Part 28

GROUND WORKED IN STITCHES PLACED ONE ABOVE THE OTHER (fig. 668).—Cover a whole row of squares with cross stitches and leave 3 rows of squares empty. When you have a sufficient number of rows of cross stitches, take a long needle and pass it upwards from below, and from right to left, under the two bars of the third upper square; then pass downwards to the first square of the 3 bottom rows and under the bars from right to left, so as again to leave 3 squares between the fresh stitches. The next row of stitches is made in the same manner, so that the stitches are not only set contrary ways but reciprocally cover each other.

LATTICED GROUND (fig. 669).—Begin by running the thread, to and fro, under two vertical bars and over three horizontal ones. When the ground is entirely covered, carry your thread from right to left, under the bars over which the first rows of threads are crossed; then take it over the long crosses, that correspond to 5 squares of netting, and pass it in the same line under the bars of the netting. In coming back, the long stitches cross each other over the stitches of the first rows.

[Illustration: FIG. 667. GROUND WORKED IN HORIZONTAL LINES.]

[Illustration: FIG. 668. GROUND WORKED IN STITCHES PLACED ONE ABOVE THE OTHER.]

[Illustration: FIG. 669. LATTICED GROUND.]

[Illustration: FIG. 670. GROUND WORKED IN RUSSIAN STITCH.]

GROUND WORKED IN RUSSIAN STITCH (fig. 670).—Pass the thread from left to right, under a bar of the netting, carry it downwards over 4 squares and pass it again, from left to right, under the bar, then upwards, again over 4 squares of netting and so on. The stitches of the next rows are made in the same manner; you have only to see that the loops formed by the stitches all come on the same line of knots.

GROUND WORKED IN TWO SIZES OF THREAD (fig. 671).—Herewith begins the series of stitches, referred to at the beginning of the chapter, copied in part from one of the oldest and most curious pieces of embroidered netting we have ever met with. The copies were worked with Cordonnet 6 fils D.M.C No. 25 and écru Fil à dentelle D.M.C No. 70[A]; the former being used for the darning and the almond-shaped stitches between; the latter for the button-hole stitches. Wherever two sizes of thread are used for one pattern, all the stitches in the coarse thread should be put in first and those in the fine, last.

[Illustration: FIG. 671. GROUND WORKED IN TWO SIZES OF THREAD.]

GROUND WITH WHEELS AND LOOP STITCH (fig. 672).—You begin with the coarse thread and finish all the wheels first, making them each over 4 threads of the netting; then with the fine thread, you make loop stitches between them, in rows, as shown in figs. 641 and 642.

GROUND WORKED IN DARNING AND LOOP STITCH (fig. 673).—The darning stitches are made in the coarse thread, over 4 squares of the netting, in a horizontal direction, with loop stitches, in the fine thread, made between them, over the same number of squares.

[Illustration: FIG. 672. GROUND WITH WHEELS AND LOOP STITCH.]

GROUND WORKED IN TWO SIZES OF THREAD (fig. 674).—Carry the coarse thread, from right to left, under the first knot of the netting, and then under the next, from left to right. This has to be done twice, to and fro, so that the squares of the netting are edged on both sides with a double layer of threads.

When the whole foundation has been thus covered, take the fine thread and make loop stitches in the squares between the other rows of stitches, passing the needle for that purpose over the double stitch. Lastly, intersect the loop stitches with straight threads and pass the needle each time through the knot of the netting.

[Illustration: FIG. 673. GROUND WORKED IN DARNING AND LOOP STITCH.]

[Illustration: FIG. 674. GROUND WORKED IN TWO SIZES OF THREAD.]

[Illustration: FIG. 675. GROUND WORKED WITH CROSS STITCHES IN ONE SIZE OF THREAD.]

GROUND WORKED WITH CROSS STITCHES IN ONE SIZE OF THREAD (fig. 675).—This pattern, very like the foregoing one, consists of 3 diagonal rows of stitches, worked to and fro, with cross stitches made over them.

You may also begin with the cross stitches, in the fine thread, and work the triple stitches over them, in the coarse.

GROUND WORKED WITH DARNING AND CORD STITCHES (fig. 676).—Patterns, executed chiefly in darning stitches, in a comparatively coarse thread, present a closer and heavier appearance than those we have been describing. Here, every other square of the netting is filled, as closely as possible, with stitches; the empty squares between are intersected diagonally with corded threads.

