1st part, and fasten the silk thread. Then take the 7 right-hand selvedge stitches of one black part on a needle, take the red silk on which the beads have been strung and work 15 rows on these stitches, the 1st row from the wrong side, and therefore purled; in the 1st, as well as in all the other purled rows, the last stitch must be purled together with the next stitch of the next black part. In the purled rows, moreover, [321] excepting in the first and last one, a bead must be worked in after casting off the 2nd, 4th, and 6th stitches. The stitch must be worked by inserting the needle into the back part, and in drawing through the silk which has been thrown forward, let the bead slide through the stitch so that it is on the right side of the work. In the following knitted row, the needle must also be inserted into the back part of the bead stitch. When 12 such red parts have been completed, work again 12 black parts on the selvedge stitch of the same, in which the beads are not knitted in, but sewn on afterwards, when the purse is completed. Then work 3 times more alternately 12 red and 12 black parts; when the last 12 black parts have been completed cast off the stitches of the last black part together with the selvedge stitches, the 1st on the wrong side; the stitches of the 6th part are cast off in the same manner together with the selvedge stitches of the 7th. The red parts which remain to be worked on the black part are thus lessened by 2; the 2nd, 3rd, and 4th, and the 7th, 8th, and 9th of these parts must be by 6 rows longer. Then gather all the stitches and selvedge stitches of the 10 parts on 2 needles, in such a manner that the 2 black parts, the stitches and selvedge stitches of which have been cast off together, are placed on the sides of the purse, and knit as follows with black silk, first on the stitches of the one needle, and then on those of the other:--1 row knitted, knitting together every 3rd and 4th stitch; then work 3 rows backwards and forwards on the same number of stitches, which must be knitted on the right side; then work 8 rows more in the same manner, casting off the 2 first stitches of the 8 rows. Then cast off all the remaining stitches, sew the beads on the black parts from illustration; also the clasp and bead tassel.

This purse is made from black and scarlet purse silk and decorated with black beads and a black bead tassel. Start the purse with the black silk in the center of the bottom part, casting on 7 stitches for one section. Knit 14 rows back and forth, ensuring the work is knitted on one side and purled on the other. Slip the first stitch of each row, and the first row of this section should be purled. * On the side where the working thread hangs, take the back chain of the 7 selvedge stitches from the section you just knitted onto a separate needle, and knit another section that has 15 rows, starting with a knitted first row. Repeat this step 10 more times from *. Multiple sections can be placed on the same needle to avoid the hassle of using too many needles. Once the 12th section is completed, place the selvedge stitches on the left onto another needle, cast them off along with the cast-on stitches of the first section, and secure the silk thread. Next, take the 7 right-hand selvedge stitches of one black section onto a needle, get the red silk that has the beads strung on it, and work 15 rows on these stitches, starting with a purled first row. In the purled rows, the last stitch must be purled together with the next stitch of the next black section. In the purled rows, except for the first and last one, a bead must be added after casting off the 2nd, 4th, and 6th stitches. The stitch should be made by inserting the needle into the back of the stitch, and while pulling the silk through, let the bead slide onto the stitch so it ends up on the right side of the work. In the next knitted row, the needle should also go into the back of the bead stitch. Once 12 of these red sections are complete, knit another 12 black sections on the selvedge stitch, where the beads aren't knitted in but will be sewn on later when the purse is finished. Then alternate knitting 3 more times with 12 red and 12 black sections; after completing the final 12 black sections, cast off the stitches of the last black section together with the selvedge stitches, starting on the wrong side; the stitches from the 6th section are also cast off together with the selvedge stitches of the 7th. The remaining red sections to be worked on the black section are therefore reduced by 2; the 2nd, 3rd, and 4th, as well as the 7th, 8th, and 9th of these sections must be 6 rows longer. Then gather all the stitches and selvedge stitches from the 10 sections onto 2 needles, placing the 2 black sections, whose stitches and selvedge stitches have been cast off together, on the sides of the purse, and knit as follows with black silk: first on the stitches of one needle, then on those of the other:--1 knitted row, knitting together every 3rd and 4th stitch; then work 3 rows back and forth on the same number of stitches, knitting on the right side; then work 8 more rows in the same way, casting off the first 2 stitches of the 8 rows. After that, cast off all remaining stitches, sew the beads onto the black sections as illustrated; also attach the clasp and bead tassel.

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318 to 320.--Knitted Antimacassar or Berceaunelle Cover.

Materials: Grey and violot fleecy wool.

Materials: Grey and violet fluffy wool.

This antimacassar, part of which is seen on No. 320, smaller than full size, is made of rosettes and small squares, which are knitted separately with violet and grey fleecy wool with fine knitting-needles. In the middle of each rosette sew on a tatted circle of grey wool. The edge of the antimacassar is ornamented with a grey woollen fringe. For each rosette cast on 6 stitches with violet wool, and knit 12 rows backwards and forwards in such a manner that the work is knitted on one side and purled on the other: the first of these 12 rows is purled, the first stitch of every row is slipped; * then take the first five selvedge stitches of the knitted part on a separate needle (on the side where the end of wool hangs down, leaving it unnoticed for the present), inserting the needle into the back chain of the stitch (the selvedge stitch which is next to the cast-on stitch remains, therefore, unworked upon), and knit on these a new part, which must have 13 rows; the first row is knitted, and in this row work 2 stitches in the first stitch, one purled and one knitted, so that this new part is equally six stitches wide. Repeat 8 times more from *. After having worked several parts, the stitches can, of course, be taken on the same needle, so as not to increase the number of needles. When the 10th part is completed, [323] take the selvedge stitches of the left-hand side of the same on a separate needle, cast them off with the cast-on stitches of the first part, and fasten the wool. Then take the 6 selvedge stitches on the right hand of one part on a separate needle; take the grey wool, and work on these stitches 13 rows backwards and forwards; the first row is knitted; it is worked on the right side of the work; in this, and in every following knitted row, knit the last stitch together with the next stitch of the next violet part. When 10 such grey parts are completed (each of the remaining 9 parts consists of 13 rows, and begins with one knitted row), take all the stitches and the selvedge stitches of these parts on four needles and knit with these stitches, also with [324] grey wool 1 row knitted, in which the 6 selvedge stitches must be decreased to 3 by knitting always 2 stitches together as 1 stitch; each of the other stitches is knitted as usual. Then purl 2 rows with violet wool, and cast off.

This antimacassar, part of which is shown on No. 320, is smaller than full size and made of rosettes and small squares, which are knitted separately with violet and grey soft wool using fine knitting needles. In the center of each rosette, sew on a tatted circle of grey wool. The edge of the antimacassar is decorated with a grey wool fringe. For each rosette, cast on 6 stitches with violet wool, and knit 12 rows back and forth in such a way that one side is knitted and the other is purled: the first of these 12 rows is purled, and the first stitch of every row is slipped; * then take the first five selvedge stitches of the knitted part on a separate needle (on the side where the end of the wool hangs down, leaving it aside for now), inserting the needle into the back loop of the stitch (the selvedge stitch next to the cast-on stitch remains unworked), and knit a new section on these stitches that must have 13 rows; the first row is knitted, and in this row work 2 stitches in the first stitch, one purled and one knitted, so that this new section is also six stitches wide. Repeat 8 more times from *. After working several sections, the stitches can, of course, be placed on the same needle to avoid increasing the number of needles. When the 10th section is completed, [323] take the selvedge stitches from the left side of the same on a separate needle, cast them off with the cast-on stitches of the first section, and fasten off the wool. Then take the 6 selvedge stitches from the right side of one section on a separate needle; take the grey wool, and work on these stitches for 13 rows back and forth; the first row is knitted; this row is worked on the right side; in this and every following knitted row, knit the last stitch together with the next stitch of the next violet section. When 10 such grey sections are completed (each of the remaining 9 sections consists of 13 rows, beginning with one knitted row), take all the stitches and the selvedge stitches of these sections on four needles and knit with these stitches, also with [324] grey wool 1 knitted row, in which the 6 selvedge stitches must be decreased to 3 by knitting 2 stitches together as 1 stitch; each of the other stitches is knitted as usual. Then purl 2 rows with violet wool, and cast off.

For the tatted circle in the centre of the rosette, work with grey wool a circle consisting of 1 double, and 11 times alternately 1 purl 3-10ths of an inch long, 2 double, then 1 purl and 1 double. The circle is sewn on the rosette, from illustration, with grey wool. No. 319 shows such a rosette full size. The small squares (see No. 318) are worked with [325] grey wool; cast on 36 stitches, join the stitches into a circle, and purl 2 rows. To form the corners, knit together 4 times 2 stitches after every 7 stitches in the first of these two rounds, in the second round knit together 2 stitches after every 6 stitches; these decreasings and those of the other rounds must always take place, at the same places as in the preceding round. Then take the violet wool, and knit 7 rows; in the first of these knit 4 times 2 stitches together after intervals of 5 stitches; no decreasings take place in the 2nd, 4th, and 6th rows; in the 3rd row knit together 4 times 3 stitches as 1 stitch, and in the 5th and 7th rows 4 times 2 stitches as 1 stitch. After the 7th round, the remaining stitches are cast off together as 1 stitch. Then fasten the wool and cut it off. Lastly, sew the rosettes and squares together from No. 320 for a cover, and edge it round the border with a fringe of grey wool.

For the tatted circle in the center of the rosette, use grey wool to create a circle with 1 double crochet and alternating 11 times 1 purl stitch that’s 3-10ths of an inch long, 2 double crochets, then 1 purl and 1 double. Sew the circle onto the rosette, as shown in the illustration, with grey wool. No. 319 displays a full-size version of such a rosette. The small squares (see No. 318) are made with grey wool; cast on 36 stitches, join them into a circle, and purl 2 rows. To shape the corners, knit 4 times 2 stitches together after every 7 stitches in the first of these two rounds, and in the second round, knit 2 stitches together after every 6 stitches; these decreases must always occur in the same spots as in the previous round. Then switch to violet wool and knit 7 rows; in the first row, knit 4 times 2 stitches together after every 5 stitches; do not decrease in the 2nd, 4th, and 6th rows; in the 3rd row, knit 4 times 3 stitches together as 1 stitch, and in the 5th and 7th rows, knit 4 times 2 stitches together as 1 stitch. After the 7th round, cast off the remaining stitches together as 1 stitch. Finally, secure the wool and cut it off. Lastly, sew the rosettes and squares together from No. 320 for a cover, and finish the border with a fringe of grey wool.

321.--Knitted Border.

321.--Knitted Edge.

Material: Messrs. Walter Evans and Co.'s No. 10 or No. 50 knitting cotton.

Material: Walter Evans and Co.'s No. 10 or No. 50 knitting cotton.

If knitted with thick cotton, this border will be suitable for trimming a quilt or berceaunette cover; if, on the contrary, fine cotton is used, the pattern will form a very pretty collar for a little boy or girl.

If made with thick cotton, this border will be perfect for trimming a quilt or a cradle cover; however, if you use fine cotton instead, the pattern will create a really cute collar for a little boy or girl.

[326]

To make a collar, begin by a chain of 220 stitches, and work 6 rows backwards and forwards alternately, knitting 4 stitches and purling 2.

To make a collar, start by chaining 220 stitches, and work 6 rows back and forth alternately, knitting 4 stitches and purling 2.

In the 2nd, 4th, and 6th rows the 4 stitches are purled, and the 2 are knitted.

In the 2nd, 4th, and 6th rows, purl 4 stitches and knit 2.

7th row: * Purl 2, make 1, knit 2, purl 2. Repeat from *.

8th row: Alternately purl 5, knit 2. All the rows with even numbers are knitted like this, except that the number of the knitted stitches are increased by 2 in each of them. We will not, therefore, henceforth mention these rows.

8th row: Purl 5, then knit 2 in turns. All the rows with even numbers are done this way, except the number of knit stitches increases by 2 in each row. We won't mention these rows anymore.

9th row: * Knit 2, make 1, knit 1, make 1, knit 2, purl 2. Repeat from *.

9th row: * Knit 2, increase 1, knit 1, increase 1, knit 2, purl 2. Repeat from *.

11th row: * Knit 2, make 1, knit 3, make 1, knit 2, purl 2. Repeat from *.

11th row: * Knit 2, increase 1, knit 3, increase 1, knit 2, purl 2. Repeat from *.

13th row: * Knit 2, make 1, knit 5, make 1, knit 2, purl 2. Repeat from *. The pattern is continued in the same manner. The small gores formed between the ribs are increased by 2 stitches in every second row. Each of these gores has 13 stitches in the 21st row, which is the last. Cast off all the stitches after this row.

13th row: * Knit 2, make 1, knit 5, make 1, knit 2, purl 2. Repeat from *. The pattern continues in the same way. The small gores between the ribs are increased by 2 stitches every second row. Each of these gores has 13 stitches in the 21st row, which is the last one. Cast off all the stitches after this row.

Take a crochet needle, and with the same cotton as that used for the knitting work 1 stitch of double crochet in every stitch of the selvedge, then the 2 following rows for the edging. 1st row: Alternately 1 treble, 1 chain, under which miss 1.

Take a crochet hook and use the same cotton as for the knitting to make 1 double crochet stitch in every stitch of the edge. Then do the next 2 rows for the edging. 1st row: Alternate between 1 treble stitch, 1 chain, skipping 1 stitch underneath.

2nd row: Alternately 1 double over 1 treble of preceding row, 1 purl (that is, 5 chain and 1 slip stitch in the first), under which miss 1. Over the first row of the knitting work 1 row of close double crochet. The border is now completed.

2nd row: Alternate 1 double crochet over 1 treble from the previous row, then 1 purl (which means 5 chain and 1 slip stitch in the first), skipping 1 underneath. Work 1 row of close double crochet over the first row of the knitting. The border is now finished.

322.--Knee-cap in Knitting.

Knee Cap in Knitting

Materials: For 1 pair, 4 oz. pink 4-thread fleecy wool, and a small quantity of white ditto.

Materials: For 1 pair, 4 oz. of pink 4-thread fleecy wool, and a small amount of white wool.

Begin each knee-cap by casting on with pink wool 114 stitches, equally divided upon 4 needles, and joining them into a circle. Upon this number of stitches work 47 rounds, alternately knitting and purling 2 stitches. In the 48th round begin the gore which covers the knee; it is worked separately backward and forwards, always alternately knitting and purling 2 stitches.

Begin each knee-cap by casting on 114 stitches with pink yarn, evenly divided across 4 needles, and joining them into a circle. With this number of stitches, work 47 rounds, alternating between knitting and purling 2 stitches. In the 48th round, start the gore that covers the knee; it's worked separately back and forth, always alternating between knitting and purling 2 stitches.

[327]

After 2 rows change the pattern, so as to form small squares Knit the first row of this gore upon 26 stitches slipped off from the last row on [328] to a separate needle. At the end of each following row knit the nearest stitch of the nearest needle, so as to increase 1 stitch in each row of the gore.

After 2 rows, change the pattern to create small squares. Knit the first row of this gore using 26 stitches taken from the last row on [328] onto a separate needle. At the end of each subsequent row, knit the nearest stitch from the nearest needle to increase 1 stitch in each row of the gore.

Continue in this way until only 42 stitches remain of the ribbed part. After this work the remainder of the gore separately, decreasing once at the beginning and end of each row till only 26 stitches remain; then take up 23 stitches of the selvedge on each side of these 26 stitches, and work 47 rounds, alternately knitting and purling 2 stitches.

Continue like this until you have 42 stitches left from the ribbed section. After that, work on the rest of the gore separately, decreasing once at the start and end of each row until you have 26 stitches left; then pick up 23 stitches from the edge on each side of these 26 stitches, and knit 47 rounds, alternating between knitting and purling 2 stitches.

The edging at the top and bottom of the knee-cap is worked in crochet. With white wool make a chain of 50 stitches; turn and work 1 row of crochet à tricoter; then work a second row thus: the first part, as usual, with white, but coming back, with pink make 4 chain between each stitch, work in the same way on the other side of the foundation chain, thus forming a small ruche, and sew it on to the edge of the knitting.

The trim at the top and bottom of the knee-cap is made with crochet. Using white wool, create a chain of 50 stitches; turn and work 1 row of crochet à tricoter; then work a second row like this: for the first part, use white as usual, but when coming back, use pink to create 4 chains between each stitch. Do the same on the other side of the foundation chain to form a small ruffle, and sew it onto the edge of the knitting.

323.--Knitted Neckerchief in Black Shetland Wool.

323.--Knitted Neck Scarf in Black Shetland Wool.

Material: Black Shetland wool.

This three-cornered neckerchief is knitted in the following pattern (commencing at the corner).

This triangular neckerchief is knitted in the following pattern (starting at the corner).

1st row: slip 1, make 1, knit 2 together, inserting the needle into the back part of the stitch, slip 1, make 1, knit 2 together.

1st row: slip 1, make 1, knit 2 together, inserting the needle into the back of the stitch, slip 1, make 1, knit 2 together.

2nd row: Knit 1, purl 1 in the stitch formed by throwing the wool forward in the preceding row; the other stitches are purled. In the next row the holes are alternated; the neckerchief must of course be increased at the beginning and end of every other row. It measures at the upper edge 1 yard 16 inches across from one corner to the other; the lower corner is rounded off. The neckerchief is edged with a knitted lace.

2nd row: Knit 1, purl 1 in the stitch made by bringing the yarn forward in the previous row; purl the other stitches. In the next row, alternate the holes; you should increase the neckerchief at the beginning and end of every other row. It measures 1 yard 16 inches across at the top from one corner to the other; the lower corner is rounded. The neckerchief is finished with a knitted lace edge.

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[330]

The lace is worked in rows backwards and forwards, the cross way. Cast on 22 stitches and work the 1st row as follows:--Slip 1, knit 11, knit 2 together, throw the wool forward, knit 2 together, knit 6.

The lace is made by working in rows back and forth, across the width. Cast on 22 stitches and work the 1st row like this: Slip 1, knit 11, knit 2 together, yarn forward, knit 2 together, knit 6.

2nd row: Slip 1, purl 18, knit 1 and purl 1 with the stitch formed in the preceding row by throwing the wool forward.

2nd row: Slip 1, purl 18, knit 1 and purl 1 with the stitch created in the previous row by bringing the yarn forward.

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

3rd row: Slip 1, knit 2 together, knit 9, knit 2 together, bring the yarn forward, knit 2 together, bring the yarn forward, knit 2 together, knit 5.

4th row: Slip 1, purl 5, knit 1, purl 1, knit 1 in the stitch formed in the preceding row by throwing the wool forward, purl 13.

4th row: Slip 1, purl 5, knit 1, purl 1, knit 1 in the stitch made in the previous row by bringing the yarn forward, purl 13.

5th row: Slip 1, knit 2 together, knit 6, knit 2 together, throw the wool forward, knit 2 together, throw the wool forward, knit 2 together, throw the wool forward, knit 2 together, knit 4.

5th row: Slip 1, knit 2 together, knit 6, knit 2 together, yarn over, knit 2 together, yarn over, knit 2 together, yarn over, knit 2 together, knit 4.

6th row: Slip 1, purl 8, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 9.

6th row: Slip 1, purl 8, knit 1, purl 1 in the stitch formed by bringing the yarn forward in the previous row, purl 9.

7th row: Slip 1, knit 2 together, knit 4, knit 2 together, throw the wool forward 4 times alternately, knit 2 together, knit 4.

7th row: Slip 1, knit 2 together, knit 4, knit 2 together, yarn forward 4 times alternately, knit 2 together, knit 4.

8th row: Slip 1, purl 3, knit 1, purl 1 in the stitch formed by throwing the wool forward in the preceding row, purl 13.

8th row: Slip 1, purl 3, knit 1, purl 1 in the stitch created by bringing the yarn forward in the previous row, purl 13.

9th row: Slip 1, knit 2 together, knit 2, 5 times alternately; knit 2 together, throw the wool forward, knit 2 together, knit 2.

9th row: Slip 1, knit 2 together, knit 2, repeat 5 times; knit 2 together, bring the yarn forward, knit 2 together, knit 2.

10th row: Slip 1, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 5.

10th row: Slip 1, knit 1, purl 1 in the stitch created by bringing the yarn forward in the previous row, purl 5.

11th row: Slip 1, knit 2 together, 6 times alternately knit 2 together, throw the wool forward, knit 2 together, knit 1.

11th row: Slip 1, knit 2 together, repeat 6 times alternating between knitting 2 together, yarn over, knit 2 together, knit 1.

12th row: Slip 1, knit 1 in the stitch formed by throwing the wool forward in preceding row, purl 13.

12th row: Slip 1, knit 1 into the stitch created by bringing the yarn forward in the previous row, purl 13.

13th row: Slip 1, throw the wool forward, knit 2, knit 2 together, 5 times alternately throw the wool forward, knit 2 together, knit 2.

13th row: Slip 1, bring the yarn to the front, knit 2, knit 2 together, repeat 5 times alternating between bringing the yarn to the front, knitting 2 together, and knitting 2.

14th row: Slip 1, purl 10, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 5.

14th row: Slip 1, purl 10, knit 1, purl 1 in the stitch formed by throwing the yarn forward in the previous row, purl 5.

[331]

15th row: Slip 1, throw the wool forward, knit 4, knit 2 together, 4 times alternately throw the wool forward, knit 2 together, knit 3.

15th row: Slip 1, bring the yarn forward, knit 4, knit 2 together, repeat 4 times alternating between bringing the yarn forward and knitting 2 together, then knit 3.

16th row: Slip 1, purl 3, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 13.

16th row: Slip 1, purl 3, knit 1, purl 1 in the stitch made by bringing the yarn forward in the previous row, purl 13.

17th row: Slip 1, throw the wool forward, knit 6, knit 2 together, 3 times alternately throw the wool forward, knit 2 together, knit 4.

17th row: Slip 1, bring the yarn to the front, knit 6, knit 2 together, do this 3 times alternating with bringing the yarn to the front, knit 2 together, knit 4.

18th row: Slip 1, purl 8, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 9.

18th row: Slip 1, purl 8, knit 1, purl 1 in the stitch formed by bringing the yarn forward in the previous row, purl 9.

19th row: Slip 1, throw the wool forward, knit 8, knit 2 together, twice alternately throw the wool forward, knit 2 together, knit 5.

19th row: Slip 1, yarn forward, knit 8, knit 2 together, twice alternate yarn forward, knit 2 together, knit 5.

20th row: Slip 1, purl 5, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 13.

20th row: Slip 1, purl 5, knit 1, purl 1 in the stitch created by throwing the yarn forward in the previous row, purl 13.

21st row: Slip 1, throw the wool forward, knit 10, knit 2 together, throw the wool forward, knit 2 together, knit 6.

21st row: Slip 1, bring the yarn forward, knit 10, knit 2 together, bring the yarn forward, knit 2 together, knit 6.

22nd row: Slip 1, purl 6, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row.

22nd row: Slip 1, purl 6, knit 1, purl 1 in the stitch formed by bringing the yarn forward in the previous row.

23rd row: Slip 1, throw the wool forward, knit 12, knit 2 together, knit 7.

23rd row: Slip 1, bring the yarn to the front, knit 12, knit 2 together, knit 7.

24th row: Purled. Repeat from the 1st row till the lace is sufficiently long. Then sew on the lace round the edge; the lace can be knitted somewhat narrower for the upper edge. One of the ends of the neckerchief is knotted, As seen in the illustration, and the other end is drawn through the knot.

24th row: Purl. Keep repeating from the 1st row until the lace is long enough. Then sew the lace around the edge; the lace can be knitted a bit narrower for the upper edge. One end of the neckerchief is tied in a knot, as shown in the illustration, and the other end is pulled through the knot.

324 and 325.--Knitted Bodice without Sleeves.

Sleeveless Knit Top.

Materials: 4 ounces black, 3-1/2 ounces purple fleecy; black silk elastic; a steel buckle; 9 black bone buttons.

Materials: 4 ounces black fleece, 3.5 ounces purple fleece; black silk elastic; a steel buckle; 9 black bone buttons.

This bodice is knitted in brioche stitch with black and purple wool, so [332] that the raised ribs appear black on one side and purple on the other. The bodice fits quite close. It is fastened in front with black bone buttons and a steel buckle. Two strips of silk elastic are knitted in at the bottom. Begin at the bottom of the bodice with black wool, and cast on 170 stitches. The needles must be rather fine, and the knitting not too loose. Work backwards and forwards 24 rows as follows:--Slip the 1st stitch, alternately throw the wool forward, slip 1 as if you were going to purl it, and knit 1. In the next row knit together the stitch which has been slipped and the stitch formed by throwing the wool forward, slip the knitted stitch, after having thrown the wool forward. In the 25th row take the purple wool and work 1 row as before.

This bodice is knitted in brioche stitch with black and purple wool, so [332] that the raised ribs look black on one side and purple on the other. The bodice fits snugly. It fastens in front with black bone buttons and a steel buckle. Two strips of silk elastic are knitted in at the bottom. Begin at the bottom of the bodice with black wool, and cast on 170 stitches. The needles should be fairly fine, and the knitting shouldn’t be too loose. Work back and forth for 24 rows as follows: Slip the 1st stitch, alternately pull the wool forward, slip 1 as if you were going to purl it, and knit 1. In the next row, knit together the slipped stitch and the stitch formed by pulling the wool forward, then slip the knitted stitch after pulling the wool forward. In the 25th row, use the purple wool and knit 1 row as before.

[333]

Now work alternately 1 row with black wool and 1 row with purple, but as the wool is not cut off, the brioche stitch must be alternately knitted and purled. Work always 2 rows on the same side from right to left. The following 26th row is worked with black wool in common brioche stitch, only the slipped stitch of the preceding row is purled together with the stitch formed by throwing the wool forward. 27th row: Turn the work, with purple wool purled brioche stitch. 28th row: On the same side with black wool knitted brioche stitch. After having worked 40 rows all in the same manner, begin the front gore. Divide the stitches upon three needles, 82 stitches on one needle for the back, and 44 stitches for [334] each front part on the two other needles. Then work the first 11 stitches of the left front part (this row must be worked on that side of the work upon which the ribs appear purple) in knitted brioche stitch; the 11th stitch must have a slipped stitch, with the wool thrown forward, therefore it is a purple rib. After this stitch begin the gore with the following 13 stitches. The ribs are then worked so that a purple one comes over a black one, and a black one over a purple one. Do not work upon the following black stitch; knit the following stitch with the one formed by throwing the wool forward. Throw the wool forward, and then only slip the black stitch which had been left, so that it comes behind the stitch which has just been knitted. This crossing of the stitch is repeated once more, then knit the following stitch together with the one formed by throwing the wool forward, throw the wool forward, slip the crossed black stitch and the two following single black stitches. The slipped stitch and the stitch formed by throwing the wool forward before the 3rd single black stitch are then knitted together, so that the crossed stitches are placed in opposite directions. The three black stitches which are knitted off together as 1 stitch in the next row form the middle line of the front gore, and are continued in a straight line to the point of the gore. The crossing takes place twice in this row, but now the black stitch is slipped first. After the 24th stitch knit together the following stitch with the stitch formed by throwing the wool forward. Then continue to work in common brioche stitch to the other front part, where the gore begins before the 24th stitch from the end. In the next row, which is worked in purled brioche stitch with black wool, take up the black loop between two purple ribs after the 11th stitch; purl it so as to form the stitch [335] which is missing at that place. The 3 slipped stitches in the preceding row are purled together as one stitch with the stitch formed by throwing the wool forward between the ribs. The loop is also taken up on the other side of the front gore in the same manner, as well as on the other front part. Then work 6 rows without increasing or decreasing. The crossing of the stitch is repeated after every 7 rows, always on the knitted brioche stitch side, with purple wool. In the 18th row of the gore the 3 middle stitches are not knitted together, but separately, so that the pattern must be decreased in 26 rows. In the back 30 stitches only must be decreased, two in every 6th row. After the 60th row another decreasing takes place on the outer edges of the front parts for the neck; they decrease 2 stitches (1st rib) after the 5th stitch from the front edge in every 3rd row. The 5 stitches which close to the neck are cast off together with the 5 stitches on the shoulders. Then cast off loosely the stitches of the back; take all the selvedge stitches of the front on the needles, and knit 24 rows of brioche stitch with black wool, making 9 button-holes on the right front part. On the wrong side of this part sew on a strip of black silk, with slits worked round in button-hole stitch, stitching at the same time into the knitting. The following scallops are knitted round the top of the jacket and round the armholes with black wool:--Take the selvedge stitches on the needles, work 4 rows alternately, 1 stitch knitted, 1 stitch purled, thread the wool into a Berlin wool-work needle, * cast off 3 stitches together, draw the wool through the needle, and take the 2 following stitches on the wool in the worsted-needle; repeat from *. Sew on the buttons the strips of silk elastic on either side of the black stripe at the bottom, and fasten the ends of the latter with the steel buckle.

