Project Gutenberg's Beeton's Book of Needlework, by Isabella Beeton
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Title: Beeton's Book of Needlework
Author: Isabella Beeton
Release Date: February 22, 2005 [EBook #15147]
Language: English
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BEETON'S BOOK
OF
NEEDLEWORK.
CONSISTING OF
DESCRIPTIONS AND INSTRUCTIONS,
ILLUSTRATED BY
SIX HUNDRED ENGRAVINGS,
OF TATTING PATTERNS.
CROCHET PATTERNS.
KNITTING PATTERNS.
NETTING PATTERNS.
EMBROIDERY PATTERNS.
POINT LACE PATTERNS.
GUIPURE D'ART.
BERLIN WORK.
MONOGRAMS.
INITIALS AND NAMES.
PILLOW LACE, AND LACE STITCHES.
_Every Pattern and Stitch Described and Engraved with the utmost
Accuracy, and the Exact Quantity of Material requisite for each Pattern
stated._
CHANCELLOR PRESS
_Beeton's Book of Needlework_ was originally published in Great Britain
in 1870 by Ward, Lock and Tyler.
This facsimile edition published in Great
Britain in 1986 by
Chancellor Press
59 Grosvenor Street London W 1
Printed in Czechoslovakia 50617
SAMUEL BUTLER'S PREFACE
The Art of Needlework dates from the earliest record of the world's
history, and has, also, from time immemorial been the support, comfort,
or employment of women of every rank and age. Day by day, it increases
its votaries, who enlarge and develop its various branches, so that any
addition and assistance in teaching or learning Needlework will be
welcomed by the Daughters of England, "wise of heart," who work
diligently with their hands.
The recent introduction of Point Lace has brought a finer, and,
apparently, more difficult class of fancy work into general favour.
Ladies may now, however, confidently commence, with our patterns before
them, to reproduce Antique laces; for care and patience, with a
knowledge of Point Lace stitches, are alone required to perfect the
beautiful work, which, as shown in existing specimens of exquisite Old
Lace, constitute the chief glory of women's refined industry in past
centuries.
INSTRUCTIONS in TATTING, in EMBROIDERY, in CROCHET, in KNITTING and
NETTING, in BERLIN WOOL WORK, in POINT LACE, and GUIPURE D'ART are
prefixed to the pages devoted to these separate branches of needlework.
The whole work is interspersed with coloured and other Patterns in Point
Lace, Guipure d'Art, Tatting, Embroidery, and Designs for Monograms and
Initials for marking handkerchiefs and table-linen. The quantity of
materials required for each class of work is also given with every
pattern.
The idea of combining a series of minute and exact instructions in fancy
needlework with useful patterns was conceived some years ago by one
whose life was devoted to the inculcation of the practical duties of
woman's life, and to assisting her sex in their daily work of HOUSEHOLD
MANAGEMENT and REFINEMENT.
Her great wish was that her BOOK OF NEEDLEWORK should be as valuable in
its way to her Countrywomen as her work upon Household Management was
useful in showing the best mode of providing for the diurnal wants of
families. Other hands have brought to a conclusion her original plans.
The best attainable workers have contributed to this volume. Only those
who knew the extent of the late Mrs. Beeton's design, will miss, in the
pages now before them, "the touch of a vanished hand."
S.O.B.
_Paternoster Row,_ 1870.
CONTENTS.
TATTING INSTRUCTIONS
TATTING PATTERNS
EMBROIDERY INSTRUCTIONS
EMBROIDERY PATTERNS
CROCHET INSTRUCTIONS
CROCHET PATTERNS
KNITTING INSTRUCTIONS
NETTING INSTRUCTIONS
KNITTING AND NETTING PATTERNS
ALPHABETS FOR MONOGRAMS AND INITIALS
MONOGRAMS AND INITIALS
POINT LACE WORK
POINT LACE INSTRUCTIONS
POINT LACE PATTERNS
INSTRUCTIONS AND PATTERNS IN GUIPURE D'ART
BERLIN WORK INSTRUCTIONS
TATTING.
TATTING
INSTRUCTIONS
[Illustration: Tatting Shuttle.]
The needlework called Tatting in England, _Frivolité_ in French, and
_Frivolitäten_ in German, is a work which seems, from all accounts, to
have been in favour several generations ago. Modern ingenuity has
discovered some ways of improving on the original plan of tatting, which
was, indeed, rather a primitive sort of business as first practised. To
Mrs. Mee, one of our most accomplished _artistes_ in all matters
connected with the work-table, belongs, we believe, the introduction of
the plan of working from the reel instead of the shuttle. By this
alteration the advantage of the shuttle being constantly kept filled
with cotton was gained, and the necessity also obviated for frequently
joining the thread; and to Mdlle. Riego, equally distinguished in all
details appertaining to the employment of the needle, ladies are
indebted for an arrangement by which the same thread used in the making
of the pattern is used for fastening the work. The old plan only
provided for the working of the different portions which constituted the
pattern, and then these portions had to be sewn together with a needle
and thread. The ingenious workers on the Continent have also given much
attention of late to the art of tatting, and our instructions now
printed comprise what we consider the best mode of learning and doing
this exceedingly interesting and fashionable work.
[Illustration: Tatting Pin.]
Tatting differs entirely from crochet, and is composed of stitches
forming _knots_. It is intended as an imitation of point lace, and is
especially used for trimming under-linen, on account of its strength.
To make the stitches or knots a small instrument is used, called a
_shuttle_. This shuttle consists of two oval pieces, flat on one side
and convex on the other, and is made of wood or ivory.
The two oval pieces are joined together by a strong cross-piece. The
illustration shows the construction of the shuttle. These shuttles are
made in ivory, pearl, tortoiseshell inlaid with pearl, and silver; they
are also manufactured in coloured bone, black, red, and white. The best
to work with are the pearl for a white shuttle, and the inlaid
tortoiseshell for a black shuttle; the prices vary from sixpence to one
shilling and two-and-sixpence each. In selecting a shuttle be careful to
see that the ends close, as if dropped it soon becomes unthreaded, which
is very inconvenient. The cotton intended for the work is wound round
this shuttle, and the thickness of the cotton varies according to the
style of work. It is better to use the proper tatting cotton, because it
is stronger than the ordinary kinds; this is manufactured by Messrs.
Walter Evans and Co. for the purpose. Their Boar's Head Cotton is also
frequently used, and answers very well.
_Shuttles._
These are made in 3 sizes:--Finest, No. 1; No. 2, useful medium size;
No. 3, the largest.
_The Way to Hold the Hands._
Take the shuttle in the right hand, between the thumb and second finger,
and allow the forefinger to remain at liberty, and rest the under part
of the shuttle _between_ the second and third and _on_ the middle
finger. Place the thread round the three middle fingers of the left
hand, so as to form a loop, keeping the second and third fingers a
little apart, and bring the cotton again between the thumb and
forefinger, letting the end fall within the palm of the hand, while the
end of cotton which holds on to the shuttle passes over the thumb-nail.
_To Make a Stitch._
Keep the hands in the position above described; pass the shuttle at the
back, through the loop--that is, between the second and third fingers.
Take the end of the shuttle which comes out from the loop between the
forefinger and thumb of the right hand, and strain the cotton very
tightly towards the right. When the cotton is drawn through the loop,
this cotton must not be impeded by the fourth finger; it should, on the
contrary, slide over it, and be drawn tight. It should divide the loop
into two parts. After this withdraw the second left-hand finger, which
is _above_ the cotton, and pass it again under that cotton, so as to
draw up the loop. A _half-stitch_ is thus formed, and must be tightened
by being drawn closely to the forefinger and thumb of the left hand. For
the remaining half of the stitch keep the hands in the same position,
but, instead of letting the cotton fall over the thumb, pass this cotton
over the back of the hand; then let the shuttle fall between the second
and third fingers of the left hand, in front, and take it out again at
the back, strain the cotton very tightly, withdraw the second finger
from the loop, letting the cotton which is behind the hand sweep over
the fingers. When this is done, guide with the unoccupied fingers of the
left hand this second half-stitch up to the other, thus completing _one
stitch_.
_The Way to Make a Loop in Tatting._
When a certain number of stitches are made, very tightly draw in the
loop by straining the cotton until the first stitch touches the last,
and thus a loop is formed. During this process the stitches should be
held tightly between the forefinger and thumb.
_The Way to Make a Purl._
A _purl_ is a small loop of cotton often used as an edging in tatting,
as, for instance, round the outer edge of the ovals in tatted insertion
No. 2. The following is the easiest method of making a purl:--The
stitches are not made quite closely together at the place where a purl
is to be made; about one-sixth of an inch is left between each. This
space is left free until the loop is made by uniting the stitches; then
the small piece of cotton in the space bulges out between the stitches,
and forms the purl. If several are required a small space is left
between every two or three stitches, according to the desired number.
Care must be taken in that case that the small pieces of cotton left be
all of the same length, so that the purl may be perfectly even. The purl
can also be made thus: At the same time with the end of thread take the
tatting-pin or a very large darning needle or knitting needle in the
left hand, so that the point may come out farther than the row of
stitches; if then you wish to make a purl, throw the cotton on the pin
before making the stitch; then fasten this stitch, and push it at once
close to the preceding; the pin with the cotton should come above the
stitches. Do not take out the pin before all the purl and all the
stitches are completed and joined together.
_Joining the Work._
Place the tatting-pin in the loop that is to be joined, and with the
hook draw the thread of the loop--that is, round the hand through
it--pass the shuttle through this loop, and draw it up tightly close to
the stitches.
A "straight" or double thread is used to join various parts of the work,
and forms very beautiful patterns. Without the straight thread we
should be unable to imitate point lace patterns, or, indeed, to execute
any designs but those composed of circles, ovals, &c. To use this
straight thread 2 shuttles are required; they should be of different
colours. Sometimes one end of thread is left attached to the reel
instead of using the second shuttle. In commencing a loop the straight
thread is held between the second and third fingers of the left hand,
about 2 or 3 inches from the work; the other shuttle is held as usual in
the right hand, and the stitches and purls worked with it upon the
foundation of the straight thread of the second shuttle.
* * * * *
TATTING.
1.--_Pine Pattern Collar in Tatting._
[Illustration: I.--Pine Pattern Collar in Tatting.]
Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 80, or
tatting cotton No. 60; tatting-pin No. 3; a small shuttle.
This collar is worked with very fine tatting cotton as follows:--1st
circle: 2 double, 1 purl 7 times, 2 double, draw up the cotton.
2nd circle: 3 double, join it to the last purl of the 1st circle, 1
double, 1 purl 8 times, 2 double, draw the cotton up.
3rd circle: 2 double, join it to the last purl of the 2nd circle, 1
double, join it to the 7th purl of the 2nd circle, 1 double, 1 purl 8
times, 2 double, draw the cotton up.
4th circle: 2 double, join it to the last purl of 3rd circle, 3 double,
1 purl, 1 double 7 times, 1 double, draw the cotton up.
5th circle: 2 double, join it to the last purl of 4th circle, 2 double,
1 purl, 1 double 3 times, draw up the cotton.
6th circle: 2 double, join it to the last purl of the 5th circle, 1
double, join it to the 5th purl of the preceding circle, 1 double, 1
purl 6 times, 1 double, join it to the first purl of the 1st circle, 2
double, draw up the cotton. This completes the star pattern in centre of
pine.
1st circle of pine: 2 double, 1 purl, 1 double 8 times, 2 double, draw
up the cotton.
2nd circle: 3 double, join to the last purl of 1st circle, 1 double,
join it to the 7th purl of 1st circle, 1 double, 1 purl 6 times, 3
double, draw up the cotton and join it to the 3rd purl of centre star.
3rd circle: 3 double, join to the last purl of 2nd circle, 1 double, 1
purl 8 times, 2 double, draw up the cotton and join it on to the centre
purl of 2nd circle in star.
4th circle: 2 double, join to the last purl of 3rd circle, 1 double, 1
purl 5 times, 3 double, 1 purl, 2 double, draw up the cotton and join it
to the 5th purl of 2nd centre circle in star.
5th circle: 2 double, join the cotton to the last purl of 4th circle, 1
double, 1 purl 7 times, 2 double, draw up the cotton, repeat the 5th
circle twice more, then join the cotton to the centre purl of 4th circle
in star.
8th circle: 2 double, join to the last purl of 7th circle, 1 purl,1
double 5 times, 2 double, draw up the cotton and join it to the centre
purl of 5th circle in star.
9th circle: 2 double, join to the last purl of 8th circle, 1 double, 1
purl 6 times, 2 double, draw up the cotton. Repeat the 9th circle 3
times.
13th circle: 3 double, join the cotton to the last purl of the 12th
circle, 1 double, 1 purl 7 times, 4 double, draw up the cotton, turn the
work downwards, and work the
14th circle: 2 double, 1 purl, 3 double, join it to the 1st purl of the
1st circle of pine, 1 double, join it to the 2nd purl of first pine
circle,1 double, 1 purl 6 times, 2 double, draw up the cotton.
15th circle: 3 double, join to the last purl of the 13th circle, 1
double, 1 purl 6 times, 3 double, draw up the cotton.
16th circle: 3 double, join to the last purl of the 15th circle, 1
double, 1 purl 4 times, 3 double, 1 purl, 1 double, draw up the cotton.
17th circle: 1 double, join to the last purl of the 16th circle, 1
double, 1 purl 6 times, 2 double, draw up the cotton.
18th circle: 1 double, join to the last purl of the 17th circle, 1
double, 1 purl 8 times, 1 double, draw up the cotton, and repeat from
commencement until the collar is the required size. The upper part of
the pines is filled in with lace stitches, as clearly shown in our
illustration.
* * * * *
2.--_Tatted Insertion._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 30, or
Boar's Head crochet cotton No. 12; tatting pin No. 2; large shuttle.
[Illustration: 2.--Tatted Insertion.]
This insertion should be worked with coarse cotton. 5 double *, 1 purl,
2 double, repeat from * 4 times, 1 purl, 5 double, draw up the cotton,
turn the pattern downward, and work another circle the same as that
above described, leaving one-sixth of an inch of cotton between each
circle.
* * * * *
3.--_Lace Edging in Tatting._
Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 10, or
tatting cotton No. 20; tatting-pin No. 3; any sized shuttle. For a finer
edging, No. 18.
1st oval: Fill the shuttle, but do not cut it off from the reel, as a
double thread is used, and commence by working 10 double stitches, 1
purl, 10 double; draw up.
Double thread: Putting the thread attached to the reel round the left
hand, work 8 double, 1 purl, 8 double.
[Illustration: 3.--Lace Edging in Tatting.]
2nd oval: 10 double, join to purl in 1st oval, 10 double; draw up.
The pattern is now complete. Repeat from beginning, taking care that the
next oval be close to the last.
Crochet a heading with the same cotton, working 7 chain, 1 double into
the purl in double thread. Repeat.
* * * * *
4.--_Lace Edging in Tatting._
Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 10, or
tatting cotton No. 20; tatting-pin No. 3; any sized shuttle. For a finer
edging, No. 18.
[Illustration: 4.--Lace Edging in Tatting.]
1st oval: Fill the shuttle, but do not cut it off from the reel, as a
double thread is required, and commence by working 10 double stitches, 1
purl, 10 double stitches, draw up.
2nd oval: Close to last oval, work 10 double, 1 purl, 10 double; draw
up.
Double thread: Putting the thread attached to the reel round the left
hand, work 12 double, 1 purl, 4 double; then join the shuttle-thread to
the purl in 2nd oval, by drawing it through with a pin. Then do another
similar chain of stitches with the double thread, viz., 4 double, 1
purl, 12 double.
3rd oval: 10 double, join to the purl in 2nd oval--the same as that to
which the shuttle-thread has been fastened--10 double; draw up.
4th oval: Close to last oval, work 10 double, join to purl of 1st oval,
10 double, draw up.
The pattern is now complete. Repeat from beginning, taking care that the
next oval be close to the last. Crochet a heading with the same cotton,
working 4 chain, 1 double into the purl of double thread, 6 chain, 1
double into the next purl. Repeat.
* * * * *
5.--_Border in Tatting with Crochet Edging._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60, or
crochet cotton No. 80; tatting-pin No. 2; a bone shuttle.
[Illustration: 5.--Border in Tatting with Crochet Edging.]
Work * 4 double stitches (that is, 4 times following 1 purled stitch and
1 plain), 1 purl, four times following 3 double stitches, 1 purl, 4
double stitches, draw up the cotton so as to form an oval, and for the
smaller oval, work 9 double stitches, but leave, before beginning the
first double stitch, the space of one-sixth of an inch between this oval
and the preceding; repeat from *, leaving the same space between each
oval; join together the larger ovals by the purl.
For the crochet edging, work the 1st row in the following manner:--
1 double (followed by 6 chain) in each of the smaller ovals. The 2nd and
3rd rows are composed of short treble stitches, placed one above the
other, and divided by one chain. While working the short treble stitches
of the 3rd row form the small purl thus:--
* 1 short treble in the first short treble of preceding row, let the
loop slip off from the crochet needle, insert the needle in the under
stitch, from which comes the loop now made into a purl, work 1 double in
the first short treble of preceding row, 1 chain, under which miss 1
stitch, and repeat from *.
* * * * *
6.--_Border in Tatting with Crochet._
Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 20, or
tatting cotton No. 40; tatting-pin No. 2. For a coarser size use Boar's
Head cotton No. 4, or tatting cotton No. 20.
[Illustration: 6.--Border in Tatting with Crochet.]
4 double stitches, 1 purl, 4 times following, 3 double stitches, 1 purl,
4 double stitches, draw up the oval, but not quite tight, leave a space
about one-sixth of an inch, leave a similar space between this oval and
the next, work 3 double stitches, fasten them to the nearest purl of
preceding oval, then work twice following 4 double stitches, 1 purl,
then 3 double stitches, 1 purl, 3 double stitches, and draw up the oval
* * * * *
7.--_Tatted Insertion._
Materials: Messrs. Walter Evans and Co.'s Boar's Head crochet cotton No.
18; tatting-pin No. 3.
This strip of insertion is worked with crochet cotton, and consists of
a row of circles, two of which are always joined together, and edged on
either side with chain stitches. Work first * 2 double, 4 purl divided
by 1 double, 1 double, 1 long purl about one-fifth of an inch long, 10
double divided by 1 purl, 1 long purl, 4 times alternately 1 double, 1
purl, then 2 double; join the stitches into a circle; work close to this
a second circle, and knot the end of the cotton together with the cotton
with which the first circle has been begun; repeat from *, but
henceforward in the first of the two circles fasten the cotton on to the
middle purl of the preceding circle, instead of working the middle purl.
When the strip of insertion is sufficiently long, edge it on either side
with a row of chain stitches, by working 1 double in 1 long purl and 5
chain between.
[Illustration: 7.--Tatted Insertion.]
* * * * *
8.--_Rosette in Tatting._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40;
tatting-pin No. 3.
This rosette is worked with two cottons, viz., 1 plain, 1 purl, 1 plain,
5 double, 1 purl, 10 double, 1 purl, 1 plain; turn the work downwards,
10 double, fastened on the last purl turned downwards; this forms one
loop turned upwards; turn work downwards, 10 double, 1 purl, 5 double,
fastened on first purl turned downwards; turn figure thus formed
downwards; 4 double, 1 single, repeat 4 times more from *, joining the
figures by means of the purl stitch; the ends of the cotton are knotted
together.
[Illustration: 8.--Rosette in Tatting.]
* * * * *
9.--_Star in Tatting._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50;
tatting-pin No. 3.
[Illustration: 9.--Star in Tatting.]
Fill the shuttle, and commencing a loop, work 1 double, then 1 purl and
1 double 12 times, draw into a round; join the cotton to the 1st purl
loop. 1st oval.--Commence a loop close to the joining, work 7 double,
join to 1st purl of round, work 7 double and draw close; reverse the
work. Join the thread from reel, and holding it out for a straight
thread, commence the scallop:--
5 double, 1 purl, 5 double, reverse the work. The 2nd oval same as
first. Repeat oval and scallop alternately, until the star is completed.
* * * * *
10.--_Insertion worked in Tatting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50;
tatting-pin No. 3.
[Illustration: 10.--Insertion worked in Tatting.]
This strip of insertion is worked with two cottons. Work with the cotton
in the left hand over that in the right hand. Both ends of cotton are
fastened together at the beginning by a knot. First work one half of the
insertion the long way in the following manner:--1 plain, 1 purl, 1
plain (the purl must be very short); turn the purl downwards, 6 double,
1 purl, * 6 double, 1 purl, 1 plain, which must all be turned upwards;
then turn the work so that the upper edge is turned downwards; work 6
double, fastened on to the last purl turned downwards (the fastening of
the stitches is made with the thread in the right hand); a loop turned
upwards is thus formed; turn the work downwards, draw the cotton in
right hand underneath that in left hand, and work 6 double, 1 purl, 6
double, all turned upwards; fasten these stitches on 1st purl turned
downwards. In this pattern 1st of border pattern is thus completed;
turn it downwards, 8 double, 1 purl, 8 double, 1 purl, 1 plain, turn
work downwards, 6 double, fastened on last purl of last pattern, turned
up. Repeat from *. When the insertion is of sufficient length, work the
other half in same manner, and fasten it on the 1st half by means of
purl stitches between the 8 double stitches twice repeated.
* * * * *
11.--_Tatted Insertion for Trimming Lingeries_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40, or
crochet cotton No. 20; tatting-pin No. 3.
[Illustration: 11.--Tatted Insertion.]
This insertion consists of 2 rows of three-branched patterns which lie
opposite each other, and are joined by slanting rows of knots. A
coloured silk ribbon is drawn through these rows which join the
patterns. Each of the 3 branches of 1 pattern consists of 9 double, 1
purl, 9 double, and must be worked close to another. When the 3rd branch
is completed, fasten another piece of cotton on to the middle branch.
Work 12 double over this 2nd piece of cotton, and then work without the
2nd piece of cotton a 2nd three-branched pattern like the 1st.* Fasten
the 2nd piece of cotton on to the middle branch of the just-finished
pattern, work 12 double over it, then again a three-branched pattern;
in this pattern as well as in the following ones, instead of working the
purl of the 1st branch, fasten it on to the purl of the 3rd branch of
the preceding three-branched pattern of the _same_ row, as can be seen
in illustration. Repeat till the strip of insertion is sufficiently
long.
* * * * *
12.--_Circle in Tatting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 80;
tatting-pin No. 3.
[Illustration: 12.--Circle in Tatting.]
Work first 8 ovals, each composed of 5 double stitches, 3 purl divided
one from the other by 4 double stitches, 5 double stitches; these ovals
are joined together by the purl at the sides, then the circle is
tightened as much as possible, and the cotton with which you are working
is twisted round the ends of cotton that have been cut: the cotton is
then fastened off nearly underneath.
Begin a fresh small oval, composed of 12 double stitches, which should
be fastened to the preceding oval after 3 double stitches (to the purl
in the centre of the first oval), then fasten it again to the purl which
joins together the first and the second oval; leave a space of about
one-fourth of an inch, and work an oval composed of 4 double stitches, 5
purl, followed each by 2 double stitches, 4 double stitches. A very
little farther off make a very small oval, composed of 8 double
stitches, which after the four first double stitches is joined to the
centre purl of the second oval, leaving the same space between as
before, make another oval of 4 double stitches, 5 purl, each followed by
2 double stitches, 4 double stitches; but the first purl is _missed_,
because at this place the oval is joined to the fifth purl of the
corresponding oval; once more leave a space of one-fourth of an inch,
and repeat. At the end of the round the two ends of cotton are tied
tightly together.
