Part 33

Thread of two colours was used for fig. 811, the squares being worked alternately in Écru and Brun-Caroubier and the picots, all in the latter colour.

LACE AND INSERTION IN KNOTTED STITCH (fig. 813).—Excepting in the case of the returning thread, the same stitches are used for the pretty border and insertion given in fig. 813, as for the Armenian lace.

The stitches that form the insertion are attached, on both sides, to an English braid, something of the nature of Rhodes linen, which is open-worked before the knotted work upon it is begun.

As in the preceding figure, two colours are used alternately, the change from one to the other is distinctly marked in the engraving.

The outside edge consists of light scallops, formed by the regular increase and decrease of the stitches. The original piece of work from which our drawing was taken, forms the border of a dark blue plush carpet; the red and écru hues of the lace harmonize exceedingly well with the soft colour of the plush.

[Illustration: FIG. 813. LACE AND INSERTION IN KNOTTED STITCH. MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Cordonnet 6 fils D.M.C Nos. 10 to 25, or Fil à dentelle D.M.C Nos. 25 to 50. COLOURS: Écru and Rouge-Cardinal 46.[A]]

INSERTION IN KNOTTED STITCH (figs. 814 and 815).—This kind of work, similarly composed of knotted stitches, can be used instead of crochet insertion or single and cut openwork in linen. It looks exceedingly well as a trimming for bed and table linen and is executed on foundation threads or cords, which connect the different figures together, with closely connected rows of knots between.

[Illustration: FIG. 814. INSERTION IN KNOTTED STITCH. MATERIALS: Fil à pointer D.M.C No. 30, Cordonnet 6 fils D.M.C Nos. 15 to 30, or Fil à dentelle D.M.C Nos. 25 to 50.[A]]

[Illustration: FIG. 815. WORKING DETAIL OF FIG. 814.]

INSERTION IN KNOTTED STITCH (figs. 816 and 817).—The mode of making the insertion in knotted stitch, which is represented in the two accompanying engravings, is supposed to be of Italian origin, but we have met with quite as perfect specimens of work done in the same way, which were the products of Persia and Asia Minor. We have called it by the same name as the preceding patterns, for even the way in which the stitch is worked is almost the same. Through some slight difference however in the interlacing of the threads, shown by the open loops in fig. 817, the stitches lie closer together and are alike on both sides of the work.

[Illustration: FIG. 816. INSERTION IN KNOTTED STITCH. MATERIALS: The same as for fig. 814.[A]]

[Illustration: FIG. 817. WORKING DETAIL OF FIG. 816.]

No difficulty will be found in making out the course of the rows; it is best to begin by the two rows of stitches that form the perpendicular bars and make the stitches, that compose the 4 staves between the bars next. For the little picots see fig. 700.

[Illustration: FIG. 818. LACE IN KNOTTED STITCH. MATERIALS: Cordonnet 6 fils D.M.C Nos. 10 to 25 or Fil à dentelle D.M.C Nos. 25 to 50.[A]]

[Illustration: FIG. 819. WORKING DETAIL OF FIG. 818.]

[Illustration: FIG. 820. RETICELLA LACE. MATERIALS—For the open-work: Cordonnet 6 fils D.M.C Nos. 10 to 100, or Fil à dentelle D.M.C Nos. 25 to 150, white or écru. For the bars: Lacets superfins D.M.C Nos. 3 to 8.[A]]

LACE IN KNOTTED STITCH (figs. 818 and 819).—This charming little lace, which is of Italian origin, was taken from a cushion cover, used for church purposes. The stitches, made in the order indicated in the working detail, fig. 819, are overcast at the last with a fleecy thread, such as Coton à repriser D.M.C, of a rather sober colour, such for instance as Bleu-Indigo 334, Rouge-Géranium 352, or Jaune-Rouille 363.

You overcast the slanting bars and pass over the stitches that connect the two picots.

