Beeton's Book of Needlework by Isabella Beeton - HTML preview

Lace stitches are introduced in the medallion which incloses these letters, the outlines being worked in overcast and point de pois, the pens and initials in raised satin stitch, as also the flowers. The open portion is filled in with Mechlin wheels, which are thus worked: A number of single threads cross each other in the space to be filled up; these are placed about a quarter of an inch from each other. All the bars in one direction must now be worked in fine button-hole stitch, then the opposite bars must be worked, and the button-hole stitch must be continued about six inches past the point where the two lines cross. The thread must be slipped loosely round the cross twice, running over and under alternately, so as to form a circle; then work in button-hole to the centre of a quarter of the circle; make a dot by inserting a pin in the next button-hole and working three stitches in the loop thus formed by the pin. These dots may be omitted from these wheels.

[Illustration: 399.--L.G.A.]

 

400.--_L.C._

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

The effect of this design when well worked is excellent, for, although simple, the contrast between the letters and stars throws each into relief. Veined and raised satin stitch, with very small eyelet-holes, are the stitches used here.

[Illustration: 400.--L.C.]

 

401.--_Marie_.

 

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton Nos. 20 and 36.

This name is embroidered in satin stitch; the veinings are well defined, and the tendrils should be worked with No. 30 cotton, as they require very fine work. Stars of overcast and eyelet-holes are the only ornaments. [Illustration: 401--Marie.]

402.--_Maria_.

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 30.

The initial letter of this name is worked in overcast and point de pois, the remaining letters in satin stitch, the ornamentation in satin stitch and overcast.

[Illustration: 402.--Maria.]

 

403.--_Maude_.

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

 

This name is worked in veined satin stitch; the small stars in raised satin stitch, and the elegant tendrils are worked in overcast. This work is peculiarly adapted for the marking of a trousseau. [Illustration: 403.--Maude.]

 

404.--_M._

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

This elegant design can be worked in coloured silk if preferred, or the coronet omitted at will. The letter "M" is worked in raised and veined satin stitch; the centre stars are worked in fine overcast round an eyelet-hole; the coronet is worked in very fine satin stitch and point de pois, and stars to correspond with those worked in the letter and in the wreath below, the leaves of which are worked in satin stitch and overcast stitch.

[Illustration: 404.--M.--Handkerchief Corner.]

 

405.--_M.B.D._

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

 

These initials are worked in satin stitch and overcast, the open work in fine overcast round eyelet-holes.

 

[Illustration: 405.--M.B.D.]

 

[Illustration: 406.--M.B.G.]

 

406.--_M.B.G._

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

 

These elegant letters are simply worked in graduated satin stitch and fine overcast with eyelet-holes.

 

[Illustration: 407.--M.H.E.]

 

407.--_M.H.E._

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

This elegant design is worked in graduated satin stitch, the middle letter is done in point croise. This stitch is only worked on very thin and transparent materials. 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.

408.--_Natalie._

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 30.

The initial letter of this word contains all those following, and is surrounded by a wreath of roses and other flowers; these are worked in satin stitch, the leaves in point de pois, the letters in raised satin stitch. The dots which are represented on the groundwork of the initial are worked in back stitching; these may be worked in scarlet ingrain cotton if desired for morning handkerchiefs.

[Illustration: 408.--Natalie.]

 

409.--_O.R._

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

 

This monogram is worked in satin stitch, and the oval is worked in eyelet-holes of graduated sizes.

 

[Illustration: 409.--O.R.]

 

410.--_Phoebe_.

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

The first letter of this word is very elaborate; it is worked in satin stitch, point de sable, and point de pois, the rest of the letters in satin stitch.

[Illustration: 410.--Phoebe.]

 

411.--_Monogram for Pocket Handkerchiefs_.

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton Perfectionne No. 20.

