Chapter 2

NO. 22.--POINT DE TULLE.--This stitch is used as a ground-work for very fine work, and is worked in rows backward and forward in the same stitch as open point d' Espagne. 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. 23. FAN LACE STITCH.--Commence at the right side, and work as follows:

_First row._--Make 1 button-hole stitch and miss the space of 8, which will leave a long loop.

_Second row._--Make 8 button-hole stitches in each loop.

_Third row._--Make 7 stitches into the spaces between the 8, and so decrease one in every row until only one remains, as may be seen by referring to the illustration.

NO. 24.--ROSE POINT LACE STITCH.--Make a foundation of single threads, crossing them to form the large squares. Work a button-hole stitch at each crossing to make it firm. Now begin at the top, at the right side and fill the first square with Brussels net stitches, finishing at the lower left corner. Fill every alternate square in the same way as seen in the picture.

Now cross the open squares diagonally with two threads, twisting each thread around the adjoining one as represented. (Carry one thread across all the squares from corner to corner first, then twist back, fastening at the corner started from; cross these threads in the same way from the opposite direction). When twisting the thread back from the last set of crossings, make a rosette at each center crossing as follows: Keep the space open with a pin and trace round it with a darning movement five or six times; commence at the single thread and work a close button-hole stitch over the tracing entirely around, and then twist along the single thread to the center of the next square. This is a very effective design for spaces.

WHEELS AND ROSETTES.

Wheels and rosettes are used to fill up spaces, or in combination, to form lace.

NO. 25.--ROSETTE IN RAISED POINT D'ANGLETERRE.--This rosette is worked in a manner similar to the English wheel, the difference being that after each stitch is passed round and under the bars, the thread is passed loosely around in the reverse direction, as shown in the illustration, before proceeding to make the next stitch.

NO. 26.--MECHLIN LACE WHEELS.--This is one of the prettiest stitches in point lace, but also one of the most difficult to work correctly. It is made thus: Work a number of diagonal bars in button-hole stitch on a single thread in one direction, then begin at the opposite side in 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 of 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 held open by the pin, then take the pin 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. 27.--ENGLISH WHEEL.--This is worked in the same manner as Sorrento wheels, 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 produces a kind of button-hole stitch, and gives the square, firm appearance possessed by this wheel.

NOS. 28 AND 30.--SORRENTO WHEEL.--This is worked by fastening the thread in the pattern to be filled up, as indicated by the letters. Fasten it first to the place _a_, then at place _b_, carrying it back to the middle of the first formed bar by winding it round; fasten again at _c_, carrying it back again to the center by winding it around the bar, and so on to all the letters; then work over and under the bars thus formed.

NO. 29.--CLOSE ENGLISH WHEELS.--These wheels may be used in open spaces and may be very easily made from the engraving. They are much like the wheels used in drawn work--indeed, many of the stitches used in lace are identical with those used in drawn-work.

BARS AND PICOTS.

The word "Bar" is applied to the many stitches used to connect the various parts of point lace, and the beauty of the work depends greatly upon the class of bar selected and its suitability to the lace stitches used.

NOS. 31 AND 32.--RALEIGH BARS.--These bars are much used in making Battenburg lace and are very effective. They are worked over a foundation or net-work of coarse thread, and are twisted in places so that they will more easily fall into the desired form.

By following the numbering from 1 to 21, in No. 31, a square place may be easily filled, and portions of this arrangement applied to form ground-work of any shape desired. Upon this ground-work tight point de Bruxelles stitches are made, and the dot worked upon these in one of the following ways:

DOT OR PICOT.--_First Method._--Make 5 tight point de Bruxelles stitches, 1 loose point de Bruxelles; pass the needle under the loop and over the thread, as shown in point de Venise bars at No. 47, on page 18, and draw up, leaving a small, open loop as in tatting. Work 5 tight point de Bruxelles stitches, and repeat.

_Second Method._--Proceed as above directed, but instead of continuing the tight stitches, work two or three tight stitches in the loop thus formed and repeat.

