Part 13

4th: Work 2 plain in the two ch. of last round, ch. 3, miss 2, work 1 treble, then ch. 4 and work 2 treble at the top of the 1 treble of last round, repeat round with the ch. 4, and work 2 treble at the top of the 1 treble of last round, making both sides to correspond, fasten off.

5th: Ch. 12 for the stalk of the leaf, plain 1 in the first four chains of last round, then ch. 4 and plain 1 in the centre of each of the 4 chains all round the leaf; then work the last 8 chains double for the stalk, which completes the leaf; make the number of leaves required, then join the flowers and leaves together, as shown in the illustration, with a needle and crochet thread.

Then work the following band along the neck part of the collar--pass the hook through the two ends of the stalk part of the leaf, and plain 1, chain 40, and repeat to the end, turn back.

2nd row: Ch. 4, miss 2, and plain 1; repeat to the end, turn back. 3rd: Ch. 4, plain 1, in the centre of the 4 chains of last row, repeat to the end, turn back. 4th: Work 3 treble in the centre of 4 chains of last row; ch. 2, and repeat to the end, turn back. 5th: Ch. 3, plain 1, in the centre of the first 2 chain of last row; repeat to the end, turn back. 6th: Ch. 2, plain 1 in the centre of the 3 chain, of last row; repeat to the end, fasten off, which completes the collar.

* * * * *

RAISED ROSE CROCHET COLLAR.

MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Crochet Thread, No. 40, and Penelope Crochet Hook, No. 5.

This collar is made in portions, and joined together with needle and thread, or worked together with one plain at the option of the worker.

TO FORM THE ROSE.--Make a chain of 8 loops, plain 1, to form a round, fasten off.

2nd: Work 1 treble, ch. 3, repeat round, plain 1, and fasten off; you should have seven treble in the round.

3rd: Plain 1 at the top of the 1 treble of last round, work 8 treble in the 3 ch. of last round, plain 1 at the top of the next 1 treble of last round, repeat in the same 1 treble all round, fasten off.

4th: Work 1 treble at the top of the 1 plain of last round, chain 6, repeat round, plain 1 at the top of the 1 treble to form the round, fasten off.

5th: Plain 1 at the top of the 1 treble of last round, work 8 treble in the 6 ch. of last round, plain 1 at the top of the next 1 treble of last round, repeat in the same loop as before, repeat round, fasten off.

6th: Work 1 treble at the top of the 1 plain of last round, ch. 9, repeat round, plain 1, fasten off.

7th: Plain 1 at the top of the 1 treble of last round, work 10 treble in the 9 ch. of last round, plain 1 at the top of the next 1 treble of last round, repeat in the same loop as before all round.

8th: Work 1 treble at the top of the 1 plain of last round, ch. 12, repeat round, plain 1, fasten off.

9th: Plain 1 at the top of the 1 treble of last round, work 13 treble in the 12 ch. of last round, plain 1 in the 1 treble of last round, repeat round.

10th: Ch. 5, miss 2, plain 1, repeat round each fold of the rose.

11th: Ch. 5, plain 1 in the centre of the 5 ch. of last round, repeat round; fasten off, which completes the rose; you require 7 of these flowers to form the collar, and 6 of the following:--

LARGE ROUNDS.--Make a round loop, the size of this O, and work 30 treble in the round loop.

2nd round: Ch. 19, miss 5, plain 1, repeat round.

3rd: Work double crochet in each loop all round.

4th: Ch. 5, miss 2, plain 1, repeat round.

5th: Ch. 5, plain 1 in the centre of the 5 ch. of last round, repeat round.

6th: Ch. 4, plain 1 in the centre of the 5 ch. of last round, repeat round.

7th: Ch. 3, plain 1 in the centre of the 4 ch. of last round, repeat round, fasten off, which completes the round; you then work 74 of the following:--

SMALL ROUNDS.--Make a round loop, the size of this O, and work 21 double in the round loop.