* * * * *
13.--_Tatted Border with Beads_.
Materials: Black purse silk, or, for white trimming, Messrs. Walter
Evans and Co.'s tatting cotton No. 2; tatting-pin No. 3; 3 hanks of
beads No. 4 to the yard of border.
[Illustration: 13.--Tatted Border with Beads.]
This border, edged with beads No. 4, is worked in middling-size purse
silk over fine silk cord of the same colour as the silk. Before
beginning to work this pattern, thread the beads which take the place of
purl stitches, and which are slipped in between two double stitches.
When the row of stitches is of the length required, form the trefoil
leaves, and sew a few beads over the places where they are joined. These
trefoil leaves are made separately, and then sewn together.
* * * * *
14.--_Insertion in Tatting_.
Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 10;
tatting-pin No. 3; any sized shuttle; for a finer insertion No. 18 or
20.
[Illustration: 14.--Insertion in Tatting.]
1st oval: Fill the shuttle, but do not cut it off from the reel, as a
double thread is used, and commence by working 10 double stitches, 1
purl, 10 double, draw up.
Double thread: Putting the thread attached to
the reel round the left hand, work 8 double, 1 purl, 8 double.
2nd oval: 10 double, join to purl of 1st oval, 10 double, draw up.
Repeat till the length required is worked, then cut off.
For the fresh length, which will make the other half of the insertion,
the shuttle must still be attached to the reel. Commence by working--
1st oval: 10 double, join to the purl which connects the first and
second ovals of the piece already worked, 10 double, draw up. Double
thread: 8 double, 1 purl, 8 double.
2nd oval: 10 double, join to the same purl as last--namely, the one
connecting the first and second ovals of the piece already worked, 10
double, draw up. Repeat, joining the two next ovals to the purl which
connects the two next in the piece already worked, and so on.
Crochet a heading each side, working 7 chain, 1 double into the purl of
double thread, repeat. With a heading on one side only, this makes a
pretty wide edging.
* * * * *
15.--_Border in Tatting and Crochet_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40, and
crochet cotton No. 80; tatting-pin No. 3.
[Illustration: 15.--Border in Tatting and Crochet.]
This lace is rendered stronger by the crochet rows of scallops and
treble stitch round the edge. Begin with the tatting as follows: Make a
circle of 8 double, 7 purl divided by 2 double, 8 double. This circle is
repeated at a distance of about three-fourths of an inch, only instead
of the 1st purl each following circle must be fastened on to the last
purl of the preceding circle. Then take some crochet cotton, which must
be finer than the cotton used for tatting, and work a row of double
stitches over the thread which joins the circles. The number of stitches
depends on the length and size of the cotton; work double stitches round
the circles at the place where both ends meet. The outer row consists of
treble stitches, which are worked with 1 chain stitch between, missing 1
stitch under each chain. The scallops consist of the two following
rows:--1 double, with which the last and first purl of 2 circles are
joined, 4 chain; in each of the other purl, 1 double, 4 chain, between 2
double stitches.
2nd row: 1 double in each chain stitch scallop, 1 double, 3 long double,
1 double.
* * * * *
16 _and_ 17.--_Lady's Veil in Net and Tatting_.
[Illustration: 16.--Lady's Veil in Net and Tatting.]
This veil is slightly gathered in front and fastened to the brim of the
bonnet. It is tied at the back under the chignon. The veil is of black
silk net. The flowrets are tatted with black purse silk, and worked in
appliqué over the tulle. The veil is edged round with a tatted lace made
with the same silk. For the patterns and lace and instructions, see
Nos. 18 and 19. No. 16 shows the way in which the veil is worn upon the
bonnet, and No. 17 shows its shape when stretched out.
* * * * *
18 _and_ 19.--_Patterns in Tatting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 120 for a
white veil; fine black silk for a black veil; tatting-pin No. 2.
[Illustration: 17.--Shape of Veil.]
[Illustration: 18.--Tatting Pattern for Veil (16).]
[Illustration: 19--Tatting Pattern for Veil (16).]
The patterns Nos. 18 and 19 are meant for ornamenting the veil No. 16.
They are sewn upon the net at regular distances.
For working the pattern No. 18, make with black silk or white cotton 6
times alternately 2 double, 1 purl, at the end 1 purl, then join the
stitch into a circle, *fasten the silk on to the next purl. Then 1 spot
or Josephine knot, consisting of 6 plain stitches, carry the shuttle
downwards through the loop, and draw the stitches close together; repeat
3 times more from *. Fasten the silk on to the next purl, and work a
circle as follows:--8 times 2 double, divided by 1 purl; fasten the silk
on to the next purl, work again 1 spot, after which the silk is
fastened, then work 2 more similar circles divided by 1 spot; they are
fastened on to the last purl of the preceding circle instead of the 1st
purl. Fasten off the silk after the last circle.
For No. 19 work 25 double, divided by 1 purl, join the stitches into a
circle, knot the beginning and the end of the cotton together, cut off
the ends at a short distance. Then work a smaller circle, consisting of
8 double, divided by 1 purl; at the place of the 1st purl fasten the
cotton at a short distance on to the 2nd purl of the large circle. The
ends of this circle are knotted together and cut off in the same way.
Then work a circle consisting of 11 double, fasten the silk on to the
20th purl of the large circle, work 5 double, and join the stitches into
a circle. Then take the ends of the 3 circles, and work close fine
stitches with silk round them, so as to form the stem. The completed
pattern is sewn upon the net.
* * * * *
20 _and_ 21.--_Diamond Pattern and Circle in Tatting, for Trimming Linen
Collars, Cuffs, &c_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No 30;
tatting-pin No. 3.
20.--DIAMOND PATTERN.--Work, not far one from the other, four leaves,
each composed of 5 double stitches, 7 rather long purl divided one from
the other by 2 double stitches, 5 double stitches. Instead of making the
1st purl in each of the 3 next leaves, fasten the cotton to the last
leaf of preceding leaf. Fasten off and cut the cotton; begin a fresh
circle by 2 double stitches, 7 purl divided by 2 double stitches, 2 more
double stitches; fasten the cotton to the centre purl of one of the four
leaves, and work a very small circle thus:--2 double stitches, fasten
the cotton to the last purl of the first circle, 3 double stitches, 1
purl, 2 double stitches; fasten the cotton * to the 6th purl of the
leaf; work a larger circle thus:--2 double stitches fastened to the purl
of the small circle, 2 double stitches, 4 purl divided by 2 double
stitches, 2 more double stitches; fasten the cotton not far off to the
second purl of the second leaf; work another small circle similar to
that above-described; fasten the cotton to the third purl of the second
leaf, then to the fourth purl of the same leaf, and repeat from * three
times more, always fastening the first purl of the first circle you are
working (each time you repeat the pattern) to the purl of the last small
circle last worked; fasten off and cut the cotton.
[Illustration: 20.--Diamond in Tatting.]
[Illustration: 21.--Circle in Tatting.]
* * * * *
21.--CIRCLE.--Begin it in the centre by working a circle of 8 purl,
rather long, divided one from the other by 2 double stitches. After you
have fastened off and cut the cotton, work * one very small circle
composed of 3 double stitches, 1 long purl, 3 double stitches; fasten
the cotton not far off to the first purl of the circle, and repeat from
* 7 times more, at regular distances. Fasten off and cut the cotton, and
begin * a fresh circle of 2 double stitches, 7 purl divided each by 2
double stitches, 2 more double stitches; fasten the cotton to the purl
of the very small circle, and work, not far off, a circle of 2 double
stitches, 2 purl divided by 2 double stitches, 2 more double stitches;
fasten the cotton to the purl of the next small circle, and repeat from
* 7 times more. Instead of making the first purl of the next large
circle, fasten the cotton to the last purl of the small circle.
* * * * *
22.--_Border in Tatting and Crochet_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 20;
tatting-pin No. 3.
[Illustration: 22.--Border in Tatting and Crochet.]
Begin this border with one of the smaller circles consisting of * 3
double, 1 purl, 3 double, 1 purl, 3 double; work a large circle at a
short distance, 5 double, 4 times 1 purl divided by 2 double, 5 double;
close to this circle another as follows:--5 double, fastened on to the
last purl of the preceding circle, 5 times 2 double divided by 1 purl, 1
purl, 5 double; a third circle as follows:--5 double fastened on to the
last purl of the preceding circle, 3 times 2 double divided by 1 purl,
1 purl, 5 double; the cotton is fastened a short distance further on to
the second purl of the first worked small circle, which must be turned
downwards; then turn the work so that the three circles which are joined
together are turned downwards. Work another small circle as follows at
the distance of two-fifths of an inch:--4 double, 1 purl, 4 double,
leave again an interval of about two-fifths of an inch, and repeat from
* till the lace is long enough; but in working the following figures,
consisting of three circles, the 1st circle must be fastened on to the
last purl of the 3rd circle at the place of the 1st purl. Complete the
tatting with the 2 following rows of crochet:--* 1 slip stitch in the
purl of one of the small circles turned upwards, 5 chain, 1 slip stitch
in the next purl, 4 chain; repeat from *. In the following row work 1
double in every stitch.
* * * * *
23.--_Insertion in Tatting and Lace Stitch_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 80;
tatting-pin No. 3.
[Illustration: 23.--Insertion in Tatting and Lace Stitch.]
This insertion forms a very pretty standing-up collar when worked with
fine cotton and a coloured ribbon drawn through. It consists of 2 rows
of 3 branched figures turned opposite one another, which are worked
separately and then joined into a row. Work 9 times as follows:--2
double, 1 purl, 2 double, * draw into a circle and * work at a short
distance a 2nd circle as follows:--2 double fastened on to the last purl
of the 1st circle, 8 times 2 double, 1 purl, 2 double, repeat once more
from *, knot together the two ends of the cotton, and fasten them on the
wrong side. One figure is thus completed; each following figure is
fastened on to the preceding one on the middle purl of a circle (see
illustration). When a sufficient number of such figures have been
worked, work a 2nd row of them in the same manner, and fasten from
illustration each middle circle of one figure on to the corresponding
circle of the 1st row. The circles filled with lace stitch are worked
when the 2 rows are completed from illustration in the empty places
between 4 patterns; work first 3 double, fasten them on to a purl on the
side of a leaf turned inside, * 3 double, fasten them on to a purl of
the next leaf, repeat 5 times more from *, work 3 double, join the
stitches into a circle, but not too close, so that the purls keep their
natural position; cut off the cotton, and fasten the two ends on the
wrong side. The lace stitch inside of these circles is worked with fine
crochet cotton; the pattern may be changed for a single or double wheel.
* * * * *
24.--_Insertion in Tatting._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 30;
tatting-pin No. 3.
Begin by working separately a sufficient number of small rosettes, each
composed of six ovals of double stitches and purl. These ovals are
worked first in a straight row, then they are joined into a circle and
united in the centre by button-hole stitches. The rosettes are joined
together with fine cotton. The crochet border is then worked on either
side in chain stitches and treble crochet, as seen in illustration.
[Illustration: 24.--Insertion in Tatting.]
* * * * *
25.--_Centre of a Tatted Couvrette_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 20, or
crochet cotton No. 1; tatting-pin No. 2.
This illustration shows the centre of a tatted couvrette in full size,
and measuring 12 inches across. Separate rosettes like the pattern may
be joined together with smaller ones, and form a very pretty couvrette.
The pattern is worked in rounds. Begin the rosette with a circle,
consisting of 4 double, 1 purl, 6 double, 1 purl, 6 double, 1 purl, 4
double. Take up another shuttle, and work over the cotton on it, fasten
the end on the last double of the circle and work over it, beginning
close to the circle, 6 plain, 1 circle like the 1st worked with the 1st
shuttle, and which is fastened on the last purl of the 1st circle at the
place of the 1st purl; 6 plain, and continue to work so alternately till
you have 7 circles divided by 6 plain stitches. Draw up very tightly the
cotton over which you work, so that the circles form a rosette, which is
closed by sewing together the two corresponding purl of the first and
last circle. Both the ends of the cotton over which you have worked are
knotted together. For the 2nd round, fasten the cotton on one shuttle on
the middle purl of a circle, work a circle like those of the 1st round,
take up the 2nd shuttle, and work on exactly as in the 1st round, only
work 8 plain between the circles over the cotton on the 2nd shuttle. The
2nd round consists of 15 circles; the cotton with which you work must be
fastened at the required places on the middle purl of a circle of the
preceding round. The 3rd and following rounds are worked in the same
manner; the number of circles must be such as to keep the couvrette
quite flat. In the pattern the 3rd round has 26 circles. Fasten the
cotton well after each round.
[Illustration: 25.--Centre of a Tatted Couvrette.]
* * * * *
26.--_Tatted Lace_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 30;
tatting-pin No. 2.
[Illustration: 26.--Tatted Lace.]
This very simple lace consists of scallops which look as if they were
slightly gathered. It must be worked with tatting cotton. Each scallop
consists of 5 plain, 1 purl, 5 plain, then alternately 5 purled
stitches, draw up these stitches till the cotton between the 1st and
last stitch is two-fifths of an inch long, and work a 2nd similar
scallop at a short distance from the 1st. But in the following scallops
fasten each to the last purl of the preceding scallop instead of working
the 1st purl.
* * * * *
27.--_Tatted Lace_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50 or 80;
tatting-pin No. 3.
[Illustration: 27.--Tatted Lace.]
This pretty lace is worked with fine tatting cotton. Work with 2
threads; the knots are worked over the cotton, which is held in the
right hand. Work first the outer scallops of the lace
Fasten both ends of cotton together and make 10 double, divided by 1
purl, turn the work so as to turn the wrong side upwards, fasten the
cotton over which you work on to the last purl, go back over the same
row, miss 1 purl next to the cotton with which you work, 9 double
divided by 1 purl, fastening the cotton over which you work on the next
purl of the 1st row after every double stitch. This forms 1 scallop. *
Turn the work downwards (that is, the purl stitch must be turned
downwards), make 4 times 2 double, 1 purl, 1 purled stitch: this is the
straight row between 2 outer scallops of the lace. Then work a scallop
like the preceding one, fastening it from illustration after the first
row on the middle one of the 9 outer purl of the preceding scallop, with
the cotton over which you work; repeat from * till the lace is long
enough, and fasten the cotton. Knot both ends together again, fasten the
cotton over which you work on the first purl of the first scallop, make
9 double, 1 short purl, 1 double, turn so that the upper edge of the row
is turned downwards, and the scallops upwards, 5 double, fasten the 2
middle purl of the 4 of the next straight row together by drawing the
cotton, with which you are working through the 2nd purl, so as to form a
loop, draw the cotton over which you work through this loop and draw up
the latter; work 5 double, fasten the cotton over which you work on to
the short purl worked after 9 double, turn the work so that the outer
scallops of the lace are turned downwards, 10 double, fasten the cotton
over which you work on the first purl of the next scallop, repeat from
*, and fasten the cotton. After having fastened both ends together
again, turn the work the right side upwards and the outer scallops
upwards also, fasten the cotton over which you work on to the short purl
which is under the first loop; * work 4 times 2 double, 1 purl, 2
double, fasten the cotton over which you work on the purl under the
next loop, and repeat from * till the lace is completed.
* * * * *
28.--_Collar in Tatting and Darned Netting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40;
tatting-pin No. 3; Messrs. Walter Evans and Co.'s French embroidery
cotton No. 60; square netting.
[Illustration: 28.--Collar in Tatting and Darned Netting]
The pattern is worked with very fine cotton; the netted grounding over a
mesh measuring two-fifths of an inch round. The collar is ornamented
round the outer edge with a tatted lace. Work a straight strip of
netting for the grounding; begin with 2 stitches, work 18 rows backwards
and forwards, increasing 1 at the end of each row, so that the last row
has 19 holes; work 1 row without increasing; then continue to work with
the same number of stitches, increasing 1 at the end of one row and
decreasing 1 at the end of the other. When the strip is sufficiently
long, work 1 row again without increasing or decreasing, and form
the side by making 18 rows, decreasing 1 stitch at the end of each,
cast off the 2 last stitches on 1 stitch without forming a new stitch on
the needle. Trace the outline of the collar on the grounding with thick
cotton, and begin to darn it from illustration. When the darning is
completed work the tatted lace with the same cotton, as follows:--6
double, 1 short purl, alternately, 3 times 3 double, 1 purl, 6 double,
draw up the stitch so as to form a scallop leaving one-fifth of an inch
between the first and last stitch; work a second scallop at a short
distance from the first, and so on; every scallop is fastened on to the
preceding one after the first 3 double stitches. Work a row of double
overcast stitch between the darned netting and the tatted lace; work
this row over the cotton tracing, marking the outline of the collar on
the grounding and over the cotton between the tatted scallops. Work also
a row of double overcast round the neck part, gathering in the collar a
little if necessary. Cut away the netting on the wrong side close to the
row of overcast stitches.
* * * * *
29.--_Mignardise and Tatting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; fine
mignardise braid.
[Illustration: 29.--Mignardise and Tatting.]
Patterns formed of mignardise and tatting are of quite new style, and
look very pretty. The insertion is easy to work by the following
process:--Make first a circle, as follows: 1 plain stitch, 2 double, 1
purl, 6 double, 1 purl, 2 double, 1 plain; fasten the cotton on to one
side of the mignardise, at the distance of about five-eighths of an
inch, by taking 2 loops of it together; work a second circle at a short
distance from the first, and so on. When the strip of insertion is
sufficiently long, work in the same manner on the other side of the
mignardise. This kind of work is destined to become very popular, and
nothing can be more light and graceful than the union of mignardise and
tatting.
* * * * *
30.--_Linen Bag for Cotton_.
Materials: Fine linen, 6 inches square; Messrs. Walter Evans and Co.'s
tatting cotton No. 40.
[Illustration: 30.--Linen Bag for Cotton.]
The bag seen in illustration No. 30 is meant to keep the cotton for
working a couvrette; it consists of a round piece, measuring 6 inches
across, which is hemmed all round, and trimmed with a tatted lace. It is
drawn together at top.
* * * * *
31.--_Tatting Insertion_.
Materials: Messrs. Walter Evans and Co.'s cotton No. 30.
The insertion shown in illustration No. 31 is composed in two similar
halves. Begin the first in the following way:--10 double, 1 purl, 3
double, 1 purl, 10 double, join the stitches into a circle, and work a
second similar circle at a distance of one-third of an inch; instead of
the 1st purl, draw the cotton through the 2nd purl of the first-worked
circle; leave an interval of one-eighth of an inch, and repeat the two
rounds till the insertion is sufficiently long. Then tat round the
pieces of cotton which join the two rounds, work round the longest 10
double, and round the shortest 4 double, inserting the shuttle
alternately once upwards and once downwards, but for the rest proceeding
as in the common button-hole stitch. When the first half is completed,
work the second in the same way, and fasten it on to the first with the
purl.
[Illustration: 31.--Tatting Insertion.]
* * * * *
32.--_Tatting Insertion_.
Materials: Messrs. Walter Evans and Co.'s cotton No. 30.
[Illustration: 32.--Tatting Insertion.]
The pretty effect of the insertion shown in illustration No. 32 is
obtained by means of longer and shorter purl. Work as follows:--Join 9
double into a circle, 1 long purl, 3 double, 1 long purl, 4 double *.
After an interval of five-eighths of an inch, begin the large figure of
the pattern: 2 double, 1 small purl, 2 double, draw the cotton through
the last purl of the small circle, 2 double, drawn through the 1st purl
of the same circle, 2 double, 1 small purl, 2 double, 1 long purl, 2
double, 1 small purl, 2 double, repeat 6 times more from *, and draw up.
After an interval of five-eighths of an inch comes another small circle:
4 double, draw the cotton through the last purl of the large figure, 3
double, draw the cotton through the next long purl of the same figure, 2
double, 1 long purl, 3 double, 1 long purl, 4 double. Repeat the pattern
for the length of insertion required. The threads which join the small
circles are worked over with 7 double in the manner described above,
only the cotton at the principal figure must be left loose the width of
a straw, so as to imitate a long purl. Complete the insertion from
illustration by tatting round the small circles of 16 double on the
other side (but in the contrary direction), form no purl, but draw the
cotton through the long purl of the large figure; the threads which join
the 2 circles are likewise drawn through the middle long purl of the
large figure; this thread is then tatted over with 7 double, like the
opposite outer edge.
* * * * *
33.--_Tatted Square or Diamond_.
Materials: If for couvrettes, Messrs. Walter Evans and Co.'s tatting
cotton No. 20, or crochet cotton No. 4; tatting-pin No. 3. For d'oyleys,
tatting cotton No. 50; tatting-pin No. 2. For headdresses, tatting
cotton No. 80; tatting-pin No. 2.
The square is composed first of nine 4-branched patterns, worked in 3
rows of 3 patterns each, and joined on one to the other with purl. Each
pattern consists of 4 branches close to each other, and each branch
consists of 7 double, 1 purl, 7 double; when the 4 branches of one
pattern are completed, cut off the cotton, and fasten both ends
together so as to form a small circle in the centre. Then work a second
pattern, which is fastened on to the first and second branches of the
first pattern, instead of working the purl stitch; work a third pattern,
which is fastened in the same manner on to the second pattern. Then work
2 more rows exactly the same as can be seen in illustration.
[Illustration: 33.--Tatted Square.]
*For the border of the square, fasten the cotton on the first purl of
the first pattern, work 4 double, 13 purl divided by 2 double, 4 double,
draw up the stitches close, fasten the cotton again on to the same purl
of the first pattern *, and work the following scallop at a short
distance:--4 double fastened on the last purl of the preceding circle,
10 purl divided by 2 double, 4 double, draw up the stitch, leaving an
interval of two-fifths of an inch between the first and the last; fasten
the cotton on to the next purl which joins two patterns, repeat twice
more from *, and continue to repeat from *.
* * * * *
34.--_Tatted Rosette_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40, or
crochet cotton No. 60.
[Illustration: 34.--Tatted Rosette.]
This rosette is very pretty for trimming _lingeries_; it is worked with
very fine crochet or tatting cotton. Begin in the centre and work one
circle: 16 times alternately 2 double, 1 purl, then 1 purled stitch.
Fasten the cotton on to the first purl and work the 2nd round: 1 small
circle, consisting of 6 double divided by 1 purl. Fasten the cotton on
to the next purl of the middle circle, and repeat in rounds. 3rd round:
Fasten the cotton on the middle purl of the first circle of the
preceding round, * work at a short distance 8 double divided by 1 purl,
join the stitches into a circle, fasten the cotton at the same distance
on to the middle purl of the next circle of the preceding round, and
repeat in rounds from *, after which the cotton is fastened off.
* * * * *
35.--_Rosette in Tatting_.
[Illustration: 35.--Rosette in Tatting.]
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40;
tatting-pin No. 3.