Now alternate working 1 row with black yarn and 1 row with purple, but since the yarn isn’t cut, the brioche stitch must be alternately knitted and purled. Always work 2 rows on the same side from right to left. The next 26th row is worked with black yarn in standard brioche stitch, with the slipped stitch from the previous row purled together with the stitch created by bringing the yarn forward. 27th row: Turn the work and use purple yarn for purled brioche stitch. 28th row: On the same side, use black yarn for knitted brioche stitch. After completing 40 rows in this manner, start the front gore. Divide the stitches onto three needles: 82 stitches on one needle for the back, and 44 stitches for each front part on the two other needles. Then, work the first 11 stitches of the left front part (this row must be done on the side where the ribs appear purple) in knitted brioche stitch; the 11th stitch must have a slipped stitch, with the yarn thrown forward, creating a purple rib. After this stitch, begin the gore with the next 13 stitches. The ribs are then worked so that a purple rib goes over a black one, and a black one goes over a purple one. Do not work on the following black stitch; knit the next stitch with the one formed by bringing the yarn forward. Bring the yarn forward, then just slip the black stitch that was left, so that it sits behind the stitch just knitted. Repeat this crossing of the stitch once more, then knit the next stitch together with the one formed by bringing the yarn forward, bring the yarn forward, slip the crossed black stitch, and the next two individual black stitches. The slipped stitch and the stitch formed by bringing the yarn forward before the 3rd individual black stitch are then knitted together, so that the crossed stitches are oriented in opposite directions. The three black stitches knitted together as one stitch in the next row form the center line of the front gore and continue in a straight line to the point of the gore. The crossing occurs twice in this row, but now the black stitch is slipped first. After the 24th stitch, knit the following stitch together with the one formed by bringing the yarn forward. Then keep working in standard brioche stitch to the other front part, where the gore starts before the 24th stitch from the end. In the next row, which is worked in purled brioche stitch with black yarn, pick up the black loop between two purple ribs after the 11th stitch; purl it to form the stitch that is missing at that spot. The 3 slipped stitches in the previous row are purled together as one stitch with the stitch formed by bringing the yarn forward between the ribs. The loop is also picked up on the other side of the front gore in the same way, as well as on the other front part. Then, work 6 rows without increasing or decreasing. The crossing of the stitch is repeated after every 7 rows, always on the knitted brioche stitch side, with purple yarn. In the 18th row of the gore, the 3 middle stitches are not knitted together, but individually, so that the pattern must decrease in 26 rows. In the back, only 30 stitches must be decreased, two in every 6th row. After the 60th row, another decrease occurs on the outer edges of the front parts for the neck; decrease 2 stitches (1st rib) after the 5th stitch from the front edge in every 3rd row. The 5 stitches that close to the neck are cast off along with the 5 stitches on the shoulders. Then, loosely cast off the stitches of the back; take all the selvedge stitches of the front onto the needles, and knit 24 rows of brioche stitch with black yarn, making 9 buttonholes on the right front part. On the wrong side of this part, sew on a strip of black silk, with slits worked in buttonhole stitch, stitching simultaneously into the knitting. The following scallops are knitted around the top of the jacket and the armholes with black yarn:--Take the selvedge stitches onto the needles, work 4 rows alternately, 1 stitch knitted, 1 stitch purled, thread the yarn into a Berlin wool-work needle, * cast off 3 stitches together, pull the yarn through the needle, and take the next 2 stitches onto the yarn with the worsted needle; repeat from *. Sew on the buttons, and attach the elastic strips of silk on either side of the black stripe at the bottom, fastening the ends with the steel buckle.

[336]

326.--Baby's Boot.

Materials for one pair: 1/2 ounce red, 1/2 ounce white, Berlin wool; steel knitting-needles.

Materials for one pair: 1/2 ounce red, 1/2 ounce white, Berlin wool; steel knitting needles.

This pretty boot consists of a shoe knitted in red wool, and a sock in white wool ornamented with red. Begin the knitting with the upper scalloped edge of the latter. Cast on 96 stitches with red wool, divide them on four needles, and knit in rounds as follows:--1st and 2nd rounds: With red wool, purled.

This cute boot is made up of a shoe knitted in red wool and a sock in white wool decorated with red. Start knitting with the upper scalloped edge of the sock. Cast on 96 stitches with red wool, divide them onto four needles, and knit in rounds like this: --1st and 2nd rounds: With red wool, purl.

3rd to 8th round: With white wool.

3rd round: Knitted.

3rd round: Knitted.

4th round: * Knit 4, throw the wool forward, knit 1, throw the wool forward, knit 4, knit 3 together. Repeat 7 times more from *.

4th round: * Knit 4, bring the yarn forward, knit 1, bring the yarn forward, knit 4, knit 3 together. Repeat 7 more times from *.

5th round: Knitted; the stitches formed by throwing the wool forward are knitted as one stitch. Knit 3 stitches together at the place where 3 stitches were knitted together in the 4th round, so that the decreasing of the preceding round forms the middle stitch of the 3 stitches to be decreased in this round.

5th round: Knit; the stitches made by pulling the wool forward are knitted as one stitch. Knit 3 stitches together at the spot where 3 stitches were knitted together in the 4th round, so that the decrease from the previous round becomes the middle stitch of the 3 stitches to be decreased in this round.

6th and 7th rounds: Like the 5th.

6th and 7th rounds: Same as the 5th.

8th round: Knitted; you must have 48 stitches left.

8th round: Knit; you should have 48 stitches remaining.

9th to 11th round:With red wool.

9th to 11th round: With red wool.

9th round: Knitted.

9th round: Knit.

10th and 11th rounds: Purled.

10th and 11th rounds: Knitted.

12th to 30th round: With white wool.

12th round: Knitted.

12th round: Knitted.

13th round to 30th round: Alternately purl 1, knit 1, inserting the needle in the back part of the stitch.

13th round to 30th round: Alternate purling 1 and knitting 1, inserting the needle into the back of the stitch.

31st to 33rd round: With red wool.

31st to 33rd round: With red yarn.

31st round: Knitted.

31st round: Knitted.

32nd round and 33rd round: Purled.

32nd round and 33rd round: Detailed.

34th and 35th rounds: With white wool.

34th round: Knitted.

35th round: Alternately throw the wool forward, knit 2 together. Each stitch formed by throwing the wool forward is knitted as one stitch in the next round.

35th round: Alternate throwing the yarn forward, knit 2 together. Each stitch created by throwing the yarn forward is knitted as one stitch in the next round.

36th to 38th round: With red wool.

36th to 38th round: Using red wool.

36th round: Knitted.

37th and 38th rounds: Purled.

37th and 38th rounds: Knitted.

39th to 47th round: With white wool. Alternately purl 1, slip 1, as if you were going to purl it; the wool must lie in front of the slipped [337] stitch; in the following rounds take care to purl the slipped stitches.

39th to 47th round: With white wool. Alternate between purling 1 and slipping 1, as if you were going to purl it; the wool should be in front of the slipped [337] stitch; in the upcoming rounds, make sure to purl the slipped stitches.

Take now 18 stitches for the front gored sock part (leave 30 stitches untouched), and work backwards and forwards with red wool.

Take 18 stitches for the front gored sock section (leave 30 stitches untouched) and knit back and forth with red yarn.

48th to 50th row: With red wool.

48th to 50th row: Using red wool.

48th row: Knitted.

48th row: Knit.

49th row: Purled.

49th row: Purl.

50th row: Knitted.

Knitted.

51st to 85th row: With white wool in the pattern described in the 39th round. But as you work backwards and forwards you must alternately knit [338] and purl the stitches. Decrease 1 stitch at the beginning and at the end of the 84th and 85th rows; decrease 1 stitch in the middle of the 85th row, so that the 85th row has 13 stitches left. After this work with red wool.

51st to 85th row: Use white wool in the pattern described in the 39th round. As you knit back and forth, you need to alternate between knitting [338] and purling the stitches. Decrease 1 stitch at the beginning and end of the 84th and 85th rows; decrease 1 stitch in the middle of the 85th row, so that there are 13 stitches left in the 85th row. After this, switch to red wool.

86th row: Knitted.

86th row: Knit.

87th row: Knit 1, purl 2, knit 1, purl 2, knit 1, purl 2, knit 1, purl 2, knit 1.

Repeat these last 2 rows 3 times more and knit plain to the 94th, decreasing one, however, on each side. Now work with the whole number of stitches, taking up the selvedge stitches of the gored part and dividing them with the 30 other stitches on four needles. Knit once more in rounds; the next 20 rounds are alternately 1 round knitted, 1 round purled. In the 2 last knitted rounds decrease twice close together in the middle of the back part of the shoe. Knit 8 rounds; in every other round decrease twice in the middle of the front of the shoe, leaving 9 stitches between the two decreasings. The number of stitches between the decreasings decreases with every round, so that the decreasings form slanting lines meeting in a point. Cast off after these 8 rounds, by knitting together 2 opposite stitches on the wrong side. The sock part is edged with a raised red border, which is worked by taking all the red stitches of the 1st round of the shoe on the needle and knitting 4 rounds, so as to leave the purled side of the stitch always outside; then cast off very tight. Draw a piece of braid through the open-work row in the sock part, and finish it off at either end with tassels to match.

Repeat these last 2 rows 3 more times and knit plain to the 94th stitch, decreasing one stitch on each side. Now work with the total number of stitches, picking up the selvedge stitches from the gored part and splitting them with the 30 other stitches onto four needles. Knit once more in rounds; the next 20 rounds will alternate between knitting one round and purling the next. In the last 2 knitted rounds, decrease twice close together in the center of the back part of the shoe. Knit 8 rounds; in every other round, decrease twice in the center of the front of the shoe, leaving 9 stitches between the two decreases. The number of stitches between the decreases will decrease with every round, so that the decreases form slanting lines that meet at a point. Cast off after these 8 rounds by knitting together 2 opposite stitches on the wrong side. The sock part is edged with a raised red border, which you create by taking all the red stitches from the 1st round of the shoe on the needle and knitting 4 rounds, making sure to keep the purled side of the stitch always facing out; then cast off very tightly. Thread a piece of braid through the open-work row in the sock part and finish off each end with matching tassels.

327.--Knitted Border for a Bedquilt.

327.--Knitted Border for a Quilt.

Materials: Messrs. Walter Evans and Co.'s No. 8 white knitting cotton; thick steel pins.

Materials: Walter Evans and Co.'s No. 8 white knitting cotton; thick steel needles.

Cast on a sufficient number of stitches for the length of the border, which must be able to be divided by 31; knit 4 plain rows:

Cast on enough stitches for the length of the border, which should be divisible by 31; knit 4 plain rows:

5th row: Alternately make 1, knit 2 together.

5th row: Make 1, then knit 2 together.

[339]

Then 5 more plain rows.

Understood! Please provide the text you'd like me to modernize.

Now begin the pattern:--

Sure, I'm ready. Please provide the text you would like modernized.

1st row: * Make 1, knit 1 slantways (to knit a stitch slantways, insert the needle from the front to the back and from right to left); # purl 5; knit 1 slantways. Repeat from # 4 times more than from * to the end of the row. [340]

1st row: * Make 1, knit 1 at an angle (to knit a stitch at an angle, insert the needle from the front to the back and from right to left); # purl 5; knit 1 at an angle. Repeat from # 4 more times than from * to the end of the row. [340]

2nd row: Purled.

2nd row: Knitted.

3rd row:Knit 2, * make 1; knit 1 slantways; # purl 5; knit 1 slantways. Repeat from # four times more. Repeat from * to the end of the row.

3rd row:Knit 2, * make 1; knit 1 at an angle; # purl 5; knit 1 at an angle. Repeat from # four more times. Repeat from * to the end of the row.

4th row: The same as the second.

The continuation of the work is clearly shown in our illustration. The increasing caused by knitting the made stitches is regularly repeated in each second row, so that the stitches between the striped divisions increase, and form large triangles; the striped divisions, on the other hand, are narrowed so as to form the point of the triangles. To obtain this result, decrease five times in the 6th, 12th, 18th, and 24th rows, by purling together the two last stitches of one purled division, so that each division has but eleven stitches left in the 25th row. In the 28th row knit together one purled stitch with one knitted slantways, so that there will be only 6 stitches left for each division; these stitches are knitted slantways in the 29th and 30th rows. In the 31st row they are knitted together, two and two. There remain in each division three more stitches, which are knitted together in the 34th row. Two rows entirely purled complete the upper edge of the border.

The continuation of the work is clearly shown in our illustration. The increase from knitting the made stitches is consistently repeated every second row, causing the stitches between the striped sections to increase and form large triangles; the striped sections, on the other hand, are narrowed to create the points of the triangles. To achieve this, decrease five times in the 6th, 12th, 18th, and 24th rows by purling the last two stitches of one purled section together, leaving eleven stitches in each section by the 25th row. In the 28th row, knit together one purled stitch with one knitted stitch diagonally, so that there will be only six stitches remaining in each section; these stitches are knitted diagonally in the 29th and 30th rows. In the 31st row, knit them together in pairs. There will be three more stitches remaining in each section, which are knitted together in the 34th row. Two rows of purling complete the upper edge of the border.

328.--Knitted Quilt.

328.--Knitted Blanket.

Materials: 8-thread fleecy wool; wooden needles.

Materials: 8-ply fuzzy wool; wooden knitting needles.

This pattern may be worked in narrow strips of different colours, and in that case each strip should contain 1 row of patterns; or the quilt may [341] be composed of wide strips with several rows of patterns, those of one row being placed between those of the preceding. In the first case, that is if you work narrow strips, you may use several colours; but if wide strips are preferred, they should be of two colours only. Our pattern was worked in wide strips, alternately grey and red. Each strip is knitted the short way.

This pattern can be done in narrow strips of different colors, with each strip featuring one row of patterns. Alternatively, the quilt can be made with wide strips that include several rows of patterns, with one row placed between those of the previous row. In the first scenario, if you go for narrow strips, you can use multiple colors; however, if you prefer wide strips, stick to just two colors. Our pattern was done in wide strips, alternating between gray and red. Each strip is knitted across the short side.

For a strip with five raised patterns in the width cast on 20 stitches.

For a strip with five raised patterns, cast on 20 stitches wide.

2nd row: Right side of the work. Slip 1, purl 1, * make 1, purl 4. Repeat from * 3 times more; make 1, purl 2.

2nd row: Right side of the work. Slip 1, purl 1, * increase 1, purl 4. Repeat from * 3 more times; increase 1, purl 2.

[342]

3rd row: Slip 1, knit all the stitches that were purled in the preceding row, and purl all those that were made.

3rd row: Slip 1, knit all the stitches that were purled in the previous row, and purl all those that were knitted.

4th row: Slip 1, purl 1, * knit 1, make 1, purl 4. Repeat from * 3 times more; knit 1, make 1, purl 2.

4th row: Slip 1, purl 1, *knit 1, make 1, purl 4. Repeat from * 3 more times; knit 1, make 1, purl 2.

5th row: Slip 1, knit all the purled stitches, purl all the rest.

5th row: Slip 1, knit all the purl stitches, purl all the others.

6th row: Slip 1, purl 1, * knit 2, make 1, purl 4. Repeat from * 3 times more; knit 2, make 1, purl 2.

6th row: Slip 1, purl 1, * knit 2, make 1, purl 4. Repeat from * 3 more times; knit 2, make 1, purl 2.

7th row: The same as the 5th.

8th row: Slip 1, purl 1, * knit 3, make 1, purl 4, and so on.

9th row: The same as the 5th row.

10th row: Slip 1, purl 1, * slip 1, knit 1, pass the slipped stitch over the knitted one, knit 2, purl 4, repeat from *.

11th row: Knit all the purled stitches, purl all the rest.

11th row: Knit all the purl stitches, purl all the others.

12th row: Slip 1, purl 1, * slip 1, knit 1, pass the slipped stitch over, knit 1, purl 4, and repeat from *.

13th row: The same as the 11th.

14th row: Slip 1, purl 1, * slip 1, knit 1, pass the slipped stitch over, purl 4, and repeat.

15th row: Slip 1, * knit 2 together, knit 3. Repeat from * 3 times more; knit 2 together, knit 2.

15th row: Slip 1, * knit 2 together, knit 3. Repeat from * 3 more times; knit 2 together, knit 2.

The second row of patterns begins with the 16th row. There are only 4 in this 2nd row, so that after the 1st slipped stitch you purl 3 stitches instead of 1, and in the 2nd row, after the 4th made stitch, you purl 4 more stitches. Repeat alternately these 2 rows of raised patterns, and when you have a sufficient number of strips sew them together. Trim the quilt all round with a knotted fringe.

The second row of patterns starts with the 16th row. There are only 4 in this 2nd row, so after the 1st slipped stitch, you purl 3 stitches instead of 1, and in the 2nd row, after the 4th made stitch, you purl 4 more stitches. Alternate between these 2 rows of raised patterns, and when you have enough strips, sew them together. Trim the quilt all around with a knotted fringe.

329.--Stitch in Knitting, for Couvrettes, Comforters, Opera Caps, Carriage Shawls, Jackets, &c.

329.--Stitch in Knitting, for Covers, Comforters, Opera Caps, Carriage Shawls, Jackets, etc.

Materials: Messrs. Walter Evans and Co.'s knitting cotton No. 20, or fine wool.

Materials: Walter Evans and Co. knitting cotton No. 20, or fine wool.

Cast on an uneven number of stitches.

Cast on an odd number of stitches.

1st row: Slip 1, * make 1, knit 1, make 1, knit 1. Repeat from *.

1st row: Slip 1, * yarn over, knit 1, yarn over, knit 1. Repeat from *.

2nd row: Slip 1, * knit 2 together, and repeat from * to the end of the row.

[343]

330 and 331.--Knitted Veil.

330 and 331.--Knitted Shawl.

Material: Fine Shetland wool.

Material: Premium Shetland wool.

Illustration 330 represents a knitted veil in reduced size. The original was worked with fine Shetland wool in an open pattern; it is edged with a knitted lace. Its length is 24 inches, its width 18 inches. Work the veil from a paper pattern of a shape corresponding to that of [344] illustration 330. Compare the paper shape often with the knitting in the course of the work, and try to keep them alike.

Illustration 330 shows a smaller version of a knitted veil. The original was made with fine Shetland wool in an open pattern, featuring a knitted lace edge. It measures 24 inches in length and 18 inches in width. Use a paper pattern that matches the shape of [344] illustration 330 to create the veil. Frequently compare the paper shape with your knitting as you work to ensure they stay consistent.

Knit the veil in the pattern of the original, or in the pattern of illustration 331. For the former one begin at the lower edge of the veil, cast on 45 stitches upon thick wooden needles, and work

Knit the veil in the original pattern or in the pattern shown in illustration 331. For the first one, start at the lower edge of the veil, cast on 45 stitches using thick wooden needles, and work

the 1st row: * Knit 2, throw the wool forward, knit 2 together twice, repeat from *.

the 1st row: * Knit 2, bring the yarn forward, knit 2 together twice, repeat from *.

2nd row: Purled.

2nd row: Knitted.

3rd row: Knit 1, throw the wool forward, knit 2 together, * throw the wool forward, knit 2 together twice, and repeat from *.

3rd row: Knit 1, yarn over, knit 2 together, * yarn over, knit 2 together twice, and repeat from *.

4th row: Purled.

4th row: Purl.

5th row: Like the 2nd row. The pattern must be reversed. The pattern figures increase with the increasings at the beginning and at the end of each row.

5th row: Similar to the 2nd row. The pattern has to be reversed. The pattern figures grow with the increases at the beginning and end of each row.

[345]

The pattern of illustration 331 consists of the 2 following rows:--

1st row: Slip 1, then alternately throw the wool forward, and knit 2 together.

1st row: Slip 1, then alternately bring the yarn forward and knit 2 together.

2nd row: Entirely knitted; make 1 stitch of the wool thrown forward in the last row. When the veil is finished, wet it, and stretch it over paper or pasteboard; let it dry, and then edge it with the following lace:--Cast on 10, knit the 1st.

2nd row: Completely knitted; create 1 stitch with the wool pulled forward in the last row. When the veil is done, wet it and stretch it over paper or cardboard; let it dry, and then trim it with the following lace:--Cast on 10, knit the 1st.

2nd row: Knit 1, throw the wool forward, knit 9.

2nd row: Knit 1, bring the yarn to the front, knit 9.

3rd row: Knitted.

3rd row: Knit.

4th row: Knit 1, throw the wool forward, knit 2, throw the wool forward, knit 2 together twice, knit 4.

4th row: Knit 1, bring the yarn to the front, knit 2, bring the yarn to the front, knit 2 together twice, knit 4.

5th row: Knitted.

5th row: Knit.

6th row: Knit 1, throw the wool forward, knit 2, throw the wool forward, knit 2 together 3 times, knit 3.

6th row: Knit 1, bring the yarn to the front, knit 2, bring the yarn to the front, knit 2 together 3 times, knit 3.

7th row: Cast off 3 stitches, knit 10.

7th row: Bind off 3 stitches, knit 10.

8th row: Knitted.

8th row: Knit.

[346]

332.--Knitted Pattern with Raised Embroidery.

332.--Textured Knitted Design.

Materials: Messrs. Walter Evans and Co.'s knitting cotton No. 8 or 20.

Materials: Walter Evans and Co.'s knitting cotton No. 8 or 20.

This pattern is worked in rows going backwards and forwards with thick or fine cotton according to the use you wish to make of it. The star-like figures on the knitted squares are worked with soft cotton in point de poste. Cast on a number of stitches long enough (19 stitches are necessary for the two squares), work the 1st row: * Knit 11 stitches, alternately 4 times knit 2 together, throw the cotton forward. Repeat from *, The 2nd row is worked like the 1st, only purled, in this row, as well as in the following ones, the stitch must be knitted with the cotton thrown forward after the stitch, the last stitch of a plain square with the first cotton thrown forward of the open-work figure. The number of stitches in the last must always be 8. The pattern consists [347] alternately of these two rows. Each pattern contains 12 rows, with the 13th the squares are reversed. The star figures are embroidered with double cotton by working 5 chain stitch in the middle of each square; draw the needle underneath the knitting to the next centre of a square.

This pattern is done in rows going back and forth using thick or fine cotton depending on what you want to use it for. The star-like shapes on the knitted squares are made with soft cotton in point de poste. Cast on enough stitches (19 stitches are needed for the two squares), then work the 1st row: * Knit 11 stitches, then alternate by knitting 2 together 4 times, and throw the cotton forward. Repeat from *. The 2nd row is worked like the 1st, but purled instead. In this row, as well as the following ones, the stitch needs to be knitted with the cotton thrown forward after the stitch, and the last stitch of a plain square with the first cotton thrown forward of the open-work figure. The number of stitches in the last must always be 8. The pattern consists of [347] these two rows alternately. Each pattern is made up of 12 rows, and on the 13th row, the squares are reversed. The star figures are embroidered with double cotton by making 5 chain stitches in the middle of each square; pull the needle underneath the knitting to the next center of a square.

333 and 334.--Knitted Table Cover, (see page 578.)

333 and 334.--Knitted Table Cover, (see page __A_TAG_PLACEHOLDER_0__.)

Materials: Messrs. Walter Evans and Co.'s coarse knitting cotton; thick steel knitting-needles.

Materials: Walter Evans and Co.'s coarse knitting cotton; thick steel knitting needles.

This cover is suitable for either a large or a small table, as the pattern may be increased as much as required. It is suitable for antimacassars. Cast on 4 stitches, join them into a circle, and work the 1st round four times alternately. Throw the cotton forward, knit 1.

This cover works for both large and small tables since you can adjust the pattern as needed. It's also perfect for antimacassars. Cast on 4 stitches, join them into a circle, and alternate the 1st round four times. Bring the cotton forward, knit 1.

2nd round: Entirely knitted.

2nd round: Fully knitted.

3rd round: * Throw the cotton forward, knit 1. Repeat 7 times more from *. After every pattern round knit 1 round plain. Until after the 21st round, we shall not mention this any more.

3rd round: * Throw the cotton forward, knit 1. Repeat 7 more times from *. After every pattern round, knit 1 round plain. Until after the 21st round, we won’t mention this again.

5th round: * Throw the cotton forward, knit 2 *. From the 7th to the 12th round the knitted stitches in every other round increase by 1 stitch, so that in the 12th round there are 7 stitches between those formed by throwing the cotton forward.

5th round: * Throw the yarn forward, knit 2 *. From the 7th to the 12th round, the knitted stitches in every other round increase by 1 stitch, so that in the 12th round there are 7 stitches between those formed by throwing the yarn forward.

13th round: * Throw the cotton forward, knit 2 together, knit 4, knit 2 together *.

[348]

15th round: * Throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 2, knit 2 together *.

15th round: * Yarn over, knit 1, yarn over, knit 2 together, knit 2, knit 2 together *.

17th round: * Throw the cotton forward, knit 3, throw the cotton forward, knit 2 together, knit 2 together *.

17th round: * Yarn forward, knit 3, yarn forward, knit 2 together, knit 2 together *.

19th round: * Throw the cotton forward, knit 5, throw the cotton forward, knit 2 together, *.

19th round: * Yarn over, knit 5, yarn over, knit 2 together, *.

21st round: * Knit 1, throw the cotton forward, knit 5, throw the cotton forward, knit 2 *.

21st round: * Knit 1, bring the yarn forward, knit 5, bring the yarn forward, knit 2 *.

22nd round: * Knit 2, knit 2 together, knit 1, knit 2 together, knit 3 *.

23rd round: * Knit 2, throw the cotton forward, knit 3, throw the cotton forward, knit 3 *.

23rd round: * Knit 2, bring the yarn to the front, knit 3, bring the yarn to the front, knit 3 *.

24th round: * Knit 3, knit 2 together, knit 5 *.

25th round: * Knit 3, throw the cotton forward, knit 2 together, throw the cotton forward, knit 4.

25th round: * Knit 3, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 4.

26th round: Entirely knitted *.

26th round: Fully knitted *.

27th round: * Throw the cotton forward, knit 9, throw the cotton forward, knit 1 *.

27th round: * Yarn over, knit 9, yarn over, knit 1 *.

28th round: Entirely knitted.

28th round: Fully knitted.

29th round: * Knit 1, throw the cotton forward, knit 9, throw the cotton forward, knit 2 *.

29th round: * Knit 1, bring the yarn forward, knit 9, bring the yarn forward, knit 2 *.

30th round: Entirely knitted.

30th round: Fully knitted.

31st round: * Knit 2, throw the cotton forward, knit 9, throw the cotton forward, knit 3 *.

31st round: * Knit 2, yarn over, knit 9, yarn over, knit 3 *.

32nd round: Entirely knitted.

32nd round: Fully knitted.

33rd round: * Knit 3, throw the cotton forward, knit 9, throw the cotton forward, knit 4 *.

33rd round: * Knit 3, bring the yarn to the front, knit 9, bring the yarn to the front, knit 4 *.

34th round: * Knit 4, knit 2 together, knit 5, knit 2 together, knit 5 *.

34th round: * Knit 4, k2tog, knit 5, k2tog, knit 5 *.

35th round: * Knit 4, throw the cotton forward, knit 7, throw the cotton forward, knit 5 *.

35th round: * Knit 4, bring the yarn forward, knit 7, bring the yarn forward, knit 5 *.

36th round: * Knit 5, knit 2 together, knit 3, knit 2 together, knit 6 *.

37th round: * Throw the cotton forward, knit 5 three times, throw the cotton forward, knit 1 *.

37th round: * Yarn over, knit 5 three times, yarn over, knit 1 *.

38th round: * Knit 7, knit 2 together, knit 1, knit 2 together, knit 8 *.

39th round: * Knit 1, throw the cotton forward, knit 6, throw the cotton forward, knit 3. throw the cotton forward, knit 6, throw the cotton forward, knit 2 *.

39th round: * Knit 1, wrap the yarn forward, knit 6, wrap the yarn forward, knit 3, wrap the yarn forward, knit 6, wrap the yarn forward, knit 2 *.

40th round: * Knit 9, knit 3 together, knit 10*.

41st round: * Knit 2, throw the cotton forward, knit 15, throw the cotton forward, knit 3 *.

41st round: * Knit 2, bring the yarn forward, knit 15, bring the yarn forward, knit 3 *.

[349]

42nd round: * Knit 3, knit 2 together, knit 11, knit 2 together, knit 4 *.

43rd round: * Knit 3, throw the cotton forward, knit 13, throw the cotton forward, knit 4 *.

43rd round: * Knit 3, bring the yarn to the front, knit 13, bring the yarn to the front, knit 4 *.

44th round: * Knit 4, knit 2 together, knit 9, knit 2 together, knit 5 *.

When the cover is completed, edge it all round, with the following border worked the short way:--Cast on 5 stitches and knit the 1st row, slip 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2.

When the cover is done, finish the edges all around with the following border worked sideways:--Cast on 5 stitches and knit the 1st row, slip 1, bring the yarn forward, knit 2 together, bring the yarn forward, knit 2.

2nd row: Slip 1, knit the rest. Repeat this row after every pattern row.

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

3rd row: Slip 1, yarn over, knit 2 together, yarn over, knit 2 together, yarn over, knit 1.

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

5th row: Slip 1, yarn over, knit 2 together, yarn over, knit 2 together, yarn over, knit 2.

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

7th row: Slip 1, yarn forward, knit 2 together, yarn forward, knit 2 together, yarn forward, knit 2 together, yarn forward, knit 1.

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

9th row: Slip 1, yarn forward, knit 2 together, yarn forward, knit 2 together, yarn forward, knit 2 together, yarn forward, knit 2.

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

11th row: Slip 1, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, knit 1.

13th row: Slip 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2.

13th row: Slip 1, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2.

15th round: Cast off 8 stitches, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1.

15th round: Bind off 8 stitches, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 1.

16th round: Entirely knitted. Begin again at the 1st row, knit a sufficient length of the border, and then trim the cover with it on the outer edge.

16th round: Completely knitted. Start again from the 1st row, knit a long enough border, and then finish the cover with it on the outer edge.

[350]

335.--Looped Knitting.

335.--Continuous Knitting.

Materials: 4-thread fleecy wool; 2 wooden knitting-needles; 1 flat wooden mesh.

Materials: 4-ply soft wool; 2 wooden knitting needles; 1 flat wooden loom.

Cast on a sufficient number of stitches, and knit the 1st row plain.

Cast on enough stitches, and knit the first row straight.

2nd Row--Slip the 1st stitch; insert the needle into the next stitch, and throw the cotton forward as if you were going to knit the stitch; place the mesh behind the needle in the right hand, and turn the wool which is on this needle upwards, bring it back again on the needle so that it is wound once round the mesh, and twice round the needle. Then only the double stitch through the second stitch, knit it, and insert the needle into the next stitch, and repeat what has been explained. Knit the last stitch without a loop.

2nd Row--Slip the first stitch; insert the needle into the next stitch and bring the yarn forward as if you were going to knit it; place the mesh behind the needle in your right hand, turn the yarn on this needle upwards, and then wrap it back around the needle so that it's wound once around the mesh and twice around the needle. Then, only the double stitch through the second stitch, knit it, and insert the needle into the next stitch, and repeat what has been explained. Knit the last stitch without a loop.

