Chapter 4

This is a design containing many of the features of antique lace patterns, and is made of narrow tape and fine cord combined with fancy stitches. The lace from which the engraving is made is about twice as wide as the picture represents it, but as the pattern differs in its sections for several inches at a time, the design could not be given full size. It will be seen that in the section illustrated no two figures are alike. The filling-in stitches consist of combinations and groupings of many of the stitches previously illustrated and described.

No. 38.

BUTTERFLY DESIGN FOR FINE BATTENBURG LACE.

This design, developed in Battenburg lace with d'Alençon and Sorrento bars and small "spiders" or dots, makes a pretty ornament for centers or corners, or is effective when introduced as a part of an edging design. Point or Honiton braids may also be made up by this design.

No. 39.

DESIGN FOR INSERTION.

A very pretty design for insertion is here given. The braid may be basted as seen in the picture, and then the bars may be made of single threads, and of single threads over-wrought with button-hole stitches. Or, any of the bars or other stitches described, may be used to connect the braid and fill in the spaces. Tiny "spiders" are already used to fill in the circles.

No. 40.

DESIGN FOR A LACE BORDER AND CORNER.

A great deal must be left to the ingenuity of the worker in filling in this design, which is not of the orthodox modern variety but may be readily transformed into that class by an adaptation of modern stitches. With the methods of the latter well mastered, the worker will have no trouble in bringing out the design just as it is illustrated; but she may also by the exercise of a little judgment and taste substitute many other pretty filling-in stitches for those here pictured.

No. 41.

DESIGN FOR A BUTTERFLY IN POINT LACE.

Another butterfly design is here given for point lace, though it may also be developed in a larger size in Battenburg braid for decorative purposes. The filling-in stitches are d'Alençon and Raleigh bars, point de Venise and point de Bruxelles, and point d'Angleterre rosettes.

No. 42.

ITALIAN LACE.

This lace is of a conventional Italian pattern, and is filled in with the Italian lace and ground-stitches, and Sorrento bars. The lower edge is very daintily completed with a button-hole effect. The design is simple, elegant, and popular, and may be wrought in Battenburg or the finer braids, and in any width desired, the braid selected and the width decided upon determining the use to which the lace shall be put.

No. 43.

MODERN VENETIAN POINT.

The engraving shows a reduced representation of a very elegant specimen of modern lace--the reduction in size being necessary in order to present the whole design. In making the lace, narrow braid and cord are used for the foundation of the design, and then the filling-in stitches are made and at the same time rings and buttons and bars and picots are introduced. Some of the filling-in stitches are combinations--as in the figures with very open bars where point d'Espagne and point Brabançon are combined, and at the middle section of the central figure where point de Valenciennes and point Brabançon are combined. Other stitches used are d'Alençon bars, Raleigh bars, church stitch, point de Bruxelles, "spiders," Sorrento bars, and picots. The greater the variety in the filling-in stitches, the more beautiful the lace. A picot edge finishes the lace in a very dainty manner along its lower outline, while a cord forms the upper edge.

No. 44.

DESIGN FOR MODERN LACE.

This design may be made up in Battenburg braid, or of point or Honiton braid according to the texture of the lace desired. In making it for garments or articles that are to be renovated occasionally, the Battenburg braids are advisable; but for daintier uses, point or Honiton may be chosen. The Raleigh-bar stitch, point de Bruxelles, and "spiders" may be used in following the outlines given for stitches.

No. 45.

CORNER IN MODERN LACE.

The suggestions given above will also apply to this design, which may be used for a table spread, or a handkerchief, according to the braid selected. As illustrated, the design is of pretty dimensions for a doily or a toilet-cushion cover, or for a handkerchief. All of the bar work seen may be done with single threads instead of the complete Raleigh method, and the rosettes or "spiders" may be larger or smaller as preferred.

No. 46.

PILLOW-SHAM OF BATTENBURG LACE AND LINEN.

A very elaborate pillow-sham is here illustrated. It is made of Battenburg braid and appropriate thread, together with an intermingling of rings, and forms one of the most elegant appointments of a handsomely furnished bed-room. The pattern is very distinct and is called the "rose and leaf" design. The ground-work is formed of rings and Raleigh bars, while the centers of the roses and their leaves are filled in in various fancy stitches which include the crosses and rosettes used in drawn-work, Sorrento bars, points de Venise and Bruxelles, d'Alençon bars, etc., etc. If desired the linen square may be made larger, and the lace but one row of blossoms in width. The square is made of the finest household linen and is completed with a broad hem-stitched hem before the lace is added. The lace design may be obtained in any width desired by sending to a professional lace-maker; or, a clever student may be able to enlarge the design herself.