Begin this rosette with the circle in the centre, and work 8 times
alternately 2 double, 1 purl, 1 double, join the stitches into a circle
and fasten the cotton. Take a second shuttle and work over the cotton on
this shuttle; knot the two ends of cotton together * and work 5 plain,
fasten the cotton over which you work on a purl of the circle which is
completed, and which must be turned downwards; 5 plain, 1 purl; repeat 7
times more from *, and fasten the cotton. Work now with one of the
shuttles the small circles on the outside; * fasten the cotton on to a
purl of the second round, and work a circle as follows:--6 double, 1
purl, 6 double, fasten the cotton on to the same purl of the second
round, work a similar circle at a short distance, and a third at the
same distance. Repeat 7 times more from *, and fasten off the cotton
neatly.
* * * * *
36.--_Diamond in Tatting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40;
tatting-pin No. 2.
[Illustration: 36.--Diamond in Tatting.]
This diamond is suitable for trimming collars, cuffs, &c., when worked
with fine cotton. Work first the four corner patterns separately, as
follows:--7 double, 3 purl divided by 3 double, 6 double, join the
stitches into a circle, work close to this circle a second one
consisting of 6 double fastened on the last purl of the 1st circle, 4
double, 2 purl divided by 4 double, 6 double; then a 3rd circle
consisting of 6 double fastened on the last purl of the preceding
circle, 3 double, 2 purl divided by 3 double, 7 double. Take a second
shuttle, fasten the cotton on the end of the cotton of the 1st circle,
throw the cotton of the 1st shuttle over the fingers of the left hand,
and work with this cotton over the cotton on the other shuttle in the
right hand. Work 5 double, and then one circle as follows with the
cotton in the left hand only:--8 double fastened on the last purl of the
3rd of the 3 circles worked close to each other, 5 double, 1 purl, 5
double, 1 purl, 4 double, 1 purl, 6 double, then again over the cotton
on the other shuttle, 5 double, 4 purl divided by 5 double, 5 double,
then with one shuttle only one circle as follows:--6 double, 1 purl, 4
double, 1 purl, 5 double, 1 purl, 5 double fastened on 1st purl of the
circle worked at the beginning, 8 double; then again with two shuttles 5
double. Fasten the cotton on the piece of cotton before the 5 double
worked with two shuttles, so that the stitches worked over two shuttles
form a circle, and cut off the cotton. When three of these patterns have
been worked, work the centre pattern of the square. It consists of 4
leaves touching each other at the lower points; each leaf is formed of 3
double, 5 purl divided by 3 double, 3 double; each following leaf is
fastened on to the preceding one at the place of the 1st purl. Then work
first 1 round of the oval circles of the square, with which the corner
patterns are joined. Fasten the cotton on one purl of one corner
pattern, make 7 double, 1 purl, 8 double; fasten on the corresponding
purl of another corner pattern, work 8 double, 1 purl, 7 double, join
the stitches into a circle, fasten the cotton on to the same purl to
which the cotton has already been fastened, carry the latter on to the
next purl of the same corner pattern, fasten it, then work three more
circles like the first, which are fastened on to each preceding circle,
at the place of the first purl; fasten the cotton on the two cross purl
of the centre pattern, and work four similar circles on the other side
of the same. The 8 circles which go across the square in the opposite
direction are worked in the same manner. When the square is completed,
draw two threads on each side of each corner pattern on to the other
side of the square along the cotton which joins the circles together.
* * * * *
37.--_Tatting for Cap Crown_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100;
tatting-pin No. 1.
[Illustration: 37.--Tatting for Cap Crown.]
This pattern is very pretty for the crown of a cap like the one
described on page 36, and also for covers, toilet cushions, &c. The size
of the cotton depends upon the use you wish to make of the pattern. The
pattern is worked with fine tatting cotton. It consists of
eight-branched rosettes joined together with small circles. Each rosette
is worked as follows: Work 8 loops or branches close to each other,
consisting of 7 double, 1 purl, 7 double; fasten both ends of the
cotton together, and cut them off. Each of the small circles which joins
the rosettes together consists of 2 double, 8 purl divided by 2 double.
It is easy to see from the illustration how the patterns are joined
together by means of the purl stitches.
* * * * *
38 _and_ 39.--_Cap in Tatting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100
tatting-pin No. 1.
[Illustration: 38.--Cap in Tatting.]
This very pretty cap consists of an oval crown in tatting, edged all
round with a tatted lace, the lappets are made in tatting also. The cap
is trimmed with large and small rosettes of narrow blue velvet. A narrow
velvet ribbon is drawn through the straight open-work edge of the lace,
as can be seen in illustration.
[Illustration: 39--Border for Cap No. 38.]
* * * * *
No. 39.--Border for Cap.--The upper part of the border consists of 4
rows of circles worked at a distance of three-fifths of an inch from
each other. The circles of the 1st row consist of 3 double, 3 purl
divided by 3 double, 3 double. In the following 3 rows each circle is
fastened on to the cotton, which joins 2 circles in the 1st row, instead
of working the middle purl, the cotton between 2 circles in the last row
must only be two-fifths of an inch long. Then work a certain number of
six-branched rosettes, each branch consisting of 9 double, 1 purl, 9
double. Each rosette is fastened on to every other circle of the
1st row, as can be seen in illustration. The border is completed as
follows:--* 1 double, 6 purl divided by 1 double, 1 purled stitch
fastened on to the middle purl of a circle of the 1st row, 1 plain, 6
purl divided by 1 double, join the stitch into a circle, turn the lace
so that the rosettes are turned upwards, fasten the cotton on to the
purl of the next branch of the next rosette, work 1 double, 7 purl
divided by 1 double, 1 double; fasten the cotton on to the purl of the
next branch, * work 1 double, 8 purl divided by 1 double, 1 double;
fasten the cotton on to the next branch, repeat once more from *, work 1
double, 7 purl divided by 1 double, 1 double, and repeat from * to the
end of the lace.
* * * * *
40.--_Lace in Tatting and Crochet_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50;
tatting-pin No. 2; crochet cotton No. 60.
[Illustration: 40.--Lace in Tatting and Crochet.]
The beauty of this lace depends entirely upon the regularity of the
tatting. The purl stitches must be very regularly made, the circles must
be drawn up tight. Make * 1 circle, consisting of 4 double, 8 purl
divided by 2 double, 4 double; close to this circle a second one; 5
double fastened on the last purl of the preceding circle, 8 times 2
double divided by 1 purl, 1 purl
5 double, close to the 2nd circle a third one similar to the first, but
instead of working the 1st purl fasten it on the last purl of the
preceding circle; leave an interval of about 1-2/5 inch, and repeat from
* till the lace is sufficiently long. The rest is worked in crochet.
Take the fine crochet cotton and work the straight row at the top to
join the patterns together. Crochet 1 double in the 3 first and last
purl of the first and last circle of one pattern, then a sufficient
number of double stitches under the piece of cotton which joins 2
circles. At the place where the circles are drawn together, join the two
pieces of cotton (the beginning and the end) in such a manner that the
top of the lace forms a straight line (see illustration). The 2nd row
consists of 1 treble in every other stitch, 1 chain after every treble.
Then work on the other side of the lace * a row of treble stitches
divided by chain. The treble stitches are worked in the purl stitches of
the circles. Work 1 long treble in the 1st purl left free of the 1st
circle (4th purl of the circle), 3 chain, * 1 treble, 3 chain, 1 treble,
3 chain, 2 treble in the next 2 purl, but cast off the 1st treble only
so far as to keep 2 loops on the needle. When the 2nd treble is
completed cast off all the loops on the needle, 3 chain, 5 treble
divided by 4 chain, 3 chain, 2 treble in the 2 following purl, which are
cast off like those above described, 3 chain, 2 treble divided by 3
chain in the 2 next purl of a pattern, 1 chain, 1 long treble with which
you must join the last purl and the first one of the next pattern, 1
chain; repeat from *. The next row consists of small scallops worked
round the chain stitch scallops of the preceding row; work in each 1
double, 4 treble, 1 double, 1 double in the first and last chain stitch
of every pattern.
* * * * *
41.--_Insertion in Tatting and Crochet_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; crochet
cotton No. 60; tatting-pin No. 2.
[Illustration: 41.--Insertion in Tatting and Crochet.]
Begin the tatting with fine cotton and 2 shuttles. Work with the cotton
on one shuttle over the cotton on the other in the following
manner:--Knot the 2 ends of cotton together * 4 times 2 double divided
by a short purl, 3 long purl divided by 1 double; the 1st and 3rd purl
must be three-fifths of an inch long, the 2nd one two-fifths of an inch;
4 times 2 double divided by a short purl, 1 purl two-fifths of an inch
long; repeat from * till the strip of insertion is sufficiently long.
Then work a similar row of tatting, and join the two rows before working
the 1 long purl, by fastening the cotton on the corresponding long purl
of the 1st row, so that the 2 rows are joined closely together, and the
purl stitches of either are turned outwards. At the top and bottom of
the tatting work the 3 following rows of crochet:--* 1 double in the
middle one of the 3 long purl, 8 chain, 1 double in each of the 3
following long purl, 8 chain; repeat from * to the end of the row. 2nd
row. 8 double in each scallop, miss the 3 double stitches of the
preceding row under 3 chain. The 3rd row consists of treble stitches in
every other stitch, 1 chain after every treble. Lastly, the leaves are
worked with thick cotton by filling up the first and last long purl of a
pattern with darning stitch from illustration; the cross stitches
between the two rows of tatting are worked with very fine cotton.
* * * * *
42.--_Purse in Tatting and Beads_.
Materials: Grey purse-silk; steel beads; scarlet glacé silk; a steel
clasp with chain.
This purse is worked in tatting with grey silk and beads. The beads are
threaded on a piece of silk, with which you work over another piece of
the same. Begin each of the second halves of the purse with the circle
in the centre, which consists of 1 purled stitch, 1 purl (all the purl
of this circle are three-tenths of an inch long, and are covered with
six beads, which must be drawn up close together before working the
purl), 12 double divided by 1 purl. Join the stitches into a circle by
knotting together the two ends of the silk.
2nd round: Begin again and work one of the small circles; * 2 double,
draw up one bead after each, 1 double, 1 short purl without beads, 2
double, 1 bead after each, 1 double, fasten the silk on the purl of the
middle circle, so as to let it come between the 3rd and 4th bead of the
6 beads on that purl; 2 double, 1 bead after each, 1 double, 1 short
purl, 2 double, 1 bead after each, 1 double, join the stitches into a
circle, draw up 2 beads; work a larger circle without fastening the silk
belonging to the smaller one; 3 double, 1 bead after each, 1 double, 1
purl with 4 beads, 3 double, 1 bead after each, 1 double; 1 short purl,
3 double, 1 bead after each, 1 double, 1 purl with 4 beads, 3 double, 1
bead after each, 1 double; draw up 2 beads close to this large circle
and repeat from *. Each following small circle must be fastened on the
next purl of the circle which forms the centre; they are also fastened
on to each other, instead of working the 1st purl, by fastening the
piece of silk over which you work on the preceding small circle; in the
larger circles, instead of working the 1st purl with 4 beads, the piece
of silk must be fastened on the last purl of the preceding circle, so
that it comes between the 2nd and 3rd beads. At the end of the round,
the ends of the silk are knotted together and fastened off.
[Illustration: 42.--Purse in Tatting and Beads.]
3rd round: * 3 double, 1 bead after each, 1 double, 1 short purl, 3
double, 1 bead after each, 1 double fastened on the middle purl of the
1st circle of the preceding round, 3 double, 1 bead after each, 1
double, 1 purl with 2 beads, 3 double, 1 bead after each, 1 double; join
the stitches into a circle, and work at a short distance a 2nd circle; 3
double, 1 bead after each, 1 double, fastened on the last purl of the
just-finished circle of this round, 3 double, 1 bead after each, 1
double fastened on the purl of the preceding round which is between 2
circles; the loop must come between the 2 beads; 3 double, 1 bead after
each; 1 double, 1 purl with 2 beads; 3 double, with 1 bead after each; 1
double; leave a small interval, and repeat 11 times more from *, then
fasten the ends.
When two similar parts have been worked, line them with scarlet glacé
silk; fasten them together round the outside, and sew on the clasp. A
round of large circles edges the purse round the outside. The 1st of
these circles consists of 12 double, 1 bead after each, 1 double, 1 purl
with 2 beads, 4 double, 1 bead after each, 1 double. Work a 2nd circle
at a short distance from the 1st: * 4 double, 1 bead after each, 1
double fastened on the purl of the 1st circle of this round; 7 double, 1
bead after each, 1 double, 1 purl with 2 beads, 4 double, 1 bead after
each, 1 double; leave a short interval, and repeat from * till a
sufficient number of circles have been made. The last purl is not worked
in the last circle.
* * * * *
43.--_Insertion in Tatting and Crochet._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40; crochet
cotton No. 60; tatting-pin No. 3.
[Illustration: 43.--Insertion in Tatting and Crochet.]
This pattern is composed of leaves and flowers. Each of the six leaves
forming a circle is composed of 4 double, 2 purl, separated by 2 double,
4 double (the first and last purl of each leaf must be joined in the
manner before explained), and the centre of each circle forms a wheel.
The flower has four leaves: each leaf consists of 6 double, II purl,
separated each by 1 double, and again 6 double; each leaf is filled up
with button-hole stitches in fine cotton. To form the circle in the
centre of this flower, turn several times the thread which joins the
leaves, and work button-hole stitches round it. Join the flowers and the
circles by knotting them together, or by making 1 purl longer than the
others, and by drawing the next figure through. The crochet border on
each side of the tatting consists of six rows, which are plainly seen in
the illustration.
* * * * *
44.--_Border in Tatting and Lace Stitch._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 20 and 40.
[Illustration: 44.--Border in Tatting and Lace Stitch.]
This mixture of tatting and lace stitch is a style of work not only
entirely new, but very pretty and effective when cotton of very
different sizes is used. The tatting is begun with a row of circles
two-thirds of an inch distant from each other; each circle consists of
13 stitches of plain tatting. Fasten a 2nd row to the 1st, and a 3rd to
the 2nd, by working a circle of 13 stitches of plain tatting at
one-third of an inch distance, * then at the same distance; fasten the
cotton on the next circle of the preceding row, work a circle at the
same distance again, and repeat from *. The cotton is fastened on the
circles by drawing it through the circle with a crochet-needle, so as to
form a loop, and then drawing it out of the loop. Take care to keep the
distance between 2 circles always the same. Between the circles of the
3rd row draw another piece of cotton, by fastening the cotton on each
circle of the 3rd row at distances of two-thirds of an inch. Then work
the lower edge of the border in the following way:--1 small spot called
a _Josephine knot_ (for which work 5 stitches of plain tatting, draw the
cotton downwards through the loop which fastens the stitches, and draw
up the whole), fasten the cotton between the next two circles of the 3rd
row, * and a little further make a spot consisting of 8 stitches of
single tatting, close to this a circle formed of 3 double, 9 purl
divided by 2 double, 3 double; then again a spot of 8 stitches of plain
tatting, turn the 2 last spots so as to make their round sides come
opposite one another; fasten the cotton on again between the 2 next
circles of the 3rd row. Then a little further off work 1 small spot (5
stitches of plain tatting), 1 circle of 3 double, 1 purl, 2 double
fastened on the last purl of the preceding circle, 2 double, 5 purl
divided by 2 double, 3 double; then again a small spot (5 plain
stitches), fasten the cotton on again between the next 2 circles of the
3rd row, and repeat from *, always fastening each new circle to the
corresponding purl of the preceding one. On the other long side, the
border is completed by 2 rows of crochet. The 1st row is formed by
working 1 double under the piece of cotton between 2 circles of the 1st
row, with 5 chain stitches between.
2nd row: 1 treble in every other stitch, 1 chain stitch after every
treble. The strip of insertion is then tacked on a piece of cardboard or
oil-cloth, and the lace stitches are worked between the circles, as is
seen in illustration.
* * * * *
45.--_Tatted Rosette._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 30 for
large rosette, No. 80 for small rosette; tatting-pin No. 3.
This rosette forms a very pretty trimming for lingerie--cravats, caps,
handkerchiefs, &c. The raised pattern in the centre consists of 4
rounds, consisting of 5 circles each, which are sewn together and then
fastened on the rosette. The 5 circles of each round must be worked
close to each other: after working the last circle of each round, knot
the beginning and end of the cotton together. Each circle of the
smallest round has 9 double, the circles of the next round each 15, the
circles of the following one 21, and the circles of the last and largest
round 27 double stitches. When these circles have been sewn on one to
another as in illustration, work a large circle consisting of 4 double,
1 purl, 9 times alternately 5 double, 1 purl, then 1 double. The purls
of this circle are fastened on to the circles of the next round of the
rosette. Fasten the cotton on to the next purl of the middle circle, and
work a circle as follows:--4 double, 1 purl, 4 double, 1 purl, 3 double,
1 purl, 3 double, 1 purl, 4 double, 1 purl, 4 double. Repeat 9 times
more from *, but now, instead of working the 1st purl of every circle,
fasten it on to the last purl of the preceding circle. Then fasten the
cotton. For the last round, which consists of scallops and rounds,
fasten the cotton on to the middle purl of a circle of the preceding
round, and work a circle consisting of 3 times alternately 4 double, 1
[Illustration: 45.--Tatted Rosette.]
purl, then 4 double. Then fasten a second thread on to the same purl on
which the just completed circle has been fastened, and over which all
the scallops are to be worked. Work over it 5 double, fastened on to the
last purl of the preceding circle, 4 double, 1 purl, 4 double, 1 purl, 5
double. Fasten the cotton on to the middle purl of the next circle of
the preceding round, and repeat from * till the round is completed; but
in working these circles, instead of the first purl, fasten them on to
the last purl of the preceding scallop. Lastly, the raised pattern is
sewn on.
* * * * *
46.--_Linen Bag for Tatting, &c._
Materials: Fine linen; Messrs. Walter Evans and Co.'s tatting cotton No.
30 or 40; tatting-pin No. 2.
[Illustration: 46.--Linen Bag for Tatting, &c.]
This pretty linen bag is meant to keep tatting and such work from being
soiled before it is completed. The bag is drawn together round the top.
Its size depends upon what you wish to put into it. The original
pattern is 3-3/4 inches deep, and 3 inches wide; it is hemmed round the
top, and trimmed with a narrow tatted lace, consisting of large and
small circles.
* * * * *
47.--_Tatted Border._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40;
tatting-pin No. 2.
[Illustration: 47.--Tatted Border.]
Begin this elegant border with 2 rows of tatting, in the following
manner:--
1st row: 2 double, 1 purl, 3 double, 1 purl, 3 double, 1 purl, 2 double;
draw these stitches up into a circle, and repeat the circle at a very
short distance, till the border is long enough; but instead of working
the first purl of each circle, you must join the circle to the preceding
one; the purl on the sides of the circle must therefore be longer than
that in the middle.
For the 2nd row take another shuttle, make a loop on the left side with
the cotton, and work with this end of cotton over the cotton in the
right hand, which is also to be held between the thumb and forefinger of
the left hand. Then work in the following way:--2 double, then 1 circle
consisting of 3 double, 1 purl, 3 double; to form this circle, let the
cotton in the left-hand shuttle fall downwards, and make a loop round
the left hand with the cotton on the shuttle of the right hand. Then
take up again the left-hand shuttle, and join the circle to the middle
purl of the 1st circle of the 1st row by drawing the cotton through the
purl like a loop, and then drawing the cotton in the right hand through
this loop. * 7 double, 1 circle, 7 double, joined to the middle purl of
the next circle of the 1st row; 1 circle, 5 double, 1 circle joined on
the middle purl of the following circle; repeat from *.
The upper edge of the border is worked in 2 crochet rows, in the
following manner:--
1st row: * 2 treble, divided by 1 chain in the 1st circle of the 1st row
of tatting; 2 chain; repeat from *.
2nd row: * 1 treble in the 1st chain of the preceding row, 1 purl (3
chain, 1 slip stitch in the 1st), miss 1 stitch of the preceding row
under it; repeat from *.
* * * * *
48.--_Rosette in Embroidery and Tatting._
Materials for trimmings: Messrs. Walter Evans and Co.'s knitting cotton
No. 20; tatting cotton No. 50; tatting-pin No. 3. For couvrettes,
crochet cotton No. 4.
This rosette, joined to other similar ones, forms a very pretty trimming
for articles of fine linen, or even for small couvrettes; if used for
the former, they must be worked with very fine cotton. The centre of the
rosette is formed of an embroidered raised pattern worked in _point de
minute_; round this centre there are small circles worked in button-hole
stitch; the embroidery is worked with knitting cotton, the circles with
crochet cotton. Before beginning the circles, make a circle consisting
of a foundation chain of 80 stitches, in order to be able to fasten the
button-hole stitch; in each of the stitches of the foundation chain work
1 double, then fasten the cotton. In the 2nd round of these circles
fasten the cotton on every 5th stitch of the crochet circle. Work 1
round of open-work treble stitch in the double stitch of the crochet
circle, work in tatting the border of the rosette as follows in 1
round:--* 2 double, 1 purl, 2 double, fastened on to 1 chain stitch
between 2 treble stitch, 2 double; 1 purl, 2 double,; join these
stitches into a circle; turn the work so that the wrong side lies
upwards, and work a second larger circle at a short distance consisting
of 4 double, 5 purl divided by 2 double, 4 double, turn again and repeat
from *. The smaller circles must be fastened after every other treble
stitch; the larger and smaller circles must be fastened above one
another at the place of the 1st purl.
[Illustration: 48.--Rosette in Embroidery and Tatting.]
* * * * *
49--_Linen Collar trimmed with Tatting._
Materials: Messrs. Walter Evans and Co's tatting cotton No. 60;
tatting-pin No. 2.
[Illustration: 49.--Linen Collar trimmed with Tatting.]
The diamond pattern placed in the corner of the collar is commenced in
the centre. For each of the four centre leaves work 6 double stitches, 6
purl divided one from the other by 3 double stitches, then 6 more
double stitches. Fasten off the cotton, cut it, and begin a fresh leaf
by working 2 double stitches, 10 purl divided one from the other by 2
double stitches, then 2 more double stitches. (This small leaf forms one
of the corners of the diamond pattern.) Fasten the cotton to the fourth
purl of one of the four centre leaves, and work another leaf similar to
the preceding. Join this leaf by its two centre purl to the two last
purl of the corner leaf (see illustration). After two more similar
leaves, work one corner leaf, and continue the pattern in the same
manner until you come back to the first corner leaf, then fasten off,
and cut the cotton. Place the diamond pattern upon the point of the
collar, and cut away the material under it; fold back the edges, sew
them neatly, and cover them with the following crochet edging:--Make
alternately 2 chain, 1 purl (the latter composed of 3 chain joined
together by 1 slip stitch). It will be easy to work the circles in
tatting from our illustration; they form an elegant border round the
collar. We shall merely say that the centre circle is always worked
separately, and that the cotton is fastened on afresh to work the eight
outer leaves. The upper edge of this border is worked in crochet. It is
composed of two rows--one formed of chain stitches, and a few slip
stitches worked in the purl of the circles in tatting, the other worked
in open treble crochet.
* * * * *
50.--_Cravat in Cambric Muslin and Tatting._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100;
tatting-pin No. 3.