3rd Row--Before drawing out the mesh, turn the work and knit one [351] plain row. Every double stitch is knitted as one stitch, so as to attain the same number of stitches as in the 1st row.

3rd Row--Before pulling out the mesh, turn the work and knit one [351] plain row. Each double stitch is knitted as one stitch, so you end up with the same number of stitches as in the 1st row.

4th Row--Like the 2nd row. Repeat these rows as often as required.

4th Row--Same as the 2nd row. Repeat these rows as needed.

This knitting is chiefly used for borders of mats.

This knitting is mainly used for the edges of mats.

336.--Knitted Pattern for Comforters.

336.--Cozy Comforter Knitting Design.

Materials: 4-thread fleecy; 2 wooden knitting-needles.

Materials: 4-thread fleece; 2 wooden knitting needles.

Cast on a sufficient number of stitches.

Cast on enough stitches.

1st row: * 3 stitches in the first stitch, knit 1, purl 1, knit 1, knit 3 stitches together, repeat from *.

1st row: * 3 stitches into the first stitch, knit 1, purl 1, knit 1, then knit 3 stitches together, repeat from *.

2nd row: Plain knitting.

2nd row: Basic knitting.

3rd row: Purled.

3rd row: Purled.

4th row: Knitted. Repeat these four rows, only in the next row the 3 stitches knitted together are worked on the 3 stitches worked in 1 stitch, and the 3 stitches to be worked in 1 stitch are to be placed on the one formed by knitting 3 stitches together.

4th row: Knit. Repeat these four rows, but in the next row, the 3 stitches knit together are worked on the 3 stitches knit into 1 stitch, and the 3 stitches to be worked into 1 stitch are placed on the stitch formed by knitting 3 stitches together.

[352]

337.--Knitted D'Oyley. (See page 579.)

337.--Knitted Doily. (See page __A_TAG_PLACEHOLDER_0__.)

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

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

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

This pattern is made with very fine crochet cotton. The center section and the lace border are done separately; the lace is then sewn onto the center. The thicker spots are added later using coarser cotton. Start the pattern in the middle, cast on 6 stitches, join them into a circle, and knit 2 basic rounds.

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

3rd round: Take turns knitting 1, then bring the cotton forward.

4th and 5th rounds: Plain.

Round 4 and 5: Plain.

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

6th round: Knit 1, then bring the cotton forward.

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

7th round: Ordinary. Every other round is ordinary. We won't bring up these ordinary rounds again.

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

8th round: Knit 2, * bring the yarn to the front, knit 1, bring the yarn to the front, knit 3; repeat from * to the end of the round; finally, bring the yarn to the front, knit 1, bring the yarn to the front, knit 1.

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

10th round: * Yarn over, knit 1, yarn over, knit 2 together.

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

12th round: * Yarn over, knit 3, yarn over, knit 2 together, yarn over, knit 1, yarn over, knit 2 together.

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

14th round: * Yarn over, knit 5, yarn over, knit 2 together, yarn over, knit 1, yarn over, knit 2 together.

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

16th round: * Yarn over, knit 7, yarn over, knit 2 together, yarn over, knit 1, yarn over, knit 2 together.

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

The 18th, 20th, 22nd, and 24th rounds are done like the 16th round; the only difference is that the middle plain part of the pattern gets 2 extra stitches in each pattern round, making a total of 15 plain stitches in the 24th round between the 2 stitches created on either side by bringing the cotton forward.

[353] 26th round: * Throw the cotton forward, knit 6, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 6, throw the cotton forward, knit 2 together, knit 1, knit 2 together.

[353] 26th round: * Yarn over, knit 6, knit 2 together, yarn over, knit 1, yarn over, knit 2 together, knit 6, yarn over, knit 2 together, knit 1, knit 2 together.

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

28th round: * Yarn over, knit 6, knit 2 together, yarn over, knit 3, yarn over, knit 2 together, knit 6, yarn over, knit 2 together, knit 1.

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

30th round: * Knit 1, bring the yarn to the front, knit 2 together, knit 6, bring the yarn to the front, knit 3 together, bring the yarn to the front, knit 6, knit 2 together, bring the yarn to the front, knit 1, bring the yarn to the front, knit 2 together, bring the yarn to the front.

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

32nd round: * Knit 2 together, bring the yarn forward, knit 2 together, knit 13, knit 2 together, bring the yarn forward, knit 2 together, bring the yarn forward, knit 3, bring the yarn forward.

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

34th round: * Knit 2 together, bring the yarn forward, knit 2 together, knit 11, knit 2 together, bring the yarn forward, knit 2 together, bring the yarn forward, knit 5, bring the yarn forward.

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

36th round: * Knit 2 together, bring the yarn forward, knit 2 together, knit 9, knit 2 together, bring the yarn forward, knit 2 together, bring the yarn forward, knit 1, bring the yarn forward, knit 2 together, knit 1, knit 2 together, bring the yarn forward, knit 1, bring the yarn forward.

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

38th round: * Knit 2 together, bring the yarn forward, knit 2 together, knit 7, knit 2 together, bring the yarn forward, knit 2 together, bring the yarn forward, knit 3, bring the yarn forward, knit 3 together, bring the yarn forward, knit 3, bring the yarn forward.

40th round: * Knit 2 together, throw the cotton forward, knit 2 together, knit 5, knit 2 together, throw the cotton forward, knit 2 [354] together, throw the cotton forward, knit 1, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 1, throw the cotton forward.

40th round: * Knit 2 together, yarn over, knit 2 together, knit 5, knit 2 together, yarn over, knit 2 [354] together, yarn over, knit 1, yarn over, knit 2, knit 2 together, yarn over, knit 1, yarn over, knit 2 together, knit 2, yarn over, knit 1, yarn over.

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

42nd round: * Knit 2 together, bring the yarn forward, knit 2 together, knit 3, knit 2 together, bring the yarn forward, knit 2 together, bring the yarn forward, knit 3, bring the yarn forward, knit 3 together, bring the yarn forward, knit 3, bring the yarn forward, knit 3 together, bring the yarn forward, knit 3, bring the yarn forward.

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

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

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

45th and 46th rounds: Knit plain, then bind off loosely.

For the lace border, which is worked in the short way backwards and forwards, cast on 22 stitches and knit as follows:--

For the lace border, which is worked back and forth in a short way, cast on 22 stitches and knit as follows:--

1st row: Slip 1, knit 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 4, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together.

1st row: Slip 1, knit 1, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, knit 4, knit 2 together, bring the yarn to the front, knit 2, knit 2 together, bring the yarn to the front, knit 1, bring the yarn to the front, knit 2 together.

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

2nd row: Slip 1, bring the yarn forward, knit 3, bring the yarn forward, knit 2 together, knit 2, bring the yarn forward, knit 2 together, knit 11.

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

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

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

4th row: Slip 1, bring the yarn to the front, knit 7, bring the yarn to the front, knit 2 together, knit 2, bring the yarn to the front, knit 2 together, knit 9.

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

5th row: Slip 1, knit 1, bring the yarn forward, knit 2 together, bring the yarn forward, knit 2 together, bring the yarn forward, knit 2 together, knit 2 together, bring the yarn forward, knit 2, knit 2 together, bring the yarn forward, knit 9, bring the yarn forward, knit 1.

[355] 6th row: Knit 2 together (knit together the stitch and the next stitch formed by throwing the cotton forward), throw the cotton forward, knit 2 together, knit 5, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 10.

[355] 6th row: Knit 2 together (knit the stitch and the next stitch formed by bringing the yarn to the front), bring the yarn to the front, knit 2 together, knit 5, knit 2 together, bring the yarn to the front, knit 2, knit 2 together, bring the yarn to the front, knit 10.

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

7th row: Slip 1, knit 10, bring the yarn to the front, knit 2 together, knit 2, bring the yarn to the front, knit 2 together, knit 3, knit 2 together, bring the yarn to the front, knit 2 together (the stitch formed by bringing the yarn to the front and the next stitch).

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

8th row: Knit 2 together, bring the yarn to the front, knit 2 together, knit 1, knit 2 together, bring the yarn to the front, knit 2, knit 2 together, bring the yarn to the front, knit 12.

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

9th row: Slip 1, knit 1, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, knit 5, bring the yarn to the front, knit 2 together, knit 2, bring the yarn to the front, knit 3 together, bring the yarn to the front, knit 2 together.

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

10th row: Knit 2 together, yarn over, knit 1, yarn over, knit 2, knit 2 together, yarn over, knit 14.

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

11th row: Slip 1, knit 11, knit 2 together, bring the cotton forward, knit 2, knit 2 together, bring the cotton forward, knit 1, bring the cotton forward, knit 3 together. Then start again on the 2nd row, and continue until the border is long enough; sew the lace onto the center, slightly gathering the previous row. Finally, work in the spots with glazed or coarse embroidery cotton.

[356]

338.--Knitted Braces.

338.--Knitted Suspenders.

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

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

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

These braces are made with thick white cotton, using two strands together; the braces are knitted in brioche stitch, and the lappets are knitted plain. Start at the bottom of the front lappet, create a foundation chain of 14 stitches, knit 5 rows plain back and forth, then divide the stitches into two sections to make the buttonhole; knit 15 rows on each section that has 7 stitches. Next, put the 14 stitches back on one needle and knit 17 rows. Then create a second buttonhole just like the first one; knit 6 more rows plain, increasing by 1 stitch at the end of each row, so that there are 20 stitches at the end of the lappet.

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

Then start the pattern in brioche stitch; it’s worked like this: Knit the first row, then slip the first stitch of the next pattern row, *bring the yarn to the front, slip the next stitch (always slip the stitches as if you were going to purl them), knit 2 together; repeat 5 more times from *; then knit the last stitch.

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

2nd row of the pattern: Slip the 1st stitch, * knit 2; slip the stitch that was made in the previous row by bringing the yarn forward after the 2nd knitted stitch; repeat 5 more times from *; knit the last stitch.

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

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

4th row: Slip the 1st stitch, * knit 1, slip the stitch which has been formed in the preceding row by throwing the cotton forward, knit 1, knit the last stitch. Repeat these 4 rows till the braces are long enough. [357] The pattern is 19 inches long. Then knit 6 rows plain, decreasing 1 at the end of every row, then work each lappet separately, dividing the stitches so that each lappet is 7 stitches wide. Each lappet has 72 rows; after the first 18 rows make a button-hole as described for the preceding one. Work 18 rows between the 1st and 2nd button-hole. The lappets are rounded off by decreasing after the 2nd button-hole.

4th row: Slip the 1st stitch, * knit 1, slip the stitch that was made in the previous row by bringing the yarn forward, knit 1, knit the last stitch. Repeat these 4 rows until the braces are long enough. [357] The pattern is 19 inches long. Then knit 6 rows plain, decreasing 1 at the end of every row, then work each lappet separately, dividing the stitches so that each lappet is 7 stitches wide. Each lappet has 72 rows; after the first 18 rows, make a buttonhole as described for the previous one. Work 18 rows between the 1st and 2nd buttonhole. The lappets are rounded off by decreasing after the 2nd buttonhole.

339.--Pattern for Knitted Curtains, &c.

339.--Knitted Curtains Pattern, etc.

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

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

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

This pattern works for knitting various items, depending on the thickness of the cotton used. The number of stitches must be divisible by ten. The pattern is knitted back and forth.

[358]

1st row: All plain.

All straightforward.

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

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

3rd row: Purl the long stitch created by making 2 in the previous row, * make 2, purl 2 together, purl 3, purl 2 together, make 2, purl 3. Repeat from *. (By make 2, it means to twist the cotton twice around the needle, which creates one long stitch, and is knitted or purled as such in the next row.)

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

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

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

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

Continue the pattern by repeating always from the 2nd to the 5th row; the 6th row is the repetition of the 2nd row, but it is begun (compare [359] the two rows) about the middle of the 2nd row, so as to change the places of the thick diamonds in the following pattern. This will be easily understood in the course of the work.

Continue the pattern by always repeating from the 2nd to the 5th row; the 6th row repeats the 2nd row, but it starts (compare [359] the two rows) around the middle of the 2nd row, which changes the positions of the thick diamonds in the following pattern. This will be easy to understand as you work through it.

340.--Knitted Insertion.

340.--Knit Insert.

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

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

Cast on 14 stitches, and knit in rows, backwards and forwards, as follows:--

Cast on 14 stitches and knit in rows, back and forth, like this:--

1st row: Slip 1, knit 2 together, throw cotton forward, knit 2, knit 2 together, throw cotton forward, knit 2, knit 2 together, throw cotton forward, knit 3. This row is repeated 18 times more; the stitch formed by throwing the cotton forward is knitted as 1 stitch.

1st row: Slip 1, knit 2 together, yarn over, knit 2, knit 2 together, yarn over, knit 2, knit 2 together, yarn over, knit 3. Repeat this row 18 more times; the stitch created by the yarn over is knitted as 1 stitch.

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

20th row: Slip 1, knit 2 together, make 1, knit 1; place the next 3 stitches onto another needle behind the cotton, and leave them alone; knit 1, knit 2 together, bring the cotton forward, now knit the first 2 of the 3 stitches that were left; knit the last of the 3 together with the next stitch on the needle, bring the cotton forward, knit 3. Repeat these 20 rows until the strip is long enough.

341 and 342.--Knitted Cover for Sofa Cushion.

341 and 342.--Sofa Cushion Knitted Cover.

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

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

This cushion (15 inches wide, 12 inches high) is made of grey calico; it is covered on one side with knitting, worked with grey crochet cotton. [360] The knitted cover has an open-work pattern, worked backwards and forwards on a number of stitches which can be divided by 2, and which must suit the width of the cushion, in the following manner:--

This cushion (15 inches wide, 12 inches high) is made of grey calico; one side is covered with knitting done in grey crochet cotton. [360] The knitted cover features an open-work pattern, knitted back and forth over a number of stitches that can be divided by 2, and which must match the width of the cushion as follows:--

1st row: Alternately throw the cotton forward, knit 2 together.

1st row: Throw the cotton forward alternately, then knit 2 together.

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

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

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

3rd row: Knit 1, *bring the cotton to the front, knit 2 together. Repeat from *; after the last decrease, knit 1.

4th row: Like the 2nd row.

4th row: Same as the 2nd row.

These four rows are repeated till the cover is sufficiently large. Draw a narrow piece of red worsted braid through every other open-work row of the pattern, as can be seen in illustration 341. When the cushion has been covered with the knitting, it is edged all round with a border knitted the long way, in the above-mentioned open-work pattern; it is 14 rows wide, and also trimmed with worsted braid; a fringe of grey cotton and red wool, 3 1/4 inches wide, is sewn on underneath the border at the bottom of the cushion; to this is added a thick red worsted cord, by which the cushion is hung on over the back of an arm-chair. The [361] cushion, on account of its simplicity, is especially suitable for garden chairs.

These four rows are repeated until the cover is big enough. Thread a narrow piece of red yarn through every other open-work row of the pattern, as shown in illustration 341. Once the cushion is covered with the knitting, it is finished all around with a border knitted lengthwise in the same open-work pattern; it is 14 rows wide and also trimmed with yarn. A fringe of grey cotton and red wool, 3 1/4 inches wide, is sewn on underneath the border at the bottom of the cushion; to this, a thick red yarn cord is added so that the cushion can be hung over the back of an armchair. The [361] cushion, due to its simplicity, is particularly suitable for garden chairs.

343.--Netted Nightcap.

343.--Netted Beanie.

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

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

This cap is netted with crochet cotton over a mesh measuring three-quarters of an inch round; work first a long square for the centre [362] of the crown, cast on 28 stitches, and work backwards and forwards 27 rows with the same number of stitches. Then work 34 rounds round this square, and fasten the cotton. Then count 43 stitches for the front border, and 24 stitches for the back border, and leave them for the edge of the cap. On the remaining stitches on each side work the strings in 95 rows backwards and forwards on the same number of stitches; each string is pointed off at the lower end by decreasing 1 stitch in every row. Sew in a narrow piece of tape in the back border of the cap; the remaining part of the border, as well as the strings, are trimmed with crochet lace or with netted edging, No. 311.

This cap is made with crochet cotton over a mesh that is three-quarters of an inch round. Start by creating a long square for the center [362] of the crown. Cast on 28 stitches and work back and forth for 27 rows with the same number of stitches. Then, work 34 rounds around this square and fasten the cotton. Next, count 43 stitches for the front border and 24 stitches for the back border, leaving them for the edge of the cap. On the remaining stitches on each side, work the strings back and forth for 95 rows with the same number of stitches; each string is pointed off at the lower end by decreasing 1 stitch in every row. Sew a narrow piece of tape into the back border of the cap; the rest of the border, as well as the strings, can be trimmed with crochet lace or netted edging, No. 311.

[363]

344.--Netted Nightcap.

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

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

This nightcap is very simple and practical. It consists of two similar three-cornered pieces, sewn together so as to form a double triangle; the point of the triangle is turned back, as seen in illustration, and fastened on the lower half of the same. The cap is edged with a lace; a [364] similar lace covers the seam between both parts of the cap. The pattern is worked with crochet cotton over a mesh measuring three-quarters of an inch round. Begin each half in the corner; cast on 2 stitches, and work backwards and forwards, increasing 1 stitch at the end of every row, till the number of stitches is 60. Then sew both halves together, and trim the cap and strings (the latter are worked as on the cap No. 343) with the following lace: work 2 rows of open-work treble stitches--the treble stitches are divided by 1 chain--then work 1 row of double, always working 4 double round the chain stitches which divide 2 treble in the preceding row, or with netted edging No. 311.

This nightcap is very simple and practical. It consists of two identical triangular pieces sewn together to create a double triangle; the point of the triangle is folded back, as shown in the illustration, and secured to the lower half. The cap is trimmed with lace; a [364] matching lace covers the seam between the two parts of the cap. The pattern is done with crochet cotton over a mesh that measures three-quarters of an inch round. Start each half in the corner; cast on 2 stitches and work back and forth, increasing 1 stitch at the end of each row until you have 60 stitches. Then sew both halves together and trim the cap and strings (the latter are made like in cap No. 343) with the following lace: crochet 2 rows of open-work treble stitches—each treble stitch separated by 1 chain—then make 1 row of double crochet, always crocheting 4 double crochets around the chain stitches that separate 2 treble stitches in the previous row, or use netted edging No. 311.

345.--Knitted Pattern.-Netted Nightcap.

345.--Knitted Pattern.-Netted Beanie.

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

Materials: Walter Evans and Co.'s knitting cotton No. 20 for coverlets, or Berlin wool for sofa blankets.

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

This pattern can be made with either wool or cotton, and works well for various uses. Cast on a number of stitches that’s a multiple of 18 for the first row: Knit 4, bring the cotton forward, knit 2 together, bring the cotton forward, knit 2 together, knit 4, purl 6, and repeat from *.

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

2nd row: The stitches knitted in the 1st row are purled along with the stitches that are made by pulling the cotton forward; the purled stitches are then knitted. This row is repeated alternately, so we won't mention it again.

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

3rd row: * Knit 6, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together, knit 6, purl 2.

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

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

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

7th row: Knit 2, * purl 2, knit 6, bring the yarn forward, knit 2 together, bring the yarn forward, knit 2 together, knit 6.

9th row: Knit 2, * purl 6, knit 4, throw the cotton forward, knit 2 [365] together, throw the cotton forward, knit 2 together, knit 4.

9th row: Knit 2, * purl 6, knit 4, yarn over, knit 2 [365] together, yarn over, knit 2 together, knit 4.

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

11th row: * Knit 6, purl 2, knit 6, bring the yarn to the front, knit 2 together, bring the yarn to the front, knit 2 together.

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

13th row: Bring the yarn forward, knit 2 together, * knit 4, purl 6, knit 4, bring the yarn forward, knit 2 together, bring the yarn forward, knit 2 together.

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

15th row: * Yarn over, knit 2 together, yarn over, knit 2 together, knit 6, purl 2, knit 6. The knitting can now be easily continued from the illustration.

[366]

346 to 348.--Knitted Shawl.

Knitted shawl.

Materials Shetland wool, white and scarlet; steel needles.

Materials: Shetland wool in white and red; steel needles.

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

This shawl is knit using the patterns provided in Nos. 346 and 347. Both illustrations display the patterns made in thick wool to make them clearer. Start the shawl, which is square, from one side by casting on enough stitches (for our pattern, that's 290); the needles shouldn't be too thin, as the work should be loose and stretchy.

Knit first 2 rows plain, then 3 of the open-work row of pattern No. 346, which is worked in the following manner:--

Knit the first 2 rows plain, then knit 3 rows of the open-work pattern from No. 346, which is done as follows:--

1st row: Slip the first stitch, * knit 2 together, inserting the needle into the back part of the stitch, slip 1, knit 2 together, throw the wool twice forward; repeat from *.

1st row: Slip the first stitch, * knit 2 together, inserting the needle into the back part of the stitch, slip 1, knit 2 together, yarn over twice; repeat from *.

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

2nd row: Knit 1 and purl 1 in the stitch made by bringing the yarn forward in the previous row; the other stitches are purled. In the next row, alternate the holes—that is, after the 1st slipped stitch knit 1, bring the yarn forward, and then knit two together twice.

When 3 such open-work rows are completed, knit 1 row plain, and then [367] work the pattern seen on No. 347, which forms the ground, and is worked in the following way:--1st row: Slip the 1st stitch, alternately throw the wool forward, and decrease by slipping 1 stitch, knitting the next, and drawing the slip stitch over the knitted one.

When 3 open-work rows are done, knit 1 row plain, and then [367] follow the pattern from No. 347, which creates the base, and is done like this:--1st row: Slip the 1st stitch, then alternately pull the yarn forward and decrease by slipping 1 stitch, knitting the next stitch, and pulling the slipped stitch over the knitted one.

2nd row, entirely purled.

2nd row, all purled.

When 6 such rows have been worked in this pattern, work again 9 rows of the open-work pattern, but work on each side of the 2 stripes, each 6 stitches wide, in the pattern of the ground (No. 347); each first stripe is at a distance of 4 stitches from the edge, and each second stripe at a distance of 20 stitches. After the 9th open-work row, work again 6 rows in the pattern of the ground, then again 8 open-work rows, and then begin the ground, only continue to work on both sides of the shawl the narrow stripes of the ground pattern, the narrow outer and the two wide inner stripes of the border in the open-work pattern. When the ground (pattern No. 347) is square, finish the shawl at the top with two wide [368] and one narrow open-work row, as at the bottom, divided by stripes in the ground pattern. Knot in, all round the shawl, a fringe of scarlet wool; the fringe must be 3-1/2 inches deep.

When you’ve completed 6 rows in this pattern, knit 9 rows of the open-work pattern again, but on each side of the 2 stripes, which are each 6 stitches wide, use the ground pattern (No. 347). The first stripe should be 4 stitches from the edge, and the second stripe should be 20 stitches from the edge. After the 9th open-work row, work another 6 rows in the ground pattern, followed by 8 more open-work rows, and then start the ground pattern. Continue to work the narrow stripes of the ground pattern on both sides of the shawl, along with the narrow outer and the two wide inner stripes of the border in the open-work pattern. When the ground (pattern No. 347) is square, finish the top of the shawl with two wide [368] and one narrow open-work row, just like the bottom, separated by stripes in the ground pattern. Add a fringe of scarlet wool all around the shawl; the fringe should be 3-1/2 inches deep.

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

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

[369]

[370]

MONOGRAMS AND INITIALS.

[371]

ALPHABETS.

349.--Alphabet.

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

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

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

These letters are stitched in overcast stitch and satin stitch, and they are the capital letters for alphabet No. 350. Stars embellish this very striking alphabet.

[372]

[374]

350.--Alphabet (Small Letters).

350.--Alphabet (Lowercase Letters).

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

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

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

This alphabet will be useful for marking linens and pocket handkerchiefs. It's done in satin stitch, with the stars in fine overcast; an eyelet hole is located in the center of each star.

[375]

351.--Alphabet of Small Capitals.

351.--Small Caps Alphabet.

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

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

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

These letters are great for marking table linen; you can stitch them in green, red, or white cotton. The letters are created using raised satin stitch with raised dots and open eyelet holes.

[376]

[379]

352.--Alphabet.

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

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

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

This beautiful alphabet is done in satin stitch, both raised and veined; the design features forget-me-not flowers and leaves. Raised dots created with satin stitch outline all the fine lines.

[381]

353.--Alphabet in Coral Stitch.

Alphabet in Coral Stitch.

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

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

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

The letters in this alphabet are especially great for pocket handkerchiefs. The embroidery is done with marking cotton or colored or black sewing silk; the long white lines are stitched with an overcast stitch, the small white spots with a satin stitch, and the other parts of the letters with a coral stitch, as you can clearly see in the illustration.

[383]

354--- Small Alphabet.

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

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

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

This helpful alphabet is done in satin stitch, with some veining and decorated with tendrils. Since the capital letter alphabet (page 377, No. 351) matches these lowercase letters, you can create any name using them.

[385]

355.--Alphabet (Capitals).

355.--Alphabet (Caps).

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

Materials: Walter Evans and Co.'s Embroidery Cotton No. 12 and No. 20.

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

This alphabet is created using raised satin stitch, with the outlines being partly scalloped; for the fine lines, which should be done in overcast, you should use embroidery cotton No. 20.

[387]

356. Alphabet (Capitals).

356. Alphabet (Capital Letters).

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

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

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

The alphabet shown here is in a decorative style; the elegant flowing lines are done in raised satin stitch, along with the different-sized dots that decorate the letters.

[391]

357--Alphabet.

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

Materials: Walter Evans and Co.'s Embroidery Cotton No. 12 and No. 16.

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

The letters are done in gold dots, with a fine overcast outline and large raised spots in satin stitch. The decorative wreaths around the first five letters can easily be applied to any of the others. It's quite trendy to feature just one letter on handkerchief corners.

[393]

358.--Alphabet in White Embroidery.

358.--White Embroidery Alphabet.

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

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

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

This alphabet is designed using appliqué; only the ears of corn are done in overcast, satin, and knotted stitch. These letters look especially good on sheer fabrics. Beginners may skip the ears, although they enhance the alphabet's beauty. This alphabet also includes the ten numerals, which are very useful. With the complete alphabet and all these figures, you can create any combination of initials and numbers.

Alphabets and Numerals in White Embroidery.

[396]

359.--

Alphabet (see page

402

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

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

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

The vine leaves and grapes of this elegant and imaginative alphabet are done in veined and slightly raised satin stitch, with the tendrils in point russe; for these, fine black silk is used.

360.--Sampler (Frontispiece).

360.--Sampler (Cover Page).

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

Materials: cambric muslin or fine linen; Walter Evans and Co.'s Embroidery Cotton No. 16, 18, and 20; red cotton and black silk.

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

This illustration shows a sampler that will be helpful for learning to embroider letters for marking linen. The material used is cambric muslin or fine linen. Embroider using white embroidery cotton, red cotton, or black silk. The thicker parts of the letters are done in slanting satin stitch and back stitch; the outlines of the stitched areas are done in overcast, along with the fine outlines of the letters and all the fine outlines of the patterns. The monograms and crowns are created in a similar way. Use buttonhole stitch around the outer edge of the sampler. The letters and crowns can, of course, be used for other purposes.

[397]

361.--Alphabet (Capitals).

361.--Alphabet (Uppercase).

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

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

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

This effective alphabet is really easy to create, using raised and veined satin stitch, and overcast stitches. The raised dots are done in satin stitch, making sure to keep them in the center of each open space.

[401]

MONOGRAMS AND INITIALS.

362.--Alice.

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

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

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

The letters of this name, except for the first one, are quite straightforward, using basic satin stitch. In contrast, the first letter is done in raised satin stitch, point de poste, and overcast.

[402] 363.--Amalie.

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

Materials: Walter Evans and Co.'s Embroidery Cotton No. 16 and No. 20.

The highly-ornate initial of this name is not difficult to work, requiring only great regularity and evenness in embroidering the [403] tendrils and eyelet-holes. The veinings of the letter must be carefully defined. The remainder of the name is executed in plain satin stitch, a few eyelet-holes being introduced.

The elaborate initial of this name isn't hard to create; it just needs consistent regularity and smoothness in stitching the [403] tendrils and eyelet holes. The details of the letter need to be clearly defined. The rest of the name is done in simple satin stitch, with a few eyelet holes added in.

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

"Amalie" can easily be changed to "Amelia" by swapping the positions of the a and e. In the center of each letter, there's a large eyelet-hole; smaller eyelet-holes of varying sizes fill parts of the decorative scrolls, which should be sewn with No. 20 cotton. The initial letter is embroidered in raised satin stitch.

364.--Amy.

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

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

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

This lovely name is crafted with delicate raised satin stitch and dotted stitch; the dots are done in dotted satin stitch, and the elegant little design underneath is worked in Russian stitch.

[404]

365.--Annie.

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

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

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

The letter A in this name is quite intricate, created using point de pois or backstitching, with the outlines in fine overcast and the letters in satin stitch. The decorations around the word "Annie" are done in overcast.

[405]

366.--A.M.K.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16. This name is worked in satin stitch, with small dots of raised satin stitch. The eyelet-holes in the middle letter to be worked in overcast.

Material: Walter Evans and Co.'s Embroidery Cotton No. 16. This name is stitched in satin stitch, with small raised satin stitch dots. The eyelet holes in the middle letter should be done in overcast.

367.--B.R.

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

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

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

These initials are created in appliqué at the center of a medallion using satin stitch, overcast, and lace stitches.

[406]

368.--Carrie.

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

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

[407]

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

This name is really easy to create, as it’s clearly and simply embroidered with overcast and satin stitch. The thick dots can be done without the eyelet holes if you prefer.

369.--Caroline.

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

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

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

This lovely name needs careful attention while working; the leaves that embellish the letters must be clearly defined. Both the leaves and the letters are embroidered with satin stitch, the first letter being veined, and the decorations are created with overcast and eyelet stitches.