2nd round: Ch., 9, miss 2, plain 1; repeat round; you should have 7 lots of the 9 chain in the round.

3rd: d.c. in each loop all round, which completes the round; you now require 14 of the following:--

PATTERN FOR LEAF.--Make a ch. of 12 loops, turn back, and work the 12 loops d.c.

2nd round: Ch. 3, miss 2, work two treble in 1 loop, repeat to the end, and in the end loop ch. 3, work 2 treble, work the other side the same, with the treble opposite, the treble and 3 ch. at the end, plain 1 in the end loop, fasten off.

3rd: Plain 1 in the centre of the first 3 ch. of last round, ch. 3, work 1 treble at the top of the first treble of last round, ch. 2, work 1 treble at the top of the next treble of last round; you repeat all round the leaf with 3 ch., opposite the 3 ch. of last round, and 2 treble at the top of the 2 treble of last round, with 2 ch. between them, working both sides to correspond, turn back.

4th: Ch. 4 and plain 1 in each lot of the chain of last round, fasten off, which completes the leaf; you then work a stalk to each leaf as follows: ch. 5, work 1 treble in the centre of the chain round between the edge and the centre, work 1 treble on the other side, the same turn back, and work the 5 chains plain, fasten off, which completes the stalk; after working the number of each portion required and joining them together, as shown in the illustration, you work a band for the neck-part of the collar as follows:--

Work a few plain at the end, then ch. 10, and work 1 treble where it requires a treble, and a double where it requires a double, and a plain in the centre of the stalks and rounds as you see the stitches in the engraving, so as to make it lie to the shape of the neck.

2nd row: Ch. 2, miss 2, work 1 treble, repeat to the end, turn back.

3rd: Ch. 2, work 1 treble at the top of the treble of last row, repeat to the end, turn back.

4th: D.c., fasten off, which completes the collar.

* * * * *

POINT COLLAR.

MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Crochet Cotton, No. 48.

This collar is begun by making the open hem work thus: 2 ch., miss 3, 1 s.d.c., 2 ch., miss 1 s.d.c., X 2 ch., miss 1, 1 d.c., X 3 times, then 2 ch., miss 1, 1 s.t.c., then use the t.c., and finally the long t.c. for the widest parts, and gradually decreasing to s.c. at the end. On the inner side of this, do as many half-circles as the engraving indicates: thus, 1 s.c. 1 s.d.c. 1 d.c., 2 t.c., 1 d.c., 1 s.d.c., 1 s.c.; the roses near the neck may then be worked and joined to these circles in their places. The oblong flowers are then done, beginning in the centre, with a chain, worked in s.c., a round of d.c. on this, and a succession of loops all round. Join these flowers in their places; then make the roses, working from the engraving which is the best guide, joining these to each other, and to the oblong flowers, and finally working the neck with the dotted bars as seen in the engraving.

* * * * *

POINT COLLAR IN CROCHET.

MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Crochet Cotton, No. 48. Penelope Hook.

Each of the rows in this collar, large and small, are done separately, beginning with the circle in the centre, and making the six leaves round it. Each rose is to be joined to the others, where it is indicated in the engraving, and at the point of two of the petals of the largest are three small loops, which serve to connect it with the edge. All the sets of roses required for the length of the collar being done, the barred edge follows, the trefoils being worked on it, where they occur, and the roses being joined to it in their proper places. On this line, another of alternate close and open squares is done, and then a point edging, similar to one already given in this volume. The ground, of chains, worked back in slip-stitch with occasional picots, is to be done when forming the band for the neck. The collars should be worked a little larger than the engraving.

* * * * *

LOUNGING CAP.

MATERIALS.--Six skeins of bright scarlet Berlin wool; 5 shades of green ditto, 6 skeins each; 12 skeins of black, and 4 of gray; 4 skeins of white, and 4 of gray floss silk, or filoselle. A handsome shaded tassel, and a ball of crochet cord.