This cravat consists of a strip of cambric muslin 1 yard long, 6 inches
wide, hemmed on both sides. The ends of the cravat are ornamented with
patterns in tatting, worked with tatting cotton No. 100. A rosette in
tatting is sewn on in the middle of the end of the cravat. The end of
the cravat is pointed, lined on the wrong side with a strip of the same
material as the cravat, and edged with a tatted lace. Begin the rosette
in the centre with a circle worked in the following manner:--1 double, 1
purl, * twice 2 double divided by 1 purl, 1 purl, 3 double, 1 purl,
twice 4 double divided by 1 purl, 1 purl, * 3 double, 1 purl; repeat
from * to * once more, 2 double. At the beginning of the 2nd round
fasten the cotton on the 1st purl of the 1st round, and
[Illustration: 50.--Cravat in Muslin and Tatting.]
work as follows:--* 1 circle consisting of 10 double, 1 purl, 2 double,
1 purl, 10 double; fasten the cotton on to the next purl, 1 circle like
the preceding one, fastened on to the next purl, 1 circle consisting of
9 double, 1 purl, 9 double fastened on to the next purl, 2 circles
consisting each of 7 double, 1 purl, 7 double; between the 2 fasten the
cotton on to the next purl; 2 similar circles fastened also on to the
next purl, 1 circle consisting of 8 double, 1 purl, 8 double, fastened
on to the next circle; repeat once more from *, and fasten off the
cotton. Fasten on the cotton afresh for the 3rd round, worked in the
following manner:--* 1 circle consisting of 6 double, 1 purl, 5 double,
1 purl, 6 times 2 double divided by 1 purl; 1 purl, 5 double, 1 purl, 6
double; fasten the cotton at a short distance on to the 1st purl of the
2nd round, 1 circle worked as follows:--5 double fastened on to the last
purl of the preceding circle of this round, 4 double, 1 purl, 4 times 2
double divided by 1 purl, 1 purl, 4 double, 1 purl, 5 double fastened on
to the next purl of the 2nd circle of the 2nd round; 6 similar circles,
between each of which the cotton is to be fastened on to the nearest
purl of a circle of the 2nd round; repeat once more from *, and knot the
beginning and the end of the cotton together. When completed, the
rosette is sewn on the material of the cravat with button-hole stitches,
taking up one purl with each stitch; the muslin is cut away underneath
the rosette; then work a round of knotted stitches underneath the
button-hole stitch. For the lace, make a row of circles one-fifth of an
inch distant from each other, consisting each of 6 double, 1 purl, 2
double, 1 purl, 4 times 2 double divided by 1 purl, 1 purl, 2 double, 1
purl, 6 double, which are fastened together by the purl of each circle,
and are sewn on the cravat over the cotton between the circles in
overcast stitch.
* * * * *
51--_Cravat in Cambric Muslin and Tatting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100;
tatting-pin No. 3.
[Illustration: 51.--Cravat in Muslin and Tatting.]
The end of this cravat is formed by a long rosette or _médaillon_ in
tatting. This rosette is likewise begun in the centre, and consists of 4
rounds, the 2 first of which are worked like those of the rosette in
illustration 50, with this difference only, that in the 2nd round each
of the circles nearest to the top and to the bottom of the rosette
consists of 8 double, 1 purl, 2 double, 1 purl, 8 double. 3rd round: * 1
circle, consisting of 6 double, 1 purl, 5 double, 1 purl, 6 times 2
double divided by 1 purl, 1 purl, 5 double, 1 purl, 6 double, fastened
on to the next purl of the 2nd circle of the preceding round; 1 circle
as follows:--5 double, the last of which is fastened on to the last purl
of the preceding round, 4 double, 1 purl, twice 2 double divided by 1
purl, 1 purl, 4 double, 1 purl, 5 double fastened on the next purl of
the preceding round; 8 more similar circles, between each of which the
cotton is fastened on to the next purl of the preceding round; repeat
from * once more, fasten the two ends of the cotton together. 4th round:
* Fasten on the cotton afresh with a circle consisting of 7 double, 1
purl, 4 double, 1 purl, 6 times 2 double divided by 1 purl, 1 purl, 4
double, 1 purl, 7 double, fastened on to the middle purl of the 1st
circle of the preceding round; a 2nd circle worked in the same way, only
instead of working the last purl, fasten the cotton on to the last purl
of the preceding circle, then on to the 1st circle of the preceding
round; 10 more similar circles, between each of which the cotton is
fastened on to the middle purl of a circle of the preceding round, and
then on to the 2nd purl of the larger circle at the bottom of the
medallion; repeat once more from *. The pattern is sewn on the cravat
with button-hole stitches, as can be seen in the illustration.
* * * * *
52.--_Border in Crochet and Tatting_.
Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 26.
This border is formed of circles in tatting and crochet leaves, which
are joined together by rows of crochet work; a narrow
[Illustration: 52.--Border in Crochet and Tatting.]
border in tatting forms the lower edge. Omitting this edge, the border
forms a strip of insertion. Each of the rosettes or circles is begun in
the centre; work first 2 double (a double stitch is formed by passing
the thread over the back of the hand, and then passing the shuttle
upwards between the forefinger and second finger, and drawing it up,
then work a stitch of plain tatting; this completes the double stitch,
and whenever so many double stitches are directed it means the 2
stitches), 1 purl, repeat 9 times, join the stitch into a circle, work
at a small distance * a smaller ring consisting of 3 double, 5 purl,
divided each by 2 double stitches, 4 double, draw the cotton through the
purl of the first circle, and repeat 8 times more from *, only each
following circle must be fastened on to a purl of the preceding circle
after 3 double stitches, and having completed each circle the thread
must be drawn through the purl of the first circle, which forms the
centre of the rosette. The beginning and the end of the thread are
knotted together. For the tatted border, make at short distances 1 loop
with 5 double, 1 purl, 5 double; after having worked a sufficient number
of such loops, wind another thread round the thread between the loops,
turning always 1 loop on the right side and 1 on the left. Now begin the
crochet part with the leaves. Make for each of these a foundation chain
of 12 stitches, crochet back over this chain 2 double in the last stitch
but one, 1 double in the next stitch, 1 treble in each of the following
7 chain, 2 treble in the next stitch, 2 treble, 1 long treble, and 2
treble in the next following stitch of the foundation chain. Work on the
other side of the chain the same pattern, only the reverse way; then 3
double in the point of the leaf thus formed, and edge the whole leaf
with a round of double stitches, always working 2 double in each stitch
of the preceding row, and 3 in the long treble stitch. In working this
last round, the circles must be joined to the leaves by taking up the
purl stitch of the circle before casting off the corresponding double
stitch of the leaf; then work the stem which joins the 2 rows of circles
and leaves with a row of chain stitches, on which a row of double is
worked. Then comes the border which forms the upper edge. Make a row of
chain stitches, joining leaves and circles together, then work 3 rows of
treble, work 3 more rows over the tatted border, the first row entirely
in chain stitches, after every fourth stitch take up the purl of the
loops on one side. 2nd row: 1 treble in the middle stitch of the 3
chain, 2 treble, divided by 3 chain. 3rd row: 1 treble, 1 chain, miss 1
under the last. In the last row the leaves and circles must be fastened
on the border, as seen in illustration.
* * * * *
53.--_Diamond in Tatting_.
Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 10;
tatting-pin No. 2; any sized shuttle.
[Illustration: 53.--Diamond in Tatting.]
1st oval: Fill the shuttle, but do not cut it off from the reel, as a
double thread is required, and commence by working 5 double stitches, 1
purl, then (3 double, 1 purl 10 times), 5 double, draw up.
Double thread: Putting the thread attached to the reel round the left
hand, work 7 single stitches, taking care to do them tightly.
2nd oval: 4 double, join to the last purl of 1st oval, then (3 double, 1
purl, 5 times) 4 double, draw up.
Double thread: 12 single stitches tightly worked.
3rd oval: 4 double, join to last purl of 2nd oval, 3 double, join to
next purl of 2nd oval, then (3 double, 1 purl 5 times) 4 double, draw
up.
Double thread: 12 single stitches.
4th oval: 4 double, join to last purl of last oval, 3 double, join to
next purl, then (3 double, 1 purl, 8 times) 4 double, draw up.
Double thread: 12 single stitches.
5th oval: 4 double, join to last purl of last oval, 3 double, join to
next purl, then (3 double, 1 purl, 5 times) 4 double, draw up.
Double thread: 12 single stitches.
6th oval: 4 double, join to last purl of last oval, 3 double, join to
next purl, then (3 double, 1 purl, 4 times) 4 double, draw up.
Double thread: 7 single stitches.
7th oval: 5 double, join to last purl of last oval, then (3 double, 1
purl, 10 times) 5 double, draw up.
Double thread: 7 single stitches.
8th oval: 4 double, join to last purl of last oval, then (3 double, 1
purl, 5 times) 4 double, draw up.
Double thread: 12 single stitches.
9th oval: 4 double, join to last purl of last oval, 3 double, join to
next purl then (3 double, 1 purl, 5 times) 4 double, draw up.
Double thread: 12 single stitches.
10th oval: 4 double, join to last purl of last oval, 3 double, join to
next purl, then (3 double, 1 purl, 8 times) 4 double, draw up.
Double thread: 12 single stitches.
11th oval: 4 double, join to last purl of last oval, 3 double, join to
next purl, then (3 double, 1 purl, 5 times) 4 double, draw up.
Double thread: 12 single stitches.
12th oval: 4 double, join to last purl of last oval, 3 double, join to
next purl, then (3 double, 1 purl, 3 times) 3 double, join to 1st purl
of 1st oval, 4 double, draw up.
Double thread: 7 single stitches.
Now cut off both threads, and with a needle fasten off neatly at the
back of first oval by sewing 1 thread over the other.
The diamond is now finished. The centre must be filled up with lacework,
using fine sewing-cotton.
Arranged in groups of 7 or 8, 3 diamonds form a very pretty trimming for
the skirts of silk dresses, the body being trimmed with single diamonds.
* * * * *
54.--_Linen Collar trimmed with Tatting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100,
tatting-pin No. 3; 1 piece of very fine cord.
This collar is ornamented with a triangle and a border of a very
effective pattern. The triangle is begun in the centre, by working for
each of the three leaves 5 double stitches, 5 purl divided one from the
other by 2 double stitches, and 5 more double stitches. When the third
leaf is completed, fasten off and cut the cotton. Now take, instead of
the cotton wound upon the shuttle, a piece of extremely fine cord, over
which work with the cotton from the reel the following row of
stitches:--1 double stitch, fasten the cotton to the centre purl of one
of the three leaves, * 2 double stitches, 5 purl divided one from the
other by 2 double stitches, 3 double stitches, fasten the cotton to the
centre purl of the nearest leaf, 2 double stitches, 9 purl divided one
from the other by 3 double stitches, 2 double stitches fastened to the
same purl as before. Repeat from * twice more, then fasten off, and cut
the cord and the cotton. Begin afresh, and work 3 small circles, each
composed of 12 plain stitches placed quite close together (these form
one of the corners of the triangle), then at small distances one from
the other work 13 similar circles, every second one of which is fastened
to one purl of the row of
[Illustration: 54.--Linen Collar trimmed with Tatting.]
stitches worked over the cord (see illustration). Cut away from the
collar the piece of linen which is to be replaced by the triangle, fold
in the edges and work them round in button-hole stitch, and fill up the
space with the triangle. For the border, work first * one circle
composed of 3 double stitches, 4 purl divided one from the other by 2
double stitches, 3 more double stitches; take up the cord once more and
work over it, 3 double stitches, then, without cord, 1 circle composed
of 2 double stitches, 12 purl divided one from the other by 2 double
stitches, 2 more double stitches; take up the cord again and work over
it 3 double stitches, 4 purl divided each by 2 double stitches, 3 double
stitches. Fasten the cotton to the third purl (reckoning from the last)
of the second circle worked without cord; 3 double stitches fastened to
the fourth purl of the row of stitches worked over the cord (see
illustration), 2 double stitches, 6 purl divided each by 2 double
stitches, 3 double stitches fastened to the purl of next circle, 3
double stitches fastened to the last purl of the row, 2 double stitches,
3 purl divided each by 2 double stitches, 3 double stitches; fasten the
cotton to the sixth purl of the circle (reckoning from the beginning), 4
double stitches. Repeat from *. Work over the top of the border a
crochet edging similar to that round the diamond pattern of collar No.
49. For the point of the border, at the corner of the collar, see
illustration No. 54.
* * * * *
55.--_Tatted Collar_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 100;
tatting-pin No. 1.
This collar is worked with very fine tatting cotton. It consists of four
branched tatted patterns and of separate tatted circles, fastened on to
one another as seen in illustration. The four branched patterns are
worked as follow:--3 double, 1 purl, 7 times alternately 2 double, 1
purl, then 3 double, and join the knots into a circle. Work 3 similar
leaves close to this 1st leaf, but instead of working the 1st purl,
fasten them on to the last purl of the preceding leaf; besides this,
instead of
[Illustration: 55.--Tatted Collar.]
working the last purl of the 4th branch, fasten it on to the first purl
of the 1st branch. When 1 such four-branched pattern is completed, knot
both ends of the cotton together and cut them off. Make a row of similar
patterns by joining them on to the 2 middle purl of a branch of the
preceding pattern, instead of working the 2 middle purl of the last
branch (see illustration). Two rows of similar patterns are joined by
the above-mentioned circles, consisting of 32 double stitches, by
fastening these circles from illustration between four branched
patterns. Begin each circle with 2 double stitches, fasten it on to the
corresponding purl of the four-branched pattern, work again 2 double,
fasten on to the next purl, and continue in the same manner till the
circle is sufficiently large. Each circle is ornamented with lace
stitch. The collar is edged round the neck with close button-hole
stitches.
* * * * *
56.--_Tatted Collar_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60;
tatting-pin No. 3.
This collar is commenced at the top, and worked with fine cotton in the
following manner:--1st oval: 2 double, 1 purl, 9 times, draw the cotton
into a circle, 3 double, 1 purl, 1 double, 5 times, 1 purl, 3 double,
draw the cotton into a circle, and join it to the first purl of the
first circle; work two more circles the same as last. 2nd oval: 2
double, 1 purl, 7 times, join the third purl to the third purl of the
centre circle of preceding pattern, 3 double, 1 purl, 3 times, 2 double,
1 purl, draw the cotton up, and work 5 small circles, as follow:--3
double *, 1 purl, 1 double, 4 times, * 1 purl, 3 double, joining each
circle to the purl of the 2nd oval. 3rd oval: 2 double, 1 purl, 8 times,
joining the 3rd purl to the 2nd purl of the centre circle of the
preceding pattern, 3 double, 1 purl, 4 times, 2 double, 1 purl, draw
the cotton up, and work 7 small circles, similar to the small circles
described in 2nd oval.
[Illustration: 56.--Tatted Collar.]
* * * * *
57.--_Circle in Tatting_.
Materials: Messrs. Walter Evans and Co's tatting cotton No. 50;
tatting-pin No. 2.
[Illustration: 57.--Circle in Tatting.]
This circle is worked with fine cotton, and will be very pretty for
ornamenting cravat-ends and different articles of lingerie. It is
commenced in the centre with 2 double, 1 purl, repeated 8 times, draw
the cotton into a ring, and work 8 small circles, as follow:--3 double,
* 1 purl, 1 double, repeat from * 6 times, 1 purl, 3 double, draw up the
cotton, and join it to the purl of centre ring and corresponding circle.
Large circle: 3 double, * 1 purl, 2 double, repeat from * 14 times, 3
double, draw up the cotton, and join it to the 4th purl of small circle.
The centre of ring is filled up with lace stitches.
* * * * *
58.--_Tatting Medallion for Trimming Lingeries, &c._
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50 for
cravats and collars, 100 for pocket-handkerchiefs, 20 for petticoats;
tatting-pin No. 2 or 3.
This pattern is suitable for trimming cravats, collars,
pocket-handkerchiefs, petticoats, &c., according to the size of the
cotton with which it is worked. Work first the round of circles which
incloses the leaves, overlapping each other in the centre; begin with
the smallest circle, which is at the top of the pattern; it consists of
3 double, 1 purl, 7 double, 1 purl, 7 double, 1 purl, 3 double. Then
work at a short distance another circle like the preceding one, only
work 8 double instead of 7, and instead of working the first purl,
fasten the circle on to the last purl of the preceding circle; all the
other circles are fastened on to each other in the same manner. The next
circle, worked again at a distance of about one-fifth of an inch, has 4
double; fasten it on to the preceding circle, 9 double, 1 purl, 9
double, 1 purl, 4 double. The following four circles are worked like the
preceding one; only work in the first of these circles 10 double instead
of 9, in the second 11 double, in the third 12 double. The piece of
cotton which joins the circles together must also be somewhat longer
between the larger circles. Then work a circle
[Illustration: 58.--Tatting Medallion.]
as follows: 5 double, fasten the cotton, 13 double, 1 purl, 13 double, 1
purl, 5 double; then a similar circle, but always working 14 double
instead of 13. The next circle consists of 6 double, fasten the cotton,
15 double, 1 purl, 15 double, 1 purl, 6 double; the two following
circles are worked in the same manner, working 16 double instead of 15.
Then comes the largest circle of the round, which consists of 6 double,
17 double, 1 purl, 17 double, 1 purl, 6 double. Work 11 circles more
like the 2nd to 12th of those just described (the 13th circle forms the
middle), only the order of sizes must be reversed, so that the round
closes with the smallest circle. Then fasten both ends of the cotton
together, so that the circles are joined into a circle. Then work round
this row of circles another round, the circles of which must be of
graduated sizes like those of the first round. Fasten the cotton on to
the middle purl of the first small circle of the first round, and work
one circle as follows:--3 double, 1 purl, 6 times alternately 2 double,
1 purl, then 3 double; fasten the cotton on to the middle purl of the
next circle, &c. The remaining circles are worked in the same manner,
only they must be increased and decreased in size gradually like the
circles of the first round; this is done by increasing or decreasing the
number of purl, instead of working the first purl of every following
circle, fasten it on to the last purl of the preceding circle. When the
round is completed, fasten both ends of the cotton together. In the
centre of the oval pattern, fasten 6 five-branched patterns of graduated
size, which are worked in one piece. For the smallest of these patterns
work first three circles, consisting of 5 double, 1 purl, 5 times
alternately 2 double, 1 purl, then again 5 double (these circles must be
close to each other; the second and third circles must, moreover, be
fastened on to the last purl of the preceding circle). The cotton is
then fastened on the first circle between the beginning and the end of
the same, then work close to them two small circles, consisting of 6
double, 1 purl, 6 double, fasten the cotton between the beginning and
the end of the third circle. The other five-branched patterns are worked
in the same manner at intervals of about three-tenths of an inch; but
the separate circles of each pattern must become gradually larger. In
the largest pattern the three large circles consist of 5 double, 1 purl,
8 times alternately 2 double, 1 purl, 5 double; the two smaller circles
consist each of 15 double, 1 purl, 15 double; the size of the other
patterns can easily be worked from this; the cotton which joins these
last together is covered by over-casting with a needle and thread, so as
to imitate double stitches. The five-branched patterns are then fastened
in the oval pattern; they must overlap each other to half way, as seen
in the illustration.
* * * * *
59.--_Tatted Diamond_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 40, or 80
if required finer; tatting-pin No. 3.
[Illustration: 59--Tatted Diamond.]
This pattern is meant to ornament lingerie; it is worked with fine
tatting cotton in the following manner:--Work a * circle consisting of 6
double, 1 purl, 6 double, turn the circle downwards and work at a short
distance another circle consisting of 5 double, 4 purl divided by 2
double, 5 double; at a similar distance a circle of 5 double fastened on
to the last purl of the preceding circle, 2 double, 5 purl divided by 2
double, 5 double; then again a circle consisting of 5 double fastened on
to the last purl of the preceding circle, 2 double, 3 purl divided by 2
double, 5 double: fasten the cotton on to the first circle. Then turn
the work so that the last three circles are turned downwards, leave an
interval of at least three-fourths of an inch, and repeat three times
more from *, fastening the circles on to each other from illustration.
Knot together the beginning and end of the cotton, work button-hole
stitches round the cotton which joins the circles, as shown in
illustration. The purl stitches of the four middle circles of the
diamond are knotted together.
* * * * *
60.--_Tatted Cravat End_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50;
tatting-pin No. 3; 2 shuttles.
This cravat end is given in full size. It is ornamented with a tatted
medallion, edged with lace. The tatting is worked with tatting fine
cotton and two shuttles. Make first the two rosettes which form the
centre of the medallion, then the insertion-like part which edges the
rosettes. The larger rosette is worked as follows:--Knot the cotton of
both shuttles together and work with 1 shuttle only 1 circle consisting
of 10 double, 1 purl one-fifth of an inch long, 10 double; * close to
this circle, which is turned downwards, work over the cotton with the
other shuttle, 1 double, 1 purl, 8 double; this forms one of the
scallops joining two circles. Then turn the work again and work close to
the just completed scallop another circle like the first, but which is
joined to the first circle instead of working the purl. Repeat 4 times
more from *. Then work another scallop and fasten both ends of cotton on
to the cotton over which the first scallop has been worked, at the place
where the scallop is joined to the first circle. The first round of the
rosette is thus completed. Work then the 2nd round over the cotton on
the 2nd shuttle, beginning to work where the two ends of cotton have
been fastened, * 6 double, 1 purl, 5 double, fastened on to the purl of
the next scallop of the preceding round, 5 double, 1 purl, 6 double
fastened on to the cotton between two scallops of the
[Illustration: 60.--Tatted Cravat End.]
preceding round; repeat 5 times more from *. The larger rosette is now
completed. The smaller rosette is worked like the first, only without
the second round. The insertion-like border is worked in two halves as
follows:--The half which touches the edge of the medallion is worked as
follows:--Knot both ends of cotton together and *, work with 1 shuttle
only 1 circle consisting of 8 double, 1 purl one-fifth of an inch long,
8 double; turn the circle downwards and work close to it over the cotton
on the 2nd shuttle 6 double, 1 purl, 6 double; this forms a scallop of
the border. Then turn the work again and work close to the scallop
another circle like the first, but which is fastened on to the first
circle instead of working the purl. Turn the work again, work a scallop
like the preceding one, and repeat 15 times more from *, only the
scallops at the lower edge of the medallion must have a few double
stitches more, as can be seen in illustration. After working the last
scallop fasten the two ends of the cotton on to the 1st circle; then cut
them off. The second inner half is worked like the first; only the
circles are worked without any purl stitch, and fastened on to the
circles of the first half from illustration; the scallops of this half
are somewhat smaller; each consists of 5 double, 1 purl, 5 double. The
completed border is sewn on to the rosettes from illustration; the
different pieces must be first fastened on cardboard. The cotton must be
wound several times round the long threads, as seen in illustration. The
medallion is then sewn into the muslin at the top only; the remaining
border is edged, before joining it to the muslin, with a straight row of
knots to be worked over cotton, and fastened on to each outer scallop of
the border at regular intervals. The number of double stitches between
two purl is different, as distinctly seen in illustration. For the lace
knot both ends of cotton together, * work with one shuttle only 1 circle
consisting of 8 double, 1 purl, 8 double; turn the work and make
another circle consisting of 2 double, 9 times alternately 1 purl, 2
double; then fasten this circle on to the preceding one, where it has
been joined into a circle, so that both circles meet as seen in
illustration. After having turned the work again, work 9 double over the
cotton on the 2nd shuttle, which form a scallop between the circles, and
repeat from *. The lace is then sewn round the edge of the muslin.