[Illustration: FIG. 821. WORKING DETAIL OF FIG. 820.]

RETICELLA LACE (figs. 820 and 821).—The Reticella laces are generally made on a design traced upon parchment, similar to those required for the laces described later on. But as the manner of working has been modified in the lace represented here, we thought it as well to adopt the same simplification, often used in beautiful pieces of old needlework, which consists in substituting a braid made upon a pillow, for the bars made with the needle.

[Illustration: FIG. 822. VENETIAN LACE.]

[Illustration: FIG. 823. VENETIAN LACE.]

You begin by laying and fastening down the braid by means of very small stitches upon the lines of the pattern, which should be traced upon black paper; you next proceed to make the centre bars, covered with plain button-hole stitches, on which you mount a row of stitches, like those of fig. 755; these are followed by another bar, to make which, you pick up the loop of the stitches of the preceding row and by another row like the second, finished off with picots, like those illustrated in fig. 700. The bases of the pyramids likewise consist of bars, button-holed on both sides and edged on the inside with picots.

The stitches of the first row should not be too close together, that there may be room for those of the second row between, as we have already explained in fig. 702, in the chapter on Irish lace.

The inside of the pyramids is worked in the stitch represented in fig. 755, the picots round them are like the ones in fig. 599.

[Illustration: FIG. 824. VENETIAN LACE.]

[Illustration: FIG. 825. VENETIAN LACE.]

The lace, represented in fig. 820 in its original size, was worked in Fil à dentelle D.M.C No. 80, whilst the second engraving, representing the same subject, shows us how perfectly well it can also be made in heavier and coarser materials, these being in this instance, Lacets superfins D.M.C No. 4 and Cordonnet 6 fils D.M.C No. 20.

VENETIAN LACES (figs. 822, 823, 824, 825, 826, 827, 828).—Under the name of «Venetian point» are comprised, not only certain kinds of pillow lace, but even more generally, the beautiful needle-made lace, the outlines of which are bordered with handsome scallops in high relief.

We shall confine our attention in the present instance to the needle-made Venetian lace as the other can be learnt without any great difficulty by following the instructions already given for the making of pillow lace.

[Illustration: FIG. 826. VENETIAN LACE.]

[Illustration: FIG. 827. VENETIAN LACE.]

The preparation of the pattern, in most kinds of needlework, is a most important matter and one requiring the greatest care, but in the case of needle-made lace and pillow lace the processes are different.

The paper on which the design is traced must first be backed or lined with unglazed black paper (made specially for this purpose). Prick holes all along the lines of the pattern, at exactly the same distance from each other, remove the tracing and tack the black paper upon rather coarse linen.

This done, you take from three to five lengths of the thread of which the lace is to be made, lay them down together upon the lines marked by the prickings and secure them at each hole by a stitch made over the threads.

Fig. 822, with the others of the same series in their natural size, show the proper distance that should be left between the prickings, and the laying down of the threads begun; whilst in fig. 823, we have the threads laid down throughout, even for the little eyelet holes, which are to be open-worked afterwards.

[Illustration: Fig. 828. VENETIAN LACE. MATERIALS—For the open stitches: Fil à dentelle D.M.C Nos. 100 to 200. For the outlining and for the padding: Coton surfin D.M.C Nos. 120 to 150.[A]]

When all this preliminary work is finished, the pattern is ready for the lace stitches that are to form the filling in, between the raised outlines. In order to keep your work perfectly clean and preserve it from unnecessary contact with your fingers, cover all those parts of the pattern you are not immediately engaged on, with a piece of blue paper with a hole, about the size of a pea, cut in it. This you move along as you go, working only at the part of the pattern which is visible through the hole, keeping all the rest carefully covered up and sewing paper over each part as soon as it is finished; this should not be removed until you are ready to join all the separate parts together with bars or latticed ground and work the button-hole edges.

All the different lace stitches that are used as fillings must be begun and fastened off at the outline threads, which you must be careful not to drag out of their place.