_Third Method._--Work 4 tight point de Bruxelles stitches; 1 loose, through which pass the needle point, wind the thread three or four times round the point (see No. 48, page 18), 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. 48 shows how this stitch may also be applied as a _regular_ ground-work, but the beauty of old point ground-work bars consists of variety in form.

NO. 33.--ITALIAN GROUND STITCH.--Commence at the left side, and work as follows:

_First row._--Make a loose button-hole stitch to form a loop a quarter of an inch wide, and then make a plain stitch into the loop to twist it, and continue to the end.

_Second row._--Make two plain stitches into each loop, working back to the left.

_Third row._--Repeat first row.

NO. 34.--OPEN LACE BARS.--Pass a thread from right to left. Make it firm by working a second stitch into the braid; work 2 button-hole stitches on this line of thread, close together. Then work 1 button-hole stitch on the lower thread at the left hand side, and draw it close to the 2 stitches on the line of thread. Miss the space of 2 and repeat.

NOS. 35 AND 36.--SORRENTO BARS.--Each of the bars is worked from right to left, a straight thread being carried across and fastened securely with a stitch. The return consists of a simple twist under and over the straight thread; three of these bars are usually placed close together at equal distances between the groups. The thread is sewn carefully over the braid in passing from one spot to another.

NOS. 37 AND 38.--VENETIAN BARS.--The bar at No. 37 is so simple that it really needs no description. It is worked over two straight threads in reverse button-hole stitch. No. 38 shows the Venetian bar used as the veining of a leaf and worked upon Sorrento bars.

NO. 39.--POINT D'ANVERS BARS.--Two upright bars form the foundation. The thread is carried over and under them as seen in the engraving, the side loops being added by the method depicted at the top of the point.

The over and under work in point d'Anvers bars, without the side loops, is often used for plain bars for filling in odd spaces or wheels in heavy lace.

NO. 40.--POINT GRECQUE BARS.--These bars are so simply made that they are great favorites with beginners. They are begun at the top of the point, one straight thread being carried to the bottom; then the cross bars are worked after the method seen in the illustration.

NO. 41.--BARS OF POINT D'ANGLETERRE.--These bars may be worked singly or to fill up a space, as in the illustration. Work rosettes as in point d'Angleterre; when each rosette is finished twist the thread up the foundation thread to the top, fasten with one stitch, then pass it under the parallel line running through the center and over into the opposite braid; repeat on each side of each rosette, inserting the threads as seen in the illustration.

NO. 42.--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. Then in every third stitch work one point de Venise stitch.

NO. 43.--D'ALENÇON AND SORRENTO BARS.--At Nos. 35 and 36 (page 16), a description of the method of making Sorrento bars is given, while at No. 19 (page 12), is a description of plain and fancy d'Alençon stitches. The two methods are combined in the work seen at No. 43 where the process is so clearly illustrated that a mere novice in lace-work could not fail to produce it perfectly. The combined stitch is used in filling in spaces, etc., etc.

NO. 44.--PICOT OR DOT ON SORRENTO BAR.--This dot is worked between rows of point de Bruxelles, 3 twisted stitches being worked into the loop left by the twisted thread; this forms a picot resembling satin stitch in appearance.

NO. 45.--D'ALENÇON BARS.--These bars are worked upon point de Bruxelles edging, and are only applied to the inner part of a pattern, never being used as ground-work 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 fastens off the bars, and the thread is passed through the next point de Bruxelles stitch.

NO. 46.--PLAIN VENETIAN BARS.--These bars are worked so as to form squares, triangles, etc., in button-hole stitch upon a straight thread.

The _arrow_ in the illustration points to the direction for working the next stitch.

NO. 47.--DOTTED POINT DE VENISE BARS.--These pretty bars are worked as follows: Stretch the thread from right to left; on this work 5 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 the illustration, and in this loop work 3 tight point de Bruxelles stitches. Then work 5 more stitches and repeat to end of row.

The making of the dots or purls before mentioned as picots, is an important feature in bar work. All three names are employed for the same class of stitch.

NO. 48.--THIRD METHOD OF MAKING PICOTS OR DOTS.--This method has been fully described in connection with the making of Raleigh Bars at Nos. 31 and 32 (page 15), and requires no further description at this point. All dots and picots render work much more effective, and may be introduced at will by the worker.