 

[Illustration: 411.--Monogram for Marking Handkerchiefs]

This monogram is worked partly in applique, partly in satin stitch. For the middle part of the medallion sew on the pattern in applique of cambric with button-hole stitch; the remaining part of the embroidery is worked in satin stitch and point russe.
412.--_Monogram for Pocket Handkerchiefs_.

Materials: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20, and Linen Thread No. 20.

This monogram is also worked in applique and satin stitch. The circle all round the medallion is worked in applique; in the middle work lace stitches from illustration. The edge of the medallion is worked round with button-hole stitch.

[Illustration: 412.--Monogram for Marking Handkerchiefs.]

 

413.--_Rosa_.

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

Here the name is inclosed in a medallion of overcast and back stitching, the lower part having a graceful wreath of leaves worked in satin stitch. The letters which form the name are worked in raised and scalloped satin stitch and point de pois.

[Illustration: 413. Rosa.]

 

414.--_Rosina_.

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

The stars round this graceful initial letter are worked in raised satin stitch round an eyelet-hole, the leaves in graduated satin stitch, the stems overcast, the wreaths of flowers worked in satin stitch and open eyelet-holes, the stems and veinings in overcast, and the stars on the stems to correspond with those worked in the letter: the rest of the letters in simple satin stitch rather thickly raised.

[Illustration: 414.--Rosina.]

 

415.--_R.S._

 

Materials: Black china silk; Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

 

These letters are worked in raised satin stitch with a design of point russe worked in black silk.

 

[Illustration: 415.--R.S.] 416.--_S.E.B._

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 16.

These letters are worked in graduated satin stitch, the centre star is worked in raised satin stitch, and the four surrounding it as eyelet-holes.

[Illustration: 416.--S.E.B.]

 

417.--_L.E.P._

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 18.

 

These initials are worked in plain satin stitch, and the elegant stars are worked in point russe worked round an eyelet-hole.

 

[Illustration: 417.--L.E.P.]

 

418.--_Victoria_.

 

Material: Messrs. Walter Evans and Co.'s Embroidery Cotton No. 20.

This name is most elaborately worked in satin stitch, over-casting and eyelet-holes. The initial letter is worked in satin stitch, and the stars in fine overcast round an eyelet-hole.

[Illustration: 418.--Victoria.]

 

* * * * *

 

POINT LACE WORK.

Lace is of two kinds--pillow lace, which is made upon a cushion or pillow, and point lace, which is made of stitches or _points_ worked in patterns by hand, which are joined by various stitches forming a groundwork, also the result of the needle above.

Pillow lace is entirely worked on the pillow or cushion, the pattern and ground being produced at the same time. Pillow lace is sometimes correctly called bone or bobbin lace, but it appears that the distinction has never been very nicely observed either by lace-workers or lace-traders, many sorts which are really pillow lace being called point, on account of some peculiarity in the stitch or pattern.

The requisites for producing lace in perfection are the dexterity and taste of the workers, and the goodness of the material. To produce many beautiful fabrics a mechanical dexterity alone suffices, but in lace-making the worker must have some artistic talent, even when supplied with designs, for any one can perceive that deviations from the design are easily made, and that the slightest alteration by a worker wanting in taste will spoil the whole piece of workmanship.

The following illustrations are specimens of ancient and modern laces from Mrs. Bury Palliser's collection:--

 

[Illustration: 419.--Dalecarlian Lace.]

 

[Illustration: 420.--Old Mechlin.]

 

[Illustration: 421.--Mechlin Lace (Queen Charlotte's).]

No. 419 shows Dalecarlian lace, made by the women of Dalecarlia. This is a coarse kind of lace, and is sewn on caps, &c., and, although highly starched, is never washed, for fear of destroying its coffee-coloured tint, which, it appears, is as much prized now by the Swedish rustics as it was by English ladies in the last century.

[Illustration: 422.--Buckingham Point Trolly, 1851 (Black Lace).]

 

Both these specimens of Mechlin belonged to Queen Charlotte, who much admired this elegant lace.

