OPEN DIAMOND (No. 31). 1st row: Five close Brussels, miss the s.p.a.ce of two, X eight close, miss the s.p.a.ce of two, X to the end of the row.

2nd: Two close, X miss two, two on the loop, miss two, work along the line after all the remainder of the eight, do two on the loop, and on six of the next eight (thirteen altogether), repeat to the end.

3rd: X miss two, two on the loop, miss two, do two on the loop, miss two, do one on every one of the line of st.i.tches but the last two, X repeat.

4th: Two on the loop, miss two, two on the loop, X miss two, two on the loop, one on every st.i.tch, and two on the next loop (thirteen altogether), miss two, two on a loop, X repeat. The next diamond of holes must be so managed as to fall immediately between two of the first row. By repeating the first line, the place will be indicated.

In all these st.i.tches, it is a.s.sumed that _squares_ are to be filled in. Where the shape varies from that, extra st.i.tches must be added, at the beginning, or taken away, as the case may be, the worker referring to the engraving for the appearance intended to be produced.

CLOSE DIAMOND (No. 32). The first row is plain b.u.t.ton-hole st.i.tch.

2nd row: Five st.i.tches, X leave the s.p.a.ce of two, fourteen st.i.tches, X repeat.

3rd: Two st.i.tches, X miss two, do two on the loop, miss two, work on all the rest of the fourteen, except the last two, X repeat. In the fourth row, the holes fall over those of the first. The fifth row is all in close st.i.tches. In the sixth, begin to make fresh lines of diamonds, coming exactly between the last set.

ANTWERP LACE (No. 33). 1st row: X eight close, miss the s.p.a.ce of two, X repeat.

2nd: X five close over eight close, and two close on the loop, X.

3rd: X two close over five, and five over two, X.

4th: X five close over two, and two over five, X.

5th: X eight close over every five, X repeat.

The above are the princ.i.p.al st.i.tches found in Old Point Lace.

DEEP POINT LACE EDGING.

MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Mecklenburgh Threads, No. 1, 7, 100, and 120.

Draw the pattern from the engraving, a section of it being given the full size. The paper must then be lined with alpaca. Should a short piece only be required, the pattern should at once be made of the full length; if not, several may be drawn. From the closeness of the work it is impossible to work twice over the same paper.

The border of each pattern is formed of seven small scallops. It is worked in braiding-st.i.tch, that is, four threads are laid on, parellel with each other, and formed into a braid by darning them backwards, and forwards, putting the needle always under two together. As it is not desirable to have any break in the outline, it will be advisable to take, for each of the four outline threads a needleful sufficiently long to answer for the whole piece of lace.

[Ill.u.s.tration: DEEP POINT LACE EDGING.]

When the whole length of the paper is done, the ends may be twisted round a card, and wrapped in paper to keep them clean while that section of the work is in progress.

Each pattern contains one spray of flowers and small leaves, the stem of which is braided like the edge only that it is generally wider at the end.

All the outlines are made in No. 1, and the braiding done in No. 7.

The flowers consist of six petals three of which are worked in foundation st.i.tch, that is close b.u.t.ton-hole st.i.tch over a thread, and the others in spots formed by making two close b.u.t.ton-hole st.i.tches, and then allowing the s.p.a.ce of two before working the next. In the succeeding row, the two close st.i.tches come on the bar of thread formed between one spot and the next. The centre of the flower is an open circle, covered with close b.u.t.ton-hole st.i.tch, with Raleigh dots.

The leaves, which are very small, are entirely in foundation st.i.tch.

In each section of the large scallop is a wheel formed by working a circular Raleigh bar, on a foundation of three threads. The ground is in Raleigh bars worked very irregularly.

The straight edge of the lace is a line of b.u.t.ton-hole st.i.tch on two thread.

Three rows of Sorrento edge, worked one upon another, complete the lace. This edge and the flowers are done in Mecklenburgh 120. The remaining parts in No. 100.

COLLAR IN SPANISH ROSE POINT.

[Ill.u.s.tration: COLLAR IN SPANISH ROSE POINT.]

MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Valenciennes Threads.

This is distinguished by close heavy work, and solid Spanish st.i.tch edged with loops. The ground of the collar is guipured in the richest style, partly with plain Raleigh bars partly with those having semi-circular loops, dotted in the same manner. Sometimes two bars have a Mecklin wheel at the cross.

The section given of the collar is the full size, and has only to be repeated and reversed for the length.

[Ill.u.s.tration: HANDKERCHIEF BORDER, IN ANTIQUE POINT LACE.]

HANDKERCHIEF BORDER, IN ANTIQUE POINT LACE.

MATERIALS.--Brooks' Great Exhibition Prize Goat's-head Point Lace Cottons, and No. 1 Valenciennes Thread.

We give the section of the handkerchief of the full size, that workers may draw their own pattern from it. It may be made of any dimensions required. The perfect pattern occupies the entire side, reckoning from the open flower at the corner. Were this entirely repeated for the quarter, it would make the handkerchief rather too large for general taste; about one half the pattern, in addition to the piece given (or the open flower, and the two next to it on the inner side) would be found sufficient for the quarter. One-fourth of the handkerchief being drawn on tracing-paper, all the design can be marked from it, on red, blue, or green; but it is preferable to draw a little more than a quarter only, instead of the whole handkerchief, which is c.u.mbersome to hold. When a quarter is done, it may be removed from the paper, which can be used a second time by a careful worker.

No braid whatever is used for this handkerchief, which is similar in the mode of working to some of the most valuable specimens of antique point. The scroll and flowers are close and heavy, the inner ground is guipured, in Raleigh bars, and the s.p.a.ce between the scroll and the outer edge is filled with fine and close English lace.

The stem, and the closest part of the flowers (which may be distinguished in the engraving), are done in foundation st.i.tch, with No. 90, point-lace cotton. The veinings of the petals, where they occur in this st.i.tch, are made by taking the foundation thread at double the distance from the last one, and working over it a row of Brussels st.i.tches at the usual distance from each other, instead of close, as in foundation st.i.tch. The calyx of the flower is done in Antwerp lace. The very finest point-lace cotton should be used for all this st.i.tch.

All the flowers, done as we have just described, have a centre worked in Venetian lace; No. 70 cotton must be used.

The open flowers, and the b.u.t.ton-hole rounds, are done with Valenciennes thread, No. 120. The English lace, with No. 100 cotton.

The Raleigh bars, with Valenciennes, No. 100.

The edge of the handkerchief border is finished with close b.u.t.ton-hole st.i.tch, on which Raleigh dots are worked at regular intervals. This edge is worked after all the rest of each quarter is finished.

If it be thought troublesome to outline the whole pattern with thread, No. 5 white cotton French braid may be used. The effect is, however, greatly inferior to that of the thread.

To make up the handkerchief, cut a square of cambric the exact size to fit the lace, allowing for a very narrow hem. When the hem is made, lay the inner line of the lace over it, tack them together, and work a row of close Brussels edge over the two, to connect them.