* * * * *
61.--_Rosette in Tatting and Embroidery_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60, or No.
40 if desired in a larger size.
[Illustration: 61. Rosette in Tatting and Embroidery.]
This rosette is suitable for ornamenting lingeries, cravats, &c. It is
worked in white embroidery and lace stitch, and edged all round with a
tatted lace. For the latter work with very fine cotton * 1 large circle,
consisting of 5 double, 1 purl, 7 times alternately 2 double, 1 purl,
then 5 double. At a short distance from this circle work a smaller one,
consisting of 5 double fastened on to the last purl of the large circle,
5 double. Leave again an interval as small as the last, and repeat from
* 11 times more. But in working the large circles, instead of working
the 1st purl, fasten them on the same purl of the large circle on which
the small circle has been fastened; besides this, in working the last
(12th) large circle, instead of working the last purl, fasten it on the
1st purl of the 1st circle; the last small circle is fastened on to the
same purl. The lace is thus joined into a circle, and is sewn round the
outside of the rosette with button-hole stitches.
* * * * *
62.--_Cravat End in Tatting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60;
tatting-pin No. 3.
[Illustration: 62.--Cravat End in Tatting.]
The illustration shows the end of a tatted cravat. Work first the middle
row of the cravat at the same time with the row of circles on the left
side of the middle row in illustration; begin with the first circle of
the middle row. It consists of 7 times alternately 3 double, 1 small
purl, then 3 double. Work close to this circle, which must be turned
downwards, a Josephine knot, consisting of 5 plain stitches, then a
circle consisting of 5 double, 1 purl one-fifth of an inch long, 5 times
alternately 3 double, 1 small purl; 3 double, 1 long purl, 5 double.
*Turn this circle (which is the first of the side row) downwards, work
close to it a Josephine knot, then a circle consisting of 12 double, 1
small purl, 12 double. Turn this circle downwards, work a Josephine
knot, and then again a circle like the first of the side row, but
instead of working the first long purl, fasten it on to the last purl of
the preceding circle of the same row. Then hold the work so that the
circles of the side row are turned downwards, work a Josephine knot, 1
circle like the first circle of the middle row, turn the work, make 1
Josephine knot, and then a circle like the second circle of the side
row. Repeat from * till the cravat is sufficiently long. The last circle
of the middle row must correspond to the first circle of the same row.
Then begin to work the lower edge at the same time with the last circle
of the middle row, * 1 Josephine knot, then a circle like the circles of
the side row, again 1 Josephine knot, fastened on to the next purl of
the last circle of the middle row; repeat 3 times more from *. Then
continue as before, and work on the right side of the middle row a row
of circles exactly like those which have been worked at the same time
with those of the middle row.
The fastening on of the cotton between two Josephine knots is seen in
illustration. The circles at the other end of the cravat are fastened
like those of the first-described end. The cravat is edged all round
with a row of circles with Josephine knots worked exactly like those of
the preceding row, and the manner of fastening which is seen in the
illustration.
* * * * *
63.--_Rosette in Tatting and Embroidery_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 60, or 40
if required larger; tatting-pin No. 3.
[Illustration: 63.--Rosette in Tatting and Embroidery.]
The centre of this rosette is worked in lace stitch on muslin, edged
round with button-hole stitch and trimmed with a tatted lace, which is
worked at the same time with the centre. Work first * a small circle
consisting of 5 double, 1 purl, 3 double, fastened on to the button-hole
stitch edging of the rosette, then 3 double, 1 purl, 5 double. Then turn
the just-completed circle downwards, and afterwards work at a short
distance a large circle consisting of 7 double, 6 times alternately 1
purl, 2 double, lastly 1 purl, 7 double, then 1 Josephine knot
consisting of 7 plain. Then turn the work again, so that the last large
circle is turned downwards, and repeat from * 12 times more; the large
and small circles must be fastened on to one another, as seen in
illustration. The fastening of the small circles on to the centre is
likewise done from the illustration.
64.--_Cravat End in Tatting and Darned Netting_.
Materials: Messrs. Walter Evans and Co.'s tatting cotton No. 50;
tatting-pin No. 3; square of netting; fine Mecklenburg thread No. 80.
[Illustration: 64.--Cravat End in Tatting and Darned Netting.]
The end of this cravat is ornamented with a square of darned netting,
edged with a tatted border, and sewn on to the material of the cravat.
But the diamond in tatting (page 18), or the square (page 31) will look
very pretty with this border. The square is worked in diamond netting,
and has seven holes in length and breadth. They are darned in linen
stitch, darning stitch, and _point d'esprit_, with Mecklenburg thread.
The ground is worked over a mesh measuring three-tenths of an inch
round. For each square one more row than is needed must be worked, and
the cast-on stitches are cut off, as they are longer than the stitches
of the other rows. The tatted border is worked with fine tatting cotton.
Fasten the cotton at one corner of the square and work * a circle
consisting of 7 double, 1 purl, then six times alternately 2 double, 1
purl, 7 double, fasten the cotton on to the same stitch of the ground
where it was first fastened; #work a second circle like the
first, but fasten it, instead of working the first purl on to the last
purl of the preceding circle; fasten the cotton again on to the same
stitch, then on to the next stitch, and work a small circle, consisting
of 5 double fastened on to the last purl of the preceding circle, 4
double, 1 purl, 5 double. The cotton is fastened on to the same netted
stitch as before, and then on to the next stitch; repeat twice more from
#, and then repeat from * in all three times more, so that the
square is edged all round. It is sewn into the material from the
illustration.
* * * * *
65.--_Tatted Antimacassar. (See pages_ 574-5.)
Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 30, or
tatting cotton No. 24, or for a larger size tatting cotton No. 20;
tatting-pin No. 1; large shuttle.
The illustration shows the fourth of the antimacassar and the whole of
the rosette which forms the centre. Begin with the latter, with the
five-branched pattern in the centre, at the same time with the following
round of circles:--*Work first one circle of this round, consisting of 3
double, 1 purl, 4 times alternately 2 double, 1 purl, 3 double; then at
a short distance a circle like the one just made, in which, however,
instead of working the first purl, the cotton must be joined on to the
last purl of the preceding circle. Then work at a short distance the
first leaf of the five-branched pattern, which consists of 4 double, 1
purl, 4 double. When this branch is completed, repeat at a short
distance 4 times more from *; but in working the branches of the
five-branched pattern, instead of working the purl, join it on to the
purl of the first branch of the five-branched pattern (this purl forms
the centre of the pattern). All the circles must also be joined one to
each other, as can be seen from illustration. Then work the scallops
round the border of the rosette, * fasten the cotton on to the purl
which joins the two next circles of the preceding round, and work one
scallop consisting of 11 times alternately 2 double, 1 purl, then 2
double. Repeat 9 times more from *. When the rosette is completed, work
eight rosettes in the same manner and join them into a circle from
illustration by means of small three-branched patterns, and then join
them on to the middle rosette.
The strip of insertion which comes next is worked in two halves as
follows:--Work first, for the half turned towards the centre, two rows
of circles lying opposite each other; begin with one of the largest
circles, consisting of 4 double, 1 purl, 3 times alternately 2 double, 1
purl, then 4 double; * at a short distance work a smaller circle of 4
double, 1 purl, 4 double; after another short distance, a circle like
the first joined on to it; then again a smaller circle, which at the
place of the first purl is joined on to the purl of the preceding small
circle. A short distance from this work again one of the larger circles
just described, which is fastened on to the preceding similar circle;
then repeat from * till the double row has nine larger and eight smaller
circles. The first half of the strip of insertion is completed; the
second outer half is worked like the first, only the small circles must
here be worked without any purl, and two of them together must always be
fastened on to the two joined small circles of the first half, as was
done for the five-branched pattern of the rosette; besides this, each of
the large circles has 4 double, 1 purl, 4 times alternately 2 double, 1
purl, then 4 double. When eight similar patterns have been worked, join
them into a circle from illustration by means of small rosettes; this
circle is then joined to the already-finished part of the cover. The
small rosettes and remaining patterns of the antimacassar are easily
worked from illustration. The completed patterns are joined together in
the course of the work.
* * * * *
TATTING COTTON
Is supplied by Messrs. Walter Evans and Co., of Derby, in all sizes from
20 to 120. Crochet Cotton, which is preferred by some Tatters, is sold
in all sizes from to 120.
The following table will assist ladies in selecting the size of either
tatting or crochet cotton. All these cottons are on reels containing 100
yards:--
|--------------------------------|-----------------|---------------|
| | Tatting. | Crochet. |
|--------------------------------|-----------------|---------------|
| Petticoat Edgings and | | |
| Insertions | 20 | 0 and 12 |
| Night Dress Trimmings | 40 | 60 |
| Lingerie Trimming | 50 | 70 |
| Collars and Cravats | 50 | 70 |
| Pocket Handkerchiefs | 100 | 120 |
| Parasol Covers | 100 | 120 |
| Antimacassars | 20, 30 | 0 and 20 |
| Pincushions | 60 | 80 |
| Caps | 100 | 120 |
| Lace | 60, 80, 100 | 80, 100, 120 |
| Insertions | 20, 40, 80 | 40, 80, 100 |
|--------------------------------|-----------------|---------------|
Ladies at a distance from town or on the Continent will be glad to have
some guide as to the quantity of cotton required to complete their work.
The quantity of tatting or crochet cotton used by an average worker is
found to be two yards to the square inch with a single shuttle; three
yards to the square inch with two shuttles.
* * * * *
EMBROIDERY
INSTRUCTIONS.
The art of embroidering with cotton on linen, muslin, cambric, piqué,
&c., is very easy to learn by strictly attending to the following
instructions.
The size of the thread and needle must correspond to that of the
material on which you embroider; the needle must not be too long, and
the cotton must be soft. Messrs. Walter Evans and Co.'s embroidery
cotton is the best. Skilful embroiderers never work over anything,
because when you tack the material on paper or cloth each stitch shows,
and if the material is very fine, leaves small holes; but for those that
are learning we should advise them to tack the material to be
embroidered upon a piece of _toile cirée_. If you work without this,
place the material straight over the forefinger of the left hand; the
material must never be held slantways. The three other fingers of the
left hand hold the work; the thumb remains free to give the right
position to each stitch. The work must always, if possible, lie so that
the outline of the pattern is turned towards the person who works. For
the sake of greater clearness one part of the following illustrations is
given in larger size than nature. Preparing the patterns is one of the
most important things in embroidery, for the shape of the patterns is
often spoiled merely because they have not been prepared with sufficient
care.
[Illustration: 66.--Scallop.]
ILLUSTRATION 66 shows how to prepare a scallop. Take thicker cotton than
that with which you work; never commence with a knot, and do not take a
thread longer than sixteen or eighteen inches. The outlines of the
scallops are first traced with short straight stitches. In the corners
particularly the stitches must be short. The space between the outlines
is filled with chain stitches, as can be seen from illustration; they
must not be too long, otherwise the embroidery will look coarse. It is
in this way that every pattern to be worked in button-hole or satin
stitch is to be prepared.
[Illustration: 67.--Double Overcast Stitch.]
ILLUSTRATION 67 shows the double overcast stitch or button-hole stitch
in a straight line. After having traced the outline begin to work from
left to right; fasten the cotton with a few stitches, hold it with the
thumb of the left hand under the outline, insert the needle downwards
above the outline, draw it out under the same above the cotton which you
hold in the left hand, and draw it up. Repeat for all the stitches in
the same manner; they must be regular and lie close to one another.
Great care should be taken that the material on which you embroider is
not puckered.
[Illustration: 68.--Overcast Stitch.]
ILLUSTRATION 68 (_Overcast Stitch_).--The double overcast and the
button-hole stitches are worked from left to right, whilst back
stitches, knotted and satin stitches are worked from right to left. The
stitch is worked in the same way as the double overcast, only the needle
must never be drawn out _above_, but _below_, the cotton with which you
work, and which you keep down with the thumb of the left hand.
[Illustration: 69.--Slanting Overcast Stitch.]
ILLUSTRATION 69.--The slanting overcast stitch is worked without tracing
the outline, always inserting the needle downwards--that is, from top to
bottom. The needle must be inserted in the manner shown in
illustration--that is, not straight, but slanting; insert it a little
farther than the last stitch, and draw it out close to it. The wrong
side of the work must show back stitches. This sort of stitch is used
for the fine outlines in patterns or letter.
[Illustration: 70.--Back Stitch.]
ILLUSTRATION 70.--This shows the back stitch, the working of which is
well known; it is worked in several rows close to each other.
[Illustration: 71.--Point Croisé.]
[Illustration: 72.--Point Croisé.]
ILLUSTRATIONS 71 & 72 show another kind of back stitch, called _point
croisé_, which is only used on very thin and transparent materials. This
stitch forms on the wrong side a sort of darned pattern, which is seen
by transparence on the right side, and gives the embroidered pattern a
thicker appearance, contrasting with the rest of the work (see the lower
leaves of the flower on illustration 110). For this stitch insert the
needle into the material as for the common back stitch, draw it out
underneath the needle on the opposite outline of the pattern, so as to
form on the wrong side a slanting line. Insert the needle again as for
common back stitch; draw it out slanting at the place marked for the
next stitch on the opposite outline, as shown in illustration 71.
[Illustration: 73--- Knotted Stitch.]
ILLUSTRATION 73 shows the knotted stitch; the simplest way of working it
is to work two back stitches at a short distance from each other over
the same thread.
The knotted stitch seen in ILLUSTRATION 74 is worked thus:--Take about
four threads of the material on the needle, draw the needle half out,
wind the cotton twice round the point of the needle, hold it tight with
the thumb, draw the needle out carefully and insert it at the place
where the stitch was begun, and draw it out at the place where the next
stitch is to be worked.
[Illustration: 74.--Knotted Stitch.]
[Illustration: 75.--Knotted Stitch]
The knotted stitch seen on ILLUSTRATION 75 is worked in nearly the same
manner as the preceding one. Before drawing the cotton out of the
material hold it tight with the left-hand thumb; leave the needle in the
same position, wind the cotton twice round it, turn the needle from left
to right, so (follow the direction of the arrow) that its point arrives
where the cotton was drawn out (marked by a cross in illustration),
insert the needle there, and draw it out at the place of the next
stitch.
ILLUSTRATIONS 76 & 77.--Raised satin stitch is principally used for
blossoms, flowers, leaves, letters, &c. After having traced the outlines
of the pattern, fill the space left between them with chain stitches in
a direction different from that in which the pattern is to be
embroidered; begin at the point of the leaf, working from right to left,
make short straight stitches, always
[Illustration: 76.--Raised Satin Stitch.]
inserting the needle close above the outline and drawing it out below.
The leaves on the flowers, as well as on the branches, must be begun
from the point, because they thus acquire a better shape. If you wish to
work a leaf divided in the middle, as seen in illustration 77, you must
trace the veining before you fill it with chain stitches, then begin at
one point of the leaf and work first one half and then the other.
[Illustration: 77.--Raised Satin Stitch.]
[Illustration: 78.--Point de Plume.]
ILLUSTRATION 78 shows the so-called _point de plume_ on a scalloped
leaf. It is worked like the satin stitch, only the needle is drawn
through the material in a slanting direction.
[Illustration: 79.--Point de Minute.]
ILLUSTRATION 79 (_Point de Minute_).--This stitch is often used instead
of satin stitch when the patterns must appear raised. Wind the cotton
several times round the point of the needle, which is inserted into the
material half its length (the number of times the cotton is to be wound
round the needle depends on the length of the pattern), hold fast the
windings with the thumb of the left hand, draw the needle and the cotton
through the windings, insert the needle into the material at the same
place, and draw it out at the place where the next stitch is to begin.
[Illustration: 80.--Ladder Stitch.]
[Illustration: 81.--Ladder Stitch.]
ILLUSTRATIONS 80 & 81 show the _ladder stitch_, often used in ornamental
embroidery. Trace first the outlines as seen in illustrations; mark also
the cross stitches between the outlines, so that the first touch the
outlines only at both ends. The outlines are embroidered in overcast
stitch or double overcast; the material is cut away underneath the
ladder stitch between the outlines.
We have now shown the different kinds of stitches used in embroidery;
the following illustrations show them used for different patterns.
[Illustration: 82.--Button-hole Stitch Scallop.]
[Illustration: 83.--Button-hole Stitch Scallop.]
[Illustration: 84.--Button-hole Stitch Scallop.]
[Illustration: 85.--Button-hole Stitch Scallop.]
ILLUSTRATIONS 82 TO 85 (_Different Button-hole Stitch Scallops_).--These
scallops are prepared as above described. Take care to have the stitches
even and regular; the scallops must be wide in the centre and very fine
at both ends.
ILLUSTRATIONS 86 & 87 (_Button-holes and Eyelets_).--This kind of
embroidery is used only in round or long patterns. Trace first the
outline of the hole, cut away a small round piece of material, not too
close to the outlines (when the button-hole is very small merely insert
the point of the scissors or a stiletto into the material), fold the
edge of the material back with the needle, and work the hole in overcast
stitch, inserting the needle into the empty place in the centre and
drawing it out under the outline. Some button-holes are worked
separately; sometimes they are in a row; if so, take care to begin to
work each button-hole at the place where it touches the next. In the
following button-holes the outside must be traced double, so as to reach
as far as the next one, but each button-hole is finished at once.
Illustration 86 shows a button-hole worked round in button-hole stitch,
87 an eyelet-hole worked in overcast.
[Illustration: 86.--Button and Eyelet Holes.]
[Illustration: 87.--Button and Eyelet Holes.]
[Illustration: 88.--Shaded Button-hole.]
[Illustration: 89.--Shaded Button-hole.]
ILLUSTRATIONS 88 & 89.--Shaded button-holes are worked like the others,
only they are prepared, as can be seen in illustration 89, so as to mark
the thickness. The stitches must gradually get narrower or wider, and be
worked very close to each other.
[Illustration: 90.--Leaf in Raised Satin Stitch.]
ILLUSTRATIONS 90 & 91 (_Two Leaves in Raised Satin Stitch_).--In a leaf
like the one seen in 90 work first the outline and veining in overcast
stitch; work one half of the leaf in satin stitch, and the other half
between the overcast outline and veining in back stitch. The stem of a
leaf is always worked last.
[Illustration: 91.--Leaf in Raised Satin Stitch.]
[Illustration: 92.--Raised Leaf.]
ILLUSTRATIONS 92 & 93 (_Two Leaves in Satin Stitch and Point de
Plume_).--For leaves like the one seen in 93 begin with the veinings,
then work the inner points, then the outer ones, and lastly the raised
spots in the centre. The leaf seen in 92 is worked, one half in _point
de plume_, the other half in back stitch or _point d'or_.
[Illustration: 93.--Raised Leaf.]
[Illustration: 94.--Leaf.]
ILLUSTRATION 94.--- The outline of this leaf is embroidered in overcast
stitch; the open-work veining consists of eyelets; one half of the leaf
is worked in back stitch, the other half in a kind of satin stitch
worked without chain stitches underneath; the stitches are worked
across the leaf, leaving between two stitches an interval as wide as the
stitch itself. The next row is then worked in these intervals, and each
stitch begins half-way up the one before and after it.
[Illustration: 95.--Leaf Raised.]
[Illustration: 96.--Leaf Raised.]
[Illustration: 97.--Raised Leaf.]
ILLUSTRATIONS 95 to 97 (_Leaf in Raised Embroidery).--This kind of
embroidery is particularly beautiful, as it is worked separately and
sewn on the material with an outline in very fine cotton, this produces
the shade seen in 95 (see also illustrations 98 to 113). For such leaves
work first one half in overcast and satin stitch (illustration 96); the
other half is worked on a separate piece of material (see illustration
97); cut away the material along the overcast outline, and fasten it on
the foundation material along the outline which forms the veining on
illustration 96.
[Illustration: 98.--Raised Embroidered Leaf.]
[Illustration: 99.--Half of Leaf (98).]
[Illustration: 100.--Centre of Leaf (98).]
ILLUSTRATIONS 98 TO 100 show a similar leaf; both halves are worked
separately (see 99); the centre is worked in open lace stitch. The
latter (see No. 100) is traced, then make ladder stitches across, work
the outlines in overcast stitch, and cut away the material underneath
the ladder stitch. The cross stitches are then worked in darning stitch
with very fine cotton wherever two threads meet.
[Illustration: 101.--Blossom in Satin Stitch.]
ILLUSTRATION 101 (_Blossom in Satin Stitch_).--The eyelet is worked in
overcast stitch, then work the upper part of the blossom all in one
piece as far as the beginning of the veining, thence the blossom is
worked in two halves.
[Illustration: 102.--Blossom in Satin Stitch.]
[Illustration: 103.--Bead partly covered.]
ILLUSTRATIONS 102 & 103 (_Blossom in Satin Stitch_).--The raised centre
of this flower is formed by a bead, over which the embroidery is worked.
When the leaves have been worked one after the other, place a bead in
the centre, left free in such a manner that one hole lies on the
material, and work over the bead by inserting the needle into its upper
hole, then underneath the material, drawing it out above the material
close to the bead, and so on (see 103).
[Illustration: 104.--Star in Satin Stitch.]
ILLUSTRATION 104 (_Star Pattern in Satin Stitch_).--The centre, which
forms a wheel, is worked first. Draw the threads across the circle
marked by an outline; in the centre they are wound round, always taking
one thread _on the needle_ and leaving the next thread _under the
needle_, as can be seen in 122 on the half-finished pattern. The
material underneath the wheel is only cut away when the rest of the
pattern has been embroidered.
[Illustration: 105.--Star in Point de Reprise.]
ILLUSTRATIONS 105 & 106 (_Patterns in Back, Satin, and Ladder
Stitches_).--The small star in the centre of No. 105 is worked in _point
de reprise_.
[Illustration: 106.--Star.]
[Illustration: 107.--Flower in Satin Stitch.]
ILLUSTRATION 107 (_Flower in Satin Stitch_).--The fine veinings are
worked with fine black silk in _point russe_, which renders the effect
of the flower very beautiful.
[Illustration: 108--Rose in Satin Stitch.]
[Illustration: 109.--Petal for Rose.]
ILLUSTRATIONS 108 & 109 (_Rose in Satin Stitch_).--No. 109 shows one
petal larger than full size. The outer circle only is prepared with
chain stitches underneath, so as to appear raised; the inner circles are
worked flat. The centre of the rose is embroidered in open work.
[Illustration: 110.--Heartsease.]
ILLUSTRATION 110 (_Embroidered Heartsease_).--For the knotted stitch see
No. 75. for the _point croisé_ see 71 and 72.
[Illustration: 111.--Raised Flower]
ILLUSTRATION 111 (_Flower in Raised Satin Stitch_).
[Illustration: 112.--Ear of Corn.]
ILLUSTRATION 112 (_An Ear of Corn in Point de Minute_).
[Illustration: 113.--Bluebell.]
[Illustration: 114.--Inner part of Bluebell.]
ILLUSTRATIONS 113, 114, & 116 (_Bluebell in Raised Satin Stitch_).--This
flower is worked partly in separate pieces, as has been described.