 

No. 423.--The Bedford plaited lace is an improvement on the old Maltese.

Honiton guipure lace is distinguished by the groundwork being of various stitches, in place of being sewn upon a net ground. The application of Honiton sprigs upon bobbin net has been of late years almost superseded by this modern guipure. The sprigs, when made, are sewn upon a piece of blue paper and united on the pillow with "cutworks" or "purlings," or else joined with the needle by various stitches--lacet, point, reseau, cutwork, button-hole, and purling.

[Illustration: 423.--Bedford Plaited Lace (1851).]

 

Those who wish to study lace and lace-making should read Mrs. Bury Palliser's _History of Lace_ (Sampson Low and Marston).

 

[Illustration: 424.--Honiton Guipure Lace.] POINT LACE.

The materials required for this elegant branch of needlework are neither numerous nor expensive. TRACING CLOTH, LEATHER, or TOILE CIREE, various
BRAIDS and CORDS, LINEN THREAD and two or three sizes of needles, scissors and thimble. TRACING CLOTH is required when ladies copy point lace patterns, and is the most convenient mode of taking them, as the design can be worked upon the tracing cloth, which, though transparent, is very strong; the price is 1s. 6d. per yard. Fine LEATHER is the material upon which bought patterns are usually traced, and is decidedly more pleasant to work on than is any other material. In selecting patterns ladies should choose those traced upon green leather in preference to scarlet or buff, as green is better for the eyesight than any other colour.

[Illustration: 425.--Point Lace Scissors.]

 

TOILE CIREE is only a substitute for leather, and is not as pleasant to work upon in warm weather.

The needles employed are usually Messrs. Walker's needles, Nos. 9 and 10. The scissors should be small, sharp, and pointed, as in illustration No. 425. An ivory thimble may be safely employed in this light work.

[Illustration: 426.--Linen Braid.]

 

[Illustration: 427.--Linen Braid.]

 

[Illustration: 428.--Linen Braid.]

 

[Illustration: 429.--Linen Braid.]

 

[Illustration: 430.--Linen Braid.]

 

[Illustration: 431.--Linen Braid.]

The BRAIDS are of various widths and kinds. None but pure linen braid should be employed; those with machine-made edgings are eschewed by many lace-workers, the plain, loose-woven linen braid of various widths and qualities being alone acceptable to experienced hands.

But all ladies do not care to be at the trouble of edging the braid, and will find Nos. 426, 428, 430, and 431 very useful. No. 429 is a plain linen braid with a vandyked edge, which works out very prettily. No. 431 is an edged braid with open holes, in imitation of the point lace work of the fifteenth century.

Point lace cords resemble the satin stitch embroidery in their close, regular smoothness; the price is 1s. per hank, and they are of various thicknesses, from the size of a coarse crochet thread up to that of a thick piping cord. These cords are used to ornament the braid, and are closely sewn on the braid, following its every outline, and serve as _beading_ to the edging, being always sewn on the outer edge alone. The finer kinds of this cord are used in place of braid where very light work is needed, as in the point lace alphabet which forms the frontispiece of this work. Directions for laying on the cord when employed as braid are given on page 500. When used as a finish only, and to impart the raised appearance of Venice and Spanish lace, it is fixed on the braid by plain, close sewing. The thread used should be Mecklenburg linen thread; that of Messrs. Walter Evans and Co. we strongly recommend as being of pure linen, washing and wearing well; it is pleasant to work with, from the regularity and evenness of the make. The numbers run thus:--2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 24, 30, 36, and 40--and will be found adapted for every kind of lace stitch. No. 2 is the coarsest, No. 40 the finest, size.

In working point lace the following directions must be attended to: Begin at the left hand, and work from left to right, when not otherwise directed, as in reverse rows. Before cutting off the braid run a few stitches across it to prevent it widening. Joins should be avoided, but when a join is indispensable, stitch the braid together, open and turn back the ends, and stitch each portion down separately. When passing the thread from one part to another, run along the centre of the braid, allowing the stitches to show as little as possible. In commencing, make a few stitches, leaving the end of the thread on the wrong side and cutting it off afterwards. In fastening off, make a tight button-hole stitch, run on three stitches, bring the needle out at the back, and cut off.