370.--Charlotte.

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

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

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

This name is done in satin stitch and overcasting, with the small and elegant dots in point de russe and graduated satin stitch; the larger ones are worked in raised satin stitch.

[408]

371.--Cornelie.

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

Material: Walter Evans and Co. Embroidery Cotton No. 18.

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

This word is created using a simple satin stitch, with embellishments done in an overcast stitch.

372.--C.M.

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

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

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

This design is simple, done in graduated satin stitch, and is very elegant.

[409]

[410]

373.--Dora.

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

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

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

This intricate design shouldn't be attempted by those new to embroidery; it uses overcast stitch, raised satin stitch, and veined satin stitch. The tendrils are completely done in graduated overcast stitch. The name is placed above a lovely spray of wildflowers worked in the mentioned stitches. While this pattern was originally designed for net or fine muslin, it looks much better when done on cambric or fine lawn.

374.--D.C.

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

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

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

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

375.--Emily.

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16. This name is worked in satin stitch, the dots in the middle in point de [411] poste, the rest of the letters in satin stitch and in dotted satin stitch.

Material: Walter Evans and Co.'s Embroidery Cotton No. 16. This name is stitched in satin stitch, the dots in the middle in point de [411] poste, and the rest of the letters in satin stitch and dotted satin stitch.

376.--Ernestine.

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

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

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

This elegant design is very effective; the first letter is highly detailed, and the rest of the letters are simply done in satin stitch. The small stars are created using overcast stitch, and the initial letter itself is done in veined satin stitch.

377.--Etta.

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

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

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

The letters that make up this name are made completely of leaves, flowers, and tendrils, stitched entirely in satin stitch and overcast. The tendrils surrounding the name are done in overcast and have a few eyelet holes scattered among them.

[414]

378.--Eva.

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

Materials: Walter Evans and Co.'s Embroidery Cotton No. 16 and No. 20.

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

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

379.--E.A.

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

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

This very pretty monogram is worked quite in a new style of embroidery. [415] The design represents the emblems of Faith, Hope, and Charity. The outlines of the shield and cross are worked in overcast, the initials "E.A.," the torch, and the anchor in satin stitch with white cotton, the leaves partly in satin stitch with white and partly in point d'or with red cotton, with only a fine outline in overcast. The cross and the flames of the torch are embroidered in the same manner.

This beautiful monogram is done in a new style of embroidery. [415] The design features the symbols of Faith, Hope, and Charity. The edges of the shield and cross are stitched with an overcast technique, while the initials "E.A.," the torch, and the anchor are done in satin stitch using white cotton. The leaves are partly stitched in satin stitch with white and partly in point d'or with red cotton, with just a fine outline in overcast. The cross and the flames of the torch are embroidered in the same way.

380.--E.A.P.

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

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

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

These beautiful initials are done in satin stitch, with the middle letter in cross stitch and outline stitch.

[416]

381.--E.P.

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

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

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

These stylish letters are created with veined and raised satin stitch.

[417]

382.--E.R.

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

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

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

The ovals are done in overcast and point de pois, the letters in satin stitch, and the decoration in satin stitch and overcast.

[418]

383.--E.A.

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

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

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

These initials are put inside a medallion; they are done in satin stitch and overcast, and in appliqué on muslin. For the section of the pattern where the name will be embroidered, the material is taken double.

384.--Elisabeth.

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

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

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

This word is stitched in satin stitch and overcast. A few small eyelet holes break up the monotony of the outlines and add a sense of lightness to this name.

[419]

385.--Elise.

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

Materials: Walter Evans and Co.'s Embroidery Cotton No. 12 and No. 16.

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

The open part of these letters is decorated with one or more dots; the bold sections are raised over chain stitches made with No. 12, which is a somewhat thicker cotton.

386.--Emma.

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

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

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

This name is done in satin stitch; the large dots can be created with the eyelet-holes in fine overcast, while the smaller dots are done in satin stitch. The other letters are in raised satin stitch and point de sable.

[420]

387.--F.B.

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

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

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

This stylish monogram is done in raised satin stitch, with the inside featuring lace embroidery. The leaves and tendrils are created using satin stitch and point de sable.

388.--F.S.

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

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

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

The initials "F.S." are embroidered on the pages of an open book, which has outlines in overcast and sides in dotted pattern. The flower wreath surrounding the book is stitched in satin stitch, with the tendrils and veins done in overcast. The initials are crafted in fine satin stitch.

[421]

389.--Fanny.

Fanny.

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

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

This name is simply worked in satin stitch and overcast.

This name is just made using satin stitch and overcast.

390.--Francis.

390.--Frank.

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

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

The initial letter of this elegant design is worked in fine [422] over-casting; the centre star in raised satin stitch with lace in the middle; the leaves surrounding it in veined satin stitch; the other letters are worked in plain satin stitch; and the dots of the line in point de poste.

The first letter of this elegant design is done in fine [422] over-casting; the center star is in raised satin stitch with lace in the middle; the leaves around it are in veined satin stitch; and the other letters are done in plain satin stitch, with the dots of the line in point de poste.

[423]

391.--E.C.

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

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

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

The initials "E.C." are placed within a frame made of shaded outlines and satin stitch dots. Vine leaves and grapes are decorated in point de pois and eyelet holes around the frame.

392.--Gordon

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

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

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

This nice name done in raised satin stitch is perfect for men's handkerchiefs.

[424]

393.--Helene

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

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

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

We provide the French version of this lovely name, which easily converts to the English "Helen" by dropping the final e in the process. The name is embroidered in simple satin stitch, slightly raised at the thicker parts of the letters.

394.--H.D.G.

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

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

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

This elegant design is created using fine overcast and satin stitch, and point de russe.

[425]

395--Jessie.

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

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

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

This design is very easy to use, with the letters being so clear and well-defined. The thick satin stitch is scalloped in some areas.

396.--J.C.

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

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

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

The letters "J.C." are created with raised satin and overcast stitch, with the thickest part of each letter made using scallops.

[426]

397.--Lina

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

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

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

This name is done in raised veined satin stitch; the small stars are made in point russe around eyelet holes.

398.--Lizzie

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

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

This name is worked partly in satin stitch, partly in raised dots and [427] fine overcast; the letters are in the Greek style, and have an excellent effect if well worked

This name is partially done in satin stitch, partially in raised dots and [427] fine overcast; the letters are in a Greek style and look amazing if done well.

399.--L.G.A.

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

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

Lace stitches are introduced in the medallion which incloses these letters, the outlines being worked in overcast and point de pois, the [428] pens and initials in raised satin stitch, as also the flowers. The open portion is filled in with Mechlin wheels, which are thus worked: A number of single threads cross each other in the space to be filled up; these are placed about a quarter of an inch from each other. All the bars in one direction must now be worked in fine button-hole stitch, then the opposite bars must be worked, and the button-hole stitch must be continued about six inches past the point where the two lines cross. The thread must be slipped loosely round the cross twice, running over and under alternately, so as to form a circle; then work in button-hole to the centre of a quarter of the circle; make a dot by inserting a pin in the next button-hole and working three stitches in the loop thus formed by the pin. These dots may be omitted from these wheels

Lace stitches are introduced in the medallion that frames these letters, with the outlines worked in overcast and point de pois, and the [428] pens and initials stitched in raised satin stitch, along with the flowers. The open area is filled in with Mechlin wheels, which are created like this: A number of single threads cross each other in the area that needs to be filled; these are spaced about a quarter of an inch apart. All the bars in one direction are worked in fine button-hole stitch, then the opposite bars are stitched, and the button-hole stitch continues about six inches past the point where the two lines intersect. The thread must be loosely wrapped around the cross twice, alternating over and under, to form a circle; then work in button-hole stitch to the center of a quarter of the circle; make a dot by inserting a pin in the next button-hole and working three stitches in the loop formed by the pin. These dots can be left out of these wheels.

[429]

400.--L.C.

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

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

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

The effect of this design when executed well is outstanding, because, although it's simple, the contrast between the letters and stars makes each stand out. Veined and raised satin stitch, with tiny eyelet holes, are the stitches used here.

401.--Marie

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

Materials: Walter Evans and Co.'s Embroidery Cotton No. 20 and No. 36

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

This name is stitched with satin stitch; the veins are clearly defined, and the tendrils should be done with No. 30 cotton since they need very delicate work. The only decorations are stars made with overcast and eyelet holes.

[430]

402.--Maria

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

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

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

The first letter of this name is created with overcast and point de pois, while the other letters are done in satin stitch, with the embellishments in satin stitch and overcast.

403.--Maude

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

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

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

This name is done in veined satin stitch; the small stars are in raised satin stitch, and the elegant tendrils are in overcast. This design is especially suitable for marking a trousseau.

[431]

404.--M.

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

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

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

This elegant design can be made with colored silk if you prefer, or you can skip the coronet if you wish. The letter "M" is done in raised and veined satin stitch; the center stars are created with fine overcasting around an eyelet hole; the coronet is done in very fine satin stitch and point de pois, and the stars match those in the letter and in the wreath below, whose leaves are worked in satin stitch and overcast stitch.

[432]

[433]

405.--M.B.D.

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

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

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

These initials are done in satin stitch and overcast, with the open work in fine overcast around eyelet holes.

[434]

406.--M.B.G.

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

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

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

These elegant letters are simply created using graduated satin stitch and neatly finished with eyelet holes.

407.--M.H.E.

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

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

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

This elegant design is made using graduated satin stitch, while the middle letter is created with point croisé. This stitch is only used on very thin and transparent materials. Insert the needle into the material as you would for a regular back stitch, then pull it out underneath the needle on the opposite outline of the pattern to create a slanting line on the back side. Insert the needle again as you would for a standard back stitch.

[435]

408.--Natalie.

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

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

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

The first letter of this word includes all the letters that come after it and is surrounded by a wreath of roses and other flowers; these are done in satin stitch, the leaves in point de pois, and the letters in raised satin stitch. The dots shown on the background of the initial are created with back stitching; these can be done in scarlet ingrain cotton if preferred for morning handkerchiefs.

409.--O.R.

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

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

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

This monogram is done in satin stitch, and the oval is created with eyelet holes of varying sizes.

[436]

410.--Phoebe

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

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

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

The first letter of this word is really fancy; it’s done in satin stitch, point de sable, and point de pois, while the other letters are in satin stitch.

[437]

411.--Monogram for Pocket Handkerchiefs

Monogram for Pocket Squares

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

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

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

This monogram is created partly using appliqué and partly with satin stitch. For the center of the medallion, sew the pattern onto the cambric using buttonhole stitch; the rest of the embroidery is done in satin stitch and point russe.

[438]

412.--Monogram for Pocket Handkerchiefs

412.--Monogram for Pocket Squares

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

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

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

This monogram is also done in appliqué and satin stitch. The circle around the medallion is made using appliqué; in the center, use lace stitches from the illustration. The edge of the medallion is finished with buttonhole stitch.

413.--Rosa

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

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

Here the name is inclosed in a medallion of overcast and back stitching, [439] the lower part having a graceful wreath of leaves worked in satin stitch. The letters which form the name are worked in raised and scalloped satin stitch and point de pois

Here the name is enclosed in a medallion of shadow and back stitching, [439] with the lower part featuring a graceful wreath of leaves crafted in satin stitch. The letters that make up the name are done in raised and scalloped satin stitch and point de pois.

414.--Rosina

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

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

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

The stars around this elegant initial letter are stitched in raised satin stitch around an eyelet hole, the leaves in graduated satin stitch, the stems covered with overcast stitching, the flower wreaths done in satin stitch and open eyelet holes, with the stems and veins also overcast, and the stars on the stems matching those stitched in the letter: the other letters are done in a simple, thickly raised satin stitch.

[440]

[441]

415.--R.S.

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

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

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

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

416.--S.E.B.

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

Material: Walter Evans & Co. Embroidery Cotton No. 16

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

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

417.--L.E.P.

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

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

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

These initials are stitched in simple satin stitch, and the elegant stars are stitched in point russe around an eyelet hole.

[442]

418.--Victoria

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

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

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

This name is intricately created using satin stitch, overcasting, and eyelet holes. The initial letter is done in satin stitch, and the stars are finely overcast around an eyelet hole.

[443]

POINT LACE WORK

[444]

[445]

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

Lace comes in two types—pillow lace, which is created on a cushion or pillow, and point lace, which consists of stitches or points crafted by hand into patterns, then connected by different stitches that form a base, also made with the needle.

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

Pillow lace is made entirely on a pillow or cushion, with the design and background created simultaneously. It's often accurately referred to as bone or bobbin lace, but it seems that the difference has never been clearly recognized by either lace makers or sellers, as many types that are actually pillow lace are called point due to certain characteristics in the stitch or design.

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

The essentials for creating perfect lace are the skill and taste of the artisans, along with the quality of the materials. While it's possible to create many beautiful fabrics with just mechanical skill, lace-making requires the worker to have some artistic ability, even when given designs. It's clear that deviations from the original design can happen easily, and even the smallest change made by someone lacking taste can ruin the entire piece.

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

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

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

No. 419 shows Dalecarlian lace, made by the women of Dalecarlia. This is a rough type of lace that's sewn onto caps, etc., and even though it's heavily starched, it's never washed out of fear of ruining its coffee-colored tint, which seems to be as valued now by Swedish villagers as it was by English ladies in the last century.

Buckingham Point Trolly, 1851 (Black Lace).

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

Both of these pieces of Mechlin lace belonged to Queen Charlotte, who greatly admired this elegant lace.

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

No. 423.--The Bedford plaited lace is a better version of the old Maltese.

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

Honiton guipure lace is characterized by its base being made up of different stitches instead of being sewn onto a net foundation. Recently, the use of Honiton sprigs on bobbin net has been largely replaced by this modern guipure. Once created, the sprigs are stitched onto a piece of blue paper and combined on the pillow using "cutworks" or "purlings," or they can be connected with a needle using various stitches like lacet, point, réseau, cutwork, buttonhole, and purling.

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

Those who want to learn about lace and lace-making should check out Mrs. Bury Palliser's History of Lace (Sampson Low and Marston).

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POINT LACE INSRUCTIONS.

The materials required for this elegant branch of needlework are neither numerous nor expensive. TRACING CLOTH, LEATHER, or TOILE CIRÉE, various BRAIDS and CORDS, LINEN THREAD and two or three sizes of needles, scissors and thimble. TRACING CLOTH is required when ladies copy point lace patterns, and is the most convenient mode of taking them, as the design can be worked upon the tracing cloth, which, though transparent, is very strong; the price is 1s. 6d. per yard. Fine LEATHER is the material upon which bought patterns are usually traced, and is decidedly more pleasant to work on than is any other material. In selecting [452] patterns ladies should choose those traced upon green leather in preference to scarlet or buff, as green is better for the eyesight than any other colour.

The materials needed for this stylish type of needlework are neither many nor pricey. TRACING CLOTH, LEATHER, or TOILE CIRÉE, various BRAIDS and CORDS, LINEN THREAD, and two or three sizes of needles, scissors, and a thimble. TRACING CLOTH is essential when women copy point lace patterns, and it's the easiest way to do it since the design can be worked on the tracing cloth, which, while transparent, is very strong; it costs 1s. 6d. per yard. Fine LEATHER is the material used for tracing purchased patterns, and it's definitely more pleasant to work with than any other material. When choosing [452] patterns, women should prefer those traced on green leather over scarlet or buff, as green is easier on the eyes than any other color.

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

TOILE CIRÉE is just a substitute for leather and isn't as comfortable to use in warm weather.

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

The needles used are usually Walker's needles, sizes 9 and 10. The scissors should be small, sharp, and pointed, like the one in illustration No. 425. An ivory thimble can be safely used for this light work.

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

The BRAIDS come in different widths and types. Only pure linen braid should be used; many lace-makers avoid those with machine-made edges, as only the plain, loosely woven linen braid in various widths and qualities is acceptable to skilled artisans.

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

But not all women want to bother with edging the braid, so they’ll find Nos. 426, 428, 430, and 431 very handy. No. 429 is a simple linen braid with a decorative edge, which turns out quite nicely. No. 431 is an edged braid with open holes, mimicking the point lace style from the fifteenth century.

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

Point lace cords look similar to satin stitch embroidery thanks to their smooth, regular texture. They cost 1 shilling per hank and come in various thicknesses, ranging from the size of a thick crochet thread to that of a chunky piping cord. These cords are used to embellish the braid and are sewn closely along its edges, following every outline, serving as beading for the edging, and are always sewn on the outer edge only. The finer types of this cord replace braid when very lightweight work is needed, like in the point lace alphabet that appears as the frontispiece of this work. Instructions for applying the cord when used as braid can be found on page 500. When used solely as a finishing touch to create the raised look of Venice and Spanish lace, it is attached to the braid with simple, tight stitches. The thread recommended is Mecklenburg linen thread; we highly encourage using the brand from Messrs. Walter Evans and Co. as it is made of pure linen, washes and wears well, and is pleasant to work with due to its consistent quality. The sizes available are: 2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 24, 30, 36, and 40, suitable for every type of lace stitch. Size No. 2 is the coarsest, while size No. 40 is the finest.

In working point lace the following directions must be attended to: Begin at the left hand, and work from left to right, when not otherwise directed, as in reverse rows. Before cutting off the braid run a few stitches across it to prevent it widening. Joins should be avoided, but when a join is indispensable, stitch the braid together, open and turn back the ends, and stitch each portion down separately. When passing the thread from one part to another, run along the centre of the braid, allowing the stitches to show as little as possible. In commencing, make a few stitches, leaving the end of the thread on the wrong side and [454] cutting it off afterwards. In fastening off, make a tight button-hole stitch, run on three stitches, bring the needle out at the back, and cut off.

In working point lace, you need to follow these directions: Start on the left side and work from left to right unless told otherwise, like in reverse rows. Before cutting the braid, stitch across it a few times to keep it from widening. Try to avoid joins, but if you have to make one, stitch the braid together, open and fold back the ends, and sew each part down separately. When moving the thread from one part to another, run it along the center of the braid, keeping the stitches as hidden as possible. To begin, make a few stitches, leaving the thread end on the wrong side and [454] cut it off later. When fastening off, make a tight buttonhole stitch, run on three stitches, bring the needle out the back, and then cut it off.

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

Having now finished our list of materials, we can go ahead and apply the braid.

TO PLACE THE BRAID.--No. 442 shows the design traced upon paper or tracing cloth, and lightly tacked to a foundation of leather or toile cirée. Run on a straight line of braid for the lower edge, with fine stitches, working as shown from left to right. Take another piece of braid, or the other end of the same piece, and begin to lay the braid by "running" stitches in its centre, keeping it as smooth and even as possible. The outer edge presents no difficulty, but the inner edge will not lie evenly without being drawn in by a needle and thread, as follows:--Thread a No. 9 needle with No. 12 Mecklenburg thread about 20 inches long, fasten the thread to one point, and insert the needle in [455] and out of the edge of the braid, as if for fine gathering; this thread when drawn up will keep the braid in its place. Two or three fastening off stitches should be worked when each circle, half circle, or rounded curve of a pattern is finished, as the drawing or gathering thread remains in the work, and forms an important, though unseen, part of its structure.

TO PLACE THE BRAID.--No. 442 shows the design traced on paper or tracing cloth, and lightly tacked to a foundation of leather or waxed fabric. Sew a straight line of braid along the lower edge with fine stitches, working from left to right as shown. Take another piece of braid, or the other end of the same piece, and start to lay the braid using "running" stitches in its center, making sure to keep it as smooth and even as possible. The outer edge is straightforward, but the inner edge won’t lay flat without being pulled in by a needle and thread, as follows:--Thread a No. 9 needle with about 20 inches of No. 12 Mecklenburg thread, fasten the thread at one point, and insert the needle into [455] and out of the edge of the braid, as if gathering it neatly; this thread when tightened will hold the braid in place. You should sew two or three fastening stitches when finishing each circle, half circle, or rounded curve of a pattern, as the gathering thread will stay in the work and is an important, though unseen, part of its structure.

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

As much of the beauty of point lace relies on how the braid is placed, women shouldn’t shy away from putting in the effort on this aspect of the work, which can be a bit challenging for beginners. Many specialty shops now offer to handle this braid placement for women, allowing them to have their own pattern braided and started or just braided alone at a minimal cost. Some of the recommended shops include the following:--

Goubaud, 30,
Henrietta-street,
Covent-garden.
Boutillier, Oxford-street, W.

Goubaud, 30,
Henrietta Street,
Covent Garden.
Boutillier, Oxford Street, W.

The stitches used in point lace may be divided into--

The stitches used in point lace can be divided into--

STITCHES PROPER, or points.

STITCHES PROPER, or points.

CONNECTING BARS.

Connecting Bars.

FINISHING EDGINGS.

Finishing edges.

WHEELS AND ROSETTES

Wheels and Rosettes

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

The term point lace, or lace stitches (points), has recently been used to describe every stitch made with Mecklenburg thread, and many stitches are incorrectly labeled by modern writers. Since there are over one hundred stitches used in this beautiful craft, a novice needs to study a lot and have the chance to see examples of old point lace to get a sense of the different types. However, by focusing on the following stitches, anyone can easily learn the basics of the craft and create very beautiful lace.

The first stitch is POINT DE BRUXELLES, or Brussels lace stitch. This stitch, as may be clearly seen in illustration No. 433, is a simple [456] button-hole stitch worked loosely and with great regularity. The whole beauty of Brussels lace depends upon the evenness of the stitches. This stitch is sometimes employed as an edging, but is more often worked in rows backwards and forwards, either as a groundwork or to fill spaces, as in the point lace collar, No. 496.

The first stitch is POINT DE BRUXELLES, or Brussels lace stitch. This stitch, as shown in illustration No. 433, is a simple [456] buttonhole stitch worked loosely and very consistently. The entire beauty of Brussels lace relies on the uniformity of the stitches. This stitch is sometimes used as an edging, but it is more commonly worked in rows back and forth, either as a base or to fill in spaces, as seen in the point lace collar, No. 496.

Point de Bruxelles (Brussels Lace Worked in Rows).

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

Brussels Point is the basis for almost all lace stitches.

POINT DE VENISE (Venetian or Venice Point) is worked from left to right, [457] like Brussels point. Work one loose button-hole, and in this stitch work four button-hole stitches tightly drawn up, then work another loose button-hole stitch, then four more tight button-hole stitches in the loose one, repeat to the end of the row, and fasten off.

POINT DE VENISE (Venetian or Venice Point) is worked from left to right, [457] just like Brussels point. Create one loose buttonhole, then in this stitch, make four tightly drawn-up buttonhole stitches. After that, create another loose buttonhole stitch, and then add four more tight buttonhole stitches into the loose one. Repeat this pattern until you reach the end of the row, and then fasten off.

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

PETIT POINT DE VENISE (Little Venice Point) is done in the same way as Point de Venise, but only one tight stitch is made in each loose buttonhole stitch. This is a very handy stitch for filling small spaces.

No. 437.--POINT D'ESPAGNE (Spanish Point) is worked from left to right as follows:--Insert the needle in the edge of the braid, keeping the thread turned to the right, bringing it out inside the loop formed by [458] the thread (see illustration No. 437); the needle must pass from the back of the loop through it. Pass the needle under the stitch and bring it out in front, thus twice twisting the thread, which produces the cord-like appearance of this stitch. At the end of each row fasten to the braid and return by sewing back, inserting the needle once in every open stitch.

No. 437.--POINT D'ESPAGNE (Spanish Point) is worked from left to right as follows:--Insert the needle in the edge of the braid, keeping the thread turned to the right, bringing it out inside the loop formed by [458] the thread (see illustration No. 437); the needle must pass from the back of the loop through it. Pass the needle under the stitch and bring it out in front, thus twisting the thread twice, which creates the cord-like appearance of this stitch. At the end of each row, secure it to the braid and return by sewing back, inserting the needle once in every open stitch.

Close Point d'Espagne (Close Spanish Point).

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

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

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

No. 439.--TREBLE POINT D'ESPAGNE is done in exactly the same way as the open and close point d'Espagne, as shown in illustration No. 439.

Three close stitches, one open, three close to the end of each row. Sew back, and in the next row begin one open, three close, one open, then close to the end; repeat the rows as far as necessary, taking care that [459] the close and open stitches follow in regular order. Diamonds, stars, and various patterns may be formed with this stitch.

Three tight stitches, one loose, and three tight at the end of each row. Stitch back, and in the next row start with one loose, three tight, one loose, then tight at the end; repeat the rows as needed, making sure that [459] the tight and loose stitches follow the same pattern. You can create diamonds, stars, and various designs with this stitch.

Treble Point d'Espagne (Treble Spanish Point).

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

No. 440.--POINT DE GRECQUE is worked from left to right, going back and forth, starting with one stitch of loose point de Bruxelles followed by three stitches of close point d'Espagne; then one Brussels stitch, three point d'Espagne to the end of the row; when returning, work back in the same way.

No. 441. POINT DE VALENCIENNES (Valenciennes Stitch).--This stitch appears complicated, but is really easy to work. Begin at the left hand [460] and work six point de Bruxelles stitches at unequal distance, every alternate stitch being larger.

No. 441. POINT DE VALENCIENNES (Valenciennes Stitch).--This stitch looks complicated, but it's actually easy to do. Start on the left side [460] and make six point de Bruxelles stitches at varying distances, with every other stitch being larger.

2nd row: Upon the first large or long stitch work 9 close button-hole stitches, then 1 short point de Bruxelles stitch under the one above, then 9 close stitches, and so on to the end of row (right to left).

2nd row: Start by making 9 tight button-hole stitches, followed by 1 short point de Bruxelles stitch directly underneath the one above it, then make 9 more tight stitches, and continue this pattern until you reach the end of the row (right to left).

Point de Valenciennes (Valenciennes Stitch).

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

3rd row: 5 close stitches in the 9 from the previous row, 1 short Brussels stitch, 2 close stitches in the Brussels stitch, 1 short Brussels stitch, 5 close stitches, 1 short Brussels stitch, 2 close stitches, 1 short, 5 close stitches, 1 short, and repeat. 4th row: 5 close stitches, 1 short Brussels stitch, 2 close stitches, 1 short, 5 close stitches, 1 short, 2 close stitches, 1 short, and repeat. Continue the rows until you have enough of the pattern worked.

No. 442. POINT D'ALENÇON.--This stitch is used to fill up narrow spaces [461] where great lightness is required. Point d'Alençon is worked under and over in alternate stitches, like hem stitch. Nos. 442 and 443 show point d'Alençon. In No. 442 a twisted stitch is worked over the plain point d'Alençon, which is clearly shown in No. 443; this twist is made by passing the thread three times round each plain bar, and working the knot shown in illustration No. 442 over both strands of the bar.

No. 442. POINT D'ALENÇON.--This stitch is used to fill in narrow spaces [461] where a light touch is essential. Point d'Alençon is created with alternating under and over stitches, similar to hem stitch. Nos. 442 and 443 illustrate point d'Alençon. In No. 442, a twisted stitch is placed over the plain point d'Alençon, which is clearly shown in No. 443; this twist is made by wrapping the thread three times around each plain bar and creating the knot shown in illustration No. 442 over both strands of the bar.

Point d'Alençon, with Button-hole Stitch.

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

The POINT D'ALENÇON No. 443 is a decorative design of tightly stitched buttonholes made over the plain bars.

No. 444.--POINT D'ANGLETERRE (Open English Lace).--Open English Lace is thus worked:--Cover the space to be filled in with lines of thread about [462] one-eighth of an inch apart, then form cross lines, intersecting those already made and passing alternately under and over them; work a rosette on every spot where two lines cross, by working over and under the two lines about 16 times round, then twist the thread twice round the groundwork thread, and begin to form another rosette at the crossing threads. No. 445 shows this stitch much enlarged.

No. 444.--POINT D'ANGLETERRE (Open English Lace).--Open English Lace is worked as follows: Cover the area to be filled with lines of thread about [462] one-eighth of an inch apart, then create cross lines that intersect the ones you've already made, passing alternately under and over them; make a rosette at every point where two lines cross by working over and under the two lines about 16 times, then twist the thread around the groundwork thread twice and start forming another rosette at the crossing threads. No. 445 shows this stitch much enlarged.

No. 446,--POINT TURQUE (Turkish Stitch).--This easy and effective stitch looks well for filling either large or small spaces; the thread employed should be varied in thickness according to the size of the space to be filled. 1st row: Work a loop, bringing the thread from right to left, [463] passing the needle through the twist and through the loop, draw up tight and repeat. 2nd row: 1 straight thread from right to left. 3rd row: Work the same as first using the straight thread in place of the braid, and passing the needle through the loop of previous row, as shown in illustration No. 446.

No. 446,--POINT TURQUE (Turkish Stitch).--This simple and effective stitch looks great for filling both large and small spaces; the thread used should vary in thickness based on the size of the area being filled. 1st row: Create a loop, bringing the thread from right to left, [463] passing the needle through the twist and the loop, pull it tight and repeat. 2nd row: 1 straight thread from right to left. 3rd row: Repeat the same as the first row using the straight thread instead of the braid, and passing the needle through the loop from the previous row, as shown in illustration No. 446.

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

No. 447.--CORDOVA STITCH is great for adding variety to other stitches. It looks like the point de reprise of guipure d'art and is created in a similar way, working over and under the sides of squares made by straight and parallel lines. (See No. 448.)

No. 448.--POINT DE REPRISE.--This stitch is worked by darning over and [464] under two threads, forming a triangle. The space is filled by parallel and crossway bars, placed at equal distances, and on the triangles thus produced point de reprise is worked.

No. 448.--POINT DE REPRISE.--This stitch is made by darning over and [464] under two threads to create a triangle. The space is filled with parallel and cross stitches, placed evenly apart, and on the triangles formed, point de reprise is stitched.

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

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

Point de Fillet (Net Groundwork Stitch).