[Illustration: FIG. 676. GROUND WORKED WITH DARNING AND CORD STITCHES.]

[Illustration: FIG. 677. GROUND WORKED WITH SQUARES AND WHEELS.]

[Illustration: FIG. 678. GROUND WORKED WITH SQUARES AND WHEELS.]

GROUND WORKED WITH SQUARES AND WHEELS (figs. 677, 678, 679).—A ground very often met with in old embroidered netting, consists of diagonal lines of squares, closely filled with darning stitches, alternating with diagonal lines of squares, each with a small wheel in the middle.

In fig. 678, the darning stitches, and the wheels, which are both worked with the same material, cover 4 squares of the netting.

Larger expanses of netting may also be entirely filled with wheels, fig. 679. To make a really satisfactory grounding of this kind, you should be careful always to carry your thread over the bars of the netting and under the threads that are stretched diagonally across.

GROUND WORKED IN CROSS AND DARNING STITCH (fig. 680).—You begin, as before, by making the close darning stitches, and then proceed to the cross stitches. To give them the right shape, finish all the rows of stitches one way first; in the subsequent rows, that cross the first ones, you introduce the thread between the stitches that were first crossed.

[Illustration: FIG. 679. GROUND WITH LARGE WHEELS.]

GROUND OF GEOMETRICAL FIGURES (fig. 681).—This pattern, quite different from all the others, consists of simple geometrical lines. Fasten the thread to a knot of the netting, then carry it, always diagonally, under 3 other knots and repeat this 3 times, after which, carry it once round the bar of the netting, to fasten it, and back again to the knot which it already encircles, and from thence begin a new square. Owing to your having always to bring the thread back to the knot whence the next square is to begin, you will have 4 threads on two of the sides and 6 on the two others.

[Illustration: FIG. 680. GROUND WORKED IN CROSS AND DARNING STITCH.]

In the second and subsequent rows, the needle has to pass twice under the angles that were first formed, in order that, over the whole surface, all the corners may be equally covered and connected.

NETTED INSERTION WORKED IN PLAIN DARNING STITCH (fig. 682).—The taste for ornamenting not only curtains but bed and table linen also, with lace and insertion of all kinds, to break the monotony of the large white surfaces, is becoming more and more general and the insertion here described will be welcome to such of our readers as have neither time nor patience for work of a more elaborate nature.

The way to make straight netting has already been fully described in figs. 625, 626, 627, 628, 629 and 630, and darning stitch in fig. 637.

To those who wish to be saved the trouble of making the netting themselves, we can strongly recommend various fabrics, intended to take its place, more especially Filet Canevas, which is an exact imitation of the finest hand-made netting. The centre part of the pattern in fig. 682, is worked in rows of horizontal darning stitches, the narrow border in vertical ones.

[Illustration: FIG. 681. GROUND OF GEOMETRICAL FIGURES.]

[Illustration: FIG. 682. NETTED INSERTION WORKED IN PLAIN DARNING STITCH. MATERIALS—For the netting: Cordonnet 6 fils D.M.C No. 25.—For the darning stitch: Coton à broder D.M.C No. 25, or Coton à repriser D.M.C Nos. 12 to 50, white or écru.[A]]

[Illustration: FIG. 683. EMBROIDERED GROUND OF NETTING. MATERIALS—For the netting: Fil à dentelle D.M.C Nos. 25 to 50. For the darning stitch: Cordonnet 6 fils D.M.C No. 15, or Fil à pointer D.M.C No. 30.—For the loop stitch: Fil à dentelle D.M.C or Cordonnet 6 fils D.M.C according to the size of the netting thread.]

GROUND OF NETTING EMBROIDERED (fig. 683).—We have already had occasion, in the foregoing explanations, to point out the advantage of embroidering with two sizes of thread, but it is only in a piece of work of a certain size that it is possible really to judge of the excellent effect produced by the use of two threads of different sizes.

The principal lines of the pattern, which are in darning stitch, are worked in a very coarse thread with a strong twist, Fil à pointer D.M.C, whilst the loop stitches are in Cordonnet 6 fils D.M.C.

Our model was worked in écru thread but there is nothing to prevent several colours being introduced, for instance écru, black or Gris-Ficelle 462 for the netted foundation; Rouge-Cardinal 346, for the darning stitches, and Chiné d’or D.M.C green and gold or blue and gold, for the loop stitches and the threads that are carried across inside.