Having now completed our list of materials, we can proceed to lay on the braid.

 

[Illustration: 442.--Mode of Placing the Braid.]

TO PLACE THE BRAID.--No. 442 shows the design traced upon paper or tracing cloth, and lightly tacked to a foundation of leather or toile ciree. Run on a straight line of braid for the lower edge, with fine stitches, working as shown from left to right. Take another piece of braid, or the other end of the same piece, and begin to lay the braid by "running" stitches in its centre, keeping it as smooth and even as possible. The outer edge presents no difficulty, but the inner edge will not lie evenly without being drawn in by a needle and thread, as follows:--Thread a No. 9 needle with No. 12 Mecklenburg thread about 20 inches long, fasten the thread to one point, and insert the needle in and out of the edge of the braid, as if for fine gathering; this thread when drawn up will keep the braid in its place. Two or three fastening off stitches should be worked when each circle, half circle, or rounded curve of a pattern is finished, as the drawing or gathering thread remains in the work, and forms an important, though unseen, part of its structure.

As much of the beauty of point lace depends upon the manner of placing the braid, ladies cannot bestow too much pains upon this part of the work, which is a little troublesome to beginners. Many fancy shops now undertake this braid-placing for ladies, who can have their own pattern braided and commenced or braided alone at trifling expense. Among these may be mentioned the following houses:--Goubaud, 30, Henrietta-street, Covent-garden. Boutillier, Oxford-street, W.

The stitches used in point lace may be divided into--

 

STITCHES PROPER, or _points_.

 

CONNECTING BARS.

 

FINISHING EDGINGS.

 

WHEELS, ROSETTES.

The term point lace, or lace stitches (_points_), has of late been applied to every stitch executed with Mecklenburg thread, and many stitches are erroneously named by modern writers. As there are more than one hundred stitches employed in this beautiful art, much study and opportunity of seeing specimens of old point lace is required to give a novice any idea of the various kinds of point lace; but by attention to the following stitches the rudiments of the art may be easily acquired and very beautiful lace produced.

The first stitch is POINT DE BRUXELLES, or Brussels lace stitch. This stitch, as may be clearly seen in illustration No. 433, is a simple button-hole stitch worked loosely and with great regularity. The whole beauty of Brussels lace depends upon the evenness of the stitches. This stitch is sometimes employed as an edging, but is more often worked in rows backwards and forwards, either as a groundwork or to fill spaces, as in the point lace collar, No. 496.

[Illustration: 433. Point de Bruxelles (Brussels Lace).]

 

[Illustration: 434.--Point de Bruxelles (Brussels Lace Worked in Rows).]

 

Brussels Point is the foundation of nearly all the lace stitches.

POINT DE VENISE (Venetian or Venice Point) is worked from left to right, like Brussels point. Work one loose button-hole, and in this stitch work four button-hole stitches tightly drawn up, then work another loose button-hole stitch, then four more tight button-hole stitches in the loose one, repeat to the end of the row, and fasten off.
[Illustration: 435.--Point de Venise (Venice Point).]

[Illustration: 436.--Petit Point de Venise (Little Venice Point).]

PETIT POINT DE VENISE (Little Venice Point) is worked in the same manner as Point de Venise, but one tight stitch only is worked in each loose button-hole stitch. This is a most useful stitch for filling small spaces.

[Illustration: 437.--Point d'Espagne (Spanish Point).]

No. 437.--POINT D'ESPAGNE (Spanish Point) is worked from left to right as follows:--Insert the needle in the edge of the braid, keeping the thread turned to the right, bringing it out inside the loop formed by the thread (see illustration No. 437); the needle must pass from the back of the loop through it. Pass the needle under the stitch and bring it out in front, thus twice twisting the thread, which produces the cord-like appearance of this stitch. At the end of each row fasten to the braid and return by sewing back, inserting the needle once in every open stitch.

