Chapter 20

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 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. 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. 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.

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.

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.

No. 475.--SORRENTO EDGING is worked with one short and one long stitch alternately.

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. 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. 478.--POINT D'ESPAGNE EDGING.--This stitch is easily worked. Insert 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. 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.

NOTE.--It will be observed that the stitches here given are much enlarged for the sake of clearness in showing details.

PATTERNS.

No. 480.--_Star in Point Lace_.

Materials: Braid; Messrs. 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.

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No. 481.--_Medallion in Point Lace_.

Materials: Linen Braid; Messrs. 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 point de fillet or with point de Bruxelles. An edging of Spanish point completes this pretty medallion.

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No. 482.--_Point Lace Border_.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12.

This border represents the completed work shown on p. 454. A point 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.

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No. 483.--_Point Lace Border_.

Materials: Braid; Messrs. 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.

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No. 484.--_Insertion in Limoges Lace_.

Materials: Plain linen braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 14.

This insertion will be found very useful, being so quickly worked. Edge the braid with Sorrento edging, fill up with bars and plain point d'Alençon and Sorrento wheels, No. 456.

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No. 485--_Point Lace Border for Handkerchief._

Materials: Fine lace braid or cord; Messrs. Walter Evans and 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.

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No. 486.--_Star-Centre for Toilette Cushion in Point Lace_.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 16 and 12.

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.

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487.--_Cravat End in Point Lace_.

Materials: Fine braid: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12.

This cravat is worked in Sorrento wheels, point d'Alençon bars, and Sorrento edging.

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488 _and_ 489.--_Point Lace Edgings_.

Materials: Braid; Messrs. 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 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.

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490.--_Design in Point Lace for Collar, Lappet, &c._

Materials: Linen braid; Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 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.

* * * * *

491.--_Oval for Cravats, &c._

Materials: Point lace cord; muslin; embroidery cotton; Messrs. 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 over-casting 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.

* * * * *

492.--_Point Lace Trimming for Square Bodice_.

Materials: Braid; Messrs. 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.

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493--_Point Lace Collar._

Materials: Fine braid or cord; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 22.

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.

* * * * * [Illustration: 496--Point Lace Collar.]

496.--_Point Lace Collar._

Materials: Fine braid or cord; Messrs. 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.

* * * * *

497.--_Point Lace Lappet._

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 16 or 24, according to the fineness required.

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.

Point Grecque is another useful variety of fancy stitch, and so easily worked as to be a favourite stitch with beginners.

* * * * *

_500 to 502.--Alphabet in Point Lace. (See endpapers.)_

Materials: Point lace cord; Messrs. 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.

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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 edged braid runs thirty-six yards on cards.

Plain linen twelve yards in each hank.

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GUIPURE D'ART.

INSTRUCTIONS AND PATTERNS

IN

GUIPURE D'ART.

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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.

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 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.

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.

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.

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 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 completed foundation is laced upon the frame, taking the lacing cotton through the double edge formed by the increased and decreased 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.

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.

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.

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.

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.

* * * * *

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 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 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 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 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.

* * * * *

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.

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.

* * * * *

STARS are of various form, 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. 517 is worked in point de feston and point de Bruxelles, alternately round a centre simply crossed by point d'esprit 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 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. 520 consists of a double cross formed by twisted loops of linen thread. Copy these loops exactly from illustration 520 One part of the straight cross lies underneath, then comes the slanting cross, and lastly, 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).

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.

* * * * *

521.--_Insertion in Guipure d'Art._

Materials: Guipure frame netting of 6 holes wide; Mecklenburg thread No. 8 or 10; needle 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 and star wheels; the border is in point d'esprit. The insertion is finished on either side with a row of button-hole stitches.

* * * * *

522.--_Lace Border in Guipure D'Art_.

Material: Messrs. Walter Evans and Co.'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 button-hole stitch, the netted ground is cut away outside the scallops.

* * * * *

523.--_Square for D'Oyley_

Materials: Frame; 1 square of netting; Mecklenburg reel thread Nos. 8 and 10; needle No. 6.