No. 47.

DESIGN FOR PRINCESS OR DUCHESSE LACE COLLAR AND CUFFS.

Although this design is represented very small, it is sufficiently clear to convey a good idea of its outlines, and enable a student of average ability to adapt it to collar and cuffs of any size desired. Raleigh bars are used in connecting the various portions of the braids, while any of the fine stitches preferred may be chosen to fill in around the loops of the blossoms and foliage. A fine picot braid finishes the edge.

No. 48.

ENGLISH NEEDLE-POINT LACE.

This engraving illustrates a very beautiful specimen of modern-point lace in a design combining the lily and the rose. Raleigh bars and buttons render the heavy part of the work effective, while the daintier point stitches and bars are used to fill in the floral sections--coarse and fine thread being used in the work.

This lace, like any of the varieties now fashionable may be made wide or narrow, or fine or coarse by designs furnished as required by lace-makers in general; and the patterns may also be developed in silk or ribbon needle-point, which is a style of ornamentation appearing extensively as a decoration for scarfs, piano and table covers, mantel valences, etc., etc.

No. 49.

ROYAL BATTENBURG LACE.

This design was among the first ones of this lace to appear, and is fully entitled to its royal name. Fancy Battenburg braid was selected for the foundation, and various stitches chosen for filling-in purposes. Among the stitches are point de Bruxelles, made similarly to the Italian lace stitch, point de fillet, plain Raleigh bars, point d'Alençon, rosettes, rings and point de Grecque. The central figure conveys a hint of the outlines of the royal crown, and the lace is really sumptuous in design and texture. In 1883, Mrs. Grace McCormick, the originator of the design and lace was awarded a diploma for her work which was forwarded from Washington, where she applied for a patent for her specimens of Royal Battenburg lace, of which this is one.

No. 50.

ROMAN LACE (CORAL PATTERN).

The design here given is for a lappet or scarf-end, and will afford a suggestion for the making of larger articles or edging in similar arrangements of braid. It will be observed that the braid forms irregular lines that recall the branchings of coral, and it will be a very easy matter for an amateur lace-maker to similarly arrange her braid for any purpose she desires. Fine Raleigh bars form the connecting work, and a button-hole picot-finish is made along the edge of the braid which forms the border. In making an edging, a definite outline could be kept for the lower edge, and above this an irregular or indefinite outline arranged.

No. 51.

TIDY OF BATTENBURG LACE.

The tidy here illustrated is made entirely of Battenburg lace, and is a beautiful specimen of this kind of work. The border design is the same as the one previously described for a pillow-sham, except that but one row of the blossoms and foliage is used. The center is composed of rows of braid crossed to form squares or open spaces that are filled in with rosettes in point d'Angleterre. This center is attached to the braid at the inner edge of the border by a series of bars arranged in d'Alençon style and then wrought with the thread after the method used in d'Anvers bars. This tidy, enlarged, forms an elegant design for a pillow-sham. When laid over a tinted silk spread or pillow, a sham of this design shows its full beauty. When the braid is basted on in the outlines desired, the remainder of the work will be a pleasing pastime, as none of it is so fine as to require very close attention.

No. 52.

MODERN LACE.

A handsome specimen of lace is here illustrated. It will be observed that the braid from which it is made is woven like fine binding braid, and in this respect differs from any of the lace-braids herein illustrated. It will also be seen that no two figures of the design are alike, and that various stitches are used in completing them, many being combinations of or adaptations from the stitches illustrated at the beginning of this pamphlet. The engraving is sufficiently plain to enable the worker to decide which stitches are used alone or in combination, and to guide her correctly in their application. The picot-edge is done in point de Venise stitch.

No. 53.

MODERN-POINT LACE EDGING.

This is an easy design to follow and is simply made. Heavy Sorrento bars with picot loops form the ground-work, while the filling-in stitches are of the same class done in fine thread in regular squares and also a combination of point de fillet and point de Grecque. A dainty picot-finish is added at the lower edge. This edging is pretty for bordering draperies or decorating dresses, and may be made as fine or as coarse as desired.

No. 54.

SQUARE IN MODERN-POINT LACE.

In this design will be observed a favorite combination--the rose and the butterfly. Close inspection will also disclose that the filling-in stitches are of a diverse character, and that to this diversification much of the beauty of the work is due. As most of the stitches are easily recognized, and as the copyist can easily adapt methods for the combinations seen, it will not be necessary to definitely describe them.