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No. 450 is used for groundwork where Brussels net is not imitated, and is very effective. It is begun in the corner or crosswise of the space to be filled. A loose point de Bruxelles stitch is first taken and fastened to the braid, then passed twice through the braid as shown in illustration, and worked in rows backwards and forwards as follows:--1 point de Bruxelles stitch; before proceeding to the next stitch pass the needle under the knot, over the thread, and again under it, as shown in illustration No. 450. This stitch is very quickly worked. No. [466] 451 shows point de fillet applied in filling a space, with a few stitches of point de reprise worked upon this pretty groundwork.

No. 450 is used for foundational work where Brussels net isn't replicated, and it's very effective. Start in the corner or across the area to be filled. First, take a loose point de Bruxelles stitch and secure it to the braid, then pass it through the braid twice as demonstrated in the illustration, working in rows back and forth as follows: 1 point de Bruxelles stitch; before moving to the next stitch, pass the needle under the knot, over the thread, and again under it, as shown in illustration No. 450. This stitch is very quick to work. No. [466] 451 shows point de fillet used to fill a space, with a few stitches of point de reprise worked on this beautiful groundwork.

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

No. 452.--POINT DE TULLE.--This stitch is used as a base for very fine work and is created in rows, going back and forth in the same way as open point d'Espagne, page 457. Once this is done, the work is revisited a second time by inserting the needle under one twisted bar, pulling it out, inserting it at *, and bringing it out again at the dot. This creates a tight double twist that looks really impressive.

No. 453.--MECHLIN LACE (Mechlin Wheels).--This is one of the prettiest stitches in point lace, but also one of the most difficult to work correctly. It is thus worked:--Work a number of diagonal bars in button-hole stitch on a single thread in one direction, then begin in the opposite side the same way, and work 5 or 6 stitches past the spot where the two lines cross, pass the thread round the cross twice under and over the thread to form a circle. Work in button-hole stitch half one quarter, make a dot by putting a fine pin in the loop instead of drawing the thread tight, and work 3 button-hole stitches in the loop [467] held open by the pin, then take it out, and continue as before. Beginners will do well to omit the dot, leaving the loop only on the wheel. Mechlin wheels are also worked in rows upon horizontal and parallel lines of thread.

No. 453.--MECHLIN LACE (Mechlin Wheels).--This is one of the prettiest stitches in point lace, but also one of the most difficult to master correctly. Here’s how to do it: Work several diagonal bars in button-hole stitch along a single thread in one direction, then start on the opposite side in the same manner and work 5 or 6 stitches past where the two lines intersect. Wrap the thread around the cross twice, going under and over the thread to create a circle. Work in button-hole stitch for a quarter section, then make a dot by inserting a fine pin into the loop instead of pulling the thread tight, and work 3 button-hole stitches in the loop [467] held open by the pin. After that, remove the pin and continue as before. Beginners may want to skip the dot and just keep the loop on the wheel. Mechlin wheels can also be done in rows along horizontal and parallel lines of thread.

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

No. 454.--ESCALIER LACE.--This versatile lace can be modified in pattern endlessly by arranging the open stitches in any preferred sequence; it then takes on the name of diamond or Antwerp lace, depending on the design. True escalier lace is created by working nine buttonhole stitches closely together; then skip 3—meaning don’t work any in the space that 3 stitches would occupy—work 9, skip 3 as before until the end of the row, and start the 2nd row 3 stitches from the end to make the open spaces align in diagonal lines—a series of steps or stairs (escalier), which is how this stitch got its name.

[468]

No. 455.--SPANISH POINT LACE is adorned with highly-raised scrolls, flowers, &c. This is effected by working over an underlay of coarse white thread or over fine white linen cords. The wheels are worked by winding soft coarse linen thread round pencils or smooth knitting-pins of various sizes, and working over the circle thus obtained a succession of close button-hole stitches. These wheels are sewn on to the lace when completed. The groundwork of Spanish lace is usually worked in what are called Raleigh Bars (see page 447), but this lace has sometimes for groundwork point de Venise. An easy mode of working this handsome lace is to trace the design upon very fine good linen; raise the thick parts as above directed, and embroider the whole in fine thick scalloped button-hole stitch; fill the ground with Raleigh bars, or, as shown in illustration No. 455, in treble point de Venise, and cut away the linen from beneath the ground-work.

No. 455.--SPANISH POINT LACE features raised scrolls, flowers, etc. This is achieved by working over a base of coarse white thread or fine white linen cords. The wheels are created by wrapping soft coarse linen thread around pencils or smooth knitting pins of various sizes, and then working a series of close buttonhole stitches over the circle formed. Once completed, these wheels are sewn onto the lace. The base of Spanish lace is usually made using what are known as Raleigh Bars (see page 447), but occasionally, this lace uses point de Venise as the groundwork. A simple way to create this beautiful lace is to trace the design onto very fine quality linen; raise the thick areas as directed above, and embroider the entire piece with fine thick scalloped buttonhole stitches; fill the background with Raleigh bars or, as illustrated in No. 455, in treble point de Venise, and cut away the linen from beneath the groundwork.

Spanish Point Lace (Worked à l'Anglaise).

[469]

WHEELS AND ROSETTES.

Wheels and Rosettes.

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

Wheels or rosettes are used to fill circles or, when combined, to create lace. The simplest is--

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

THE SORRENTO WHEEL.--Nos. 456 and 457.--To create this pattern, start by securing the thread according to the letters provided. Begin by fastening it at point a, then at point b, and bring it back to the center of the first bar you've made by wrapping it around. Secure the cotton at point c, and once again return to the center by winding it around the bar. Continue this process; then weave over and under the bars created, similar to how it's done in English lace. See page 462, and illustrations Nos. 456 and 457.

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

No. 458.--ENGLISH WHEEL.--This is operated in the same way as the Sorrento wheel, but instead of winding the thread over and under the bars, the needle is placed under each bar and pulled out again between the thread and the last stitch; this creates a type of button-hole stitch and gives the square, firm look that this wheel has.

[470]

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

No. 459.--ROSETTE IN POINT D'ANGLETERRE.--This rosette is created in a way that's somewhat similar to the wheel described above, the difference being that after each stitch goes around and under the bars, the thread is wrapped loosely in the opposite direction, as illustrated in No. 459, before moving on to make the next stitch.

No. 460 is a rosette or star which is used to fill circles of braid, and forms the centre of many modern point lace patterns. It is worked upon [471] a pattern traced and pricked in small holes at equal distances. Two threads are employed, one coarse tracing thread, the other of finer thread. The coarse thread is laid on thus:--Pass the needle containing the fine thread, No. 12, through one of the pricked holes, over the tracing thread and back through the same hole; repeat, following the traced outline until the whole of the coarse thread is laid over the outline, then work over in tight button-hole stitch with picots or purls, as on the Raleigh bars (see page 477). This mode of laying on tracing or outlining thread is also applied to fine braid and to point lace cord, as in the alphabet No. 400 (see page 500).

No. 460 is a rosette or star used to fill circles of braid and serves as the center for many modern point lace patterns. It is worked on [471] a pattern that is traced and pricked with small holes at equal distances. Two threads are used: one coarse tracing thread and one finer thread. The coarse thread is laid on like this: Pass the needle with the fine thread, No. 12, through one of the pricked holes, over the tracing thread, and back through the same hole; repeat this, following the traced outline until the coarse thread is laid over the entire outline. Then, work over it in tight buttonhole stitch with picots or purls, similar to the Raleigh bars (see page 477). This method of laying on the tracing or outlining thread is also used for fine braid and point lace cord, as in the alphabet No. 400 (see page 500).

Rosette for centre of Point Lace Circles.

BARS.

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

The word Bar refers to the different stitches used to join together the various parts of point lace work, and the beauty of the piece relies heavily on the type of bar and how well it matches the lace stitches used. The simplest bar is--

[472]

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

No. 461.--THE SORRENTO BAR.--It is made from right to left, with a straight thread stretched across and secured with a stitch. The return row involves a simple twist under and over the straight thread; three of these bars are typically placed closely together at equal intervals between each group. The thread is sewn over the braid when moving from one point to another.

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

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

No. 463.--D ALENCON BARS are worked upon point de Bruxelles edging, and [473] are only applied to the inner part of a pattern, never being used as groundwork bars. The thread is merely passed three times over and under the point de Bruxelles stitches, the length of these bars being regulated by the space to be filled; when the third bar is completed a tight point de Bruxelles stitch is used to fasten off the bar, the thread is passed through the next point de Bruxelles stitch, and a second bar begun.

No. 463.--D ALENCON BARS are made using point de Bruxelles edging, and [473] are only applied to the inner part of a pattern, never used as groundwork bars. The thread is simply passed three times over and under the point de Bruxelles stitches, with the length of these bars determined by the area that needs filling; when the third bar is finished, a tight point de Bruxelles stitch is used to secure the bar, the thread is passed through the next point de Bruxelles stitch, and a second bar is started.

No. 464.--THE VENETIAN BAR is so simple that it hardly needs description. It is worked over two straight threads in reverse button-hole stitch.

No. 464.--THE VENETIAN BAR is so straightforward that it barely requires explanation. It's made using two straight threads in reverse buttonhole stitch.

[474]

No. 465 shows the Venetian bar applied as the "veining" of leaf, and worked upon Sorrento bars.

No. 465 shows the Venetian bar used as the "veining" of the leaf, and applied to Sorrento bars.

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

No. 466.--VENETIAN BARS are created to form squares, triangles, etc., using button-hole stitch on a straight thread. The arrow in the illustration indicates the direction for stitching the next one.

No. 467.--BARS OF POINT D'ANGLETERRE.--These bars may be worked singly or to fill up a space, as in illustration. Work rosettes as in point d'Angleterre, page 461; when each rosette is finished [475]twist the thread up the foundation thread to the top, fasten with one stitch, then pass it under the parallel line running through the centre and over into the opposite braid; repeat on each side of each rosette, inserting the threads as in illustration.

No. 467.--BARS OF POINT D'ANGLETERRE.--These bars can be worked individually or to fill a space, as shown in the illustration. Create rosettes like those in point d'Angleterre, page 461; once each rosette is complete, [475]twist the thread up the foundation thread to the top, secure it with one stitch, then pass it under the parallel line that runs through the center and over into the opposite braid; repeat on each side of each rosette, inserting the threads as illustrated.

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

No. 468.--POINT DE VENISE BARS (EDGED).--Start on the right side and run a line of thread to the left edge of the braid, securing it with one tight stitch of point de Bruxelles. Along this line, create a series of tight point de Bruxelles stitches. For every third stitch, add one point de Venise stitch.

[476]

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

No. 469.--We now come to the most important feature of BARS--the dot, picot, or purl, as it is known by all these names. This dot is created in various ways on different lace bars. Dotted point de Venise bars are made as follows:--

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

Stretch the thread from right to left, and then make five tight stitches of point de Bruxelles. Next, insert a pin into the last stitch to keep it open and loose. Pass the needle under the loose stitch and over the thread, as shown in illustration No. 469, and in this loop, make three tight point de Bruxelles stitches. After that, make five more stitches and repeat until the end of the row.

No. 470 shows a dot or picot upon a Sorrento bar worked between rows of [477] point de Bruxelles, three twisted stitches being worked into the loop left by the twisted thread; this forms a picot resembling satin stitch in appearance.

No. 470 features a dot or picot on a Sorrento bar created between rows of [477] point de Bruxelles, with three twisted stitches worked into the loop left by the twisted thread; this creates a picot that looks similar to a satin stitch.

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

Nos. 471 and 472.--RALEIGH BARS are made over a base or network of thick thread, twisted in places to make it easier to shape them as needed.

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

By following the numbers from 1 to 21 in No. 472, a square area can be easily filled, and parts of this setup can be used to create the base of any shape you want. On this base, tight point de Bruxelles stitches are done, and the dot can be made in one of the following ways:--

DOT or PICOT:--

DOT or PICOT:

1st Mode: Five tight point de Bruxelles stitches, one loose point de Bruxelles; pass the needle under the loop and over the [478] thread, as shown in point de Venise bars No. 469, draw up, leaving a small open loop as in tatting. Work five tight point de Bruxelles and repeat.

1st Mode: Make five tight Brussels stitches, one loose Brussels stitch; pass the needle under the loop and over the [478] thread, as demonstrated in Venise bars No. 469, then pull it tight, leaving a small open loop like in tatting. Do five tight Brussels stitches again and repeat.

2nd Mode: Proceed as above, but instead of continuing the tight stitches work two or three tight stitches in the loop thus formed, and repeat.

2nd Mode: Follow the same steps as above, but instead of continuing with the tight stitches, make two or three tight stitches in the loop that is created, and then repeat.

3rd Mode: Work four tight point de Bruxelles stitches, one loose, through which pass the needle point, wind the thread three or four times round the point, as shown in illustration No. 473, press the thumb tightly on this, and draw the needle and thread through the twists. This is a quick mode of making the picot, and imitates most closely the real Spanish lace.

3rd Mode: Work four tight point de Bruxelles stitches, one loose, through which pass the needle point, wind the thread three or four times around the point, as shown in illustration No. 473, press your thumb tightly on this, and draw the needle and thread through the twists. This is a quick way to make the picot and closely mimics real Spanish lace.

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

Illustration No. 473 also shows how this stitch can be used as a regular base, but the beauty of traditional point groundwork bars is their variety of shapes.

[479]

EDGES AND PURL FINISH.

Edges and purl finish.

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

The right edge finish of lace is a crucial aspect of this craft, and it's important to create the appropriate edge for each type of lace. Sorrento edging should be applied to Limoges lace. Spanish lace needs a full, rich edge, as shown in No. 478, etc. The easiest edge is point de Bruxelles, which is worked similarly to stitch No. 433 and is fastened with a knot in the braid. Many lace-makers skip this knot.

[480]

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

No. 475.--SORRENTO EDGING is created by alternating between one short stitch and one long stitch.

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

No. 476.--POINT DE VENISE is done exactly like that stitch (see page 456), with three or even four stitches being worked in the loop.

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

No. 477.--POINT D'ANGLETERRE EDGING is made using point de Bruxelles, with the thread being pulled through the braid before starting the next stitch. This edging is durable and practical.

No. 478.--POINT D'ESPAGNE EDGING.--This stitch is easily worked. Insert [481] the point of the needle through the braid and wind the thread round it 20 times, draw the needle through these windings and draw the picot tight, sew over the braid the space of 3 stitches, and repeat.

No. 478.--POINT D'ESPAGNE EDGING.--This stitch is easy to do. Insert [481] the tip of the needle through the braid and wrap the thread around it 20 times, pull the needle through these wraps, and tighten the picot. Sew over the braid for 3 stitches, then repeat.

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

No. 479.--ANTWERP EDGE.--This edge is just a type of point d'Angleterre edging and only differs in how the knot is made; the thread is passed over, under, and through the loop created by the point de Bruxelles lace.

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

NOTE.--You’ll notice that the stitches shown here are much larger to clearly highlight the details.

POINT LACE PATTERNS.

[482]

No. 480.--Star in Point Lace.

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

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

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

Trace the outline on paper or leather, place the braid as instructed. Create the center with Sorrento bars, and on these, make a rosette in point d'Angleterre, with the edge in point d'Angleterre edging, and the wheels in open English lace.

No. 481.--Medallion in Point Lace.

No. 481.--Point Lace Medallion.

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

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

This medallion is useful for cravat ends and for a number of purposes, as trimming for sachets, dresses, &c. Having placed the braid as before directed, work an English rosette in the centre, fill in the ground with [483] point de fillet or with point de Bruxelles. An edging of Spanish point completes this pretty medallion.

This medallion is great for the ends of cravats and has several uses, like trimming for sachets, dresses, etc. After placing the braid as previously directed, create an English rosette in the center, and fill the background with [483] point de fillet or point de Bruxelles. A edging of Spanish point finishes off this lovely medallion.

No. 482.--Point Lace Border.

No. 482.--Point Lace Trim.

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

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

This border represents the completed work shown on p. 454. A point [484] d'Angleterre rosette is worked in each circle. The plain braid is edged by Sorrento edging. Venice bars are worked above the trimming, and treble point de Venise edges the border.

This border shows the finished design on p. 454. A point [484] d'Angleterre rosette is created in each circle. The plain braid is outlined with Sorrento edging. Venice bars are placed above the trim, and treble point de Venise finishes the border.

No. 483.--Point Lace Border.

No. 483.--Point Lace Trim.

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

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

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

This edge is both easy and quick to create in Sorrento bars. The border is done in two rows of point de Bruxelles.

No. 484.--Insertion in Limoges Lace.

No. 484.--Limoges Lace Insertion.

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

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

This insertion will be found very useful, being so quickly worked. [485] Edge the braid with Sorrento edging, fill up with bars and plain point d'Alençon and Sorrento wheels, No. 456.

This addition will be very helpful since it can be completed quickly. [485] Trim the braid with Sorrento edging, and fill it in with bars and plain point d'Alençon and Sorrento wheels, No. 456.

No. 485--Point Lace Border for Handkerchief.

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

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

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

This border is perfect for a handkerchief or for adding detail to a square bodice. Instead of using stitches down the center like traditional point lace braids, the braid is attached by threading from underneath over the braid and back through the same hole, similar to how lace-makers use a thick thread; this creates the design. The stitches used in this pattern include Raleigh bars, which link the work together; Sorrento edging, which completes the entire outline; and English rosettes, which fill in the open spaces. Point lace cord can be used instead of braid for this.

[486]

[487]

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

No. 486.--Star-Center for Toilet Cushions in Point Lace.

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

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

Star-centre for Toilette Cushion in Point Lace.

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

This beautiful star can be used for more than just a cushion cover; here's how to make it: start with an English rosette in the center; use Sorrento wheels in the four ovals, worked with No. 12 thread; create a point de Bruxelles ground with No. 16 thread; and trim the edges with dotted Venetian borders. You can fill the eight spaces with 2 or 4 contrasting stitches, making sure they contrast well and are placed alternately, also using No. 12 thread.

[488]

[489]

487.--Cravat End in Point Lace.

487.--Point Lace Cravat End.

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

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

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

This cravat is made with Sorrento wheels, point d'Alençon bars, and Sorrento edging.

488 and 489.--Point Lace Edgings.

488 and 489.--Point Lace Edges.

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

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

These edgings can be used as a finish to insertions and other trimmings or for edging couvrettes. No. 488 is worked with Sorrento wheels; the edge in two rows of point de Bruxelles, a straight thread being drawn [490] from the end to the beginning of each scallop over which the second row is worked. No. 489 is worked with the same materials in treble point de Venise, edged by the same, and finished off with a row of point de Bruxelles, the upper edge being worked in the same way.

These edges can be used to finish insertions and other trimmings or for edging covers. No. 488 is made with Sorrento wheels; the edge features two rows of Brussels stitch, with a straight thread being drawn [490] from the end to the beginning of each scallop over which the second row is created. No. 489 is made with the same materials in triple Venetian stitch, edged in the same way, and finished with a row of Brussels stitch, with the upper edge worked in the same manner.

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

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

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

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

This design can be used for many different purposes and is very effective. The main stitches needed are listed on the sides of the pattern. a is Valenciennes lace, b Brussels net, c Venetian spotted, d Sorrento edging, e Mechlin wheel, f English rosette, g Raleigh bars.

[491]

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

[492]

491.--Oval for Cravats, &c.

491.--Oval for Ties, etc.

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

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

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

This beautiful oval is created using point lace and embroidery. It starts from the center on the muslin by overcasting the area filled by a wheel. The eyelet holes are then worked, and the satin stitch ornament is raised and prepared for stitching. The edge, made of point lace cord, is laid down, and the underside is edged in both tight and open point de Bruxelles, with the center of the circles worked in point de Bruxelles. The light background is completely done in Mechlin wheels, with the satin stitch added once these are finished. This pattern can be enlarged and used for various purposes. The muslin is cut away once the entire piece is complete.

Oval Pattern for Ornamenting Cravats, &c.

492.--Point Lace Trimming for Square Bodice.

492.--Point Lace Trim for Square Bodice.

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

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

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

We offer two sizes of thread because this design can be used in various ways, and the thread size varies accordingly. The pattern is created using English rosettes and bars (see No. 467). The No. 488 edging complements this pattern nicely.

[493]

[494]

493--Point Lace Collar.

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

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

[495]

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

Set on the braid or cord by threading through a hole made in the pattern over the braid and then back out through the same hole. Finish the braid with point de Bruxelles, using Mechlin wheels, Sorrento wheels, point de feston, and the mixed stitch from No. 494, which includes d'Alençon and Sorrento bars and is simple to do. If you find Mechlin wheels difficult to work with, you can replace them with close English, as shown in illustration No. 495. The bars are Sorrento.

[496]

[497]

496.--Point Lace Collar.

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

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

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

This collar is made in the same way as No. 493, although the stitches are different. The Grecian line is done in point de reprise, the pattern features close English wheels, point de reprise, point de Bruxelles, English rosettes, and Raleigh bars.

497.--Point Lace Lappet.

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

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

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

This lappet is really pretty. It's made up of the following stitches: Point d'Alençon, point de tulle, English rosettes, Sorrento bars, d'Alençon bars, dotted Venise bars, and the fancy stitch point d'Anvers, which isn’t a true point lace stitch, but is widely used in modern point.

[498]

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

Point Grecque is another helpful type of fancy stitch that’s easy to work, making it a favorite among beginners.

[499]

[500]

500 to 502.--Alphabet in Point Lace. (See end papers.)

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

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

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

This alphabet is great for personalizing pocket handkerchiefs and adding initials to sachets, etc. The cord is placed on the pattern and marked by threading a needle up through a hole over the cord and back down through the same hole. Then, move to the next hole and repeat. The holes should be about an eighth of an inch apart, or closer if the pattern is detailed. The letters are stitched using point de Bruxelles, point d'Alençon, and dotted Sorrento bars. No. 501 displays the letter A significantly enlarged to demonstrate how to work it.

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

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

Point lace cord runs about twelve yards to the hank.

Point lace cord runs about twelve yards to the bundle.

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

Point lace edged braid comes in thirty-six yard lengths on cards.

Plain linen twelve yards in each hank.

Plain linen, twelve yards in each bundle.

[501]

[502]

GUIPURE D'ART

[503]

INSTRUCTIONS AND PATTERNS IN GUIPURE D'ART

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

Ancient Guipure was a lace made from thin vellum, adorned with gold, silver, or silk thread, and the name Guipure comes from the silk twisted around the vellum. Over time, the use of vellum stopped, and it was replaced with a cotton material. In England during the sixteenth century, Guipure lace was referred to as intelle à cartisane. Various modern laces are called Guipure, but this term is used incorrectly, as Guipure lace specifically refers to the kind where one thread is twisted around another thread or a different material, similar to the ancient Guipure d'Art.

In every design where lace can be introduced, Guipure d'Art will be found useful. It looks particularly well when mounted upon quilted silk or satin. The squares, when worked finely, look well as toilet-cushions, or, if worked in coarser thread, make admirable couvrettes, and as covers for eider-down silk quilts are very elegant. Guipure squares should be connected by guipure lace, crochet, or tatting, or they may be [504] edged with narrow guipure lace and joined at the corners only when placed over coloured silk or satin; thus arranged, a sofa-cushion appears in alternate squares of plain and lace-covered silk; a ruche of ribbon and fall of lace to correspond completes this pretty mounting.

In every design where lace can be incorporated, Guipure d'Art will be quite useful. It looks especially good when paired with quilted silk or satin. The squares, when delicately made, work well as toilet cushions, or, if made with a thicker thread, create excellent coverlets, and as covers for down silk quilts, they are very elegant. Guipure squares should be connected using guipure lace, crochet, or tatting, or they can be [504] trimmed with narrow guipure lace and only joined at the corners when placed over colored silk or satin; when arranged this way, a sofa cushion features alternating squares of plain and lace-covered silk, and a ribbon ruffle along with a fall of lace to match completes this lovely presentation.

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

Not one of the least important attractions of Guipure d'Art is the speed at which it’s made and the ease with which talented workers create new patterns.

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

GUIPURE D'ART is a replica of the famous ancient Guipure Lace, created with raised and intersecting patterns on a square mesh of linen thread, using Mecklenburg thread of different sizes for this purpose. The needles used are blunt and have large eyes to accommodate the linen thread.

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

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

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

The netted foundation, or "fillet," that this elegant work is embroidered on can be made by ladies quite easily and at a much lower cost than if purchased ready-made.

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

The square is made by netting with coarse No. 2 or fine No. 10 thread over a mesh that measures three-quarters of an inch or more, in rows back and forth. Start with 2 stitches and add 1 at the end of each row until you have one more stitch than needed for the number of holes. So, if you need a square of 26 holes, keep increasing until you reach 27 stitches, then decrease by 1 at the end of each row until only 2 stitches are left. The last 2 stitches are tied together without making a new stitch.

The completed foundation is laced upon the frame, taking the lacing cotton through the double edge formed by the increased and decreased [505] stitches. If the four corners of the netting are tied at each corner of the frame before beginning the lacing, that operation is greatly facilitated. The netting should be laced as tightly as possible, it being far easier to darn on than when loose.

The finished foundation is attached to the frame by threading the lacing cotton through the doubled edge created by the increased and decreased [505] stitches. If you tie the four corners of the netting to each corner of the frame before starting the lacing, it makes the process much easier. The netting should be laced as tightly as possible, as it’s much easier to repair it when it’s tight than when it’s loose.

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

Women who want to excel in working guipure d'art should practice each stitch until they achieve perfect consistency and speed in their execution. Spending two or three hours on this at first will not be a waste of time, as the most intricate patterns will be done with ease once the stitches are mastered.

[506]

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

The Mecklenburg thread from Walter Evans and Co., based in Derby, is a better color than any other because it closely matches the shade of the old guipure lace.

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

It is sold only in spools of 200 yards each, and the numbers run as follows: No. 2, 4, 6, 8, 10, 12, 16, 20; No. 2 being the coarsest and No. 20 the finest.

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

The main stitches used in guipure d'art are POINT D'ESPRIT, POINT DE TOILE, POINT DE FESTON, POINT DE REPRISE, POINT DE BRUXELLES, and WHEELS and STARS. POINT D'ESPRIT is worked with finer cotton than the foundation, for example, No. 10 on a foundation of No. 6. It consists of a series of small loops, which will be clearly shown in the illustration. The learner should start from the mark * No. 503, work a row of loops to the needed length, turn the frame, and create loops on the opposite half of each square that intersect the first worked loops in the center of each space in the netting. A close look at Nos. 503 and 506 will explain this better than words can.

POINT DE TOILE, or LINEN STITCH, is plain darning under and over each thread; this forms a fine close groundwork, and is much used in guipure [507] d'art. Care should be taken to keep the same number of stitches in each square, both along and across; the number of threads shown in illustration No. 504 is 4 only, but 6 and even 8 are used in many netted foundations in fine patterns.

POINT DE TOILE, or LINEN STITCH, is basic darning done under and over each thread; this creates a fine, tight base and is commonly used in guipure [507] d'art. It’s important to maintain the same number of stitches in each square, both horizontally and vertically; the number of threads shown in illustration No. 504 is just 4, but 6 and even 8 are used in many netted foundations with intricate patterns.

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

POINT DE FESTON is created using a series of overcast stitches, as shown in illustration 506, which clearly demonstrates how to do it. The frame is turned with each stitch, the stitches are placed across the squares, and they increase in length at the top of the square.

[508]

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

POINT DE REPRISE, or DARNING, is done by stretching 2 or 3 threads over 1, 2, or more squares. The thread is stitched over and under, and the needle is used to adjust the last stitch while moving on to create the next one. This stitch is really easy to learn. It's always done with thicker thread than the base fabric; No. 2 thread should be used for a rough background. No. 510 demonstrates this stitch being used to create stars, shapes, etc.

[509]

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

POINT DE BRUXELLES, as shown on pages 506 and 507, is a type of loose buttonhole stitch used to create various patterns and fill in squares. It also creates "leaves" by reducing the number of stitches each row until the leaf ends in a point. Nos. 509 and 510 clearly illustrate this stitch.

[510]

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

WHEELS are simple to create, starting from the center. Four threads are laid across, as illustrated in design No. 511; the thread is twisted when returning to the center, and the wheel is shaped by threading under and over the netting and the crossing threads. It's secured at the back of the individual wheels.

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

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

[511]

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

STARS come in different shapes, as shown in Nos. 516, 517, 518, 519, and 520.

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

No. 516 is done in festoon stitch (see page 507) around a single square hole, which is filled in by a small wheel or rosette.

No. 517 is worked in point de feston and point de Bruxelles, [512] alternately round a centre simply crossed by point d'esprit threads.

No. 517 is done in decorative stitches and Brussels stitch, [512] alternately around a center simply crossed by spirit threads.

No. 518 is more elaborate, and is worked thus:--Begin at the place marked a; twist the linen thread 3 times round the nearest thread, draw it on to the knot b; repeat this 3 times, following the order of the letters; twist the linen thread also between the threads, as can be [513] seen from the illustration, and fasten it underneath the knot a; for the wheel fasten on the cotton afresh and work the remaining pattern in darning stitch (point de reprise).

No. 518 is more detailed and is worked like this: Start at the spot marked a; twist the linen thread 3 times around the nearest thread, then pull it up to the knot b; repeat this 3 times, following the order of the letters; also twist the linen thread between the threads, as can be [513] seen from the illustration, and secure it underneath the knot a; for the wheel, reattach the cotton and continue with the remaining pattern in darning stitch (point de reprise).

No. 520 consists of a double cross formed by twisted loops of linen thread. Copy these loops exactly from illustration 520.

No. 520 consists of a double cross made from twisted loops of linen thread. Copy these loops exactly from illustration 520.

[514]

One part of the straight cross lies underneath, then comes the slanting cross, and lastly, the other part of the straight cross.

One part of the straight cross is underneath, then there's the slanting cross, and finally, the other part of the straight cross.

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

In the center, the loops of linen thread are secured with two rounds of stitches. (See illustration 520).

[515]

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

OVERCAST STITCH is done like embroidery overcast and creates the stems of the flowers and leaves of guipure d'art; it's worked over one or two thick threads. It's used in No. 530 and makes the triangles in the center of the middle squares.