[Illustration: FIG. 684. EMBROIDERED SQUARE OF NETTING. MATERIALS: Cordonnet 6 fils D.M.C Nos. 15 to 30, or Fil à dentelle D.M.C Nos. 15 to 40, white or écru.[A]]

EMBROIDERED SQUARE OF NETTING WITH TWO KINDS OF LACE SUITABLE FOR THE BORDER (figs. 684, 685, 686).—Large pieces of embroidered netting are generally made up of squares and stripes, joined together with ribbon and fine linen insertions. It is easier and less cumbrous to make the netting in separate pieces. Squares of different patterns can also be combined with crochet and pillow lace, in this case of course the squares have to be arranged with some system.

Fig. 685 represents a lace edging intended for the square fig. 684, which shows how even in such a simple pattern as this, several colours may be successfully introduced.

Fig. 686 is a handsomer and more elaborate pattern for the same kind of purpose. The loop stitches and the linen stitches should be worked in a very light shade; instead of the colour indicated at the foot of the engraving, Rouge-Géranium 353, Violet-Mauve 377 or Jaune-Rouille 365 may be used; for the netting and the loop stitches you may combine, with the first shade, two shades of Brun-Caroubier 303 and 357, with the second, two shades of Jaune-vieil Or 678 and 680 and with the third, two shades of Rouge-Cardinal 346 and 348.

[Illustration: FIG. 685. LACE EDGING FOR THE SQUARE, FIG. 684. MATERIALS: The same as for fig. 684, and Or fin D.M.C pour la broderie No. 30. COLOURS—For the netting and the loop stitch: White or écru.—For the darning stitch: Brun-Caroubier 303 and Rouge-Grenat 335.[A]]

[Illustration: FIG. 686. LACE EDGING. MATERIALS: The same as for 684. COLOURS—For the netting: écru.—For the ground in loop and linen stitch: Bleu pâle 668.—For the bars in darning stitch: Gris-Tilleul 391 and 393.[A]]

PATTERN FOR GROUND (fig. 687).—The peculiar charm of this most unpretending pattern is chiefly due to the variety of material and colour introduced into it. The netted ground is made of dark brown Cordonnet 6 fils D.M.C No. 25, worked over, in the first instance, with loop stitches in a pale grey, which are afterwards connected by darning stitches in Coton à repriser Gris-Tilleul 392.

[Illustration: FIG. 687. PATTERN FOR GROUND. MATERIALS—For the netting: Cordonnet 6 fils D.M.C Nos. 15 to 30. For the embroidery: Coton à repriser D.M.C No. 25. COLOURS: Brun-Havane 455, Gris-Noisette 423, Jaune-vieil-Or 680, Gris-Tilleul 391 and Rouge-Géranium 352.[A]]

The same material in Rouge-Géranium, is used for the little centre squares and the pink crosses, and isolated darned squares are framed with loose cord stitches in Coton à repriser colour Jaune-vieil-Or 680.

We can also recommend, for the same pattern, the following combination of colours, all to be found on the D.M.C colour card; namely, Bleu pâle 668 for the netting; Chiné d’or, gold with dark blue for the loop stitches; Ganse turque D.M.C No. 12 (Turkish gold cord) for the darning stitches, between the loop stitches; Coton à broder or Cordonnet 6 fils in Rouge-Cornouille 450, for the detached darned squares and Coton à repriser, in Jaune-d’Or 667 for the setting of all the different parts of the pattern.

[Illustration: FIG. 688. EMBROIDERY ON NETTING WITH DIFFERENT-SIZED LOOPS. MATERIALS—For the netting: Fil à dentelle D.M.C No. 40. For the embroidery: Coton à broder D.M.C No. 16, white or écru.[A]]

EMBROIDERY ON NETTING WITH DIFFERENT-SIZED LOOPS (fig. 688).—The netting, described and represented in fig. 620, with plain, oblong and double loops, here forms the ground for the embroidery.

[Illustration: FIG. 689. SQUARE IN CUT NETTING.]

[Illustration: FIG. 690. LACE EDGING IN CUT NETTING. MATERIALS: Fil à dentelle D.M.C Nos. 25 to 50, in three shades of one colour.]