The whole of this cap is worked in s.c., over the cord. Begin with the band round the head, by working 240 stitches with black wool, on the cord, and closing into a round.

2nd round: (Black and gray wool) X 2 black and 2 gray alternately, X all round.

3rd: (Black wool, white silk) X 1 b., 3 w., X all round.

4th: Black all round.

5th: Scarlet all round.

6th: (Scarlet and darkest green) X 2 s., 4 g., 42 s., X 5 times.

7th: (Scarlet, same green, and white) X 2 s., 5 g., 6 s., 3 w., 9 s., 3 g., 16 s., 2 w., 2 s., X 5 times.

8th: (Scarlet, second darkest green, black, and white) X 2 s., 2 g., 1 b., 3 g., 4 s., 5 w., 4 s., 2 g., 1 s., 3 g., 5 s., 4 g., 4 s., 3 w., 1 s., 3 w., 1 s., 3 w., 1 s., X 5 times.

9th: (Same colours) X 2 s., 3 g., 1 b., 2 g., 4 s., 1 w., 4 s., 4 w., 2 s., 2 g., 6 s., 6 g., 2 s., 5 w., 1 s., 2 w., 1 s., X 5 times.

10th: (Scarlet, black, white, and gray silk; third shade of green) X 3 s., 3 g., 1 b., 1 g., 2 s., 2 w., 1 s., 4 gray, 1 s., 4 w., 2 s., 1 g., 5 s., 3 g., 1 b., 3 g., 1 s., 4 w., 2 s., 1 g., 1 s., 2 w., X 5 times.

11th: (Same colours) X 1 w., 3 s., 4 g., 1 s., 2 w., 1 s., 1 g., 1 s., 4 g., 1 s., 3 w., 3 s., 3 g., 2 s., 2 g., 1 b., 4 g., 1 s., 3 w., 2 s., 3 g., 1 s., 1 w., X 5 times.

12th: (Same colours except green, which change to the next lightest) X 2 w., 3 s., 6 g., 1 s., 1 g., 2 s., 3 g., 1 s., 2 w., 3 s., 5 g., 1 s., 1 g., 1 b., 4 g., 2 s., 3 w., 1 s., 2 g., 1 s., 1 g., 1 w., X 5 times.

13th: (Same colours, with the lightest green) X 2 w. (over the two first of last round), 7 s., 3 g.. 2 w., 3 s., 1 g., 1 s., 1 w., 3 s., 4 g., 2 b., 1 g., 1 b., 4 g., 3 s., 5 w., 1 s., 2 g., 1 s., 1 w., X 5 times.

14th: (Same colours, with the lightest green but one) X 1 w., 3 s., 5 g., 2 s., 2 w., 1 s., 3 g., 1 s., 3 w., 2 s., 2 g., 2 b., 4 g., 5 s., 2 g., 1 s., 1 w., 1 s., 2 g., 1 s., 2 g., 1 s., 1 w., X 5 times.

15th: (Same colours, with next darkest green) 3 s., 4 g., 1 b., 1 g., 2 s., 1 w., 1 s., 1 w., 1 s., 2 w., 1 s., 3 w., 2 s., 7 g., 1 s., 5 g., 2 s., 3 w., 1 s., 3 g., 1 s., 1 w., 1 s., X 5 times.

16th: (Scarlet, black, white, and next darkest green) X 6 g., 1 b., 2 g., 2 s., 3 w., 2 s. 5 w., 3 s., 5 g., 1 s., 3 g., 1 b., 2 g., 2 s., 4 w., 3 s., 1 w., 1 s., 1 g., X 5 times.

17th: (Same colours) X 1 s., 1 g., 1 s., 2 g., 1 b., 3 g., 3 s., 9 w., 2 s., 1 g., 6 s., 2 g., 1 b., 3 g., 5 s., 5 w., 2 s., X 5 times.

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 stitches. Begin by working 12 stitches with black wool on the cord, and forming it into a round.