Illustration 116 shows the raised part stretched out flat. When it is
finished it is fastened down along the dotted line on No. 114, which
shows the inner part of the flower.
[Illustration: 115.--Flower.]
ILLUSTRATION 115 (_Flower in Point de Minute_).--This stitch is here
worked over a thick foundation of chain stitches. For raised patterns it
looks very well.
[Illustration: 115.--Outer part of Bluebell.]
[Illustration: 117.--Flower appliquéd on Net.]
ILLUSTRATIONS 116 & 117 (_Flower worked in Appliqué_).--To work in
appliqué, two materials, either similar or different, are needed. You
can work either in appliqué of muslin on muslin, or of muslin on net, or
of net on net. Muslin on Brussels net is the prettiest way of working in
appliqué; we will therefore describe it: the other materials are worked
in the same manner. Trace the pattern on the muslin, fasten the latter
on the net, and trace the outlines of the pattern with very small
stitches work them in overcast stitch with very fine cotton, taking care
not to pucker the material. The veinings are worked in overcast. When
the pattern has been embroidered cut away the muslin round the outlines
with sharp scissors, so that the net forms the grounding (see No. 117).
The greatest care is required in cutting out the muslin to avoid
touching the threads of the net.
[Illustration: 118.--Border.]
ILLUSTRATIONS 118 & 119 (_Narrow Borders_).--It will be easy to work
these borders from the above instructions. Observe only that on border
118 the outer row of scallops is worked first, then the button-hole
stitch row, and the rest afterwards. The spots are edged all round in
knotted stitch. The wheels in the centre of the eyelets of No. 119 are
worked with very fine cotton in loose button-hole stitch; they are wound
round with the cotton in a second row.
[Illustration: 119.--Border.]
[Illustration: 120.--Insertion.]
ILLUSTRATIONS 120 TO 122.--Three strips of insertion, which are worked
nearly like the ladder stitch. For No. 120, in tracing the outlines,
make two small knots at short distances by winding the cotton four times
round the needle, as can be seen in illustration; the windings are held
down with the thumb of the left hand, draw the needle through, and a
knot is formed. The outlines are worked in button-hole stitch only when
all the knots have been made, and then the material is cut away
underneath.
Illustration 121 is a variety of the slanting ladder stitch.
Illustration 122.--The cross threads are worked in two rows in the
common herring-bone stitch, as can be seen by the black lines on the
illustration. The straight lines at the top and at the bottom are worked
in double overcast; lastly, the wheels are worked in a row as described
for the star pattern, No. 104.
[Illustration: 121.--Insertion.]
[Illustration: 122.--Insertion.]
[Illustration: 123. U]
[Illustration: 124. C]
[Illustration: 125. B]
[Illustration: 126. O]
ILLUSTRATIONS 123 To 129 (_Embroidered Initials_).--To learn to work
initials the Roman characters are the easiest to begin with. They must
be traced and prepared like other embroidery in satin stitch, only the
chain stitches underneath must not be too thick: it would take away the
shape of the letters. All depends on the fineness and regularity of the
stitches; they must be worked in overcast stitch. Work from left to
right, and the letter when completed must look rather like raised
printing than like embroidery. Gothic letters are much more difficult to
work on account of the many flourishes; it requires great practice in
needlework to embroider them well. Illustration 123.--The small black
dots are worked in black silk on the thick parts of the letter: the fine
strokes are covered with cross threads of black silk. Illustration
124.--The outlines of the letter and the fine strokes are worked in
black silk. Illustration 125.--This letter is embroidered in raised
satin stitch and _point de plume_. Illustration 126.--This letter is
worked in back stitches, over which are worked at regular distances
cross stitches of black silk. Illustration 127.--Letter in satin and
back stitch. Illustration 128 to be worked in overcast and double
overcast.
Illustration 129.--Letter G in _point russe_ with black silk.
[Illustration: 127.]
[Illustration: 128.]
[Illustration: 129.]
[Illustration: 130.]
ILLUSTRATION 130 (_Embroidered Figures_).--They are worked like the
letters in _point de plume_ and overcast; the dots are worked in knotted
stitch.
* * * * *
EMBROIDERY.
[In working the following Embroidery Patterns it will be found advisable
to trace the design clearly upon tracing-paper with a sharp-pointed lead
pencil. The pattern thus traced must be perforated with a fine needle in
a succession of tiny holes, at the rate of about twenty to the inch.
Those ladies who possess a sewing-machine will find no difficulty in
accomplishing this. Several thicknesses of paper can be perforated at
the same time, if required, by any ordinary machine. To transfer the
traced and perforated design to the fabric to be embroidered, it is only
necessary to rub a small quantity of powder blue through the holes.]
131.--_Insertion in Embroidery_.
Material: Messrs. Walter Evans and Co.'s embroidery cotton No. 16.
This insertion is worked in raised satin stitch and button-hole stitch.
The outlines must first be traced and the space filled up with chain
stitches. To work a leaf, begin at the point, working from right to
left, making short stitches, and always inserting the needle close above
the outline and drawing it out below. The holes left for the ribbon to
pass through are worked in plain button-hole stitch, the dots are worked
in raised satin stitch.
[Illustration: 131.--Insertion in Embroidery.]
* * * * *
132.--_Insertion in Embroidery and Stitching_.
Materials: Messrs. Walter Evans and Co.'s embroidery cotton Nos. 10 and
16.
The veinings of this pretty insertion must be worked in overcast stitch
(No. 68, _Embroidery Instructions_), the leaves and flowers in raised
satin stitch, the scallops in button-hole stitch, and the outer edge of
the leaves in back stitch (No. 70, _Embroidery Instructions_) with No.
10 cotton.
[Illustration: 132.--Insertion in Embroidery and Stitching.]
* * * * *
133.--_Cravat End in Embroidery_.
Materials: Muslin, cambric, or linen; Messrs. Walter Evans and Co.'s
embroidery cotton No. 24, or fine black China silk.
This graceful design is worked in raised satin stitch (see Nos. 76 and
77, _Embroidery Instructions_) and back stitching, or point Russe. Black
silk may be introduced at will, and the delicate leaves may be stitched
in fine black silk, and the flowers embroidered in white, with the
stamens in black silk.
[Illustration: 133.--Embroidered Pattern for Cravat Ends, &c.]
* * * * *
134.--_Basket Embroidered in Chenille_.
Materials: A basket of fine wicker-work; 1 skein of black chenille, and
3 of blue chenille.
This small round basket measures seven inches across; it has a cover and
two handles. The wicker is very delicately plaited, and is ornamented
with a pattern in chenille which is very easy to work. Upon the cover,
work in point Russe one large star in blue chenille, with the centre and
outer circle in black. All round, work small stars in blue chenille,
with a black stitch in the centre. The position of these stars is shown
in our illustration. The basket requires no mounting; it is not even
lined.
[Illustration: 134.--Basket Embroidered in Chenille.]
* * * * *
135.--_Pattern for Collars and Cuffs in Embroidery._
Materials: Muslin, cambric or lawn; Messrs. Walter Evans and Co.'s
embroidery cotton perfectionné No. 40.
Work the outer circle in long even scallops (see page 90 of _Embroidery
Instructions_) in raised button-hole stitch; the spray of flowers is
embroidered in raised satin stitch, the leaves in the same, and the
rosebud calyx in tiny eyelet-holes. The centres of the roses are
embroidered in open-work.
[Illustration: 135.--Embroidery Pattern for Collars, Cuffs, &c.]
* * * * *
136.--_Cravat End in Embroidery_.
Materials: Muslin, Brussels net; Messrs. Walter Evans and Co.'s
embroidery cotton No. 30.
Tack the traced muslin over the net and work the scallop of the inner
edge; next the design in the centre must be worked in raised satin
stitch (see No. 77 in _Embroidery Instructions_). The raised dots are
also worked in satin stitch (see page 90 of _Embroidery Instructions_).
Lastly, work the outer edging of round scallops and the lines of raised
dots, and with a pair of embroidery scissors carefully cut away the
muslin from the outer edge and from the leaves of the centre pattern.
[Illustration: 136.--Cravat End in Embroidery.]
* * * * *
137.--_Embroidery Pattern for Collars, Cuffs, &c_.
Materials: Linen; Messrs. Walter Evans and Co.'s cotton perfectionné No.
40.
This pretty star should be worked in fine overcast stitch (see No. 68 in
_Embroidery Instructions_). The centre is worked in raised satin stitch
leaves round a circle of button-hole stitch, in the middle of which a
wheel is worked thus:--Slip the cotton under the thick edge and fasten
it, then cross it over and back so as to make 8 bars, then twist the
cotton twice round 1 bar; this will bring it to the centre; work over
and under each of the bars until a thick dot is formed; fasten the
cotton beneath this, and twist it twice round the bar opposite to the
first one you worked, and finish off.
[Illustration: 137.--Embroidery Pattern for Collars, Cuffs, &c.]
* * * * *
138.--_Embroidery Covering for a Quilted Counterpane_.
Materials: Cashmere, cambric muslin, or linen; Messrs. Walter Evans and
Co.'s embroidery cotton No. 4.
[Illustration: 138.--Embroidery Covering for a Quilted Counterpart.]
This is an embroidery-pattern for a woollen or silk quilted counterpane.
Such counterpanes generally have a lining which is turned back on the
right side, and buttoned down at the point of each scallop. The pattern
is a quilted counterpane of scarlet cashmere; the lining is of fine
linen. Before embroidering it, make the points for the corners. The
embroidery is worked in button-hole stitch, overcast, satin, and ladder
stitch. It can also be worked on fine cambric or muslin, and then the
embroidered pattern sewn on the piece of linen which forms the cover on
the wrong side. Make the button-holes as seen on illustration, and sew
on mother-of-pearl or china buttons.
* * * * *
[Illustration: 139.--Embroidery Pattern for Cravat Ends, &c.]
* * * * *
139.--_Embroidery Pattern for Ornamenting Collars, Cuffs, &c_.
Materials: Muslin, cambric, or linen; Messrs. Walter Evans and Co.'s
embroidery cotton No. 40.
This pattern is worked in satin stitch, point Russe, and point d'or on
muslin, cambric, or linen; it is suitable for collars, or cravat ends,
or handkerchief corners.
* * * * *
140.--_Handkerchief in Embroidery_
Materials: French cambric; Messrs. Walter Evans and Co.'s embroidery
cotton No. 50.
[Illustration: 140.--Handkerchief in Embroidery.]
Three rows of hem-stitching ornament this handkerchief; the pattern
forms an insertion within the outer rows, the flowers are worked in
raised satin stitch, with eyelet-hole centres (see No. 87 of _Embroidery
Instructions_); the tendrils are worked in overcast stitch; three rows
of raised dots, in groups of four, are worked on the inner side of the
last row of hem-stitching. This pattern looks very handsome on a
broad-hemmed handkerchief.
* * * * *
141.--_Convolvulus Leaf Insertion_.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No.
20.
[Illustration: 141.--Convolvulus Leaf Insertion.]
The convolvulus leaves are worked in raised satin stitch, the veinings
and stems in overcast stitch, the eyelet-holes in slanting overcast
stitch. (See No. 69 of _Embroidery Instructions_.)
* * * * *
142.--_Insertion_.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No.
20.
This simple insertion is worked in raised satin stitch, the stems alone
excepted; these are embroidered in overcast stitch.
[Illustration: 142.--Insertion.]
* * * * *
143 and 144.--_Two Patterns in Embroidery for Trimming Lingerie_.
Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 20, and
Mecklenburg thread No. 50.
[Illustration: 143 and 144.--Patterns for Trimming Lingerie.]
These patterns are worked in point Russe and stitching; the spots in
satin and knotted stitch. Illustration 143 is ornamented in the centre
with lace stitches.
* * * * *
145 _and_ 146.--_Insertion_.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No.
16.
The two insertions, Nos. 145 and 146, are worked partly in satin stitch,
partly in open-work embroidery, and are edged on either side with an
open-work hem.
[Illustration: 145.--Insertion.]
[Illustration: 146.--Insertion.]
* * * * *
147.--_Couvrette in Appliqué Embroidery_.
Materials: Net, fine muslin; Messrs. Walter Evans and Co.'s embroidery
cotton No. 16.
The pattern must be traced on the muslin, which should be tacked on the
net. The outline of the design must be traced with very small stitches,
and worked in overcast stitches, as are also the veinings; the dots are
worked in raised satin stitch; the border is embroidered with satin
stitch flowers and scallop button-hole stitch. To work appliqué on net,
see No. 117 of _Embroidery Instructions_.
[Illustration: 147.--Couvrette in Appliqué Embroidery.]
* * * * *
148.--_Wreath for centre of Pincushion or Toilet Mat_.
Materials for Pincushion: Jaconet muslin; Messrs. Walter Evans and Co.'s
embroidery cotton No. 16. For toilet mat: White piqué; cotton No. 12.
[Illustration: 148.--Wreath for centre of Pincushion or Toilet Mat.]
The leaves and flowers are worked in satin stitch; the eyelet-holes and
stems in overcast stitch.
* * * * *
149.--_Corner for Handkerchief In Point Russe_.
Materials: French cambric, fine China black sewing-silk, or filoselle.
[Illustration: 149.--Corner for Handkerchief in Point Russe.]
Point Russe stitch is made by a succession of back stitches. These
stitches carefully follow every line of the design, and are worked in
black China sewing-silk or filoselle. The pattern should be repeated at
each corner of the handkerchief.
* * * * *
150 _to_ 152.--_Borders and Insertions_.--_White Embroidery_.
Materials: Lawn; Messrs. Walter Evans and Co.'s embroidery cotton No.
30, and Mecklenburg thread No. 50; fine black sewing-silk.
[Illustration: 150.--Embroidered Border.]
For the border No. 150, trace first the outlines of the scallop, then
draw the threads which are to form the wheel in each scallop (take for
this fine Mecklenburg thread, for the rest embroidery cotton), fasten
them at the places where they cross each other, and work at these places
small and large spots in satin stitch. Then work the scallops in
button-hole stitch; edge each larger spot with button-hole stitch all
round, and make a row of button-hole stitches for the upper edge of the
border, and above this a row of herring-bone stitches. The material is
cut away underneath the wheels.
* * * * *
[Illustration: 151.--Corner in Embroidery.]
[Illustration: 152.--Corner in Embroidery.]
The corner borders, illustrations 151 and 152, are worked in point
Russe, chain and satin stitch, with fine black sewing silk.
* * * * *
[Illustration: 153--- Cravat End in Embroidery]
153.--_Muslin Cravat_.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No.
50; No. 40 for the edges.
This cravat is worked on fine muslin, embroidered upon both ends in
raised satin stitch; the scalloped edge is worked in button-hole stitch;
the bouquet in the centre is worked in appliqué satin stitch--that is,
the leaves of the rose and the foliage are worked separately on muslin;
they are then cut out and worked in appliqué (see Nos. 113 and 116,
_Embroidery Instructions_) upon the cravat, as seen in the illustration.
* * * * *
154.--_Sandwich Case_.
Materials: Strip of grey kid; strip of oil silk; 1 skein black silk; 1
skein red purse silk; 1 hank steel beads; steel button.
This case will be found very useful on the occasion of a journey or
picnic, as it can be carried in the pocket without any inconvenience.
The case is made of a strip of grey kid, scalloped out at the edges. The
words "Bon appetit," or "Good appetite," at will, are worked over it in
overcast with black purse silk and steel beads, the scroll pattern in
chain stitch with red silk. The back and front of the case are formed of
the same strip, which is lined with oilskin, and to which narrow
side-pieces are added to form the pocket. These pieces are lined and
scalloped out in the same way as the back and front, and then the
scallops of both sides are joined together, and worked round in
button-hole stitch with purse silk.
The case is fastened down with a steel button.
If another colour is preferred, the sandwich case can be made of brown
kid. The scroll pattern should then be worked in rich blue purse silk,
and gold beads used for the letters, which should be embroidered as
before in black silk. The edge may be worked in double overcast stitch
in blue or black silk. A gold button must replace the steel when this
alteration of colour is made.
[Illustration: 154.--Sandwich Case.]
* * * * *
155.--_Insertion_.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No.
16.
This insertion is worked in raised satin stitch between two rows of
hem-stitching; a small eyelet-hole is worked in the centre of each
flower.
[Illustration: 155.--Insertion.]
* * * * *
156.--_Cravat End in Raised Embroidery_.
Materials: Messrs. Walter Evans and Co.'s. embroidery cotton Nos. 50 and
16.
This pattern is a muslin cravat 32 inches long. The greater part of the
embroidered ends is worked in satin stitch; the leaves in the bouquet of
the centre are worked in raised embroidery. (See Nos. 113 and 116,
_Embroidery Instructions_.)
The dotted lines are raised by taking four threads of the muslin on the
needle, draw it half out, wind the cotton twice round the point, holding
it tightly under the thumb, draw the needle out and insert it at the
place where the stitch was begun, and draw it out where the next stitch
is to be worked.
[Illustration: 156.--Cravat End in Raised Embroidery.]
* * * * *
157.--_Lady's Purse_.
Materials: Russia leather; blue silk; black purse silk; blue silk
soutache; fine gold braid; and gold thread.
[Illustration: 157.--Lady's Purse.]
This purse is embroidered upon Russia leather; an oval-shaped medallion
is cut out in the centre; a piece of blue silk is gummed on under the
leather so as to show within the oval; both leather and silk are then
lined with calico and stretched upon a small embroidery frame. The front
and back of the purse are made all of one piece, the centre of which is
the bottom; after the embroidery is completed a piece of leather is
added on each side to give the necessary fullness. Four flowrets are
worked over the blue silk, with black purse silk, in raised satin
stitch, with a dot in gold thread for the centre. The stems are black
and the leaflets gold. The inner border round the oval medallion is
worked in gold braid, and the outer one in blue soutache. The network
upon the leather is formed of threads of black purse silk, fastened at
every crossing with a stitch of gold thread; the outer border round this
network is formed entirely of gold braid. On the opposite side of the
purse initials may be worked in black and gold, over the blue silk oval
medallion.
The purse is lined with brown watered silk, and mounted with a clasp of
gilt steel.
* * * * *
158.--_Table-Napkin Ring_.
Materials: Crimson cashmere; _toile cirée_; 1 reel each of white, black,
green, blue, and yellow Chinese silk.
[Illustration: 158.--Table-Napkin Ring]
Stretch a strip of cashmere of a bright shade of crimson over a piece of
_toile cirée_, and work the pattern over it in point Russe with fine
silk. The outer borders have white and black outlines, and leaflets of
green silk. The stars have black and blue outlines, a yellow cross and
dots. The figure between the stars is black and yellow.
* * * * *
159 _and_ 160.--_Knife Basket_.
Materials: Grey American cloth; red cloth; black jet beads and bugles;
red worsted braid, three-quarters of an inch wide; some strong wire; a
cigar-box.
[Illustration: 159.--Knife Basket.]
This basket is meant for holding dessert knives. It consists of a common
cigar-box nine inches and two-fifths long, five inches and four-fifths
wide, and two inches and one-fifth high, covered inside and out with
grey American cloth, which is ornamented with embroidery worked in
appliqué. The seams are made in overcast stitch. The feet consist of
four pieces of strong wire three inches and two-fifths long. These
pieces of wire are first covered with wool, and then with jet beads;
they are then bent into loops, and fastened on at the bottom of the box
by means of holes bored into it for that purpose. The feet must be
fastened before covering the inside of the box. The inside of the basket
is ornamented with an embroidered pattern in appliqué, which must also
be worked before covering the box. The leaves are made of red cloth, the
stems and veinings of black bugles. No. 160 shows the pattern in full
size; the flowers and leaves are edged with light grey purse silk, over
which small stitches in black silk are fastened at regular intervals.
Inside the box fasten a deal board covered on both sides with American
cloth, so as to divide the basket into two compartments, and fasten on
to this board a handle consisting of a piece of wire seven inches long,
wound round with beads. The basket is ornamented with ruches of red
worsted braid; between two box pleats of the ruche a black bugle is
fastened.
[Illustration: 160.--Knife Basket.]
* * * * *
161.--_Satin Stitch Embroidery_.
Materials: Purse silk of two colours, in 4 shades of green and 4 shades
of red or magenta for the flowers, gold twist.
[Illustration: 161.--Fuchsia Spray.]
This branch is embroidered with purse silk of the natural colours of the
flowers and leaves, or in different shades of one colour, on silk
canvas. Fuchsia blossoms are here designed, and should be worked in
raised embroidery; the stamens to be worked in gold twist.
* * * * *
162.--_Acacia Spray in Raised Satin Stitch Embroidery_.
Materials: Four shades of green purse silk for the leaves; 1 skein of
brown silk; 3 shades of white or gold silk for the flowers.
[Illustration: 162.--Acacia Spray.]
This spray of acacia is worked in raised satin stitch embroidery; the
flowers should be carefully shaded, and the veinings should be worked
before the leaves are embroidered. The flowers may be worked gold
colour, or imitate the white acacia blossom.
* * * * *
[Illustration: 163.--Tobacco Pouch.]
[Illustration: 164.--Tobacco Pouch.]
163 _and_ 164.--_Tobacco Pouch_.
Materials: Fine crimson cloth; bits of coloured and white cloth for the
pattern; purse silk of various colours; white kid; brass rings; gimp
cord; and silk tassels.
This pouch is cut in four pieces, two of which are given in full size;
the two others must be worked after the same patterns. These patterns
represent the attributes of a lover of tobacco; they are cut out of
cloth and worked in appliqué over crimson cloth.
In No. 163 the outer chain stitch border is green. The knot from which
the different articles are suspended is black, the cigar-case yellow in
cloth appliqué, the cigars brown in satin stitch. The case is crossed by
two rows of chain stitch in blue silk, and edged all round with
button-hole stitch, also blue. The two pipes are of white cloth, edged
round with yellow silk; the shade is imitated by long stitches of grey
silk. The upper part of the pouch is of blue cloth, with a white silk
edging and yellow dots; the under part of brown cloth with a black
edging and a pattern worked in chain stitch with white; the three
tassels are embroidered with black and yellow silk.
In No. 164 the outer border is yellow, the knots black, the small
pattern at the top is of blue cloth edged with yellow; the pipes of
white cloth edged with blue and shaded with grey. The bundle of cigars
is of brown cloth, shaded with black silk stitches, and fastened on with
double rows of chain stitch in yellow silk. The cigar-case is of light
green cloth, edged with white; the Grecian pattern and dots are
embroidered over it with white silk also.
To make up the pouch, cut out the four pieces and join them together by
seams, which are hidden under yellow soutache; cut out also and join
in the same way four pieces of white kid for the lining, and fasten it
on to the crimson cloth at the top only. Sew small brass rings round the
top, and pass a double piece of crimson silk cord through them. Add silk
tassels of various colours at the bottom of the pouch, and at each of
its four corners.
* * * * *
165.--_Insertion_
Materials: Linen; Messrs. Walter Evans and Co.'s embroidery cotton No.
16.
[Illustration: 165.--Insertion.]
This strong and simple insertion is useful for petticoat trimmings. It
is worked in button-hole stitch; the stems in overcast stitch; the
circles can be filled up with lace stitches or with wheels, or the
pattern may be worked upon Brussels net and the linen cut away.