In order to make the isolated loop stitches, the thread which forms the cross in the middle must be carried to the middle of the bar, the loops that form the stitches must be finished and the thread carried back to the knot whence it started. It must then be taken three times backwards and forwards over the foundation thread and the two bars of the netting, when the stitches, into and over 3 squares of the netting, should be made. The last row in the engraving shows the pattern in the successive stages of its development.

[Illustration: FIG. 691. NETTING INSERTION MATERIALS—For the netting: Cordonnet 6 fils D.M.C No. 40 white or écru.—For the embroidery: Ganse turque D.M.C Nos. 6 and 12.]

SQUARE AND EDGING IN CUT NETTING (figs. 689 and 690).—Few patterns admit of such a successful application of all the stitches hitherto described, as the square and edging presented to our readers in the two subjoined figures. On a netted ground of rather fine thread, we have in the first place, linen stitch, in the border, worked in rather a coarser thread than the ground; then raised wheels, button-holed bars with picots in the centre, plain wheels very close together, and long ribbed bars worked in darning stitch.

The edging, to match the square, is worked in the original in pale shades, in contrast to the square which is executed entirely in écru thread. The squares in the netted footing of the lace are loosely overcast with pale Violet-Mauve 316, the same colour is also used for the wheels in the outside edge, each of which fills a square, and for the loop stitches round them; whilst the middle one of the three upper ribbed wheels and the star are worked in dark Violet-Mauve 315. The crosses in linen stitch, the three lower ribbed wheels and the long ribbed bars in darning stitch, are in Gris-Tilleul 392.

NETTED INSERTION (fig. 691).—This is a copy of a beautiful piece of embroidered netting, to all appearance, several centuries old, and in a state that rendered, even the most delicate handling almost impossible.

After several experiments, the best result has been arrived at, and the Turkish cord in which the original is made, has now been manufactured for netting purposes, as well as for other kinds of decorative work, already alluded to, and referred to again later on.

The first foundation, that is, the actual netting, for a thing of this kind, should be made in white or écru thread, with very small meshes; the pattern itself is embroidered on the netting with Ganse turque D.M.C No. 12; this material, écru and gold mixed, gives the work a glittering and peculiarly elegant appearance, unobtainable in any other.

The execution is extremely easy, it being worked entirely in darning stitch; but the drawing should be copied with great accuracy and the wide braid very carefully sewn on with close stitches round the squares, which are filled in with darning stitches made in Ganse turque No. 12.

Any netting pattern can be copied in this braid, and the simplest piece of work of the kind is worth mounting on a rich foundation of silk, brocade, velvet or plush. To give a single example, the insertion here described and illustrated, was mounted on slate-blue plush and has been universally admired.

FOOTNOTES:

[A] See at the end of the concluding chapter, the table of numbers and sizes and the list of colours of the D.M.C threads and cottons.

[Illustration: INSERTION.—IRISH LACE WITH RAISED ORNAMENTS.]

IRISH LACE.

Irish lace, also known under the name of Renaissance lace, from its having been first made in the sixteenth century, is an imitation of the earliest pillow laces; it ought, properly speaking, to be called French lace, having been invented in France and thence introduced into England and Ireland.

It is composed of braid or tape, formed into figures, joined together by needle-made, corded or button-hole bars and fillings of different kinds, or by bars alone.

The lace stitches and bars are almost the same as those used in fine Venetian point, but they are executed in a coarser material so that this section of our work may be considered as a preparation for the different kinds of lace, to be described in the next chapter.

MATERIALS (fig. 692).—The braids used for making Irish lace are an English speciality and manufactured exclusively in England; they are very various in shade, width and thickness, and are to be had white, unbleached, grey and pale yellow, narrow and wide, coarse and fine in texture, with and without holes, open edge and picots, with large medallions and small.

Fig. 692 represents the kinds most commonly used, in their original size, together with a specimen picot, or purl, as they are called in England, for the outside edge, also to be had ready made, for those who do not care for the trouble of making them themselves.

For the stitches and bars by which the braids are joined together, the best material is Fil à dentelle D.M.C,[A] (lace thread) a smooth even thread, now made in every colour to match the braids.

[Illustration: FIG. 692. PATTERNS OF THE DIFFERENT TAPES AND BRAIDS USED FOR IRISH LACE.]

TRANSFERRING DESIGNS FOR IRISH LACE.—The best way is to trace them on oiled tracing linen with a watery ink, free from greasy matter. This tracing linen, which is of English make, is white, glazed on one side only; the unglazed surface should be turned uppermost, as it takes the ink better.