[Illustration: 438.--Close Point d'Espagne (Close Spanish Point).]

No. 438.--POINT D'ESPAGNE (Close) is worked in the same way as open point d'Espagne, but so closely as to only allow the needle to pass through in the next row. This stitch is also worked from left to right; fasten to the braid at the end of each row, and sew back to the left again.

No. 439.--TREBLE POINT D'ESPAGNE is worked in exactly the same way as the open and close point d'Espagne, as may be seen in illustration No. 439.

Three close stitches, one open, three close to the end of each row. Sew back, and in the next row begin one open, three close, one open, then close to the end; repeat the rows as far as necessary, taking care that the close and open stitches follow in regular order. Diamonds, stars, and various patterns may be formed with this stitch.

[Illustration: 439.--Treble Point d'Espagne (Treble Spanish Point).]

No. 440.--POINT DE GRECQUE is begun from left to right, is worked backwards and forwards, and is begun by one stitch in loose point de Bruxelles and three of close point d'Espagne; then one Brussels, three point d'Espagne to the end of the row; in returning work back in the same manner.

[Illustration: 440.--Point de Grecque (Grecian Point).]

No. 441. POINT DE VALENCIENNES (Valenciennes Stitch).--This stitch appears complicated, but is really easy to work. Begin at the left hand and work six point de Bruxelles stitches at unequal distance, every alternate stitch being larger. 2nd row: Upon the first large or long stitch work 9 close button-hole stitches, then 1 short point de Bruxelles stitch under the one above, then 9 close stitches, and so on to the end of row (right to left).

[Illustration: 441.--Point de Valenciennes (Valenciennes Stitch).]

3rd row: 5 close button-hole in the 9 of previous row, 1 short point de Bruxelles, 2 close in the Bruxelles stitch, 1 short point de Bruxelles,
5 close, 1 short point de Bruxelles, 2 close, l short, 5 close, 1 short, and repeat. 4th row: 5 close, 1 short point de Bruxelles, 2 close, 1 short, 5 close, 1 short, 2 close, l short, and repeat. Continue the rows until sufficient of the pattern is worked.

[Illustration: 442.--Point d'Alencon, with Twisted Stitch.]

No. 442. POINT D'ALENCON.--This stitch is used to fill up narrow spaces where great lightness is required. Point d'Alencon is worked under and over in alternate stitches, like hem stitch. Nos. 442 and 443 show point d'Alencon. In No. 442 a twisted stitch is worked over the plain point d'Alencon, which is clearly shown in No. 443; this twist is made by passing the thread three times round each plain bar, and working the knot shown in illustration No. 442 over _both_ strands of the bar.

[Illustration: 443.--Point d'Alencon, with Button-hole Stitch.]

 

The POINT D'ALENCON No. 443 is a festoon of close button-hole stitch worked over the plain bars.

 

[Illustration: 444.--Point d'Angleterre (Open English Lace).]

No. 444.--POINT D'ANGLETERRE (Open English Lace).--Open English Lace is thus worked:--Cover the space to be filled in with lines of thread about one-eighth of an inch apart, then form cross lines, intersecting those already made and passing alternately under and over them; work a rosette on every spot where two lines cross, by working over and under the two lines about 16 times round, then twist the thread twice round the groundwork thread, and begin to form another rosette at the crossing threads. No. 445 shows this stitch much enlarged.
[Illustration: 445.--Point d'Angleterre (Enlarged).]

No. 446,--POINT TURQUE (Turkish Stitch).--This easy and effective stitch looks well for filling either large or small spaces; the thread employed should be varied in thickness according to the size of the space to be filled. 1st row: Work a loop, bringing the thread from right to left, passing the needle through the twist and through the loop, draw up tight and repeat. 2nd row: 1 straight thread from right to left. 3rd row: Work the same as first using the straight thread in place of the braid, and passing the needle through the loop of previous row, as shown in illustration No. 446.