2 round: Increase to 24 stitches.

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 stitches 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 stitches, 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 stitches 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 tassel. Draw the string of the tassel through the centre of the crown, and fasten it in its place. The cap may be lined with scarlet sarsenet.

* * * * *

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 stitch 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.

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.

* * * * * 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 stitches 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 passant_, 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 coarse 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 stitches 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 button-hole stitch 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 button-hole stitch.

The chief stitch in all Point Lace is that known as the common button-hole or overcast stitch. This stitch, worked as closely as possible, or at regular intervals, drawn tightly, or the reverse, forms almost all the stitches, or more properly _laces_, used. We will begin by describing the simplest of all, which is known as

BRUSSELS EDGE (No. 1). This is a continuous line of button-hole stitches, 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 stitch, do one Brussels, and in the loop of that work a _tight_ stitch.

VENETIAN EDGING (No. 3). Do four stitches instead of one in the loop of the Brussels stitch.

SORRENTO EDGING (No. 4). Do a stitch 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 space to be barred, once, twice, or oftener, according to the thickness of the bar, and then cover these threads quite closely with button-hole stitch.

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 button-hole stitch. 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 button-hole stitch to fasten it: cover it with button-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 principal 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 passing the needle backwards and forwards through two opposite stitches, always tacking the under side of each, so that the threads be across the space smoothly and evenly. About four times each way will be sufficient. They are usually done across between two stitches, and then one at each edge is missed before the next bar is made. Sometimes these bars are radiated, a single stitch 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 stitches, 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 button-hole stitches. Do six more on the bar, and repeat.

RALEIGH BARS (No. 10). Make a bar of threads, as for Venetian bars, and work on it about eight stitches. At the ninth, instead of bringing up the needle through the loop to form another button-hole, slip it under the bar, and bring it up on the right-hand side, leaving a loop of thread about two inches long, which you will hold down with your thumb, to keep it in its place. Now twist your needle six times under the right hand thread of this loop; draw it up, when it will make a knot, and slip the needle through it, above the bar, to continue the process. It may be observed that when this bar forms a part of the foundation of a piece of point, only two of these dots are generally seen on it, and they are placed near each other, almost in the centre of the bar.

POINT D'ALENÇON (No. 11). This is only common herring-bone stitch, with the needle twisted once or oftener under the thread of each stitch, according as the space to be filled is narrow or wide.

SPANISH POINT (No. 12). This is the raised stitch which gives the peculiarly rich appearance to all the Spanish lace. A certain thickness of soft cotton is tacked down on the lace, in the form desired, and this is covered closely with button-hole stitch, edged with Raleigh dots, or with small loops. It is to be noticed that this is not attached to the lace by the button-hole stitches, but only by the thread which tacks down the soft cotton, so that it can be picked off without injury. The button-hole stitches must be worked very smoothly, and quite close together.

ROSETTE (No. 13). This is exactly like a spider's web, worked on three, four, or more threads, according to the shape of the space intended to be filled. Begin by making a Sorrento bar across the space, from one point to the opposite; then a second one, slipping the needle under the first in going, and over it in twisting back; then do a third, or fourth, if necessary; but when you have twisted back to the centre of the last, make the rosette, leaving the half bar single. The rosette is done by passing the needle under two threads, then continuing to slip it under two, the first of which is always the last of the previous two, until you have made the spot a sufficient size, when you finish the last bar, by twisting down to the braid, and fastening off. The size of the space must be the guide for that of the rosette; but from six to ten times round a centre is an average.

BRUSSELS LACE (No. 14). Consecutive rows of Brussels edging, worked alternately from left to right, and from right to left.

VENETIAN LACE (No. 15). Rows of Venetian edging. As this stitch can only be worked from left to right, a line of Brussels is usually placed between every two rows, and being worked from right to left, saves the trouble of running the needle along the braid.

SORRENTO LACE (No. 16). Successive rows of the Sorrento edging.