In making modern lace, the various kinds require appropriate braids. There are three classes of these braids--those for Battenburg lace, those for plain Honiton and point, and those for the newest kind of lace, which is called the "Ideal Honiton." Each class of braids contains many designs and widths, and a large number of them, together with various cords, buttons and rings also used are illustrated on following pages.

FANCY BRAIDS, CORDS, RINGS AND BUTTONS.

BRAIDS.

The braids, cords, rings and buttons illustrated upon the following two pages are all used in modern lace-making. They are all made of pure linen thread, and according to the fancy, the lace including them may be heavy or light. Royal Battenburg lace, as originated, was heavy--in some cases massive; but at present many lighter varieties are made, as will be surmised upon an inspection of the braids for its manufacture which are represented on the pages mentioned. As shown by No. 1, these braids are about a third narrower than their actual width, and the picot edges numbered 16 and 17 are plain tatting made for the purpose, as the picot edges woven for lighter laces are not heavy enough for Battenburg lace. The numbers opposite the specimens are simply for convenience in ordering, if the order is sent the lady mentioned in another part of the book as the Pioneer of Lace-Making in America; but in ordering from other lace-makers or manufacturers of braids, these numbers will be of little use, as every lace-maker or manufacturer has his or her own individual identifications for materials. Almost any of the braids, or those very similar, may be found at large fancy stores, but in buying them at such stores, be careful to get _linen_ braids, as cotton braids do not make pretty lace, neither do they wear or launder well. In ordering these braids from other lace-makers or from fancy stores, it will be necessary to forward the illustration of the kind wanted, as the braids cannot be described with sufficient accuracy to obtain the desired varieties. Some are sold by the yard, some by the dozen yards and others by the piece, according to the position to be occupied in the work.

The point, Honiton and Princess braids are represented full size, and are much daintier in texture than the Battenburg braids. Of this class of braids (see No. 2) are made the plain Honiton and point laces, and the braids for these two laces combined produce the Princess lace--a creation whose beauty fully entitles it to its royal name.

The braids seen at No. 3, page 21, are those which are used in making the new "Ideal Honiton" lace represented in another portion of the book. As illustrated, these braids are three-quarters of their proper widths, the top braid, No. 38, being just one inch wide in the fabric itself. The "Ideal Honiton" is one of the prettiest laces made, and is very appropriate for tidies, doilies, squares and scarfs. It is daintily secured to the finest of lawn in charming designs, and then the lawn is cut out from beneath it. (See doily, page 33).

The cords seen at No. 4 are used in making Battenburg laces, and greatly increase the beauty of the work in addition to forming a distinctive species of lace. After the ordinary Battenburg is worked with quite thick braid, the cord, in any size desired, is used to follow one edge of the design, as will be seen from illustrations upon other following pages.

RINGS AND BUTTONS.

The rings and buttons illustrated, are made throughout of linen thread in layers of button-hole stitches, and are sold by the dozen or gross. Buttons arranged as grapes (see No. 50, page 21), add greatly to the sumptuous effect of a heavy lace, and may be purchased already arranged as illustrated, or they may be arranged by the purchaser of a quantity of them. The latter method is a good plan if spaces are to be filled with clusters which must be of a certain shape.

DESIGNS, LACE ARTICLES, EDGINGS, INSERTIONS, ETC., IN MODERN LACE.

Of necessity, most of the designs and specimens given on this and the following pages are smaller than the articles they represent, but they afford a correct idea of the method of making and the beauty of Modern Lace, and also its adaptability to dainty accessories of the toilet and the household. As before mentioned any design desired can be obtained from any lace-making establishment in any size, width or shape, according to the requirements of the article or lace to be made, and individual taste. Ingenious students will no doubt be able to adapt for themselves the designs offered, but it is not advisable for those who have no talent in the matter of drawing or designing to undertake an elaborate adaptation, though they may easily accomplish a simple one. Besides, a professional designer will furnish the design for a moderate sum, perfectly outlined upon tracing cloth, with ink, and with the proper filling-in stitches perfectly delineated; and if the student wishes it, will select the thread and braid appropriate for the design; or the student may select the braid she fancies, and the designer will then select the thread suitable for the braid.