[Illustration: 446.--Point Turque.]

No. 447.--CORDOVA STITCH is useful for varying other stitches. It resembles the point de reprise of guipure d'art, and is worked in a similar manner over and under the side of squares formed by straight and parallel lines. (See No. 448.)

[Illustration: 447.--Point de Cordova (Cordova Stitch).]

No. 448.--POINT DE REPRISE.--This stitch is worked by darning over and under two threads, forming a triangle. The space is filled by parallel and cross-way bars, placed at equal distances, and on the triangles thus produced point de reprise is worked.

[Illustration: 448.--Point de Reprise.]

No. 449.--POINT BRABANCON (Brabancon Lace) is worked as follows:--Left to right. 1st row: 1 long loose, 1 short loose, point de Bruxelles alternately to end of row. 2nd row: 7 tight point de Bruxelles in the 1 long loose stitch, 2 short loose point de Bruxelles in the short loose stitch of previous row, repeat. 3rd row: Same as first.

[Illustration: 449.--Point Brabancon (Brabancon Lace).]

 

[Illustration: 450.--Point de Fillet (Net Groundwork Stitch).]

 

[Illustration: 451.--Point de Fillet and Point de Reprise.]

No. 450 is used for groundwork where Brussels net is not imitated, and is very effective. It is begun in the corner or crosswise of the space to be filled. A loose point de Bruxelles stitch is first taken and fastened to the braid, then passed twice through the braid as shown in illustration, and worked in rows backwards and forwards as follows:--1 point de Bruxelles stitch; before proceeding to the next stitch pass the needle _under_ the knot, _over_ the thread, and again _under_ it, as shown in illustration No. 450. This stitch is very quickly worked. No. 451 shows point de fillet applied in filling a space, with a few stitches of point de reprise worked upon this pretty groundwork.

No. 452.--POINT DE TULLE.--This stitch is used as a groundwork for very fine work, and is worked in rows backwards and forwards in the same stitch as open point d'Espagne, page 457. When this is completed the work is gone over a second time, by inserting the needle under one twisted bar, bringing it out and inserting it at +, and bringing it out again at the dot. This produces a close double twist which is very effective.

[Illustration: 452.--Point de Tulle.]

No. 453.--MECHLIN LACE (Mechlin Wheels).--This is one of the prettiest stitches in point lace, but also one of the most difficult to work correctly. It is thus worked:--Work a number of diagonal bars in button-hole stitch on a single thread in one direction, then begin in the opposite side the same way, and work 5 or 6 stitches past the spot where the two lines cross, pass the thread round the cross twice under and over the thread to form a circle. Work in button-hole stitch half one quarter, make a dot by putting a fine pin in the loop instead of drawing the thread tight, and work 3 button-hole stitches in the loop held open by the pin, then take it out, and continue as before. Beginners will do well to omit the dot, leaving the loop only on the wheel. Mechlin wheels are also worked in rows upon horizontal and parallel lines of thread.

[Illustration: 453.--Mechlin Lace Wheels.]

No. 454.--ESCALIER LACE.--This useful lace may be varied in pattern to any extent by placing the open stitches in any desired order; it then takes the name of diamond or Antwerp lace, according to the design. True escalier lace is made by working nine button-hole stitches close together; then miss 3--that is, work none in the space that 3 stitches would occupy--work 9, miss 3 as before to the end of row, begin the 2nd row 3 stitches from the end, to cause the open spaces to fall in diagonal lines--a succession of steps or stairs (_escalier_), which gives name to this stitch.

[Illustration: 454.--Escalier Lace Worked in Diamonds.]

No. 455.--SPANISH POINT LACE is adorned with highly-raised scrolls, flowers, &c. This is effected by working over an underlay of coarse white