The square may be used for a scarf-end in connection with the edging No. 53 seen on page 91, if the braid selected is sufficiently fine. When coarser braid is chosen, the square will be pretty for doilies, tidies or the center of a table spread. The design may be daintily made up of ribbon, with silk for the stitches. In this event it may be set into a scarf or drapery of China or Surah silk with charming results.

No. 55.

LOUIS XIV. CURTAIN-LACE.

This is a very popular decoration for curtains and vestibule doors and is made of heavy écru or white net and braid. The design selected is generally a border with a corner piece, and sometimes a center piece. The specimen here given is simply a square of the net decorated as illustrated to convey an idea of this at present fashionable curtain lace. The design is first traced on tracing cloth that is then underlaid with brown paper to hold it stiffly in place. The net is then laid over this and smoothly basted down so that the tracing shows through plainly. Then écru or white Battenburg braid is used to follow the design, and is shaped into the leaves and flowers seen, rings being used for the centers of the blossoms and écru or white cord for the stems. The net is cut from under the rings at the centers of the large roses, and each opening is filled in with point de fillet and English wheels. The effect is very rich and the work is not difficult to do.

When a curtain is thus embroidered or decorated with braid, it is bordered the same as the square illustrated, or upon that principle, with rows and points of Battenburg braid. Ribbon is often used in this way for tidies, bureau scarfs and various other little household decorations, and in this event the flower and foliage tints may be carried out in the design.

DARNED-NET SCARFS, KERCHIEFS, TIDIES, EDGINGS, INSERTIONS, ETC., ETC., WITH DESIGNS FOR THE SAME AND OTHER ARTICLES.

Bobbin net, or "bobbinet," or "net" as it is now commonly called, was first made by machinery in 1809, and was so called because the threads from which it was made were wound upon bobbins, and _twisted_ into meshes instead of being _looped_ in knitting style as they were previous to the invention of the machine. The latter was invented by John Heathcoat, the son of an English farmer; but to France must be given the credit of introducing the "darned work" by which some of its costliest net laces were first made. From these laces originated the industry of darning net by machinery and by hand, and in all grades from fine silk-blonde and Brussels net to the coarsest wash net, such as is used for curtains and draperies.

In the earlier days the pattern was stamped on the net by means of wooden blocks, and the net was then placed in a frame, and the darner with her left hand under the lace followed the design with her needle and cotton, linen or silk floss held over the work in the right hand. This method may be employed at the present time; or, the design may be drawn on thick paper and the net basted over it; or, if the net is coarse the design may be followed by counting the meshes and inserting the needle and floss accordingly; or the design may be transferred to the net itself by black or colored pencils, or stamping. The darner must decide for herself which method for holding the work she will use. Some of the most expert darners simply hold the net loosely in their hands and copy the design by eye alone. Wash-silk floss, India floss which is of linen but looks like silk, and ordinary darning flosses are all used for this work. Darned net is liked for many purposes, as will be observed by the variety of designs and illustrations given on these pages.

No. 1.

SCARF-END OF DARNED NET.

This illustration pictures a very pretty scarf-end, but presents it only half of its actual width. The scarf is about a yard in length and is darned with linen floss and edged with the finest feather-edge braid. The center portions of the flowers and foliage are cut out after the solid darning is made, and the spaces are then filled in with a fancy mesh done with fine cotton in point de Bruxelles stitch.

No. 2.

NARROW CUFF OF DARNED NET.

This engraving presents a cuff of darned net in its actual width. The design is also suitable for an edging and may be easily changed into an insertion. Feather-edge braid is used to complete the cuff. A collar may be made to match if desired.

No. 3.

CORNER OF KERCHIEF OF DARNED NET.

This kerchief is made similarly to the scarf-end illustrated on page 97, and as represented, the corner is only one-half its actual size. The kerchief itself is about twenty-two inches square and is very dainty in effect. The stars which fill in the central portion are very simple to make, and the eyelets in each are punched with a bodkin and then worked once around in point de Bruxelles or button-hole stitch. The kerchief is made of fine Brussels net and the darning is done with India floss.

No. 4.

TIDY OF DARNED NET.

This engraving represents a charming little tidy made of coarse wash-net darned with wash-silk floss in Oriental colorings. The tidy has an inch wide hem and is about eleven inches wide and twelve long. The hem is fastened down by three rows of darning stitches, the outer row being deep garnet, the middle row bright old-rose and the inner row deep orange. One small fan is made of the orange and pale-blue, another of the old-rose with sulphur-yellow, and the third peacock-blue and crimson. One large fan is made of pale-pink and silver-gray (darned together), and wood-brown; another is made of the garnet and the sulphur-yellow, while the third is made of orange and pale-blue. The scrolls meeting at the center are made, one of wood-brown, one of sulphur-yellow and one of garnet, and the rest of the design is made in different shades of dull green. Laid over white, this tidy is very effective. It may be darned in one color on white, black or écru net if preferred, and with linen floss.