521.--Insertion in Guipure d'Art.

Insertion in Guipure Lace.

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

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

For the netted foundation, which is six holes wide, begin at one corner with 2 stitches, work 5 rows, at the end of each of which increase 1 stitch, continue to work the strip with the same number of stitches, alternately decreasing 1 at the end of one row and increasing 1 at the end of the next. For decreasing net 2 stitches together, for increasing net 2 stitches in the same hole. When the strip is sufficiently long, complete it by decreasing in the same proportion as the increasing at the beginning. As the pattern is so clearly shown in the illustration, it will be very easy to work from it. It is worked in point de feston [516] and star wheels; the border is in point d'esprit. The insertion is finished on either side with a row of button-hole stitches.

For the netted foundation, which is six holes wide, start at one corner with 2 stitches, work 5 rows, and at the end of each row, increase by 1 stitch. Keep working the strip with the same number of stitches, alternately decreasing by 1 at the end of one row and increasing by 1 at the end of the next. To decrease, knit 2 stitches together; to increase, knit 2 stitches in the same hole. When the strip is long enough, finish it by decreasing in the same way you increased at the beginning. Since the pattern is clearly shown in the illustration, it should be easy to follow. It's worked in point de feston [516] and star wheels; the border is in point d'esprit. The insertion is finished on both sides with a row of button-hole stitches.

522.--Lace Border in Guipure D'Art.

522.--Guipure D'Art Lace Border.

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

Material: Mr. Walter Evans and Company's Mecklenburg thread No. 8 or 10.

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

This border can be used for different purposes; it creates a nice edge for toilet cushions if done in fine thread, and looks just as good for trimming coverlets, etc., in No. 2 thread. The netting is nine holes wide, the stitches used are point d'esprit and point de feston, the edge is in buttonhole stitch, and the netted area is cut away outside the scallops.

[517]

523.--Square for D'Oyley

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

Materials: Frame; 1 piece of netting; Mecklenburg reel thread sizes 8 and 10; needle size 6.

This square may be used to form part of a couvrette, or a d'oyley, or pincushion. The three other corners of the square are worked exactly like the one seen in illustration; the rosette in the centre is shown in full size. The square is worked in point d'esprit, linen stitch, and [518] point de reprise. Each of the leaves of the foliage is worked in one hole of the netting; they are worked by throwing the cotton three times across the hole, and working darning stitch on them. The stem is worked in overcast on the thread of the netting. The daisy in the centre is worked like the leaves, each leaf taking up one or more holes of the netting.

This square can be used to create a couvrette, or a d’oyley, or a pincushion. The other three corners of the square are done just like the one shown in the illustration; the rosette in the middle is displayed in full size. The square is made using point d'esprit, linen stitch, and [518] point de reprise. Each leaf of the foliage is made in one hole of the netting; they are created by looping the cotton three times across the hole and using a darning stitch on them. The stem is finished with an overcast stitch on the thread of the netting. The daisy in the center is made like the leaves, with each leaf occupying one or more holes of the netting.

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

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

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

Materials: Walter Evans and Co.'s Mecklenburg thread No. 2 for coverlets, No. 8 for pillowcases, No. 16 for lace edgings.

These corner borders are suitable for pillow-cases or small couvrettes; the stitches worked on these patterns are linen stitch, darning stitch, [519] point de Bruxelles, and wheels. The edge is formed by buttonhole stitches. The netting is cut away after these are worked.

These corner borders are great for pillowcases or small blankets; the stitches used in these patterns are linen stitch, darning stitch, [519] point de Bruxelles, and wheels. The edge is finished with buttonhole stitches. The netting is cut away after these are done.

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

Insertion Strip in Art Guipure.

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

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

This strip of insertion is 8 stitches wide, and is worked in zigzag lines of point de feston, with a border of point d'esprit and point de toile; a four-point star occupies the centre of the triangle left by the zigzag line. This pattern is so easy to work that it hardly needs [520] description, the only part requiring care being the squares of point de feston; these are begun in the centre, and the thread should be drawn rather tightly so as to form a good square.

This strip of insertion is 8 stitches wide and is worked in zigzag lines of scalloped stitches, with a border of mesh and plain stitches; a four-point star sits in the center of the triangle created by the zigzag line. This pattern is so easy to work that it hardly needs [520] description, with the only part needing attention being the squares of the scalloped stitches; these are started in the center, and the thread should be pulled fairly tightly to form a nice square.

Pattern for a strip of Insertion in Guipure d'Art.

[521]

527.--Small Square.

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

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

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

Work over a mesh measuring 2-1/10 inches around the foundation of each square, which has seven stitches in length and the same in width. It is stitched in darning stitch, point d'esprit, and wheels. The outer edge is finished in buttonhole stitch. Larger squares are made the same way, just a few rows bigger in length and width. The squares are stitched together with a few stitches and attached to the pincushion or any item they are meant to decorate.

528.--Insertion in Guipure d'Art.

528.--Insertion in Guipure Art.

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

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

This strip of insertion is very pretty, and can be used for all kinds of [522] lingeries. The size of the material depends, of course, on the use to be made of the insertion. The guipure pattern is worked in linen stitch and point d'esprit, the raised leaves in darning stitch. The edges are worked round with buttonhole stitches.

This strip of fabric is really nice and can be used for all kinds of [522] lingerie. The size of the material depends, of course, on how the fabric will be used. The guipure pattern is done in linen stitch and point d'esprit, with the raised leaves in darning stitch. The edges are finished off with buttonhole stitches.

529.--Rosette in Guipure d'Art.

529.--Guipure d'Art Rosette.

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

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

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

This rosette is made using point de toile and small wheels. A larger wheel takes up the center and is decorated with a round of overcasting.

[523]

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

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

Materials: One guipure frame; Mecklenburg thread sizes 6 and 12; needle size 7.

This pattern shows, in full size, one quarter of a square in guipure d'art. The outer border is in point d'esprit, then comes a border in linen stitch. There are large stars in the corners; these stars are worked in raised darning stitch only, and fastened on the netting at the points of each brand; in the centre of the star there is a wheel (see No. 515) edged with buttonhole stitch. The pattern for the centre, one quarter of which only is seen in the illustration, consists of 4 branches forming small triangles in point de Bruxelles, 4 open-worked [524] stars or wheels worked over 4 holes of the netting, and a four-branched centre of point de feston with a wheel in the middle.

This pattern shows, in full size, one quarter of a square in guipure d'art. The outer border is in point d'esprit, followed by a border in linen stitch. There are large stars in the corners; these stars are made using raised darning stitch only, and attached to the netting at the points of each star; in the center of the star, there is a wheel (see No. 515) trimmed with buttonhole stitch. The pattern for the center, of which only one quarter is visible in the illustration, includes 4 branches forming small triangles in point de Bruxelles, 4 open-worked [524] stars or wheels created over 4 holes of the netting, and a four-branched center of point de feston with a wheel in the middle.

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

531 and 532.--Guipure Art Square Patterns.

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

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

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

No. 531. The outer border of this lovely square is done in point d'esprit, the inner border in point de toile; then comes a circle of small wheels or rosettes.

For these, fasten the cotton to one of the knots of the first square stitch of this round, work one loop upon each of the three other knots, so as to form a slanting cross; then work round the centre point of the [525] cross, passing alternately under and over its branches, then twist the cotton over the threads of the foundation until the next square is reached, and begin another wheel.

For this, attach the cotton to one of the knots of the first square stitch of this round, make a loop on each of the three other knots to create a slanting cross; then work around the center point of the [525] cross, going alternately under and over its branches, then twist the cotton over the threads of the foundation until you reach the next square, and start another wheel.

The centre of No. 531 is composed of wheels and point de reprise; the pattern round the centre is worked in point de feston, differing a little from that given on pages 505 and 506, but the illustration clearly shows the difference.

The center of No. 531 consists of wheels and point de reprise; the design around the center is done in point de feston, slightly different from what’s shown on pages 505 and 506, but the illustration clearly highlights the difference.

No. 532 has similar borders to No. 531; the centre is occupied by a star (see page 512) in point de feston; four large wheels surround this; the square stitches between are filled with small wheels and with groups of long loops, fastened together in sheaves. Point d'esprit and point de toile, worked one way only, complete this square.

No. 532 has similar borders to No. 531; the center features a star (see page 512) in point de feston; four large wheels surround this; the square stitches in between are filled with small wheels and clusters of long loops, tied together in sheaves. Point d'esprit and point de toile, worked in one direction only, complete this square.

[526]

533 to 536.--Four Patterns in Guipure d'Art.

533 to 536.--Four Patterns in Guipure d'Art.

Material: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 2 or 16, according to the size of the work.

Material: Walter Evans and Co.'s Mecklenburg thread No. 2 or 16, depending on the size of the project.

These four patterns will be found useful for filling up small squares, or for varying the usual groundwork of point d'esprit.

These four patterns will be helpful for filling in small squares or for adding variety to the usual background of point d’esprit.

No. 533 is a succession of point de feston stitches, which half fill each square of the netting. This pattern must be worked with great regularity.

No. 533 is a series of scalloped stitches that partially fill each square of the netting. This pattern needs to be done with precision.

[527]

No. 534 consists of a kind of double point d'esprit.

No. 534 is made up of a type of double point d'esprit.

No. 535 is a thread twisted and taken across each square, and resembles lace stitches.

No. 535 is a thread twisted and taken across each square, and looks like lace stitches.

No. 536 is a succession of small close wheels, intermingled with point d'esprit. This grounding is very effective.

No. 536 is a series of small, tightly spaced wheels, mixed with point d'esprit. This foundation is very effective.

537.--Lace Border for Veils, &c.

537.--Lace Trim for Veils, etc.

Materials: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 16; strip of square netting of the required length; oblong frame.

Materials: Walter Evans and Co.'s Mecklenburg thread No. 16; a strip of square netting of the needed length; an oblong frame.

This simple border is easily and quickly worked. The edge is overcast, [528] the ground worked in point d'esprit, the border in point de toile, and the pattern in point de reprise. When completed the netting is cut away from the overcast edge.

This simple border is easy and quick to make. The edge is overcast, [528] the background is made with point d'esprit, the border is in point de toile, and the design is in point de reprise. Once finished, the netting is cut away from the overcast edge.

538 and 538a.--Squares in Guipure d'Art.

Materials: 2 squares of netting of 8 holes; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 10 or 16, according to the fineness required.

Materials: 2 squares of netting with 8 holes; Walter Evans and Co.'s Mecklenburg thread No. 10 or 16, depending on how fine you need it.

These squares are very pretty for cravat ends, cuffs, or handkerchiefs. They are worked on netting with very fine cotton in the usual manner, [529] beginning on two stitches in one corner The different stitches of the guipure darning can be distinctly seen in illustration, and are point de feston, point de reprise, point de toile, and point d'esprit on No. 538, and the same stitches surround a wheel in No. 538a.

These squares are really nice for cravat ends, cuffs, or handkerchiefs. They're made using fine cotton on netting, starting with two stitches in one corner. You can clearly see the different stitches of the guipure darning in the illustration: point de feston, point de reprise, point de toile, and point d'esprit in No. 538, and the same stitches circle a wheel in No. 538a.

539.--Insertion in Guipure d'Art.

539.--Insertion in Art Guipure.

Materials: Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 8 to 16; strip of netting length, required.

Materials: Walter Evans and Co.'s Mecklenburg thread Sizes 8 to 16; length of netting strip needed.

This insertion is worked in point de toile, and wheels worked in point de feston. The ground in point d'esprit.

This insertion is done in point de toile, and the wheels are made with point de feston. The background is in point d'esprit.

[530]

540 and 541.--Square in Guipure Point de Venise (Reticella)

Materials: Coarse or fine linen; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 4 or 12.

Materials: Coarse or fine linen; Walter Evans and Co.'s Mecklenburg thread No. 4 or 12.

Quarter Square in Reticella Work (Enlarged).

This square is worked in the so-called point de Venise, together with other squares; it is very pretty for covers, toilet cushions, &c. It is [531] worked on coarse or fine linen, according to the use you wish to make of it. Prepare a square piece of linen, by drawing out long and cross threads, so as to form perfect squares. In the pattern No. 540, which is worked on fine linen, 28 threads have been drawn out, both the long and cross way; 8 squares are formed in this way each time that 28 threads have been drawn out; leave 7 or 8 threads of the ground, which form the framework. Then fasten the piece of linen on card-board, and work close [532] button-hole stitch round the inner edge Then work with darning stitch over the long and cross threads of the ground.

This square is made using point de Venise, along with other squares; it's really nice for covers, cushions, etc. It is [531] done on either coarse or fine linen, depending on how you plan to use it. Start with a square piece of linen by pulling out long and cross threads to create perfect squares. In pattern No. 540, which is done on fine linen, 28 threads are pulled out both ways; this creates 8 squares each time you pull out 28 threads. Leave 7 or 8 threads of the background to form the framework. Next, attach the piece of linen to a piece of cardboard and work closely [532] with buttonhole stitch around the inner edge. After that, use darning stitch over the long and cross threads of the background.

From No. 541, which shows the fourth part of the square 4 times larger than full size, it is easy to see how the framework is darned. When the latter is entirely darned, work the patterns in the different squares in button-hole stitch. The circular and serpentine patterns consist of 3 rows of button-hole stitch; the patterns which imitate whole rosettes and half rosettes are worked in rows of button-hole stitch. For each row the thread must be first drawn from one place to the other, as can be seen in illustration, and fastened on the framework. The knots in the last button-hole stitched row are made by working in each stitch when completed, another stitch, and drawing the cotton again through the first completed knot. It is easy, however, to work all the patterns from No. 541. The dotted lines in the right-hand corner show the direction of the patterns which are wanting there. The square is edged all round with an open-work hem, which can also be worked from No. 541.

From No. 541, which shows the fourth part of the square four times larger than full size, it's easy to see how the framework is darned. Once the framework is completely darned, work the patterns in the different squares using a buttonhole stitch. The circular and serpentine patterns consist of three rows of buttonhole stitch; the patterns that mimic whole rosettes and half rosettes are done in rows of buttonhole stitch. For each row, the thread should first be drawn from one place to another, as shown in the illustration, and then secured on the framework. The knots in the last row of buttonhole stitches are made by adding another stitch to each completed stitch and pulling the cotton through the first completed knot again. However, it's straightforward to work all the patterns from No. 541. The dotted lines in the right-hand corner indicate the direction of the patterns that are missing there. The square is bordered all around with an open-work hem, which can also be worked from No. 541.

542 and 543.--Corner Patterns in Guipure d'Art.

542 and 543.--Corner Patterns in Guipure Lace.

Material: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 14.

Material: Walter Evans and Co.'s Mecklenburg thread No. 14.

These patterns are very pretty for cushions, handkerchiefs, &c. The netted ground is to be worked from the corner. Cast on 2 stitches, and work in rows backwards and forwards, increasing 1 stitch at the end of every row. The pattern is worked in point d'esprit, linen, and darning stitch, as can be seen in illustration.

These designs are great for cushions, handkerchiefs, etc. You should start the netting from the corner. Cast on 2 stitches and work back and forth in rows, adding 1 stitch at the end of each row. The pattern is done in point d'esprit, linen, and darning stitch, as shown in the illustration.

[533]

544.--Flower for Ornamenting Cravats and Caps in Guipure d'Art.

544.--Flower for Decorating Cravats and Caps in Guipure d'Art.

Materials: Black or coloured silks, or Messrs. Walter Evans and Co.'s Mecklenburg thread No. 10.

Materials: Black or colored silks, or Walter Evans and Co.'s Mecklenburg thread No. 10.

This pattern is worked with middle-sized light-coloured purse silk in [534] guipure d'art on netting. This pattern can also be worked with white thread or black silk in point de reprise.

This pattern is made using medium-sized light-colored purse silk in [534] guipure d'art on netting. You can also use white thread or black silk in point de reprise to create this pattern.

545.--Work Basket with Covering of Darned Netting.

545.--Work Basket with Covered Darned Netting.

Materials: Bamboo cane basket; blue satin; cardboard; netting; Messrs. Walter Evans and Co's Mecklenburg thread No. 16.

This elegant basket is made of bamboo cane and blue satin, fastened on cardboard, and covered with guipure d'art. The stand of varnished bamboo is twelve inches long, seven and a half inches wide, and five and a half inches high. The case inside is made of cardboard, covered on both sides with blue satin, and the guipure d'art on the outside only. The stitches used are point de toile, point de reprise, and point d'esprit.

This stylish basket is made of bamboo and blue satin, attached to cardboard, and covered with decorative lace. The stand, made of varnished bamboo, measures twelve inches long, seven and a half inches wide, and five and a half inches high. The interior case is made of cardboard, covered on both sides with blue satin, while the lace is only on the outside. The stitching techniques used are basic stitch, catch stitch, and spirit stitch.

[535]

546 and 547.--Squares in Guipure d'Art.

546 and 547.--Guipure d'Art Squares.

Materials: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12 or 20; and point d'esprit according to the fineness required.

Materials: Walter Evans and Co.'s Mecklenburg thread No. 12 or 20; and point d'esprit based on the required fineness.

Both these square patterns are suitable for ornamenting lingerie, cravats, collars, &c. Repeated at regular intervals on a larger centre, they are likewise suitable for couvrettes, cushions, pillow-cases, &c.; they are worked in darning and linen stitch.

Both of these square patterns are great for decorating lingerie, cravats, collars, etc. When repeated at regular intervals on a larger background, they're also suitable for couvrettes, cushions, pillowcases, etc.; they are done in darning and linen stitch.

548.--Insertion in Guipure d'Art.

548.--Insertion in Guipure Lace.

Materials: Strip of netting 6 holes wide, and of the required length; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 8 or 12.

Materials: Strip of netting 6 holes wide, and of the needed length; Walter Evans and Co.'s Mecklenburg thread No. 8 or 12.

This simple insertion consists of double rows of wheels worked at each side of a strip of point d'esprit, an edge of buttonhole stitches being worked between the rows.

This simple addition features two rows of wheels on either side of a strip of point d'esprit, with a line of buttonhole stitches stitched between the rows.

[536]

550 and 551.--Squares for Antimacassar.

550 and 551.--Antimacassar Squares.

Materials: Square of netting of 12 holes; Messrs. Walter Evans and Co's Mecklenburg thread No. 8.

Materials: A square piece of netting with 12 holes; Walter Evans and Co.'s Mecklenburg thread No. 8.

No. 550 is very quickly worked. The border and groundwork in point d'esprit, the centre star in point de reprise, the pattern in point de [537] toile. Wheels fill in the four holes in the centre of the squares.

No. 550 is done very quickly. The border and background in point d'esprit, the center star in point de reprise, the pattern in point de [537] toile. Wheels fill in the four holes in the center of the squares.

No. 551 has a border in point d'esprit, the star is worked in point de feston, the other stitches are point de toile. Wheels in part of star pattern No. 518.

No. 551 has a border in point d'esprit, the star is done in point de feston, and the other stitches are point de toile. Wheels are incorporated in part of the star pattern No. 518.

552 and 553.--Borders in Guipure d'Art.

552 and 553.--Guipure d'Art Borders.

Material: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 8 or 16.

[538]

These corner borders are very suitable for couvrettes, and, worked with fine thread, for pocket-handkerchiefs. The netted ground of the borders is to be worked in the size seen in illustration; for the border No. 553 darn the ground in button-hole stitch, darning stitch, point d'esprit, and point de feston; the pattern No. 552 is worked in linen stitch and point d'esprit; small wheels are also to be worked. Both borders are to [539] be worked round in button-hole stitch; the netted ground is cut away along the outside.

These corner borders are perfect for small covers and, when done with fine thread, for pocket handkerchiefs. The netted background of the borders should be made in the size shown in the illustration; for border No. 553, use buttonhole stitch, darning stitch, point d'esprit, and point de feston to fill in the ground; pattern No. 552 is made with linen stitch and point d'esprit; small wheels should also be included. Both borders need to [539] be worked around in buttonhole stitch; cut away the netted background along the outside.

554 and 555.--Squares in Guipure d'Art.

554 and 555.--Guipure d'Art Squares.

Materials: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 20; netted squares of 7 and 8 holes.

Materials: Walter Evans and Co.'s Mecklenburg thread No. 20; netted squares with 7 and 8 holes.

These two small squares are suitable for ornamenting cravats, lappets for caps and lingeries. They are worked in darning and linen stitch. The centre part of the square, No. 554, is a small wheel covered with raised stitches.

These two small squares are perfect for decorating cravats, cap trims, and lingerie. They are done in darning and linen stitch. The center of square No. 554 features a small wheel adorned with raised stitches.

556.--Square in Guipure d'Art.

556.--Guipure d'Art Square.

Material: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12.

Material: Walter Evans and Co.'s Mecklenburg thread No. 12.

The centre of this square is worked in point de feston as well as the border; point de toile forms the groundwork of the square in the centre, round which a row of button-hole stitch is worked.

The center of this square is done in buttonhole stitch, just like the border; the base of the square in the center is made with plain stitch, around which there's a row of buttonhole stitch.

[541]

557.--Insertion in Guipure d'Art.

Insertion in Guipure Art

Materials: Strip of netting of 4 holes in width; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12.

Materials: A strip of netting that is 4 holes wide; Walter Evans and Co.'s Mecklenburg thread No. 12.

The ground of this simple pattern is worked in point d'esprit, square wheels are worked in the centre of the strip.

The base of this simple pattern is done in point d'esprit, with square wheels created in the center of the strip.

558 to 563.--Different Strips of Insertion, Rosettes and Lace, in Guipure d'Art.

558 to 563.--Various Insertion Strips, Rosettes, and Lace, in Guipure d'Art.

Materials: Fine white cotton; Messrs. Waiter Evans and Co.'s Mecklenburg thread Nos. 16 and 20.

Materials: High-quality white cotton; Waiter Evans and Co.'s Mecklenburg thread Nos. 16 and 20.

These strips of insertion, rosettes, and borders are very suitable for [542] ornamenting lingeries, cravats, &c. The ground of insertion, Nos. 558 and 560, is worked with fine white cotton over a fine steel knitting-needle, in slanting netting, and darned with thread in the manner seen in illustrations. The ground of each strip is 11 rounds wide, and worked with button-hole stitch along the edges; the darned patterns can be worked from illustration.

These strips of insertion, rosettes, and borders are great for [542] decorating lingerie, cravats, etc. The insertion grounds, Nos. 558 and 560, are made with fine white cotton on a fine steel knitting needle, using slanting netting and darning with thread as shown in the illustrations. Each strip is 11 rounds wide and finished with buttonhole stitch along the edges; the darning patterns can be followed from the illustration.

For the rosette, No. 560, cast on 6 stitches over a fine knitting-needle, and join the stitches into a circle; in the 1st round [543] work 2 stitches in every stitch. In the 2nd--5th rounds work 2 stitches in every increased stitch of the preceding round, and in every other stitch 1 stitch. In the 6th round take a steel knitting-needle double the size of the first, and work over it 1 stitch in every stitch of the preceding round. Then work the 7th round over the fine needle as follows:--

For the rosette, No. 560, cast on 6 stitches using a fine knitting needle, and join the stitches into a circle; in the 1st round [543] knit 2 stitches into each stitch. In the 2nd–5th rounds, knit 2 stitches into each increased stitch from the previous round, and 1 stitch into every other stitch. In the 6th round, switch to a steel knitting needle that is double the size of the first, and knit 1 stitch into each stitch from the previous round. Then work the 7th round using the fine needle as follows:--

Draw always the second stitch of 2 stitches through the first, and work 1 stitch in the stitch which has been drawn through the first, and then 1 stitch through the other stitch. In the 8th round work always 2 stitches in the stitch between the 2 crossed stitches, 1 stitch in all the other stitches. Lastly, darn the rosette, from illustration, with fine glazed cotton.

Draw always the second stitch of 2 stitches through the first, and work 1 stitch in the stitch that has been drawn through the first, and then 1 stitch through the other stitch. In the 8th round, always work 2 stitches in the stitch between the 2 crossed stitches, and 1 stitch in all the other stitches. Lastly, darn the rosette from the illustration with fine glazed cotton.

For the ground of the rosettes, illustrations Nos. 562 and 563, cast on 6 stitches, join the stitches into a circle, and work then in the 1st round 2 stitches in every stitch; in the following 8 rounds 2 stitches in every increased stitch, in all the other stitches 1 stitch. The last [544] (10th) round is worked without increasing. Then darn the rosettes, from illustrations, with thread in darning stitch, linen stitch, and point d'esprit. The edges of the two rosettes are worked round in button-hole stitch; in every selvedge stitch work 3 button-hole stitches. These two rosettes can be joined together for small couvrettes.

For the base of the rosettes, for illustrations Nos. 562 and 563, cast on 6 stitches, join them into a circle, and in the 1st round, make 2 stitches in every stitch; in the next 8 rounds, make 2 stitches in each increased stitch, and 1 stitch in all the other stitches. The last [544] (10th) round is worked without any increases. Then stitch the rosettes using a darning stitch, linen stitch, and point d'esprit. The edges of the two rosettes are finished with a button-hole stitch; for each selvedge stitch, make 3 button-hole stitches. These two rosettes can be joined together for small covers.

The ground of the border, No. 561, is formed by a strip of straight netting 9 squares wide, cut out in vandykes on one side, and worked round in button-hole stitch, as seen in illustration. This ground is [545] darned, from No. 561, in darning stitch, point d'esprit, linen stitch, and ornamented with bars and wheels (See illustration).

The ground of the border, No. 561, is made from a strip of straight netting that's 9 squares wide, with one side featuring pointed cuts, and finished with a button-hole stitch, as shown in the illustration. This ground is [545] darned, from No. 561, using darning stitch, point d'esprit, linen stitch, and decorated with bars and wheels (See illustration).

564 and 565.--Corner Borders in Guipure d'Art.

564 and 565.--Corner Borders in Guipure Art.

Material: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 20 for handkerchief, or No. 8 for couvrettes.

Material: Walter Evans and Co.'s Mecklenburg thread No. 20 for handkerchiefs or No. 8 for covers.

These corner borders are suitable for handkerchiefs, couvrettes, &c., or as strips of insertion for cushions or pillowcases. They are worked with [546] more or less fine cotton, according to the use they are meant for. They are edged round with button-hole stitch on the outside, and finished off with a row of crochet purl. Work 1 double in every button-hole stitch; after every other stitch draw out the loop on the needle about one-tenth of an inch; take out the needle and leave the loop as a purl; take up 1 loop in last double stitch, and cast it off with the next double stitch.

These corner borders are perfect for handkerchiefs, small covers, etc., or as strips for adding to cushions or pillowcases. They are made with [546] fine cotton, depending on their intended use. The edges are finished with button-hole stitch on the outside and completed with a row of crochet purl. Work 1 double stitch in every button-hole stitch; after every second stitch, pull the loop on the needle out about one-tenth of an inch; remove the needle and leave the loop as a purl; take up 1 loop in the last double stitch and bind it off with the next double stitch.

566.--Jewel Case, forming Pincushion.

Jewel Case, forming Pincushion

Materials: Deal box; satin ruche; satin ribbon; quilted satin and silk cord; guipure netting.

Materials: Deal box; satin ruffle; satin ribbon; quilted satin and silk cord; guipure lace.

This case consists of a square cardboard or deal box, lined with satin, [547] and slightly quilted; it is also covered on the top with satin, and ornamented all round with a satin ruche four-fifths of an inch wide, pleated in the manner seen in illustration. The top of the box is stuffed so as to form a pincushion. It is then covered with guipure d'art No. 567. Ornament all round with silk cords, and at the corners with bows of satin ribbon.

This case is a square cardboard or wood box lined with satin, [547] and slightly padded; the top is also covered with satin and decorated all around with a satin ruffle that is four-fifths of an inch wide, pleated as shown in the illustration. The top of the box is filled to create a pincushion. It's then covered with guipure lace No. 567. It's decorated around the edges with silk cords, and the corners feature bows made of satin ribbon.

567.--Guipure Pattern for Jewel Case.

567.--Guipure Design for Jewelry Box.

Materials: Netting 25 holes square; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 14.

Materials: 25-hole square netting; Walter Evans and Co.'s No. 14 Mecklenburg thread.

This cover is worked in point d'esprit, point de toile, point de reprise, and point de feston. Thick dots are introduced occasionally.

This cover is made with point d'esprit, point de toile, point de reprise, and point de feston. Thick dots are added occasionally.

[548]

Guipure Pattern for Jewel Case (No. 566).

[549]

568.--Parasol Cover in Guipure d'Art. (See page 580.)

568.--Parasol Cover in Art Guipure. (See page 580.)

Materials: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 20, and cotton No. 80.

Materials: Walter Evans and Co.'s Mecklenburg thread No. 20, and cotton No. 80.

For working this cover, one part of which is shown in our illustration two-thirds of its full size, work first a straight strip of netting for the foundation, which must count as many holes in width as are required for the width of the covering. The size of the holes depends on the size of the knitting-needle or mesh which you use. The pattern is worked with cotton No. 80, over a steel knitting-needle which measures two-fifths of an inch round. Begin the strip in one corner. Cast on 2 stitches, and work in rows backwards and forwards, increasing 1 stitch at the end of every row, till you have 1 stitch more than the stripe is to have holes in width, on our pattern 68 stitches; then work 1 row on the same number of stitches, and then increase alternately 1 stitch at the end of 1 row, and decrease 1 at the end of the next, till the strip is 250 stitches long. The strip is finished off in a straight line at the bottom by working a certain number of rows in which the last stitch remains untouched. At the beginning of the row do not work 1 stitch ever the mesh, but only 1 knot in the stitch of the preceding row, so that the cotton is drawn on tight. When the strip is completed, trace from No. 568 the outlines for the pattern of each of the eight parts of the parasol with double thread, in such a manner that two parts lie next to each other, but reversed, that is, the point of one part must lie next to the wide part of the next part. Then work in each part the pattern seen in illustration, and afterwards each part round with button-hole stitch, working over the double outline. Cut out the different parts, and sew them together on the wrong side with close overcast stitch.