* * * * *
166.--_Embroidery Pattern for Ornamenting Needlebooks, Workbaskets, &c._
Materials: Coloured purse silk; silk or cashmere; glacé silk; gold
beads.
This pattern is worked in French embroidery and point Russe, with
coloured purse silk on silk or cashmere. The thimble, cotton, and ribbon
are worked in appliqué with glacé silk. The colours are chosen according
to personal taste. The thimble is ornamented with small gold beads. A
bead is placed in the centre of each pair of scissors to imitate the
screw.
[Illustration: 166.--Pattern for Needlebook, &c.]
* * * * *
167.--_Embroidery Pattern for Ornamenting Needlebooks, &c._
Materials: Coloured purse silk; silk or cashmere; beads.
The shuttlecocks are worked in raised satin stitch; the feathers in
point Russe; the battledores in very thickly raised double overcast; the
interior is filled with a netting worked in chain stitch or dotted
stitch; the flowers are worked in satin stitch and beads; the ribbon is
embroidered in appliqué, with a contrasting shade of silk ribbon.
[Illustration: 167.--Pattern for Needlebook, &c.]
* * * * *
168 _and_ 169.--_Travelling Bag_
Materials: 20 inches of Java canvas; single Berlin wool of 2 shades of a
pretty green; 2 shades of bronze colour and white; floss silk--white,
brown, and 2 shades of yellow; purse silk--black, yellow, cerise, blue,
and grey; steel beads; brown silk fancy braid.
[Illustration: 168.--Travelling Bag.]
This pattern is of the ordinary shape of travelling-bags, but it is very
prettily worked. Besides the engraving showing the bag when completed,
the bouquet in the centre in full size is given. This bouquet is also
worked upon the Java canvas. For each petal the white wool is passed
several times from one stitch of the canvas to another till the required
thickness is obtained, then 1 stitch is worked at the point with white
silk. The centres are filled up in point d'or with 2 shades of yellow
silk. The buds are made like the petals, but with 3 stitches of white
silk at the point instead of 1. The leaves are worked in 2 shades of
green wool with 1 stitch of brown silk in the centre; the stems are
embroidered in overcast with light brown wool. The scroll-pattern border
round the bouquet is made with brown fancy braid put on with steel
beads.
[Illustration: 169.--Bouquet for Travelling Bag.]
The remaining space outside this border is worked in coloured purse
silk. The 1st outline of the squares is worked in black silk, by
inserting the needle in and out of the stitches of the canvas. When you
have worked all the square thus, 12 stitches one from the other, work on
either side, at one stitch's distance, the outlines of yellow silk,
which are worked in back stitch, two strips of the Java canvas being
covered by each stitch. Next to the inner yellow outline comes a border
worked over two strips of the canvas, in slanting stitches; this border
is alternately blue in one square and grey in the other. A star is
embroidered in point Russe in the centre of each square; it is grey in
the blue squares and blue in the grey; a steel bead is placed in the
middle of each star. The small crosses between the squares are worked in
cerise. The outer border of the work is composed of a piece of black
soutache, edged with a tiny trefoil pattern in cerise silk. The front
and back pieces of the bag are worked in the same manner. The side
pieces are made of plain Java canvas. The embroidered part measures 14
inches in its widest part, and is 11 inches deep. The bag is lined with
light brown silk, and made up with a steel clasp.
* * * * *
170.--_Embroidery Trimming for Muslin Bodices_.
Materials: Fine muslin; fine black silk; Messrs. Walter Evans and Co.'s
embroidery cotton No. 24.
This pattern is very easily worked, and looks very nice for a trimming.
It is worked on fine white muslin; the border is worked in button-hole
stitch with white cotton; these scallops are covered with loose
button-hole stitch in black silk. The feather-like branches are worked
likewise in black silk in herring-bone stitch. The white spots are worked
in raised embroidery. The large oval openings through which a narrow
ribbon velvet is drawn are worked round with button-hole stitches:
[Illustration: 170.--Trimming for Bodices.]
* * * * *
171, 172, _and_ 173--_Toilet Cushion Cover in White Embroidery_.
This handsome embroidery pattern is to be worked on fine muslin; if
lined with coloured silk or satin it is very effective. The patterns,
which are covered white dots on illustration, are worked in point d'or;
the outlines of these patterns are worked in fine double overcast. The
flower-leaves and wings of birds, which appear raised on illustration on
account of the dark shadows, are worked separately and sewn on at the
corresponding places. No. 172 shows the wing of a bird, No. 173 a
rose-leaf somewhat increased in size; the former is worked entirely in
button-hole stitch, or trimmed with a ruche of coloured ribbon. This
pattern may also be worked on glacé silk with purse silk.
[Illustration: 171.--Toilet Cushion Cover in White Embroidery.]
[Illustration: 172.--Wing of Bird.]
[Illustration: 173.--Rose Leaf.]
[Illustration: 174.--Pattern for Glove Box.]
* * * * *
174 _and_ 175.--_Glove Box_.
Materials: 15 inches of French blue cashmere; silks of various colours.
A shape in bamboo cane, painted brown and varnished.
[Illustration: 175.--Glove Box.]
The ornamentation of this box is both novel and tasteful. It is
embroidered in coloured silks, upon light blue cashmere. Part of the
embroidery pattern is given in full size. All the outlines are worked in
overcast, the stitches being made rather long and slanting, and the
small leaves are each composed of one stitch, as in point Russe. The
leaves are alternately red and yellow upon a green stem; the scalloped
outline which has no leaves is red. The pine patterns are worked in
satin stitch--the centre one is green, edged with red; the side ones are
pink, edged with red; the small wing-like figures are black, edged with
maize; the diamond, maize, edged with black, with an outer rim of maize.
In the round pattern the centre is pink; the edge red, with red and
yellow leaves; the 3 outer circles are successively white, green, and
red; at the top the centre branch is yellow, the leaves red and yellow,
the side ones are green, with the leaves pink and green.
The strip of embroidered cashmere is lined with blue silk, slipped
through the bamboo-canes of the mounting, and joined together at the
side by a seam. The cover is lined with plain blue cashmere, upon which
initials might be embroidered at discretion. The four corners are
ornamented with pretty silk tassels, of colours to match with the
embroidery. To fasten the box, sew on a blue ribbon to the cover, and
one to the box.
* * * * *
176 _and_ 177.--_Hanging Letter Case_.
Materials: Crimson velvet; white satin beads; gold soutache; and fine
gold bouillon.
No. 176 shows the letter case when completed in a reduced size, No. 177
the principal part of the embroidered pattern in full size.
The letter case is composed of two parts. The larger part is 11 inches
long, 8 inches wide; it is ornamented on the upper part with a pattern
in gold soutache, and the word LETTERS or LETTRES embroidered in gold
bouillon; underneath there is a pattern embroidered in oval white satin
beads, edged round with fine white chenille; the scroll pattern is
embroidered in gold bouillon.
The second part is placed over the lower part of the first, and forms
the pocket which contains the letters. The centre flower is composed of
11 oval beads, edged round with white chenille; another white bead is
placed in the centre, and edged with gold bouillon. The other flowers
are also composed of white satin beads, edged with gold bouillon.
[Illustration: 176.--Hanging Letter Case.]
[Illustration: 177.--Pattern for Embroidered Letter Case.]
* * * * *
178.--_Embroidered Edging_.
Materials: Muslin; Messrs. Walter Evans and Co.'s embroidery cotton No.
24
[Illustration: 178.--Embroidered Edging.]
This edging is worked in broderie Anglaise or overcast stitch; the edge
in scallop button-hole stitch; the ovals and dots in raised satin
stitch. The stems are worked in slanting overcast stitch (No. 122,
_Embroidery Instructions_).
* * * * *
179.--_Border in Oriental Embroidery_.
Materials: Purse silk of the following shades:--dark red, bright red, 2
shades of green, 2 of blue, 2 of yellow violet.
[Illustration: 179.--Border in Oriental Embroidery.]
The four ovals placed together are worked of four contrasting colours.
These ovals are composed of two rows of chain stitch. The outer row of
the first oval is dark red, and the inner one bright red. Following the
same arrangement, the second oval is of two shades of green; the third
of two shades of blue; and the fourth of two shades of yellow. The
knotted stitch in the centre is violet. The dots outside the ovals are
worked in satin stitch, and are alternately red, yellow, violet, and
blue. The stems are long stitches of black silk. The arabesque patterns
between those formed of four ovals are worked in chain stitch with silk
of two shades of brown. The colours of the ovals may be varied as much
as you please, but the brown shades of the arabesque patterns should
remain the same for the whole of the border.
* * * * *
180 _and_ 181.--_Embroidery Stars_.
Materials: Fine linen; Messrs. Walter Evans and Co.'s embroidery cotton
No. 40.
These stars are designed for medallions, to be worked on linen collars
and cuffs. No. 180 is worked in successive rows of back-stitching, round
an open wheel; ladder stitch (see No. 81, _Embroidery Instructions_) is
worked round this, and a raised scallop in button-hole stitch forms the
edge.
[Illustration: 180.--Embroidery Star.]
* * * * *
[Illustration: 181.--Embroidery Star.]
No. 181 is worked in raised satin stitch; the interior of the star is
filled with lace wheels.
* * * * *
182 _and_ 183.--_Key Bag_.
Materials: Grey kid; grey silk; steel-coloured glacé silk; purse silk of
5 shades of blue-green, 4 shades of brown, and silver-grey, scarlet, and
white; grey silk cord; grey glacé silk ribbon.
This bag is made of grey kid, and lined with grey silk. The embroidery
imitates on one side a key formed of poppies, leaves, and stems, in the
upper part of which sits an owl, "the
[Illustration: 182.--Key Bag.]
[Illustration: 183.--Key Bag.]
bird of night." The poppies are worked with blue-green purse silk in 5
shades; the plumage of the owl is worked with brown silk of 4 shades in
satin stitch, the colours blending one into the other, as can be clearly
seen in illustration No. 182. The eyes of the owl are embroidered in
scarlet and white silk. Illustration No. 183 shows the other side of the
bag, which is ornamented with steel-coloured silk appliqué figures, in
the form of a Gothic lock. They are edged with fine grey silk cord. The
screws of the lock are imitated in satin stitch embroidery with
silver-grey silk. After having lined each part, join the two halves of
the bag with a border of grey glacé silk ribbon, which must, of course,
continue round the revers. The bag is fastened by means of a loop and
steel button.
* * * * *
184 _and_ 185--- _Embroidery Patterns for Trimming Cravats, Bodices,
Morning Caps, &c._
[Illustration: 184--Embroidery Pattern for Cravats, &c.]
Materials: Muslin or cambric; Messrs. Walter Evans and Co.'s No. 24 for
lingerie, No. 12 for couvrettes.
These patterns, worked on muslin or cambric, are suitable for trimming
various articles of lingerie; joined on to other squares they make
pretty covers. They can also be embroidered with coloured silk, wool, or
thread, on cloth, rep, or cashmere, for trimming couvrettes and toilet
pincushions. The patterns should be embroidered in satin stitch and
edged with chain stitch; they can also be worked in button-hole stitch.
When the pattern is worked on woollen material this material must be cut
away inside the leaves and spots.
[Illustration: 185.--Embroidery Pattern for Cravats, &c.]
* * * * *
186 _and_ 187.--_Pen-Wiper in Cloth Appliqué_.
Materials: 4 circles of black cloth; 1 large white, 4 small white, and 4
red circles of cloth; 4 white and 4 red stars of cloth; small black
beads; gold and black purse silk; small ivory handle or figure.
This pretty little pen-wiper is covered with small circles of cloth. No.
187 is one of these circles seen in full size. There are 4 white and 4
red ones, and they are pinked out round the edge. In the centre of each
red circle place a white, and in the centre of each white circle a red
star, and work a cross over it with small round black beads. The
border, in herring-bone stitch, is worked with gold-coloured purse silk
on the red, and with black on the white cloth. The centre of the
pen-wiper is covered with a circle of white cloth larger than the side
ones, worked in point Russe and point Mexico in black silk. When all the
circles are prepared, sew them neatly on to a round piece of red cloth,
placing alternately 1 white and 1 red, so as to overlap one another, and
between each a circle of black cloth, also pinked out round the edge.
The work is then fastened upon a round of cardboard lined with black
glazed calico, and a
[Illustration: 186.--Pen-wiper in Embroidery.]
small handle of carved ivory, or an ivory figure, is fixed in the
centre. The circles of black cloth are used to wipe the pens.
[Illustration: 187.--Full-sized Circle for Pen-wiper.]
* * * * *
188.--_Insertion_.
Materials: Fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton
No. 30.
[Illustration: 188.--Insertion.]
The flowers of this insertion are embroidered in raised satin stitch
round an open eyelet hole, worked in overcast stitch the stars are
worked in point Russe stitch; the four eyelet holes which surround each
flower, in overcast stitch; and the edge is finished with a row of
hem-stitching on each side.
* * * * *
189.--_Insertion_.
Materials: Fine muslin; Messrs. Walter Evans and Co.'s embroidery cotton
No. 24.
This insertion is entirely embroidered in raised satin stitch; the dots
and stems should be worked first, and the leaves afterwards. It is edged
on both sides with a row of hem-stitching.
[Illustration: 189.--Insertion.]
* * * * *
190.--_Cigar Case_.
Materials: Russia leather; fine silk cord; black purse silk; gold
thread.
The material of this cigar case should be finely-embossed light brown
Russia leather; the centre pattern to be embroidered in well-raised
satin stitch with black purse silk. All the lighter outlines shown in
the illustration are worked in gold thread. The border to be worked in
fine silk cord of the same colour as the leather, with a network of
black purse silk, stitched with gold at all the crossings. On the
opposite side of the cigar case
[Illustration: 190--Cigar Case.]
initials may be worked. The lining of light brown watered silk, or fine
leather, and the mountings gilt or steel.
* * * * *
191.--_Wicker Waste Paper Basket_.
Materials: Basket and stand; coloured Berlin wools; cloth fringe; and
glazed calico.
[Illustration: 191.--Waste Paper Basket.]
The basket may be of any size, but of the shape of the pattern. It rests
upon two brass hooks fastened upon a stand. This stand can be made by
any joiner, and should match the furniture of the room. The trimming
consists of an embroidered border, lined with glazed calico, and put on
round the edge; the lower part of the border is trimmed with a woollen
fringe. The shades selected should correspond with the prevailing
colour of the room.
* * * * *
[Illustration: 192.--Insertion.]
192.--_Insertion_.
Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 16.
The edge of this insertion is worked in raised button-hole stitch, and
embroidered in sharply-pointed scallops; the dotted line is worked in
raised satin stitch, as are also the flowers which compose the centre
wreath; the eyelet holes are worked in overcast stitch.
* * * * *
[Illustration: 193.--Embroidered Linen Collar.]
193 _and_ 194.--_Embroidered Linen Collars_.
Materials: Double linen; Messrs. Walter Evans and Co.'s embroidery
cotton No. 40.
These patterns are to be worked on linen taken double. No. 194 is
worked in button-hole, satin, and knotted stitch (see Nos. 81, 82, 76,
and 73 of _Embroidery Instructions_), and point d'or with white cotton,
and point Russe with black silk. No. 193 is worked entirely with white
cotton in button-hole, satin, knotted ladder, and overcast stitch. (See
Nos. 82, 76, 73, 81, and 68 of _Embroidery Instructions_.)
[Illustration: 194.--Embroidered Linen Collar.]
* * * * *
[Illustration: 195--What-not in the Shape of a Hammock.]
195 _and_ 196.--_What-not_.
Materials: Fine canvas; 3 shades of violet floss silk; 4 shades of green
floss silk; sea-green wool, or floss silk; 1 skein of yellow floss silk;
green chenille; cord and tassels.
[Illustration: 196.--Pattern for What-not (full size).]
This small what-not or jewel-stand is very elegant. It is meant to place
upon the toilet-table. No. 195 shows the hammock when completed, No. 196
one-half of the embroidery pattern in full size; it is worked upon fine
canvas. The violets are in floss silk of three shades of violet, with
a raised spot worked in yellow silk in the centre, the leaves are worked
in Berlin wool of various shades of green, and the stems in overcast of
a light green shade. The pattern is grounded in tent stitch with
sea-green silk. The hammock is composed of two sides and an under-piece
cut out in cardboard, covered with the embroidered canvas outside, lined
and quilted with plain green silk inside. It is edged round the top with
green chenille. The mounting is composed of bamboo-canes; the hammock is
fastened on to it with green silk cord, finished off with tassels.
* * * * *
197.--_Embroidered Handkerchief_.
Materials: Grass lawn or French cambric; Messrs. Walter Evans and Co.'s
embroidery cotton No. 40.
This embroidery pattern is worked between the borders of a handkerchief,
which may be either of French cambric or grass lawn. The design is
simple, but effective, and very easy to work. If worked on fine French
cambric, the handkerchief should be lightly tacked upon _toile cirée_.
The rows of raised dots should be worked first, and then the graceful
branches of pointed leaves in satin stitch. The plain round dots might
be worked in bright red marking cotton in either of the patterns. To
produce a good effect, rather fine cotton must be selected, and No. 40
will be found very effective on either lawn or cambric. For mourning
wear, this pattern should be embroidered with black filoselle, or the
leaves can be worked in white cotton, and the dots in filoselle.
[Illustration: 197.--Handkerchief Border.]
* * * * *
198 _and_ 199.--_Two Medallions for a Purse in Embroidery_.
Materials: Light brown russia leather; black, scarlet, and gold silk;
steel or gold clasp.
These medallions are intended to ornament a small purse, but may be
employed on a variety of articles.
[Illustration: 198.--Medallion for a Purse in Embroidery.]
[Illustration: 199.--Medallion for a Purse in Embroidery.]
The raised spots of No. 198 should be worked in black silk, in satin
stitch, the branched sprays in point Russe in scarlet and gold, the four
largest being in scarlet and the intermediate sprays in gold silk.
Medallion No. 199 is worked entirely in point Russe, and may be
embroidered in one colour, or in alternate branches of scarlet and gold,
or scarlet and black.
* * * * *
200.--_Work-Bag_.
Materials: Drab cloth; small pieces of cloth of different colours;
embroidery silk of different colours; scarlet satin; red silk braid; red
cord; cardboard; cotton wool; and a strap of light-coloured leather.
[Illustration: 200.--Work Bag.]
This work-bag is made in the shape of a rolled-up plaid. The outside
consists of drab cloth, trimmed with appliqué embroidery. The inside of
the bag is slightly wadded and lined with red satin, which is quilted in
diamonds. The seams are covered with red braid, and a leather strap
completes the whole. Cut out a good pattern in paper, and then cut the
satin and wadding and the drab cloth which forms the outside. After
having traced the pattern on the cloth, work it with small pieces of
coloured cloth in appliqué embroidery. The different figures are sewn
over the centre partly in point Russe, partly in button-hole stitches,
with embroidery silk. The stems in the middle are worked with silk in
chain stitches. The colours may be chosen according to taste. Cut a
pattern in cardboard, and fasten the drab cloth on it. The edge must be
bordered with red satin, and the satin lining must be sewed in. The ends
of the bag are likewise cut out of cardboard; the inside is wadded and
lined with red satin; the outside worked in appliqué embroidery like the
rest of the bag. All the seams are covered with red silk cord. The
straps are fastened with a few stitches, as seen in the illustration.
* * * * *
201 _to_ 203.--_Pattern for Braces_.
Materials: Java canvas; black silk; red wool; calico.
[Illustration: 201.--Pattern for Braces (full size).]
These braces are made of Java canvas lined with calico ornamented with
embroidery in black silk and red wool, and edged on either side with
loose button-hole stitch and crochet vandykes in red wool.
Illustration 201 shows part of the embroidered braces, full size. Work
first the embroidery of the braces, then line them with calico; work
loose button-hole stitch and crochet vandykes on all the edges of the
cross bands as well as at the top and bottom of these strips, and sew on
the tabs for the braces between the lining and the canvas. The latter
are then edged with button-hole stitch and crochet-vandykes. The
vandykes are worked as follow--in one row: 1 double in 1 button-hole
stitch, * 1 purl (3 chain, 1 double in the 1st), missing the next
button-hole stitch under it; 1 double in the following button-hole
stitch, repeat from *. The tabs are made of tape worked round with red
button-hole stitch, with button-holes worked with red cotton. No. 203
shows another
[Illustration: 102.--Embroidered Braces.]
way of working these braces on fine ribbed piqué. Work any Berlin wool
work pattern in the common cross stitch over the ribs of the piqué. For
the vandyke border work in every other button-hole stitch, 2 double
divided by 3 chain stitches.
[Illustration: 203.--Pattern for Braces (Full size).]
* * * * *
204.--_Embroidery Border for a Reading-Desk_.
Materials: White silk rep; black velvet, rep, or cloth; gold and silver
brocade; gold and silver braid; silk cord and thread.
This pattern is embroidered on white silk rep with silver and gold
thread, and sewn on over a black velvet, rep, or cloth centre. The dark
patterns are worked in appliqué with black velvet, the two other shades
in gold and silver brocade. The embroidery is worked in satin stitch
with gold and silver braid, silk and cord of the same material. The
border can also be worked upon the material for the centre if it is not
intended to contrast with it. The pattern can also be worked entirely in
silk with satin stitch. The size of the border may, of course, be
increased if desired, but the third pattern in the darkest shade must,
in any case, form the centre of it.
[Illustration: 204.--Embroidery Border for a Reading Desk.]
* * * * *
[Illustration: 205.--Lappet or Sash End in Venetian Embroidery.]
205.--_Lappet or Sash End in Venetian Embroidery._
Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 6 and
No. 12; net and muslin.
The pattern must first be traced on muslin, which is then tacked over
net. The outlines are worked in button-hole stitch, and the veinings are
sewn over, using the coarse cotton for tracing; the muslin is then cut
away all round the pattern.
* * * * *
206.--_Venetian Border._
Materials: Messrs. Walter Evans and Co.'s embroidery cotton No. 12 and
No. 16; net and muslin.
[Illustration: 206.--Venetian Border.]
This design is elegant and effective, without there being a great deal
of work in it. It is useful for tuckers for evening dresses or
handkerchief borders. The muslin is laid over the net, sewn neatly over,
and then cut away between the pattern, leaving the net for the ground
work.
[Illustration: 207.--Lace Insertion.]
* * * * *
_207.--Lace Insertion._
Materials: Fine black sewing silk; black Brussels net.
This lace insertion is first outlined in running stitch upon the net;
the leaves are then darned across the net holes; the stems are worked in
overcast stitch; the dots are embroidered by darning across the circle
previously outlined; the lace stitches in the centre are formed by
gently enlarging the net holes with a fine stiletto, and then sewn
lightly round, the remaining holes being filled with lace stitches
consisting of fine button-hole stitches, very evenly worked over the
entire space surrounding the open holes.
To be effective the very finest black silk should be employed. This
pattern may be worked in appliqué by placing muslin over net, sewing all
the outlines in fine overcast stitch, and when finished, carefully
cutting away the muslin.
* * * * *
208 _and_ 209.--_Slipper on Java Canvas._
Materials: Light brown Java canvas; green silk; green filoselle and
purse silk; green silk ribbon three-fifths of an inch wide; some
wadding; 2 cork soles.
