The Ladies' Work-Book Part 37

18th: (Scarlet, white, and darkest green) X 1 g., 2 s., 5 g., 5 s., 4 w., 1 s., 2 w., 2 s., 2 g., 6 s., 5 g., 7 s., 3 w., 3 s., X 5 times.

19th: (Scarlet and darkest green) X 4 s., 3 g. over centre three of 5 g., 15 s., 1 g., 8 s., 3 g., 14 s., X 5 times.

Four rounds of scarlet complete the band round the head.

THE TOP OF THE CAP.--This is a worked from the centre, and gradually increased until of the same dimensions as the band, that is, containing 240 st.i.tches. Begin by working 12 st.i.tches with black wool on the cord, and forming it into a round.

2 round: Increase to 24 st.i.tches.

3rd: Increase to 40.

4th: (Black and gray) X 2 g., 2 b., X 13 times.

5th: (Black and white) X 3 w. over 2 g., 2 b. over 2 b., X 13 times.

6th: (Black and scarlet) X 4 s. over 3 w., 2 b. over b., x 13 times.

7th to 11th: (All scarlet) Increasing sufficiently to keep the work flat, and having 120 st.i.tches in the last round, or 8 times 15.

12th: (White, scarlet, and lightest green) X 3 s., 4 g., 4 s., 2 w., 2 s., 1 w., 2 s., 1 g., X 8 times.

Observe that care must be taken to increase so that the pattern begins always at the same point.

14th: (White, scarlet, and third green) X 2 g., 2 s., 2 g. over second and third of 4 g. in last round, 5 s., 3 w., 2 s., 1 w., 1 s., 2 g., X 8 times.

15th: (Same colours) X 2 s. over 2 g., 2 more s., 1 g., 1 s., 1 g., 3 s. over 2, 1 g., 2 s., 2 w., 2 s., 1 w., 2 s., 2 g., X 8 times.

16th: (Darkest green but one, white, and scarlet) X 1 s., 2 w., 1 s., 1 w., 1 s., 2 g., 1 s., 2 g., 5 s., 2 w., 1 s., 2 g., 1 s., X 8 times.

17th: (Same colours) X 1 s., 4 w., 3 s., 3 g., 5 s., 2 w., 1 s., 2 g., 3 s., X 8 times.

18th: (Darkest green, white, and scarlet) X 2 s., 2 w. (over second and third of 4 white in last round), 5 s., 12 g., the last over the first of 2 green, 5 scarlet, X 8 times.

There will now be 208 st.i.tches, work on two rounds of scarlet, increasing to 240, and then join on the band. This is done by holding the top of the band and the edge of the round together, and working one round, taking up the chain of both. Work on the cord with black wool and white silk, two st.i.tches of each alternately; draw in the end of twine. Take care in placing the two parts of the cap together, to make that part which begins every round at the same place in both, as a small defect in the pattern is inevitable, and must be covered by the ta.s.sel. Draw the string of the ta.s.sel through the centre of the crown, and fasten it in its place. The cap may be lined with scarlet sa.r.s.enet.

CROCHET EDGINGS AND INSERTIONS.

The whole of these edgings and insertions are intended to be worked either with or without beads. If to be worked with beads, 1 chain st.i.tch must be reckoned in the foundation, for every square, and the ground must be perfectly solid, with the pattern in beads. If to be worked in square crochet, 3 chains must be allowed for every square.

In the scallops the ends of the thread must be neatly run in after they are done. Reckoning from that part where the actual scallop begins, each must be done distinctly from the others.

[Ill.u.s.tration: CROCHET EDGINGS AND INSERTIONS.]

[Ill.u.s.tration: CROCHET EDGINGS AND INSERTIONS.]

INSERTIONS.

To be worked in square crochet. The materials, any number of Brooks'

Great Exhibition Prize Goat's-head Crochet Cotton that will be suitable for the purpose. All these square crochet patterns may be done in beads, if desirable.

[Ill.u.s.tration: INSERTIONS]

POINT LACE INSTRUCTIONS.

The outlines of any design in Point Lace are made in braid of various sorts, in thread, or sometimes in linen. The braid used is either French linen or cotton braid, or that now known as Italian braid.

French braid is a simple plait, more or less wide; Italian braid is, in fact, a pillow lace insertion, somewhat resembling a tape, but with edges like those seen in all other pillow lace. It enters very much into the composition of Venetian and other valuable Italian lace, whence the name Italian braid has been given to it. Point lace used formerly to be worked on parchment, this, however, being very hard and stiff, is not so pleasant a material to work on as coloured paper, which may be lined with calico or alpaca, according to the work intended to be done.

French braid, whether made of linen or of cotton, is laid on the pattern with st.i.tches taken across it, from one edge to the other.