To create this cover, one part of which is shown in our illustration at two-thirds of its actual size, start by making a straight strip of netting for the foundation that has as many holes in width as needed for the size of the cover. The size of the holes depends on the size of the knitting needle or mesh you use. Use cotton No. 80 for the pattern with a steel knitting needle that measures two-fifths of an inch in diameter. Begin the strip in one corner. Cast on 2 stitches and work in rows back and forth, increasing 1 stitch at the end of each row, until you have 1 stitch more than the stripe needs holes in width, which is 68 stitches in our pattern; then work 1 row with the same number of stitches and alternate increasing 1 stitch at the end of 1 row and decreasing 1 stitch at the end of the next, until the strip is 250 stitches long. Finish the strip in a straight line at the bottom by working a certain number of rows where the last stitch remains unworked. At the beginning of the row, do not knit 1 stitch over the mesh, but instead, use 1 knot in the stitch from the previous row, so that the cotton is pulled tight. Once the strip is complete, trace the outlines for the pattern of each of the eight parts of the parasol from No. 568 using double thread, ensuring that two parts are next to each other but reversed, meaning the point of one part should be next to the wide part of the next part. Then, work the pattern shown in the illustration for each part and finish each part with a button-hole stitch, working over the double outline. Cut out the different parts and sew them together on the wrong side with a close overcast stitch.

[550]

569.--Scent Sachet in Guipure d'Art.

Scent Sachet in Guipure d'Art

Materials: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 18; green satin; poudre d'iris; green satin ribbon; green silk cord.

Materials: Walter Evans and Co.'s Mecklenburg thread No. 18; green satin; iris powder; green satin ribbon; green silk cord.

The size of the netting depends on that of the sachet. The netting must [551] be fastened in a frame, and darned with fine thread; the flowers are worked in darning stitch, and the ground in point d'esprit. The cushion is made of green satin, perfumed with poudre d'iris. When the netting has been fastened on, it is edged all round with a green satin ruche, and green silk cord, forming loops at every corner.

The size of the netting depends on the size of the sachet. The netting must [551] be secured in a frame and sewn with fine thread; the flowers are stitched in a darning stitch, and the background in a point d'esprit stitch. The cushion is made from green satin and scented with iris powder. Once the netting is attached, it is trimmed all around with a green satin ruffle and green silk cord, creating loops at each corner.

570.--Square in Guipure d'Art.

570.--Guipure d'Art Square.

Materials: Netted square of 26 stitches; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12.

Materials: Netting square of 26 stitches; Walter Evans & Co.'s Mecklenburg thread No. 12.

This pattern is worked in point d'esprit, edged with an outline of [552] point de reprise. This outline may be worked in close button-hole stitch. Point de toile is used for the groundwork, upon which point de reprise is worked.

This pattern is done in point d'esprit, bordered with an outline of [552] point de reprise. This outline can be done in a close buttonhole stitch. Point de toile is used for the base, on which point de reprise is worked.

571 and 572.--Work Case in Guipure d'Art.

571 and 572.--Art Lace Work Case.

Materials: Blue satin; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 16; blue silk cord.

Materials: Blue satin; Walter Evans and Co.'s Mecklenburg thread No. 16; blue silk cord.

This little work-case, of darned netting and blue satin, is five inches and four-fifths long, four inches wide, and is fastened with a loop and button. The back, front, side, and the flap are worked all in one piece. The netting is worked with white thread No. 12, over a mesh measuring at least two-fifths of an inch round. For the flap the netting must be slanted off on both sides; this is done either by decreasings, or by cutting off the corners of the work. The latter is then darned in linen stitch, darning stitch, and point d'esprit, from No. 572, which shows the front of the case, and from No. 571, which shows the back. The [553] netting is then lined with blue satin, and sewn together at the sides with button-hole stitches on the right side. The flap is edged with button-hole stitch; sew on a small button, and make a small loop to correspond. The case is edged all round with blue silk cord.

This little case, made of knitted netting and blue satin, is five inches long and four inches wide, and it closes with a loop and button. The back, front, sides, and flap are all made from one piece. The netting is created with white thread No. 12, over a mesh that measures at least two-fifths of an inch round. For the flap, the netting needs to slant off on both sides; this can be done by decreasing stitches or by cutting off the corners of the piece. The edges are then finished with linen stitch, darning stitch, and point d'esprit, based on No. 572 for the front and No. 571 for the back. The [553] netting is then lined with blue satin and sewn together at the sides with button-hole stitches on the right side. The flap is finished with a button-hole stitch edge; attach a small button and make a matching small loop. The case is finished all around with blue silk cord.

573.--Banner Screen in Guipure d'Art.

573.--Guipure d'Art Banner Screen.

Materials: Netting; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12; carved oak stand; glacé silk; cords; tassels.

Materials: Netting; Walter Evans and Co.'s Mecklenburg thread No. 12; carved oak stand; glazed silk; cords; tassels.

Banner-screens are used in two ways, either suspended from the mantelpiece or mounted as shown in illustration No. 573. The banner is 23 inches long, 19 inches wide, lined with coloured glacé silk, and edged with a lace border of guipure d'art. The design for the banner is given in page 554. Work the netting for the groundwork over a larger or smaller mesh, according to the size you wish it to be. The pattern is worked in point d'esprit, point de reprise, and point de toile. When the [554] pattern is completed, line the banner with coloured silk, edge with a gathered border of guipure d'art, finish with coloured silk cords and tassels. The banner may be finished off in close button-hole stitch, instead of adding the lace border.

Banner screens can be used in two ways: either hung from the mantelpiece or mounted as shown in illustration No. 573. The banner measures 23 inches long and 19 inches wide, lined with colored glazed silk and trimmed with a lace border of guipure d'art. The design for the banner can be found on page 554. Create the netting for the groundwork with a larger or smaller mesh depending on the desired size. The pattern incorporates point d'esprit, point de reprise, and point de toile. Once the [554] pattern is completed, line the banner with colored silk, trim with a gathered guipure d'art border, and finish with colored silk cords and tassels. Alternatively, the banner can be finished with a close buttonhole stitch instead of adding the lace border.

[555]

575.--Border in Guipure d'Art.

Border in Guipure Lace.

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

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

This border is suited for couvrettes. It is worked in point d'esprit, [556] point de reprise, or plain darning stitch, edged by a row of button-hole, and finished with a crochet edging.

This border is designed for coverlets. It's created using point d'esprit, [556] point de reprise, or plain darning stitch, bordered by a row of buttonhole stitches, and finished with a crochet edge.

576.--Square in Guipure d'Art.

576.--Guipure d'Art Square.

Materials: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12; netted square of 20 holes.

Materials: Walter Evans and Co.'s Mecklenburg thread No. 12; netted square with 20 holes.

This pretty square is worked in a pattern formed by point de feston, point de toile, and point de reprise, the star in the centre as that shown on page 514, omitting the alternate points; border of point d'esprit, ground worked in simple crossed bars. [557] Table of the right size of Mecklenburg thread to use in working:--

This lovely square is made with a design that includes point de feston, point de toile, and point de reprise, featuring a star in the center like the one on page 514, but without the alternate points; it has a border of point d'esprit, and the background is created with simple crossed bars. [557] Table of the right size of Mecklenburg thread to use in working:--

	NO.
Antimacassars	2
Borders	4
Handkerchiefs	20
Insertions	8
Lace edgings and insertions	16
Lamp shades	16
Parasol covers	18
Sachets	12
Sofa cushions	8
Toilet cushions	10
Toilet mats	10

FRAMES

May be obtained for large, middle-size, and small squares.

May be obtained for large, medium, and small squares.

Oblong frames are used for working insertions and lace edgings.

Oblong frames are used for making insertions and lace trims.

[558]

BERLIN WORK

[559]

BERLIN WORK INSTRUCTIONS

Berlin Work includes every kind of stitch which is made upon canvas with wool, silk, or beads. The principal stitches used are common cross stitch, Gobelin stitch, leviathan stitch, raised or velvet stitch, tent stitch, and others. The materials and needle must always be carefully chosen of a corresponding size. For common cross stitch and raised stitch Penelope canvas must be used; for small articles, such as slippers, bags, or borders, single Berlin wool is preferable; for larger ones fleecy wool or double Berlin wool (the latter, however, is much more expensive). For Gobelin stitch and tent stitch undivided canvas (not Penelope) is required. Purse silk is often used for the latter; it is more brilliant than floss silk or filoselle. Floss silk is generally used for other stitches because it covers the thread of the canvas better than purse silk; it is, however, often replaced by filoselle, which is a much cheaper material. Moss wool is hardly ever used. Before beginning to work upon a piece of canvas the raw edges must be hemmed or [560] sewn over with wool. Care must be taken not to crumple the canvas in the course of the work. It is best to roll one end of the canvas upon a round piece of deal while the other end is kept down upon the table with a lead cushion. Handsome artistic patterns should always be worked in a frame. When you undertake to work a large pattern begin in the centre, and complete one half before you commence the other. Always work the stitches in the same direction, from the top downwards--this is very essential to the beauty and regularity of the pattern.

Berlin work includes every type of stitch made on canvas using wool, silk, or beads. The main stitches used are common cross stitch, Gobelin stitch, leviathan stitch, raised or velvet stitch, tent stitch, and others. The materials and needle should always be carefully selected to match the appropriate size. For common cross stitch and raised stitch, Penelope canvas must be used; for smaller items like slippers, bags, or borders, single Berlin wool is preferable; for larger projects, fleecy wool or double Berlin wool (though the latter is much more expensive) is recommended. For Gobelin stitch and tent stitch, undivided canvas (not Penelope) is required. Purse silk is commonly used for the latter; it is brighter than floss silk or filoselle. Floss silk is generally used for other stitches because it covers the canvas thread better than purse silk; however, it is often replaced by filoselle, which is a much cheaper option. Moss wool is rarely used. Before starting work on a piece of canvas, the raw edges must be hemmed or [560] sewn over with wool. Care should be taken not to crumple the canvas while working. It’s best to roll one end of the canvas onto a round piece of wood while keeping the other end on the table with a lead cushion. Attractive artistic patterns should always be worked in a frame. When you start a large pattern, begin in the center and complete one half before starting the other. Always work the stitches in the same direction, from top to bottom—this is crucial for maintaining the beauty and consistency of the pattern.

Always begin with the colour which is used the oftenest; those colours that lose their dye in working must be put in last. When the pattern is finished begin the grounding. The wool must not be drawn too tightly, otherwise the threads of the canvas appear. If the wool is too coarse for the canvas, one long stitch is to be made from left to right as far as the particular colour is to be worked, and over this long stitch, cross back in the usual way.

Always start with the color that's used the most; colors that fade during work should be added last. Once the pattern is complete, start on the background. The wool shouldn’t be pulled too tightly, or else the threads of the canvas will show. If the wool is too thick for the canvas, make one long stitch from left to right as far as the specific color needs to go, and then cross back over this long stitch as usual.

The plainest stitch in Berlin wool work is the common cross stitch; illustrations 577 to 584 show varieties of the same.

The simplest stitch in Berlin wool work is the standard cross stitch; illustrations 577 to 584 display different variations of it.

We now proceed in the following pages to show, by description in writing and by most careful illustration, all the stitches which are used in Berlin Work. These are numerous, but neither too great in number nor too simple or too elaborate in execution for those who aspire to become Berlin workers.

We will now go through the following pages to describe in writing and with detailed illustrations all the stitches used in Berlin Work. There are many, but they are neither too few nor too simple or too complex for those who want to become Berlin workers.

[561]

ILLUSTRATION 577.--The common cross stitch is worked in rows backwards and forwards over 2 threads in height and 2 in width (square of the canvas) in straight lines; the 1st row is worked from left to right; the 2nd row, which completes the stitches, from right to left. Illustration 577 shows 2 rows of completed stitches and 1 row in course of working.

ILLUSTRATION 577.--The basic cross stitch is done in rows moving back and forth over 2 threads in height and 2 in width (square of the canvas) in straight lines; the 1st row is stitched from left to right; the 2nd row, which finishes the stitches, is done from right to left. Illustration 577 shows 2 rows of finished stitches and 1 row in progress.

ILLUSTRATION 578 shows the long cross stitch. It is worked like the preceding one, only over 4 threads in height and 2 in width.

ILLUSTRATION 578 shows the long cross stitch. It's done like the previous one, except it's over 4 threads high and 2 threads wide.

[562]

ILLUSTRATION 579 shows a long cross stitch, which is worked like the preceding one, except that 2 threads are missed between 2 stitches, and in the next row the stitches are worked between those in the preceding row. This stitch is not worked in rows backwards and forwards; each stitch is completed before beginning the next.

ILLUSTRATION 579 shows a long cross stitch, which is done like the previous one, except that you skip 2 threads between 2 stitches, and in the next row, the stitches are placed between those in the prior row. This stitch is not worked in back-and-forth rows; each stitch is finished before starting the next.

ILLUSTRATION 580.--The long slanting cross stitch is worked like No. 578, in rows backwards and forwards; the 1st row is slanting, the 2nd is straight. The places for inserting the needle and for drawing it out are marked on the illustration with a cross and dot.

ILLUSTRATION 580.--The long slanting cross stitch is done like No. 578, in rows back and forth; the 1st row is slanting, and the 2nd is straight. The spots for inserting the needle and pulling it out are marked in the illustration with a cross and dot.

[563]

ILLUSTRATION 581.--The damask stitch is worked in single rows from left to right, over 4 threads in height and 2 in width. The stitches of one row come between those of the next. The cross and dot shown in illustration are where to insert and draw out the needle.

ILLUSTRATION 581.--The damask stitch is done in single rows from left to right, covering 4 threads in height and 2 in width. The stitches in one row fit between those in the next. The cross and dot shown in the illustration indicate where to insert and pull out the needle.

ILLUSTRATION 582 shows the rep stitch--a variety of the preceding. The first half of it is worked slantways over 6 threads in height and 2 in width, the second half, like the common cross stitch, from right to left over the 3rd and 4th of the 6 canvas threads; each stitch is completed at once. The illustration shows the last stitch being worked; the first half of the stitch is completed; the dot shows where the needle must be inserted for the second half; it is drawn out where the cross is placed on illustration.

ILLUSTRATION 582 shows the rep stitch—a variation of the previous one. The first half is worked diagonally over 6 threads in height and 2 in width, and the second half, like the standard cross stitch, is done from right to left over the 3rd and 4th of the 6 canvas threads; each stitch is finished in one go. The illustration depicts the last stitch being made; the first half is done; the dot indicates where the needle should go for the second half; it is pulled out where the cross is marked on the illustration.

[564]

ILLUSTRATION 583.--The leviathan stitch consists of 1 slanting and 1 straight cross stitch over 4 threads in height and 4 in width. Each stitch is completed immediately. No. 583 shows one half of the stitch completed and the wool as it must be placed for working the first half of the straight cross stitch.

ILLUSTRATION 583.--The leviathan stitch is made up of 1 slanted and 1 straight cross stitch that spans 4 threads in height and 4 in width. Each stitch is finished right away. No. 583 displays one half of the stitch completed and shows how the wool should be positioned to work on the first half of the straight cross stitch.

ILLUSTRATION 584.--The leviathan stitch is worked exactly like the preceding, only the stitches are not worked on the same threads in the different rows, as may be seen from illustration.

ILLUSTRATION 584.--The leviathan stitch is done exactly like the one before it, but the stitches aren’t made on the same threads in the different rows, as shown in the illustration.

[565]

ILLUSTRATION 585.--The double leviathan stitch is a variety of the preceding; it is worked over 6 threads in height and as many in width. Make a common cross stitch over these 6 threads, then a long cross stitch in height and a long cross stitch in width. Illustration 585 shows 2 stitches completed and 1 being worked.

ILLUSTRATION 585.--The double leviathan stitch is a variation of the previous one; it's made over 6 threads high and the same in width. First, create a regular cross stitch over these 6 threads, then add a long cross stitch vertically and a long cross stitch horizontally. Illustration 585 shows 2 completed stitches and 1 currently being worked on.

ILLUSTRATION 586.--Tent stitch. Each stitch is worked over 1 stitch in height and 1 in width, and is worked in rows from left to right.

ILLUSTRATION 586.--Tent stitch. Each stitch is done over 1 stitch in height and 1 in width, and is done in rows from left to right.

[566]

ILLUSTRATION 587.--The slanting Gobelin stitch is worked on undivided canvas; each stitch is worked over 3 threads in height and 2 in width, divided from the next stitch only by an interval of 1 thread.

ILLUSTRATION 587.--The slanting Gobelin stitch is done on undivided canvas; each stitch covers 3 threads in height and 2 in width, separated from the next stitch by just 1 thread.

ILLUSTRATION 588.--The straight Gobelin stitch is worked over 2 threads in height with 1 thread between, so that the stitches appear more raised; they are worked over thin cord or a thick piece of wool.

ILLUSTRATION 588.--The straight Gobelin stitch is done over 2 threads high with 1 thread in between, making the stitches look more raised; they are worked over a thin cord or a thick piece of wool.

[567]

ILLUSTRATION 589.--The raised or velvet stitch is worked over small round wooden meshes, and forms small raised loops. Take 2 similar meshes and as many threaded needles as there are colours in the work; make first a slanting stitch, as for the beginning of the common cross stitch, but instead of drawing out the needle straight under the place where it was inserted, draw it out exactly at the same place, so as to form a slanting stitch on the right and on the wrong side; then begin to work over 1 mesh; insert the needle above it and draw it out in a slanting direction underneath. On the wrong side of the work a regular cross stitch is formed. Illustration 589 shows 2 rows of velvet stitch completed and 2 rows being worked; the first of the latter is yet on the mesh, the second being worked so as to show the position of the wool upon the mesh. Observe that the rows of the velvet stitch are worked upwards, and that 2 meshes are necessary, because the lower one must not be drawn out before the next row is completed. The loops may be cut open if preferred.

ILLUSTRATION 589.--The raised or velvet stitch is created over small round wooden meshes, forming small raised loops. Take 2 similar meshes and as many threaded needles as there are colors in your work; start with a slanting stitch, like the beginning of a regular cross stitch, but instead of pulling the needle straight out from where it was inserted, pull it out at the exact same spot to create a slanting stitch on both the right and wrong sides. Then start working over 1 mesh; insert the needle above it and pull it out in a slanting direction underneath. On the wrong side of the work, a standard cross stitch is made. Illustration 589 shows 2 completed rows of velvet stitch and 2 rows being worked; the first of these is still on the mesh, while the second is being worked to show the placement of the wool on the mesh. Note that the rows of the velvet stitch are worked upwards and that 2 meshes are needed, as the lower one should not be removed until the next row is finished. The loops can be cut open if desired.

[568]

ILLUSTRATION 590.--The plaited stitch is worked like the herring-bone stitch. Each stitch is worked over 4 threads in height and 4 in width. Illustration 590 shows one part of the plaited stitch completed, and the place where the needle is to be inserted for the next stitch is marked by a dot. For the next stitch the needle is carried under the 2 threads below the stitches of the preceding row.

ILLUSTRATION 590.--The plaited stitch is done like the herring-bone stitch. Each stitch goes over 4 threads in height and 4 in width. Illustration 590 shows one section of the plaited stitch finished, and the spot where the needle should go for the next stitch is indicated by a dot. For the next stitch, the needle goes under the 2 threads below the stitches of the previous row.

ILLUSTRATION 591.--The plush stitch is also worked upwards. Begin to work a common cross stitch, then insert the needle through the canvas over 2 threads in height and 2 in width, downwards in a slanting direction. Do not draw the wool close up, but leave a loop hanging down about four-fifths of an inch long, and make 1 more common cross stitch to fasten the loop. This stitch can also be worked over flat meshes. Work a common cross stitch at the end of every row. When the work is completed the loops are cut open and clipped, as may be seen from illustration.

ILLUSTRATION 591.--The plush stitch is also worked upwards. Start by making a regular cross stitch, then push the needle through the canvas over 2 threads high and 2 threads wide, going down at an angle. Don’t pull the wool tight; instead, leave a loop hanging down about four-fifths of an inch long, and make one more regular cross stitch to secure the loop. This stitch can also be done over flat meshes. Make a regular cross stitch at the end of every row. When you’re done with the work, cut open the loops and clip them, as shown in the illustration.

[569]

ILLUSTRATIONS 592 to 594.--Three Berlin wool work borders for trimming baskets, &c. No. 592.--The 2 outer rows which edge the border are worked in long straight cross stitch; each stitch is crossed in the centre with a back stitch.

ILLUSTRATIONS 592 to 594.--Three Berlin wool work borders for trimming baskets, etc. No. 592.--The 2 outer rows that outline the border are worked in long straight cross stitch; each stitch is crossed in the center with a back stitch.

The grounding consists of 2 rows of vandykes placed opposite each other, which are formed of long straight stitches of different lengths. The [570] squares in the centre are formed in the same way, and are completed in the middle with a knot.

The grounding consists of 2 rows of vandykes facing each other, made up of long straight stitches of varying lengths. The [570] squares in the center are made the same way and are finished in the middle with a knot.

No. 593.--The ground is worked in cross stitch, the raised patterns in satin stitch; in the middle of each pattern there is a cross stitch. The outer rows are worked in half cross stitch over 2 threads in height and 4 in width in 2 different shades. No. 594.--The petals of the flowers are worked over 4 threads in height and in width, [571] and consisting of 4 slanting stitches.

No. 593.--The base is done in cross stitch, with the raised designs in satin stitch; at the center of each design, there's a cross stitch. The outer rows are made with half cross stitch covering 2 threads in height and 4 in width in 2 different shades. No. 594.--The flower petals are stitched over 4 threads in height and in width, [571] and made up of 4 diagonal stitches.

In the centre the flower is completed by a knot; the ground in cross stitch is completed on either side by a narrow border of scallops, formed of slanting stitches divided in the centre by 1 slanting stitch. It is easy to work these stitches from illustration. The choice of colours depends upon what use the border is intended for and upon personal taste.

In the center, the flower is finished off with a knot; the background in cross stitch is bordered on both sides by a narrow scalloped edge made up of slanting stitches, divided in the middle by one slanting stitch. It's straightforward to work these stitches from the illustration. The color choice depends on the intended use of the border and on personal preference.

[572]

[573]

PLATES

[574]

[575]

Crocheted chair cover (see page 80.)

[576]

[577]

COVERS IN APPLIQUÉ (213, 214, and 215)
(See page 184.)

[578]

Knitted Table Cover (see page 347.)

[579]

KNITTED DOILY (see page 352.)

[580]

Lace Parasol Cover (see page 549)

[581]

INDEX.

Acacia Spray in embroidery, 162.
Antimacassar, crochet 276.
Antimacassar in tatting 65.
Antimacassar, knitted 318 to320.
Appliqué, pattern for a couvrette in 213 to 215.
Arm-chair, covered with crochet 254.
Arm-chair in crochet, patterns for 255, 256.

BABY'S BOOT, knitted 326.
Bag, crochet silk, over rings 245.
Banner screen in guipure d'art 573, 574
BARS, POINT LACE.
D'Alençon 463
Point d'Angleterre 467
Point de Venise, edged 468
Point de Venise, dotted 469
Raleigh 471, 472
Sorrento 461 462
Sorrento, dotted 469
Venetian, plain 464, 465, 466
Basket, small, crochet 239
Basket, crochet 272
Basket, crochet 273
Basket, embroidered in chenille 134
Bedford plaited lace (1851) 423
Bed-quilt, knitted border for 327
BERLIN WOOL-WORK INSTRUCTIONS, p. 559.
Berlin work, borders i 592 to 594
BERLIN STITCHES.
Common cross stitch 577
Damask stitch 581
Leviathan stitch 583, 584
Leviathan double stitch 585
Long cross stitch 578, 579
Plaited stitch 590
Plush stitch 591
Raised or velvet stitch 589
Rep stitch 582
Slanting cross stitch 580
Slanting Gobelin stitch 587
Straight Gobelin stitch 588
Tent stitch 586
(Black lace) Buckingham point trolly (1851) 422
Bodice, knitted 324, 325
Boot, baby's, knitted 326
Borders, crochet 252, 253
Border, embroidered 150
Border for a reading-desk in embroidery 204
Border for couvrettes, guipure d'art 561
Borders for handkerchief, corner, in guipure d'art 564, 565
Borders, guipure d'art 525, 553, 557
Border, guipure d'art 575
Border in crochet and tatting 52
Border in Oriental embroidery 179
Border in tatting and crochet 6
Border in tatting and crochet 15
Border in tatting and crochet 22
Border in tatting and lace stitch 44
Border in tatting, with beads 13
Border in tatting, with crochet edging 5
Border, knitted 321
Border, tatting 47
Borders, two crochet 274, 275
Border, with beads, tatted 13
Bouquet, embroidered, for travelling-bag 169
Braces, embroidered 202
Braces, knitted 338
Brioche cushion in crochet, 249
Butterfly, embroidered, for handkerchief corner 212

[582]

CAP, border for, in tatting 38
Cap crown in tatting 37
Cap in tatting 38, 39
Chenille, basket embroidered in 134
Cigar-case, embroidered 190
Circle for collars, cuffs, &c., in tatting 21
Circle in tatting 12
Circle in tatting 21
Circle in tatting 57
Collar in tatting 56
Collar in tatting and darned netting 28
Collar, linen, trimmed with tatting 49
Collar, linen, trimmed with tatting 54
Collar, pine pattern, in tatting 1
Collar, tatted 55
Collar, trimming for, in tatting 49
Collar, trimming for, in tatting 54
Comforters, &c., knitting stitch for 336
Convolvulus leaf insertion in embroidery 141
Corner borders in guipure d'art 524, 525
Corner borders in guipure d'art 542, 543
Corner borders in guipure d'art 564, 565
Corner for handkerchief in point Russe embroidery 149
Corner in embroidery 151
Corner in embroidery 152
Cotton, tatting, p. 82
Couvrette, centre of a tatted 25
Couvrette, daisy pattern for a, in crochet 250
Couvrette for arm-chair in crochet 257
Couvrette in appliqué, embroidery 147
Couvrette in crochet 243
Couvrette in tatting 25
Covering for a quilted counterpane in embroidery 138
Cravats, &c., in embroidery, patterns for 184
Cravats, &c., in embroidery, patterns for 185
Cravat in tatting 50
Cravat end in embroidery 136
Cravat end in embroidery 153
Cravat end in raised embroidery 156
Cravat end in tatting 60
Cravat end in tatting 62
Cravat end in tatting and darned netting 64
Cravat end, oval, in tatting 51
Cravat in muslin and tatting 50
Cravat, muslin, embroidered 153
Crochet, antimacassar in 276
Crochet, arm-chair covered with 254
Crochet, arm-chair, patterns for 255, 256
Crochet bag, silk, over rings 245
Crochet basket, small 239
Crochet basket 272
Crochet basket 273
Crochet borders 252, 253
Crochet borders, two 274, 275
Crochet, brioche cushion 249
Crochet, couvrette for arm-chair 257
Crochet, couvrette in 240
Crochet, daisy pattern for a couvrette in 250
Crochet D'Oyleys in Imitation of Point Lace
No. 1262
No. 2 263
No. 3 264
No. 4 265
No. 5 266
No. 6 267
No. 7 268
No. 8 269
No. 9 270
No. 10 271
Crochet garter 285
Crochet, insertion 258
Crochet, insertion 259
Crochet, insertion 260
Crochet, insertion 277
Crochet, insertion 283
Crochet, insertion 284
CROTCHET INSTRUCTIONS
Crotchet hook,Page 185.
Foundation chain, double, 217.
Foundation chain, plain, 216.
Foundation chain, purl, 218.
Spots, raised, 232.
Spots, hollow, 233.
Spots, open work, 234.
Crotchet, lace, 251.
Crotchet, lace, 261.
Crotchet, purse in, over rings, 248.
Crotchet rosettes, 280, 281.
Crotchet sovereign purse, 246.
Crotchet, star in, 244.
Crotchet, stars in, 247. CROCHET STITCHES
Cross stitch 224
Cross treble stitch 229, 230, 231
Double long treble stitch 228
Double stitch 220, 221
Long double stitch 225
Long treble stitch 227
Purl stitch 236
Purl stitch 237
Purl stitch 238
Raised treble stitch 235
Raised ribbed stitch 222
Raised slanting stitch 223
Slip stitch 219
Treble stitch 226
Crochet trimming for a lady's chemise 286
Crochet trimming, with embroidered flowers worked in appliqué and velvet ribbon 282
Crochet work, tobacco-pouch in 278, 279
Crochet work, work-basket in straw and 272, 273
Curtains, knitted pattern for 339

Daisy pattern for a crochet couvrette 250
Dalecarlian lace 419
Diamond in tatting 20
Diamond in tatting 36
Diamond in tatting 53
Diamond in tatting 59
Diamond netting 306
Diamond tatting for collars, &c. 20
D'Oyleys, Crochet, in Imitation of Point Lace
No. 1262
No. 2 263
No. 3 264
No. 4 265
No. 5 266
No. 6 267
No. 7 268
No. 8 269
No. 9 270
No. 10 271
D'Oyley, knitted 337