As this tracing linen is quite transparent, the pattern can be transferred to it at once without recourse to any other process.

It will be found less trying for the eyes to lay a piece of transparent coloured paper, or stuff, under the pattern whilst you are copying it. The Irish lace designs are almost all drawn with double lines, between which the braid is tacked on with small back stitches. We may mention at once that it is advisable to make the stitches longer on the right side than on the other, or at any rate to make them of the same length.

TACKING DOWN AND GATHERING IN THE BRAIDS (fig. 693).—Where the lines of the pattern describe a curve or a circle, the outside edge of the braid, as shown in fig. 693, must be sewn down firmly, so as to form little folds or gathers on the inside edge, which are first tacked down and then gathered in with small overcasting stitches in fine thread, so as to fit exactly to the pattern.

[Illustration: FIG. 693. TACKING DOWN AND DRAWING IN THE BRAIDS.]

The stitches, made for the bars and the fillings, must never be drawn so tightly as to drag out the edges of the braids and thus spoil the outlines of the pattern. Nor should the stitches be caught into the tracing cloth, but only rest upon it.

When the embroidery is finished, turn the work the wrong side up, cut every second or third tacking stitch and pull the threads carefully out, from the wrong side, when the lace will separate itself from the backing without difficulty; it has then to be damped and ironed also on the wrong side. (See the concluding chapter on the different processes for finishing off needlework).

It is of no consequence which are made first, the bars or the fillings; we however incline to the former, more especially in the case of button-hole bars, as they are easier to do than the fillings and once done, there is less risk of puckering or drawing the edges together, in making the fillings.

THE STITCHES.—We shall now proceed to describe a series of bars and stitches, which, if carefully studied, will serve as a preparation for making all the finer kinds of laces described in the ensuing chapter.

Without pretending to have exhausted the infinite variety of lace stitches that exists, we hope to have brought before our readers’ notice a sufficiently numerous selection to satisfy all tastes and capacities.

With regard to the names, the same stitches are known by so many different ones, that excepting in the case of those universally accepted, we have disregarded them altogether and merely numbered the stitches in their order.

[Illustration: FIG. 694. PLAIN TWISTED BAR.]

PLAIN TWISTED BAR (fig. 694).—Secure the thread to the braid and throw it across from one braid edge to the other, put the needle in downwards from above, and overcast the first thread, so as to form the two into a cord. If you do not make enough overcasting stitches to tighten the two threads, the bars will be loose and untidy and spoil the general appearance of the work.

[Illustration: FIG. 695. DOUBLE TWISTED BAR.]

DOUBLE TWISTED BAR (fig. 695).—Throw three foundation threads across the space to be filled and overcast them loosely, so that they remain visible between the stitches.

PLAIN BUTTON-HOLE BAR (fig. 696).—Throw three threads across and cover them with button-hole stitches, made from right to left.

In making this and the subsequent bars, we recommend turning the needle round and holding it as it were the reverse way, so that the eye not the point passes first under the threads; strange as it may seem, it is easier in this manner to avoid splitting the threads. The working thread should always issue from the edge of the braid, one or two threads before the foundation threads of the bar, to prevent the bars being of unequal width, or getting twisted at the beginning.

BUTTON-HOLE BARS WITH PINNED PICOTS (figs. 697 and 698). After covering half, or a third of the bar with button-hole stitches, pass the thread without making a loop, under the foundation threads, and fasten the loop with a pin, fig. 697, then slip the needle, horizontally from right to left, under the 3 threads and tighten the knot close to the last button-hole stitch.

[Illustration: FIG. 696. PLAIN BUTTON-HOLE BAR.]

[Illustration: FIG. 697. BUTTON-HOLE BAR WITH PINNED PICOTS.]

[Illustration: FIG. 698. BUTTON-HOLE BAR WITH PINNED PICOTS.]

[Illustration: FIG. 699. BAR WITH LACE PICOT.]

Fig. 698 shows a picot made in the same manner, but with several button-hole stitches inserted between the loop and the button-holed bar.

BAR WITH LACE PICOT (fig. 699).—Here the picot is made by bringing the thread out through the loop and beginning the button-hole stitches, 4 or 5 in number, according to the size of the thread, quite close to the pin, so that they entirely cover the loop. The pin must be stuck in the width of 4 stitches, distant from the bar, and the foundation threads should be completely hidden under the bar.