This mode of putting on braid prevents it from stretching, as, from the nature of the plait, it would otherwise do. In forming angles, each edge should be sewn down to the paper, and then the braid turned over. Circles are made by laying the braid on the design, and forming it into the proper shape with the fingers, before tacking it down.

We give a diagram showing the manner in which lines of braid cross and intersect each other, to form the pattern; and we would observe, _en pa.s.sant_, that each line is done with a separate piece of braid, that from A to B being one piece, and from C to D another.

Italian braid, being so much wider, requires to be tacked down at both edges; and in forming circles and scrolls, one edge has, not unfrequently, to be gathered in slightly. When thread is used as an outline, a second, and much finer thread is used to tack it down. The coa.r.s.e thread is laid on the outlines, and the needle is brought up on one side of it, and down, in the same hole, on the other. The st.i.tches are taken at the rate of five or six to an inch, one being always placed at the point of each angle, so as to keep the outlines as accurate as possible. To fasten on a thread, run the needle along the braid a little way, taking a b.u.t.ton-hole st.i.tch to secure it. Fasten off in the same manner. If the outlines are in thread, you can twist the needle round it two or three times, and then take a tight b.u.t.ton-hole st.i.tch.

The chief st.i.tch in all Point Lace is that known as the common b.u.t.ton-hole or overcast st.i.tch. This st.i.tch, worked as closely as possible, or at regular intervals, drawn tightly, or the reverse, forms almost all the st.i.tches, or more properly _laces_, used. We will begin by describing the simplest of all, which is known as

[Ill.u.s.tration: BRUSSELS EDGE.]

BRUSSELS EDGE (No. 1). This is a continuous line of b.u.t.ton-hole st.i.tches, not drawn tightly, and taken at equal distances of about the fourteenth part of an inch. When worked on braid, care should be taken that the needle is inserted at a little distance from the edge of the braid, which would otherwise be apt to fray.

LITTLE VENETIAN EDGING (No. 2). In working this st.i.tch, do one Brussels, and in the loop of that work a _tight_ st.i.tch.

VENETIAN EDGING (No. 3). Do four st.i.tches instead of one in the loop of the Brussels st.i.tch.

SORRENTO EDGING (No. 4). Do a st.i.tch exactly like little Venetian, the eighth of an inch long, and then one-half that length in the same manner. Continue to work these alternately.

VENETIAN BARS (No. 6). Take the needle across the s.p.a.ce to be barred, once, twice, or oftener, according to the thickness of the bar, and then cover these threads quite closely with b.u.t.ton-hole st.i.tch.

The veinings of leaves are often worked in Venetian bars, over a ground of Brussels lace. As this is to be done without breaking off a thread, it requires some little management. Begin by making the foundation thread of the vein running from the base of the leaf to the point, taking one, two, or three threads, but always beginning _at the point_ to cover it with b.u.t.ton-hole st.i.tch. Do enough to come to the first veinings branching from it; slip the needle across to the braid, in the proper direction, taking a close b.u.t.ton-hole st.i.tch to fasten it: cover it with b.u.t.ton-hole up to the centre vein; then do the companion one in the same manner, and continue to work each pair as you come to it on the princ.i.p.al veining.

EDGED VENETIAN BARS (No. 5). This is a Venetian bar, like the last, edged with Brussels or Venetian edging. This, with various other bars, frequently forms the groundwork of the guipured lace.

ENGLISH BARS (No. 7). These are frequently worked between two lines of Brussels or Venetian edging to connect them. They are made by pa.s.sing the needle backwards and forwards through two opposite st.i.tches, always tacking the under side of each, so that the threads be across the s.p.a.ce smoothly and evenly. About four times each way will be sufficient. They are usually done across between two st.i.tches, and then one at each edge is missed before the next bar is made. Sometimes these bars are radiated, a single st.i.tch of the edge being missed on one side, and two at the other.

SORRENTO BARS (No. 8). These are bars which occur most frequently in Italian lace. They are simply twisted threads, so closely entwined that they only appear as one. They also are frequently radiated, and crossed; the effect produced will be seen in the accompanying diagram.

DOTTED VENETIAN BARS (No. 9). A bar of threads is made, as for a common Venetian bar. Do on it six st.i.tches, and instead of drawing the seventh tight, hold the top by sticking a needle through it and the paper, about the tenth of an inch, and work on the threads of the loop three b.u.t.ton-hole st.i.tches. Do six more on the bar, and repeat.

[Ill.u.s.tration: VENETIAN EDGING.]

[Ill.u.s.tration: VENETIAN BARS.]

[Ill.u.s.tration: EDGED VENETIAN BARS.]