EDGINGS AND PURLED EDGINGS, POINT LACE.
Antwerp 479
Point d'Angleterre 477
Point de Bruxelles 474
Point d'Espagne 478
Point de Venise 476
Sorrento 475
Edging, embroidered 178
Embroidered border 204
Embroidered border 150
Embroidered bouquet for travelling bag 169
Embroidered braces 202
Embroidered braces, full-sized pattern for 201
Embroidered braces, full-sized pattern for 203
Embroidered butterfly for handkerchief corner 212
Embroidered cigar-case 190
Embroidered edging 178
Embroidered handkerchief 197
Embroidered hanging letter-case 176
Embroidered in chenille, basket 134
Embroidered key-bag 182
Embroidered key-bag 183
Embroidered knife-basket 159
Embroidered knife-basket 160
Embroidered lace insertion 207
Embroidered lady's purse 157
Embroidered letter-case, pattern for 177
Embroidered linen collar 193
Embroidered linen collar 194
Embroidered needle-book, pattern for 166
Embroidered needle-book, pattern for 167
Embroidered penwiper, full-sized circle for 187
Embroidered slipper, on Java canvas 208
Embroidered slipper, point russe stitch for 209
Embroidered what-not, in the shape of a hammock 195, 196
Embroidery, acacia spray in 162
Embroidery and stitching, insertion in 132
Embroidery, appliqué, couvrette in 147
Embroidery border for a reading-desk 204
Embroidery, border in Oriental 179
Embroidery, convolvulus leaf insertion in 141
Embroidery, corner for handkerchief in point Russe 149
Embroidery, corner in 151
Embroidery, corner in 152
Embroidery, covering for a quilted counterpane in 138
Embroidery, cravat end in 136
Embroidery, cravat end in 153
Embroidery, cravat end in raised 156
Embroidery, fuchsia spray in 161
Embroidery, glove-box in 174
Embroidery, glove-box in 175
Embroidery, handkerchief border in 197
Embroidery, handkerchief in 140
Embroidery, insertion in 131
Embroidery, insertion in 142
Embroidery, insertion in 145
Embroidery, insertion in 146
Embroidery, insertion in 155
Embroidery, insertion in 165
Embroidery, insertion in 188
Embroidery, insertion in 189
Embroidery, insertion in 192
EMBROIDERY INSTRUCTIONS, p. 83.
Bead partly covered 103
Blossom in satin stitch 101, 102
Bluebell 113
Bluebell, inner part 114
Bluebell, part of 116
Borders 118, 119
Ear of corn 112
Flower 115
Flower in satin stitch 107
Flower appliquéd on net 117
Heartsease 110
Initials 123 to 130
Insertions 120 to 122
Leaf 94
Leaf in raised satin stitch 90, 91
Leaf, raised 92, 93
Leaf, raised 95
Leaf, half of 99
Leaf, centre of 100
Raised embroidered leaf 98
Raised flower 111
Raised leaf 96
Raised leaf 97
Raised satin stitch leaf 90, 91
Rose in satin stitch 108
Rose, petal for 109
Star 106
Star in point de reprise 105
Star in satin stitch 104
STITCH, EMBROIDERY.
Stitch, back 70
Stitch, button and eyelet holes 86, 87
Stitch, button-hole scallop 82 to 85
Stitch, double overcast 67
Stitch, knotted 73, 74, 75
Stitch, ladder 80, 81
Stitch, overcast 68
Stitch, point croisé 71, 72
Stitch, point de minute 79
Stitch, point de plume 78
Stitch, satin, raised76, 77
Stitch, scallop 66
Stitch, shaded button-hole 88, 89
Stitch, slanting overcast 69
Embroidery, medallion for a purse in 198
Embroidery, medallion for a purse in 199
Embroidery, medallion in point Russe 210
Embroidery, medallion in point Russc 211
EMBROIDERY, MONOGRAMS AND INITIALS IN.
Embroidery, alphabet in coral stitch 353
Embroidery, alphabet in floral 361
Embroidery, alphabet in florid style 356
Embroidery, alphabet in forget-me-nots 352
Embroidery, alphabet, point d'or 357
Embroidery, alphabet, raised satin stitch 359
Embroidery, alphabet in satin stitch 351
Embroidery, alphabet scalloped 355
Embroidery, alphabet, small 354
Embroidery, initials in 366 to 417
Embroidery, monograms in 366 to 417
Embroidery, names in 362 to 418
Embroidery, sampler in 360
Embroidery, star alphabet, capitals 349
Embroidery, star alphabet, small 350
Embroidery, white, alphabet in 358
Embroidery, pattern for collars, cuffs, &c, in 135
Embroidery, pattern for collars, cuffs, &c., in 137
Embroidery, pattern for cravats, &c., in 184
Embroidery, pattern for cravats, &c., in 185
Embroidery, pattern for cravat ends, &c., in 133
Embroidery, pattern for cravat ends, &c., in 139
Embroidery, pattern for trimming lingeries in 143, 144
Embroidery pattern for what-not (full size) 196
Embroidery, penwiper in 186 187
Embroidery, rose-leaf in 173
Embroidery, sandwich-case in 154
Embroidery stars 137, 143, 144
Embroidery stars 180, 181
Embroidery, table-napkin ring in 158
Embroidery, tobacco-pouch in 163
Embroidery, tobacco-pouch in 164
Embroidery, travelling-bag in 168
Embroidery, trimming in, for bodices170
Embroidery, Venetian border in 206
Embroidery, Venetian, lappet or sash end in 205
Embroidery, waste-paper basket in 191
Embroidery, white, toilet-cushion cover in 171, 172, 173
Embroidery, wing of bird 172
Embroidery, work-bag in 200
Embroidery, wreath in, for centre of pincushion or toilet-mat148
English netting 308

Fichu, netted 315, 316
Flower in guipure d'art 544
Frame for guipure d'art 503
Full-sized circle for embroidered pen-wiper 187
Fuchsia spray in embroidery 161

Garter, crochet 285
Glove-box in embroidery 174
Glove-box in embroidery 175
Gauge, knitting287
Guipure d'art
Guipure d'art, banner-screen in 573, 574
Guipure d'art, border for couvrettes in 561
Guipure d'art t, borders for handkerchief, corner 565
Guipure d'art, borders in 552 557
Guipure d'art, border in 575
Guipure d'art, corner borders in 524, 525
Guipure d'art, corner borders in 542, 543
Guipure d'art, corner borders in 564, 565
Guipure d'art, flower in 544
Guipure d'art, frame for 503
Guipure d'art, insertion in 521
Guipure d'art, insertion in 526
Guipure d'art, insertion in 528
Guipure d'art, insertion in 539
Guipure d'art, insertion in 548
Guipure d'art, insertion in 558
Gaipure d'art, insertion in 559
Guipure d'art, insertions, &c., in 558 to 563
Guipure d'art, instructions in, p. 503.
Guipure d'art jewel-case cover 567
Guipure d'art, jewel-case covered in 566
Guipure d'art, lace borders for veils in 537
Guipure d'art, lace border in 522
Guipure d'art, parasol-cover in 568
Guipure d'art, quarter square in 530
Guipure d'art, rosettes in 529
Guipure d'art, rosettes in 562562563
Guipure d'art stitches.
Grounding 533 to 536 Point de Bruxelles 509, 510 Point d'esprit 504. Point de feston 506 Point de reprise 507507508 Point de toile 505 Stars 516 to 520 Wheels 511 to 515
Guipure d'art, scent-sachet in 569
Guipure d'art, small squares 527.
Guipure d'art, squares for antimacassar 550, 551
Guipure d'art, square for d'oyley in 523
Guipure d'art, squares in, for dresses 546, 547
Guipure d'art, square in 531
Guipure d'art, square in 532
Guipure d'art, square in 556
Guipure d'art, squares in 570, 576
Guipure d'art, squares in 533 to 536
Guipure d'art, squares in 538, 538A
Guipure d'art, squares in 554, 554 (
Guipure d'art), square in reticella work 540 (
Guipure d'art), square in reticella work, enlarged 541
Guipure d'art, work-basket covered with 545
Guipure d'art, work-case in 571, 572

Handkerchief border in embroidery 197
Handkerchief in embroidery 140
Hanging letter-case embroidered 176
Honiton guipure lace 424

Insertion, crochet 258
Insertion, crochet 259
Insertion, crochet 260
Insertion, crochet 277
Insertion, crochet 283
Insertion, crochet A href="#image_284">284
Insertion in embroidery 131
Insertion in embroidery 142
Insertion in embroidery 145
Insertion in embroidery 146
Insertion in embroidery 155
Insertion in embroidery 165
Insertion in embroidery 188
Insertion in embroidery 189
Insertion in embroidery 192
Insertion in embroidery and stitching 192
Insertion in guipure d art 521
Insertion in guipure d'art 526
Insertion in guipure d'art 528
Insertion in guipure d'art 539
Insertion in guipure d'art 548
Insertion in guipure d'art 558
Insertion in guipure d'art 559
Insertions in guipure d'art 558 to 563
Insertions in tatting 2
Insertion in tatting 7
Insertion in tatting 11
Insertion in tatting 14
Insertion in tatting 24
Insertion in tatting 31
Insertion in tatting 32
Insertion in tatting and crochet 41
Insertion in tatting and crochet 43
Insertion in tatting and lace stitch 23
Insertion in tatting for trimming lingeries 11
Insertion, knitted 340
Insertion, wide, tatting 10
Insertion, wide, tatting 14
Insertion, wide, tatting 43
Insertion, worked in tatting 10
INSTRUCTIONS IN BERLIN WOOL WORK, p. 559.
Berlin work, borders in 592 to 594
Berlin stitches
Berlin embroidery
Common cross stitch 577
Damask stitch 581
Leviathan stitch 583, 584
Leviathan double stitch 585
Long cross stitch 578, 579
Plaited stitch 590
Plush stitch 591
Raised or velvet stitch 589
Rep stitch 582
Slanting cross stitch 580
Slanting Gobelin stitch 587
Straight Gobelin stitch 588
Tent stitch 586
INSTRUCTIONS IN CROCHET P.185 Crochet hook, 185. Foundation chain, double 217 Foundation chain plain 216 Foundation chain, purl 218 Spots, raised 232 Spots, hollow 233 Spots, open work 234
INSTRUCTIONS IN EMBROIDERY, p.83
Bead partly covered 103
Blossom in satin stitch 101, 102
Bluebell 113
Bluebell, inner part 114
Bluebell, part of 116
Borders 118, 119
Ear of corn 112
Flower 115
Flower in satin stitch 107
Flower appliquéd on net 117
Heartsease110
Initials 123 to 130
Insertions 120 to 122
Leaf 94
Leaf, half of 99
Leaf, centre of 100
Leaf in raised satin stitch 90, 91
Leaf, raised 92, 93
Leaf, raised 95
Raised embroidered leaf 98
Raised flower 111
Raised leaf 96
Raised leaf 97
Raised satin stitch leaf 90, 91
Rose in satin stitch 108
Rose, petal for 109
Star 106
Star in point de reprise 105
Star in satin stitch 104
STITCH, EMBROIDERY.
Sewing, embroidery.
Stitch, back 70
Stitch, button and eyelet holes 85, 87
Stitch, button-hole scallop 82 to85
Stitch, double overcast 67
Stitch, knotted 73 74, 75
Stitch, ladder 80 81
Stitch, overcast 68
Stitch, point croisé 71, 72
Stitch, point de minute 79
Stitch, point de plume 78
Stitch, satin raised 76, 77
Stitch, scallop 66
Stitch, shaded button-hole 88, 89
Stitch, slanting overcast 69
INSTRUCTIONS IN GUIPURE D'ART, p.503.
INSTRUCTIONS IN TATTING.
Tatting Instructions.
Joining the work, p.v.
Pin, tatting, p.ii.
Shuttles, tatting, p.i, p.iii.
The way to hold the hands, p.iii
The way to make a loop in tatting, p.iv
The way to make a purl, p.v
The way to make a stitch in tatting, p.iv

JEWEL-CASE cover, guipure d'art, 567
Jewel-case covered in guipure d'art, 566

KEY-BAG, embroidered, 182
Key-bag, embroidered, 183
Knee-cap, knitted, 322
Knife-basket, embroidered, 159
Knife-basket, embroidered, 160
Knitted antimacassar, 320
Knitted baby's boot, 326
Knitted bodice, 324, 325
Knitted border, 321
Knitted border for bed-quilt, 327
Knitted braces, 328
Knitted comforters, pattern for, 336
Knitted counterpanes, pattern for, 313
Knitted cover for sofa-cushion, 341, 342
Knitted curtains, patterns for, 339
Knitted d'oyley, 337
Knitted insertion, 340
Knitted knee-cap, 322
Knitted neckerchief, 323
Knitted pattern, 345
Knitted pattern, with embroidery, 332
Knitted purse, lady's, 317
Knitted quilt, 328
Knitted shawl, 346 to 348
Knitted sleeping sock, 314
Knitted sock for a child, 312
Knitted table-cover, 333, 334
Knitted veil, 330, 331
Knitting cotton, table of sizes of, p.368
Knitting gauge, 287
Knitting, looped, 335
Knitting, materials required for, 287
Knitting needles, 287
KNITTING ON, 287
Knitting, rosette for antimacassar in, 319
KNITTING STITCHES.
Knitting Techniques.
Brioche stitch, 301
Casting off, 295
Casting on, 288
Decreasing, 293
Increasing, 292
Knitting on, 289
Knotted stitch, 299
Looped knitting, 335
Moss borders, 300
Peacock's tail pattern, 297
Picking up stitches, 296
Plain knitting, 290
Purling, 291
Round knitting, 294
Spiral stitch, 298
Knitting stitch for comforters, &c., 32

LACE, Bedford plaited (1851), 423
(Lace, black), Buckingham point troll (1851), 422
Lace border for veils in guipure d'art 537
Lace border in guipure d'art, 522
Lace, crochet, 251
Lace, crochet, 261
Lace, Dalecarlian, 419
Lace, deep, in tatting, 27
Lace edging in tatting, 3
Lace edging in tatting, 4
Lace, Honiton guipure, 424
Lace insertion, embroidered, 207
Lace in tatting and crochet, 40
Lace, Mechlin (Queen Charlotte's), 421
Lace, netted, 309
Lace, netted, open, 310
Lace, old Mechlin, 420
LACE POINT.
Braid, placing the, 442
Braids, 426 to 431
Cords, p. 453
Edgings, 474 to 479
General directions for working, p. 453 p. 454
Materials required, p. 451
Modes of working dots and picots, 470, 473
Scissors for, 425
Threads, sizes of, p. 500
Lace, tatted, 26
Lace, tatted, 27
Lady's embroidered purse, 157
Lady's veil in net and tatting, 16, 17
Lappet or sash-end in. Venetian embroidery, 205
Linen collar embroidered, 193
Linen collar embroidered, 194
Linen tatting-bag, 46
Linen bag for tatting cotton, 30
Looped knitting, 335

MATERIALS required fur knitting, 287
Materials required for netting.302
Mechlin lace (Queen Charlotte's), 421
Medallion for a purse in embroidery, 198
Medallion for a purse in embroidery, 199
Medallion for trimming lingeries in tatting, 58
Medallion in point Russe embroidery, 210
Medallion in point Russe embroidery, 211
Medallion, tatting, 58
Mignardise and tatting, 29
MONOGRAMS AND INITIALS IN EMBROIDERY.
Monograms and initials in embroidery.
Alphabet, coral stitch embroidery, 353
Alphabet, floral embroidery, 361
Alphabet, florid style of embroidery, 356
Alphabet, forget-me-nots (embroidered), 352
Alphabet, point d'or (embroidered), 357
Alphabet, raised satin stitch embroidery, 359
Alphabet, satin stitch (embroidered), 351
Alphabet, scalloped, in embroidery, 355
Alphabet, small, in embroidery, 354
Alphabet, star, capitals, in embroidery, 349
Alphabet, star, small, in embroidery, 350
Alphabet, white, embroidery, 358
Initials in embroidery, 366 to 417
Monograms in embroidery, 366 to 417
Names in embroidery, 362 to 418
Sampler in embroidery, 360
Muslin cravat, embroidered, 153

Neckerchief, knitted, 323
Needle and mesh for netting, 302
Needles, knitting, 287
Netted fichu, 315, 316
Netted lace, 309
Netted nightcaps, 343, 344
Netted open lace, 310
Netted shell border, 311
Netting, 302
Netting, 303
NETTING STITCHES.
Net stitches.
Diamond, 306
English, 308
Bound, 305, 307
Square, 304
Netting, materials required for, 302
Netting needle and mesh, 302
Nightcaps, netted, 343, 344

Old Mechlin lace, 420
ON KNITTING, 287

Parasol-Cover in guipure d'art, 568
Patterns for arm-chair crochet borders, 255, 256
Pattern for a couvrette in appliqué, 213 to 215
Pattern for collars, cuffs, &c., in embroidery, 135
Pattern for collars, cuffs, &c., in embroidery, 137
Pattern for cravats, &c., in embroidery, 184
Pattern for cravats, &c., in embroidery, 185
Patterns, embroidery, for what-not (full size), 196
Pattern for cravat ends, &c., in embroidery, 133
Pattern for cravat ends, &c., in embroidery, 139
Pattern for embroidered braces (full size), 201
Pattern for embroidered braces (full size), 203
Pattern for embroidered letter-case, 177
Pattern for knitted comforters, 336
Pattern for knitted counterpanes, 313
Pattern for trimming lingeries in embroidery, 143, 144
Patterns for veil in tatting, 18, 19
Pattern, knitted, 345
PATTERNS, POINT LACE.
Alphabet, 502
Alphabet, description of, 500 to 502
Bars, d'Alençon and Sorrento, 494
Borders, 482, 483
Collars, 493 496
Cravat end, 487
Design for point lace collar, lappets, &c., 490
Dress trimming, 492
Edgings, 488, 489
Handkerchief border, 485
Insertion (Limoges), 484
Lappet, 490
Lappet, 497
Letter A in point lace, 500, 501
Medallion, 481
Oval for cravats, 491
Star, 480
Toilet cushion centre, 486
Wheels, close English, 495
Penwiper in embroidery, 186, 187
POINT LACE
Braid, placing the, 442
Braids, 426 to 431
Cords, p. 453
Edgings, 474 to 479
General directions for working, 453, 454
Materials required, p. 451
Modes of working dots or picots, 470, 473
Scissors for, 425
Threads, sizes of, p. 500
POINT LACE BARS
D'Alençon, 463 Point d'Angleterre, 467
Point de Venise, edged, 468
Point de Venise, dotted, 469
Raleigh, 471, 472
Sorrento, 461, 462
Sorrento, dotted, 469
Venetian, plain, 464, 465, 466
POINT LACE EDGINGS AND PURLED EDGINGS
Antwerp, 479
Point d'Angleterre, 477
Point do Bruxelles, 474
Point d'Espagne, 478
Point de Venise, 476
Sorrento, 475
POINT LACE PATTERNS
Alphabet, 502
Alphabet, description of, 500, 502
Bars, d'Alençon and Sorrento, 494
Borders, 482, 483
Collars, 493, 496
Cravat end, 487
Design for point Lice collar, lappets, &c., 490
Dress trimming, 492
Edgings, 488, 489
Handkerchief border, 485
Insertion (Limoges), 484
Lappet, 490
Lappet, 497
Letter A in point lace, 500, 501
Medallion, 481
Oval for cravats, 491
Star, 480
Toilet cushion centre, 486
Wheels, close English, 495 POINT LACE STITCHES
Brussels lace, 433, 434
Escalier lace, 454
Mechlin lace, 453
Point d'Angleterre, 444
Point d'Angleterre, enlarged, 445
Point d'Anvers, 498
Point d'Alençon, 442
Point d'Alençon, 443
Point Brabançon, 449
Point de Bruxelles, 433, 434
Point de Cordova, 447
Point d'Espagne, 437
Point d'Espagne; close, 438
Point d' Espagne, treble, 439
Point de fillet, 450
Point de fillet and point reprise, 451
Point de Grecque, 440, 499
Point de reprise, 448
Point de tulle, 452
Point Turque, 446
Point de Valenciennes, 441
Point de Venise, 435
Point de Venise, petit, 436
Spanish point, 455
POINT LACE WHEELS AND ROSETTES
Point lace wheels and rosettes
English, plain, 458
English, raised, 459
Mechlin, 453
Rosette for centres, 460
Sorrento, 456, 457
Wheels and rosettes, 456, 457
Point Russe stitch for embroidered slipper, 209
Purse, crochet sovereign, 246
Purse in crochet over rings, 348
Parse in tatting and beads, 42
Purse, knitted, 317

Quarter-square in guipure d'art, 530
Quilt, knitted, 328

Rose-leaf in embroidery, 173
Rosettes, crochet, 280, 281
Rosettes, embroidery and tatting, 48, 61, 63
Rosette for antimacassar in knitting, 319
Rosettes in guipure d'art, 529, 526, 563
Rosette in tatting, 8
Rosette in tatting, 34
Rosette in tatting, 35
Rosette in tatting, 45
Rosette in tatting and embroidery, 48
Rosette in tatting and embroidery, 61
Rosette in tatting and embroidery, 63
Round netting, 305, 307

SANDWICH-CASE in embroidery, 154
Scent-sachet in guipure d'art, 569
Shawl, knitted, 348
Shell border, netted, 311
Sleeping sock, knitted, 314
Slipper, embroidered on Java canvas, 208
Sock, knitted, for a child, 312
Sofa-cushion, knitted cover for, 341, 342
Squares for antimacassar in guipure d'art, 550, 551
Square for d'oyley in guipure d art, 523
Square, guipure d'art, 531
Square, guipure d'art, 532
Square, guipure d'art, 556
Squares, guipure d'art, 570, 576
Squares in guipure d'art, 533 to 536
Squares in guipure d'art, 538, 538a
Squares in guipure d'art, 554, 555
Squares in guipure d'art for dresses, 546, 547
Square in reticella work (guipure d'art), 540
Square in reticella work (guipure d'art), enlarged, 541
Square in tatting for pincushion or couvrette, 33
Square netting, 304
Squares, small, in guipure d'art, 527
Star, crochet, 244
Stars in crochet, 247
Stars in embroidery, 137, 143, 144
Stars in embroidery, 180, 181
Star in tatting, 9
STITCHES, CROCHET.
Cross stitch, 224
Cross treble stitch, 229, 230, 231
Double long treble stitch, 228
Double stitch, 220, 221
Long double stitch, 225
Long treble stitch, 227
Purl stitch, 236
Purl stitch, 237
Purl stitch, 238
Raised treble stitch, 235
Raised ribbed stitch, 222
Raised slanting stitch, 223
Slip stitch, 219
Treble stitch, 226
STITCHES, GUIPURE D'ART.
Grounding, 533 to 536
Point de Bruxelles, 509, 510
Point d'esprit, 504
Point de feston, 506
Point de reprise, 507, 508
Point de toile, 505
Stars, 516 to 520
Wheels, 511 to 515
STITCHES, KNITTING.
Brioche stitch, 301
Casting off, 295
Casting on, 288
Decreasing, 293
Increasing, 292
Knitting on, 289
Knotted stitch, 299
Looped knitting, 335
Moss borders, 300
Peacock-tail pattern, 297
Picking up stitches, 296
Plain, 290
Purling, 291
Round knitting, 294
Spiral stitch, 298
STITCHES, NETTING.
Diamond, 306
English, 308
Round, 305, 307
Square, 304
STITCHES, POINT LACE.
Brussels lace, 433, 434
Escalier lace, 454
Mechlin lace, 453
Point d'Alençon, 442
Point d'Alençon, 443
Point d'Angleterre, 444
Point d'Angleterre, enlarged,
Point d'Anvers, 498
Point Brabançon, 449
Point de Bruxelles, 433, 434
Point de Cordova, 447
Point d'Espagne, 437
Point d'Espagne, close, 438
Point d'Espagne, treble, 439
Point de fillet, 450
Point de fillet and point reprise, 451
Point de Grecque, 440, 499
Point de reprise, 448
Point de tulle, 452
Point Turque, 446
Point de Valenciennes, 441
Point de Venise, 435
Point de Venise, petit, 436
Spanish point, 355

TABLE-COVER, knitted, 333, 334
Table-napkin ring in embroidery, 153
Table of sizes of knitting cotton, p. 363
Tatting and beads, purse in, 42
Tatting and crochet, border in, 22
Tatting and crochet, border in, 52
Tatting and crochet, insertion in, 41
Tatting and crochet, insertion in, 43
Tatting and crochet, lace in, 40
Tatting and darned netting, collar in, 28
Tatting and darned netting, cravat-end in, 64
Tatting and embroidery, rosette in, 48
Tatting and embroidery, rosette in, 61
Tatting and embroidery, rosette in, 63
Tatting and lace stitch, insertion in, 23
Tatting and mignardise, 29
Tatting and muslin, cravat in, 50
Tatting and net, lady's veil in, 16, 17
Tatting, antimacassar in, 65
Tatting-bag, linen, 46
Tatting, border, 47
Tatting, border for cap in. 6
Tatting, border in crochet and, 15
Tatting, border in crochet and, 22
Tatting, border in, with crochet edging, 5, 6
Tatting, border in lace stitch and, 44
Tatting, border, with beads, 13
Tatting, cap-crown in, 37
Tatting, cap in, 38, 39
Tatting, circle for collars, cuffs, &c., in, 21
Tatting, circle in, 12
Tatting, circle in, 21
Tatting, circle in, 57
Tatting, collar in, 55
Tatting, collar in, 56
Tatting, collar, pine pattern in, 1
Tatting-cotton, p. 82
Tatting-cotton, linen bag for, 30
Tatting, couvrette, centre of a, 25
Tatting, cravat-end in, 60
Tatting, cravat-end in, 62
Tatting, oval cravat-end in, 51
Tatting, cravat in, 50
Tatting, deep border in crochet and, 52
Tatting, deep lace in, 27
Tatting, diamond in, 20
Tatting, diamond in. 36
Tatting, diamond in, 53
Tatting, diamond in, 59
Tatting, diamond, for collars, &c., 20
Tatting, insertion, 27
Tatting, insertion, 11
Tatting, insertion, 14
Tatting, insertion, 24
Tatting, insertion, 31
Tatting, insertion, 32
Tatting, insertion in, for trimming lingeries, 11
Tatting, insertion worked in, 10
TATTING INSTRUCTIONS.
Joining the work, p. v
Pin, tatting, p. ii
Shuttles, tatting, p. i, p.iii
The way to hold the hands, p. iii
The way to make aloop in tatting, p. iv
The way to make a purl, p. v
The way to make a stitch in tatting, p. iv
Tatting, lace, 26
Tatting, lace, 27
Tatting, lace edging in, 3
Tatting, lace edging in, 4
Tatting, linen collar trimmed with, 49
Tatting, linen collar trimmed with, 54
Tatting, medallion for trimming lingeries in, 58
Tatting, oval cravat-end in, 51
Tatting, patterns for veils in, 18, 19
Tatting, rosette in, 8
Tatting, rosette in, 34
Tatting, rosette in, 35
Tatting, rosette in, 45
Tatting, square in, for pincushion or couvrette, 33
Tatting, star in, 9
Tatting, trimming for collar in, 49
Tatting, trimming for collar in, 54
Tatting, wide insertion in, 10
Tatting, wide insertion in, 14
Tatting, wide insertion in, 43
Tatting, with beads, border in, 13,
Tobacco-pouch in crochet work, 278, 279
Tobacco-pouch in embroidery, 163
Tobacco-pouch in embroidery, 164
Toilet-cushion cover in white embroidery, 171, 172, 173
Travelling-bag in embroidery, 168
Trimming, crochet, with embroidered flowers worked in applique and velvet ribbon, 282
Trimming for a lady's chemise, in crochet, 286
Trimming in embroidery for bodices, 170

VEIL, knitted, 330, 331
Veil, lady's, in net and tatting, 16, 17
Veils, patterns for, in tatting, 19
Venetian border in embroidery, 206

WASTE-PAPER basket in embroidery, 191
What-not, embroidered in the shape of a hammock, 195, 196
WHEELS AND ROSETTES, POINT LACE.
English plain, 458
English raised, 459
Mechlin, 453
Rosette for centres, 460
Sorrento, 456, 458
Wheels and rosettes, 456, 457
Wing of bird in embroidery, 172
Work-bag in embroidery, 200
Work-basket covered with guipure d'art, 545
Work-basket in straw and silk crochet work, 272, 273
Work-case in guipure d'art, 571, 572
Wreath in embroidery for centre of pin-cushion or toilet-mat, 148

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OF

NEEDLEWORK.

CONSISTING OF DESCRIPTIONS AND INSTRUCTIONS, ILLUSTRATED BY SIX HUNDRED ENGRAVINGS, OF TATTING PATTERNS. CROCHET PATTERNS. KNITTING PATTERNS. NETTING PATTERNS. EMBROIDERY PATTERNS. POINT LACE PATTERNS. GUIPURE D'ART. BERLIN WORK. MONOGRAMS. INITIALS AND NAMES. PILLOW LACE, AND LACE STITCHES.

Every Pattern and Stitch Described and Engraved with the utmost Accuracy and the Exact Quantity of Material requisite for each Pattern stated.

CHANCELLOR PRESS

Beeton's Book of Needlework was originally published in Great Britain in 1870 by Ward, Lock and Tyler.

This facsimile edition published in Great Britain in 1986 by Chancellor Press 59 Grosvenor Street London W 1

Printed in Czechoslovakia 50617

SAMUEL BUTLER'S PREFACE

TATTING

TATTING INSTRUCTIONS

TATTING PATTERNS.

EMBROIDERY

EMBROIDERY INSTRUCTIONS

EMBROIDERY

EMBROIDERY PATTERNS

CROCHET

CROCHET INSTRUCTIONS

CROCHET PATTERNS

KNITTING

KNITTING INSTRUCTIONS

NETTING INSTRUCTIONS

KNITTING AND NETTING PATTERNS

MONOGRAMS AND INITIALS.

ALPHABETS.

MONOGRAMS AND INITIALS.

POINT LACE WORK

POINT LACE INSRUCTIONS.

POINT LACE PATTERNS.

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

GUIPURE D'ART

INSTRUCTIONS AND PATTERNS IN GUIPURE D'ART

BERLIN WORK

BERLIN WORK INSTRUCTIONS

PLATES

INDEX.

Every Pattern and Stitch Described and Engraved with the utmost
Accuracy and the Exact Quantity of Material requisite for
each Pattern stated.

Beeton's Book of Needlework was originally published
in Great Britain in 1870 by Ward, Lock and Tyler.

This facsimile edition published in Great
Britain in 1986 by
Chancellor Press
59 Grosvenor Street London W 1