[Illustration: 208.--Slipper on Java Canvas.]
This slipper is very pretty, and easy to work. It is made of light
brown Java canvas, and embroidered in point Russe with green filoselle.
It is lined with green silk, and slightly quilted. The soles are of
cork. The slipper is trimmed all round with a ruche of green silk ribbon
three-fifths of an inch wide, pleated in double box pleats. The heel is
turned down inside. No. 209 shows the pattern of the point Russe stitch
nearly full size.
[Illustration: 209.--Point Russe Stitch for Slipper (No. 208)]
* * * * *
210 _and_ 211.--_Medallions in Point Russe_.
Materials: Coloured filoselle, cloth, velvet, cashmere, or silk.
These medallions can be alternated for ornamenting small covers,
cushions, borders, &c. They are worked with coloured filoselle in point
Russe, herring-bone stitch, coral stitch, and knotted stitch, on cloth,
velvet, cashmere, or silk. The middle oval of both medallions contrasts
with the colour of the ground, and must therefore be worked in appliqué
on the latter with herring-bone stitch, before working the outer border.
The wreath on No. 211 is worked in coral stitch; the knots, which
imitate small blossoms, in knotted stitch. The choice of colours is left
to the personal taste of the worker.
[Illustration: 210.--Medallion in Point Russe.]
[Illustration: 211.--Medallion in Point Russe.]
* * * * *
212.--_Butterfly for Handkerchief Corner_.
Materials: French lawn or cambric; fine black silk.
This butterfly is worked in the finest black silk procurable, in order
more closely to imitate etching. It is worked in point Russe and scallop
stitch; the dark shaded scallops are worked in button-hole scallop
stitch, the stitches being taken very closely together, but not raised
by the usual method of placing chain stitches beneath the button-hole
stitches. The outlines and flowers are worked in point Russe, the dot in
knotted stitch (see No. 73, _Embroidery Instructions_.)
[Illustration: 212.--Butterfly for Handkerchief Corner.]
The initials are embroidered in raised slanting overcast stitch, and
should be worked with great regularity.
* * * * *
213 _to_ 215.--_Pattern for a Couvrette in Appliqué_. (_see pages
576-7_.)
Materials: Messrs. Walter Evans and Co.'s embroidery cotton Nos. 24 and
30; cambric muslin; Brussels net; flesh-coloured silk; sewing silk of
the same shade; 1 skein of a darker shade; blue silk; brown silk; gold
thread.
This style of work is most effective for couvrettes or bed covers. It is
worked in cambric muslin and silk, over Brussels net.
The arabesque patterns are worked in cambric muslin, the outlines are
embroidered in overcast, and the material is cut away all round. The
medallions are made of blue silk; the figures upon them are cut out of
flesh-coloured silk, and are gummed first upon tissue-paper, then upon
the blue silk; the figures are further fastened upon the medallions in
overcast stitch with fine silk of a rather darker shade of flesh-colour.
The scarfs are cut out of bright rose-coloured silk; the quiver and
arrows and all the other attributes are worked in gold thread; the hair
in fine brown silk. The edge of the blue silk medallions is worked round
in button-hole stitch, but so as to be easily unripped when the
couvrette has to be cleaned. A border in open ladder stitch is worked
round them (see No. 81, _Embroidery Instructions_). The openings in the
centre pattern are also filled in with lace stitches.
* * * * *
CROCHET
INSTRUCTIONS.
[Illustration: A Crochet-Needle]
Cotton or thread, wool or silk, with a crochet-needle, are the materials
required for working crochet. The needle, whether it be steel or bone,
must be smoothly polished. The long wooden and bone crochet-needles are
used for wool; for cotton and silk work short steel needles screwed into
a bone handle are best. The beauty of the crochet-work depends upon the
regularity of the stitches, as is the case with every other style of
needlework. The stitches must be elastic, but if too loose they look as
bad as if too tight. The size of the needle and that of the cotton or
wool must correspond; work only with the point of the needle, and never
move the stitch up and down the needle. The cotton with which you work
must be of the very best quality; for borders, insertions, rosettes,
imitation of guipure, use Evans's crochet cotton; for couvrettes,
counterpanes, covers, &c., use knitting-cotton. All crochet-work
patterns are begun on a foundation chain; there are three kinds of
foundation chains--the plain foundation, the double foundation, and the
purl foundation chain.
The plain foundation chain consists of chain stitches.
[Illustration: 216.--Plain Foundation Chain.]
ILLUSTRATION 216.--Form a loop with the cotton or other material with
which you work, take it on the needle, and hold the cotton as for
knitting on the forefinger and other fingers of the left hand. The
crochet-needle is held in the right hand between the thumb and
forefinger, as you hold a pen in writing; hold the end of the cotton of
the loop between the thumb and forefinger of the left hand, wind the
cotton once round the needle by drawing the needle underneath the cotton
from left to right, catch the cotton with the hook of the needle and
draw it as a loop through the loop already on the needle, which is cast
off the needle by this means and forms one chain stitch. The drawing the
cotton through the loop is repeated until the foundation chain has
acquired sufficient length. When enough chain stitches have been made,
take the foundation chain between the thumb and forefinger of the left
hand, so that these fingers are always close to and under the hook of
the needle. Each stitch must be loose enough to let the hook of the
needle pass easily through. All foundation chains are begun with a loop.
[Illustration: 217.--Double Foundation Chain.]
ILLUSTRATION 217 (_The Double Foundation Chain_).--Crochet 2 chain
stitches, insert the needle downwards into the left side of the 1st
chain stitch, throw the cotton forward, draw it out as a loop, wind the
cotton again round the needle and draw it through the two loops on the
needle, * draw the cotton as a loop through the left side of the last
stitch (see illustration), wind the cotton round the needle, and draw it
through both loops on the needle. Repeat from * till the foundation
chain is long enough.
[Illustration: 218.--Purl Foundation Chain.]
ILLUSTRATION 218 (_Purl Foundation Chain_).--* Crochet 4 chain stitch,
then 1 treble stitch--that is, wind the cotton round the needle, insert
the needle downwards into the left side of the 1st of the 4 chain
stitches, wind the cotton round the needle, draw it through the stitch,
wind the cotton again round the needle, and at the same time draw the
cotton through the last loop and through the stitch formed by winding
the cotton round the needle. Wind the cotton once more round the needle,
and draw it through the 2 remaining loops on the needle. The 4 chain
stitches form a kind of scallop or purl. Repeat from *. The following
crochet stitches require foundation chains like Nos. 216 and 217; they
are all worked in separate rows excepting the two Nos. 222 and 234. Make
a loop at the beginning of every row, as has been described (No. 216),
and take it on the needle.
[Illustration: 219.--Slip Stitch.]
ILLUSTRATION 219 (_Slip Stitch_).--Draw the needle through the back part
of a foundation chain stitch, or in the course of the work through the
back part of a stitch of the preceding row, wind the cotton round the
needle, and draw it through the stitch and loop on the needle. The
illustration shows a number of slip stitches, the last of which is left
quite loose; the arrow marks the place where the needle is to be
inserted for the next stitch.
[Illustration: 220.--Double Stitch.]
ILLUSTRATION 220 (_Double Stitch_).--These are worked nearly like the
preceding ones. Draw the cotton as a loop through the back part of a
stitch, wind the cotton round the needle, and draw it through the two
loops on the needle.
[Illustration: 221.--Double Stitch.]
ILLUSTRATION 221.--These double stitches are worked nearly like the
preceding ones; the 1st row is worked like that of No. 220; in the
following ones insert the needle into the two upper sides of a stitch of
the preceding row.
[Illustration: 222.--Ribbed Stitch.]
ILLUSTRATION 222 (_The Ribbed Stitch_).--This stitch is worked backwards
and forwards--that is, the right and wrong sides are worked together,
which forms the raised ribs. Insert the needle always into the back part
of every stitch. Work 1 chain stitch at the end of every row, which is
not worked, however, in the following row.
[Illustration: 223.--Slanting Stitch.]
ILLUSTRATION 223 (_Slanting Stitch, double stitch_).--This stitch is
worked like that described in No. 220; the cotton is not wound round the
needle the first time in the usual manner, but the needle is placed in
the direction of the arrow, above the cotton. Draw the cotton through as
a loop; the stitch is finished like the common double stitch.
[Illustration: 224.--Cross Stitch.]
ILLUSTRATION 224 (_Cross Stitch_).--This stitch is worked like No. 223
on a foundation like No. 217, only insert the needle through the two
upper sides of a stitch.
[Illustration 225:--Long Double Stitch.]
Illustration 225 (_Long Double_).--For this stitch wind the cotton round
the needle, insert it into the back part of a stitch, draw the cotton
out as a loop, wind the cotton again round the needle, and cast off
together the two loops and the loop formed by winding the cotton round
the needle.
[Illustration 226.--Treble Stitch.]
ILLUSTRATION 226 (_Treble Stitch_).--These stitches are worked as has
been described for the purl foundation chain, No. 218. The treble
stitches are worked on a foundation chain or in the stitches of the
preceding row.
ILLUSTRATION 227 (_Long Treble_).--These are worked like treble
stitches, only the cotton is wound twice round the needle; the double
long treble (illustration 228) is worked by winding the cotton three
times round the needle. The loops formed by winding the cotton round the
needle are cast off one by one with one of the loops on the needle. The
two loops that remain at the end are cast off together after winding the
cotton round the needle.
[Illustration: 227.--Long Treble Stitch.]
[Illustration: 228.--Double Long Treble Stitch.]
[Illustration: 229.--Cross Treble Stitch.]
[Illustration: 230.--Cross Treble Stitch.]
ILLUSTRATION 229-231 (_Cross Treble_).--Illustration 229 shows this
stitch completed; illustrations 230 and 231 show them in the course of
the work. Wind the cotton twice round the needle as for a long treble,
insert the needle into the stitch in which the first half of the cross
treble is to be worked, wind the cotton round the needle, draw the
cotton through as a loop, wind the cotton again round the needle and
cast off together with the same the loop on the needle and the loop
formed by throwing the cotton forward; you have now 3 loops left on the
needle, 1 of which has been formed by winding the cotton round the
needle; missing these, wind the cotton again round the needle, miss the
2 next stitches of the foundation chain, and draw a loop through the
third stitch. You have now 5 loops on the needle. Always cast off 2
loops at a time till only 1 loop remains on the needle. Work 2 chain
stitches (if you wish to have the stitches more or less) slanting,
work 1, 2, or 3 chain stitches, missing, of course, the same number of
foundation chain, work 1 treble stitch, inserting the needle, as shown
by the arrow on No. 231, into the 2 cross chain of the completed treble
stitch.
[Illustration: 231.--Cross Treble Stitch.]
[Illustration: 232.--Raised Spots.]
ILLUSTRATION 232 (_Raised Spots_).--The grounding on which these spots
are worked consists of double crochet. They are worked across 3 rows of
the ground, and formed of treble stitches, the spots of one row being
placed between those of the preceding. Work first 2 rows of double
stitch, in the 3rd row work first 2 double stitches and then 1 spot as
follows:--1 treble, inserting the needle into both sides of 1 stitch of
the first row (the preceding row is missed); the treble stitch is only
completed so far that 2 loops remain on the needle; then work 2 treble
stitches in the same stitch as the first, which are also only completed
as far as the first treble stitch, so that after the 2nd treble there
remain 3 loops and after the 3rd 4 loops on the needle (see
illustration). The 4 loops are cast off together by winding the cotton
once more round the needle and drawing it through. Miss under the spot
the next double stitch of the preceding row; the spots are repeated at
intervals of 5 stitches and in every other row.
[Illustration: 233.--Hollow Spots.]
ILLUSTRATION 233 (_Hollow Spots_).--The ground is worked in double
crochet (illustration 220). These spots, which appear raised, consist of
5 treble stitches; they are worked in every other row at intervals of 5
stitches. For working them leave 1 loop on the needle, insert the needle
between the 2 long sides of the last-worked double stitch, and work 5
treble stitches, always inserting the needle into the front part of 1
stitch of the preceding row. The first 4 treble are completed entirely
without taking up the loop which was on the needle; with the fifth
treble stitch only the 3 loops are cast off together by winding the
cotton round the needle. Miss 1 stitch of the preceding row under the
spot.
[Illustration: 234.--Open-work Spots.]
ILLUSTRATION 234 (_Open-work Spots_).--These spots are treble stitches
divided by 2 chain; miss 2 stitches under the latter; for the rest, they
are worked like the raised spots (illustration 232).
[Illustration: 235.--Raised Treble Stitch.]
ILLUSTRATION 235 (_Raised Treble Stitch_).--These stitches are long
treble worked on a ribbed ground (illustration 222), and are thrown
across 3 rows of the same. The raised treble are always worked on the
same side of the work and in the long side of the corresponding stitch
of the last row but two. After every row with treble stitch comes a row
in ribbed stitch. At the beginning work 3 rows of ribbed stitch; the
treble stitches begin only in the 4th row.
[Illustration: 236.--Purl Stitch.]
ILLUSTRATION 236 (_Purl Stitch_).--These purl stitches imitate a lace
edging perfectly well. Work 1 double, draw out the loop to a certain
length (this forms the purl), take the needle out of it, insert it in
the front part of the last stitch which has been worked (see
illustration), wind the cotton round the needle and draw it through as a
loop; 1 double, 1 purl, and so on.
[Illustration: 237.--Purl Stitch.]
ILLUSTRATION 237 (_Purl Stitch turned upwards_).--Work 1 treble, then 7
chain stitch. Insert the needle into the 2nd of the 7 chain stitch
downwards, so that the chain stitches form a scallop upwards (see
illustration), wind the cotton round the needle and draw the cotton
through; work 1 chain stitch and 1 treble in the next stitch but 3,
missing 3 stitches under it.
[Illustration: 238.--Purl Stitch.]
ILLUSTRATION 238 (_Purl Stitch turned downwards_).--The chain stitches
form a scallop turned downwards. After having worked the 7 chain
stitches take the needle out of the loop, insert it underneath the upper
chain of the 2nd chain stitch, from right to left, and draw it through
the loop in the direction of the arrow. Wind the cotton round the needle
and cast all the loops off together. It is evident that the purl
stitches may be worked at larger or smaller distances.
* * * * *
CROCHET PATTERNS.
239.--_Small Crochet Basket_.
Materials: 2 balls of closely-covered white and silver, and 1 ball of
pink and silver twine; a crochet needle.
[Illustration: 239.--Small Crochet Basket.]
For the bottom: Make a chain of 4 stitches and unite it, work 3 long, 3
chain, and repeat three times more.
2nd round: Work 3 long into the 1st 3 chain, make 3 chain, work 3 long
into the next 3 chain, make 3 chain, work 3 long into the same place,
make 3 chain, and repeat.
3rd round: 3 long, 3 chain, working twice into the 3 chain of last
round.
4th round: 3 long, 3 chain, increasing in every other 3rd chain by
working twice into it.
5th round: Increasing in every 3rd chain, repeat.
For the leaves: Make a chain of 32 stitches, then work a row of 1 long
stitch and 1 chain stitch with the silver twine.
2nd round: Work 1 long stitch into each chain stitch in 1st row, make 1
chain stitch, repeat. (At the point, make 4 long, with a chain stitch
between each), repeat on the other side of the chain, 1 long stitch and
1 chain stitch alternately.
3rd round: With pink: Work over a wire in double crochet 1 stitch into
each loop, work 15 more leaves in the same way, join each leaf half way,
then sew it to the centre, work a row of double crochet 1 yard in
length, and twist it for the handle. This should also be crocheted over
wire.
* * * * *
240 to 243.--_Couvrette in Crochet_.
Materials: Messrs. Walter Evans and Co.'s Boar's Head cotton No. 10, and
steel crochet needle.
This very pretty pattern is composed of separate circles representing
dahlias in raised work upon an open centre. No. 242 shows one of these
large circles in full size, No. 241 one of the small circles placed in
the spaces between the larger ones, No. 243 part of the border, and No.
240 the couvrette when completed, but in reduced size.
For each large circle make a chain of 20 stitches, and join it into a
circle.
1st round: 30 stitches of double crochet over the circle of chain
stitches.
2nd round: 36 stitches of double crochet.
3rd round: 1 double, 5 chain, miss 1. 4th round:
[Illustration: 240.--Couvrette in Crochet.]
The same as the preceding--the 1 double always on the 3rd chain.
5th round: Close double crochet; 3 stitches in 1 in the centre stitch of
each loop.
6th to 12th round: The same as the 5th, close double crochet, increasing
in the centre of each small scallop, which forms the 18 raised petals of
the dahlia.
13th round: Here begins the open-work border round the dahlia. Work 1
double between 2 petals, taking together the 2 centre stitches, 1 double
in the next, 5 chain. There will be 18 loops of 5 chain in the round.
14th to 17th round: 1 double in centre of each loop, 5 chain between.
18th round: 1 double in centre of 1st loop, 4 chain, 1 treble in next
loop; in the top of this treble stitch work 3 double, with 3 chain
between each; make 4 chain. Repeat the same all round, and the large
circle is completed. Six of these are required.
[Illustration: 241.--Showing one of the small Circles full size of No.
240.]
For each small circle make a chain of 10 stitches, and join it into a
round.
1st round: 16 stitches of close double crochet.
2nd round: 1 treble, 3 chain, miss 1, 8 times.
3rd round: 9 treble over each loop of chain, 1 double between. This
completes 1 of the 6 small circles placed round the large ones in the
centre of the couvrette. The 6 that are placed between the 5 other large
circles have 1 more round, which is worked as follows:--1 treble in the
centre of 1 scallop in the top of this treble stitch, 3 double, with 3
chain between each, 6 chain. Repeat the same all round.
[Illustration: 242.--Showing one of the large Circles full size of No.
240.]
When all the circles are completed, join them together, as seen in
illustration 217, and work the border as follows:--
1st round: 1 treble in one of the trefoil branches of a small circle, 8
chain, 1 treble in next trefoil, 8 chain, 1 treble in 3rd trefoil, 8
chain, 1 long treble in 4th trefoil, 10 chain, 1 long treble in 1
trefoil of a large circle, 1 treble in each of the 4 next trefoils of
the large circle, 8 chain between each 8 chain, 1 long treble in the
last trefoil of the large circle,10 chain. Repeat all round.
2nd round: 2 treble, with 1 chain between, in first stitch of last
round, * 4 chain, miss 5, 2 treble with 1 chain between next stitch.
Repeat from *.
3rd and 4th rounds: The same as the 2nd. The 2 treble always in 1 chain.
5th round: In each 1 chain, 4 treble, with 1 chain between the 2nd and
3rd, 4 chain after the 4 treble. The same all round.
6th round: The same as the 5th.
7th round: 1 treble in 1 chain, 1 trefoil in the top of the treble, 6
chain. Repeat the same all round, which completes the couvrette.
[Illustration: 243.--Border for Couvrette.]
* * * * *
244.--_Star in Crochet_.
Materials: Messrs. Walter Evans and Co.'s crochet cotton No. 80, or with
No. 8 or 10 for couvrettes.
A number of these stars joined together will make very pretty strips of
insertion. For this purpose they should be worked with fine cotton. They
may also be used for trimming collars, cuffs, and cravats, the material
being cut away underneath. If worked with crochet cotton No. 8 or 10,
they will make nice couvrettes, bed-quilts, &c.
[Illustration: 244.--Star in Crochet.]
The star is begun by the outer circle. Make a chain of 70 stitches, and
join it into a circle. * Make 10 chain, miss 3, work 1 extra long
treble, 1 treble, and 1 double, inserting the needle under the chain,
then 1 double worked as usual, 1 long double, 2 extra long double, miss
4, and work 1 double, inserting the needle _under_ the 5th. Repeat 13
times from * Fasten off, and for the centre of the star work as
follows:--
1st round: * 10 chain, turn, miss 1 and work 1 double in the next 7
chain, 1 double in the 1st of the 10 chain, thus forming 1 loop. Repeat
from * 5 times more.
2nd round: 12 double on the first loop of chain of the first branch, 1
double in the centre of the branch, 2 chain; slip the stitch which is
upon the needle in one of the stitches of the foundation chain of the
outer circle, work 1 double in the first of the 2 chain last made, then
12 double in the remaining loop of chain of the branch, and 1 double at
the bottom of the branch. Repeat 5 times more from *. The centre star
must be joined on to the outer circle at regular distances.
* * * * *
245.--_Crochet Silk Bag over Rings_.
Materials: 2 skeins each of black, blue, rose, and drab coarse purse
twist; 8 skeins of the spangled silk for the top part of the bag and
strings; the tassel for the bottom is made of the silks that are left;
rings.
Work over a ring in double crochet, with black, 48 stitches and fasten
off; this is for the centre ring. Then with the rose colour take a ring
and work 24 stitches in double crochet as before, take a second ring,
and work 24 double crochet over it without cutting off the silk, work
over 4 more rings in the same manner, then work on the other side of the
rings to correspond, join the first and last ring together, and sew in
the centre ring; this completes the 1st circle. Work 12 more rounds in
the same way, 3 rose colour, with drab centre, 3 blue with black, 3 drab
with rose centre, 3 black with blue, join 6 circles of the alternate
colours to the 1st circle, 1 to each ring, then sew the second ring to
the corresponding one of the next circle, till the 6 are united; join
the other 6 circles in the following manner: join one ring to the
second from the one that was sewed to the 1st circle, join the next ring
to the corresponding one of the next circle (which will be the one
opposite to the one sewed in the 1st circle), and repeat, joining the
other 5 in the same way.
[Illustration: 245.--Crochet Silk Bag.]
For the small diamond make a chain of 5 stitches and unite it, work 4
long stitches into the circle, make 2 chain, work 1 single stitch to the
centre of the ring missed in joining the last circle, make 2 chain, work
4 long into the circle, make 2 chain, and work a stitch of single
crochet to the centre of the next ring, make 2 chain, work 4 long into
the same place, make 5 chain, work 4 long into the same place, make 2
chain, and work a stitch of single crochet to the next ring, make 2
chain, and join it to the first of the long stitches; this completes the
diamonds; work 5 more, joining them in the same way, then work over 12
rings, and join one on each side of every diamond; this completes the
lower part of the bag. For the top part of the bag work 3 stitches of
double crochet to the centre of each ring, make 5 chain, and repeat. 1st
round: Work 1 long stitch, make 1 chain, miss 1 loop, and repeat. Work
12 more rounds in the same way, working the long stitch into the chain
stitch of last row. Run some cord in the top of the bag to match one of
the colours used, and make the tassel for the bottom from the silk that
is remaining after working the crochet.
* * * * *
246.--_Crochet Sovereign Purse._
Materials: 1 skein of black purse silk: 1 skein of coloured ditto; a few
steel beads; and a steel clasp.
The open portion of this purse is worked in coloured, and the raised
rose and outer border in black, silk, the latter being dotted with steel
beads. A few rows of plain double crochet are worked, increasing where
necessary, to make the work lie flat; then 4 rows of loops of chain in
coloured silk, and then 3 rows of thick double crochet, threading the
beads first on the silk, and pushing them up to the stitches when
required.
[Illustration: 446.--Crochet Sovereign Purse.]
The black silk must now be joined on to the centre, and the little
raised piece worked in treble crochet, inserting the hook on the _upper_
side of the stitches. Three rounds of treble are ex
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