No. 5.

TIE-END OF DARNED NET.

A tie-end in its actual width is here illustrated. The tie is about three-quarters of a yard long, and is darned in all-over style in the design seen in the engraving, with linen floss. A line of fine feather-edge braid finishes the tie in a dainty manner. This design may be used for any other article preferred, and its details will also suggest other designs of a similar character which may be invented by the worker. This scarf as well as the others just described, may be made up in black if preferred; and in this event it will be easier for the darner to follow the meshes if she bastes her net over a white background. The design may or not be traced on this background.

No. 6.

DARNED-NET EDGING, WITH OVER-WROUGHT STITCH.

This handsome edging is darned upon a wide strip of net with coarse and fine embroidery cotton, and after the pattern is completed the lower edge of the net is cut away. The coarse cotton is used to outline the design and fill in some of the central portions, while the fine is darned in between the outer and center portions, and is used for the over-wrought portions. These portions are "run" back and forth loosely to form a raised foundation for the buds and rose-centers before the over-wrought work is done. The edging is given full-size and no difficulty will be experienced in following the design or making the lace; and the design may be adapted to any article of wear that can be made of darned net. A scarf or kerchief, dotted with rosebuds made like those of this design would be a very dainty article of personal adornment; and the buds might be made of pale-pink or yellow floss with a charming effect. The floral idea might be further carried out by using shaded green floss for the foliage.

Nos. 7 and 8.

DARNED-NET EDGINGS.

It will not be necessary to give special instructions for either of the edgings here illustrated, as both are given full size and the designs are perfectly distinct. No. 7 is finished with a button-holed scallop from which the net is cut away when the work is completed. Either edging may be made of white, écru or black net as preferred, and the floss may be white or tinted, or of cotton, linen or silk.

In making No. 8 upon black net, silver or gilt thread or colored flosses will be found very effective. Black net thus darned is very pretty for ruching and jabots for dress-waists.

In making darned edgings, net may be purchased in various edging widths, and in this style is often called "footing." When bobbin net (or bobbinet as it is now called) was first invented, it was made only one inch wide but now it may be purchased three and one-half yards wide if desired.

No. 9.

PILLOW-SHAM OF DARNED NET.

This engraving represents one of the many uses to which darned net is put. Moderately coarse net was selected, and the darning was done with linen floss in the various patterns seen, and which are repeated in a larger form on the following pages. The sham was hemmed after the darning was finished, and a frill of darned-net edging was then added. Tinted silk or sateen should be laid under such a sham in order to bring out the beauty of the work. The ambitious darner may make a bed-spread to correspond with her shams, if she has the time to devote to the task and the patience to complete it; and in making such a set, she need not confine herself to the designs here given, but may select any others she admires, or may originate a design herself. Individual ideas as to decoration so widely differ, that clever workers are sure to evolve designs of various characters and a generally uniform beauty. Blossoms, leaves, carvings, Oriental figures, brocades, etc., etc., all afford dainty ideas for designs for darned net.

No. 10.

CENTER OF PILLOW-SHAM.

This engraving presents an enlarged representation of the center of the pillow-sham seen on page 109, and also shows its suitability for the center of a tidy. The inner design is very easy to follow, as will be seen by referring to No. 12 on page 113, where a large illustration of it is seen supplemented by a vine-border at each side. The outer border of this center-piece is very simple, and may be darned in diamonds as large or as small as desired.

No. 11.

SECTION OF PILLOW-SHAM.

In looking at the sham illustrated on page 109, the design illustrated at No. 11 will be seen at either side of the middle-stripe design. As here represented it will be easy to copy either for a pillow-sham or for any article of decoration or personal use desired. The ingenious worker will find many methods of combining it with other designs or applying it as an insertion, a border or an edging; and she may also use her own taste as to darning with white or colored floss, or using white, écru, fancy-colored or black net.

No. 12.

SECTION OF PILLOW-SHAM.

This design has been mentioned in connection with the pillow-sham seen upon page 109, and the engraving represents it perfectly. It may be employed for the purpose mentioned or adapted to any other use required, and may be copied exactly or varied to suit individual taste. Black net darned with gold thread in this design would be pretty for decorating a black silk gown or trimming a black hat.

No. 13.

SECTION OF PILLOW-SHAM.