No. 1.

DESIGN FOR A LACE HANDKERCHIEF.

This design is suitable for point lace braid, but is of course very much reduced in size, in order to show the effect and arrangement of a design ready for working, as sent out from the lace-maker's. By a reference to the various stitches illustrated on preceding pages, the stitches shown in one corner of the design may be readily identified. The following engraving shows how braid is applied to a design before the stitches are begun.

No. 2.

METHOD OF PLACING BRAID UPON DESIGNS.

This illustration shows the method of arranging braid upon designs for modern lace, and how, after the braid is basted along the pattern, the tracing cloth is basted to _toile cirée_ or to smooth, light brown wrapping paper to provide sufficient firmness for working.

The following instructions apply particularly to engraving No. 2, but their principle should be observed and applied to any design decided upon, as good results in lace-making largely depend upon the arrangement of the braid.

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 center, 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: Fasten whipping thread securely, and insert the needle in 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.

Before cutting off the braid run a few stitches across it to prevent it from 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 it along the center 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 cutting it off afterwards. In fastening off, make a tight button-hole stitch, run in three stitches, bring the needle out at the back, and cut off.

No. 3.

ROYAL BATTENBURG LACE BUREAU-SCARF.

The engraving on the opposite page represents the article above mentioned, and shows the effectiveness of this magnificent and durable lace. In actual size the scarf is about a yard and one-half long and one-half yard wide, and is made of a heavy Battenburg braid, having a fancy edge (See Nos. 5 or 7, on page 20) and cord, rings and buttons. The main part of the design is outlined with the braid, cord is used as a veining for the leaves, and the rings and buttons are introduced here and there over the surface, as seen in the picture. Raleigh bars with picots connect the border and center designs, while the palms along the border as well as other small spaces are filled in with point Turque and point de Grecque stitches. Sorrento bars are also used in some of the long leaf-like spaces, while in a few of the circular spaces point d'Angleterre rosettes are introduced. These rosettes are also frequently called "spiders," and are made, according to the space, large or small; and according to the requirements of the braid selected, heavy or light.

For convenience in giving the name of this lace, the full title is rarely used--"Battenburg Lace" being considered sufficient to identify the fabric from the other and lighter laces.

Battenburg lace is made both heavy and light, according to personal taste or the object for which the lace is intended, but it was originally designed for heavy work only.

No. 4.

POINT LACE DOILY FOR A TOILET CUSHION.

This dainty doily may be made of the point lace braids illustrated at Nos. 30 and 31, together with the picot edging No. 36, seen on page 20. In filling in the spaces, thread suitable for the braid is used, and the stitches are point de Valenciennes, point d'Espagne, Sorrento bars, point de Bruxelles, open rings and "spiders." As all of these stitches, with many others are illustrated in that section of this book devoted to stitches, it will be unnecessary to repeat the details for making, as they are fully given in the department mentioned. It will also be understood that most of the articles illustrated are not of full size, but in some instances are nearly so. The doily just described is illustrated about three-quarters of its actual size; but by using a fine braid a doily of fairy-like texture, and just the size of the engraving may be produced. Any one accustomed to drawing may enlarge this or any of the designs given, but only clever fingers should try this experiment.

No. 5.

BATTENBURG EDGING, WITH CORD.

This is a very elegant looking lace, though simply made after the regular Battenburg method. A plain braid (No. 10, page 20) is chosen to form the outlines, and after the stitches are filled in, cord of a suitable size is carried around the petals and foliage of the design, and rows of it are also used to indicate the vine, though the latter may be outlined with the tape and then with the cord. The petals of the blossoms are filled in in point de Bruxelles and point de Venise stitches, while point d'Espagne and point Brabançon are used for the foliage and vine. Point Grecque and d'Alençon bars are also used at the very heart of the blossom, and Raleigh net-work bars connect the design to the edge and are dotted here and there with "spiders."

No. 6.

BATTENBURG INSERTION, WITH CORD.