We again remark, for the benefit of those of our readers who may not have read the preceding chapter attentively, that in working all the finer lace stitches, the needle should be held with the eye towards the worker and the point turned outwards. All the inside portions of the pattern have to be worked in separately; (for a choice of stitches to serve as fillings see figs. 720 to 762) until all the spaces are filled, as represented in figs. 825 and 826. The stitches should be selected as far as possible, to suit the style of the design. Flowers look best worked in an open or lattice stitch, leaves on the other hand in a thick close stitch.

When all the insides are done, the edges and outlines have to be closely button-holed.

The old Venetian laces are bordered with scallops in high relief, worked over a thick pad of laid threads, as described on p. 83, fig. 191, relating to Venetian embroidery.

[Illustration: Fig. 829. VENETIAN LACE WITH NET GROUND.

MATERIALS—For the open stitches: Fil à dentelle D.M.C Nos. 100 to 200.—For the outlining and for the padding: Coton surfin D.M.C Nos. 120 to 150.]

VENETIAN LACE WITH NET GROUND (fig. 829).—The outlining of the figures with several strands of Coton surfin D.M.C, should, in the case of detached pieces of lace, be done at once, but where the figures are connected by bars or by a net ground as in fig. 825, the button-holed outlines should be done last. Thus in making the lace, fig. 829, you should begin by working all the insides of the flowers and foliage, then the net ground which may be replaced by bars with picots and then only proceed to the outside button-holing and the scallops.

As all this kind of lace-work is very laborious and takes a long time to do, we advise our readers to use thread that is slightly tinted; in the first place it does not turn yellow as white thread is liable to do and secondly, being softer and less twisted it takes every bend and turn more readily than the stiffer white material does.

Of all the different kinds of thread, so frequently alluded to in these pages, the higher numbers of Fil d’Alsace D.M.C and Fil à dentelle D.M.C are the best for the finer kinds of lace, and they all have the soft ivory tint, we so admire in the old needlework.

[Illustration: FIG. 830. SPRAY IN NEEDLE-POINT. MATERIALS—For the open stitches: Fil à dentelle D.M.C No. 200.—For the outlining: Coton surfin D.M.C Nos. 120 to 150.[A]]

SPRAY IN NEEDLE-POINT (fig. 830).—Needle-point lace, also called Brussels lace, requires the same preparatory work as Venetian lace; but it seldom contains such a variety of stitches and openwork as the latter.

The flowers are generally worked in one of the stitches, represented in figs. 720 and 740; the outlines are less thickly button-holed and the stitches, set everywhere less closely.

Here also, the finished parts should be carefully covered with paper to keep them from getting soiled.

The needle-point lace designs are ordinarily speaking more realistic and as regards the composition, less artistic and severe than the Venetian point ones.

The spray, represented in our engraving, is a specimen of an ordinary Brussels lace pattern and of the stitches it is worked in.

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: APPLIQUÉ WORK ON SATIN SET WITH FINE CORD.]

Miscellaneous fancy work.

As the plan on which this book was constructed rendered a systematic classification of the different subjects it treats of necessary, a certain amount of miscellaneous fancy work, which does not come under any of the previous headings remains to be dealt with in the present chapter. In most cases the illustrations and the accompanying directions are but an application to a practical use of the different kinds of stitches already described in previous chapters and those who are familiar with all these various branches of needlework will have no difficulty in understanding what follows.

KNOTTED CORD (figs. 831, 832, 833, 834, 835).—The knotted cord referred to in the letter press belonging to figs. 772 and 773 in the chapter on Irish lace, comes under the present heading: in making it, the fingers take the place of a crochet needle.

You tie two ends of thread or braid together, take one thread in the left hand fig. 831, and with the forefinger of the right, pull out a loop long enough for the left forefinger to pass through and hold the end of the thread tight with the little finger of the right hand.

Then draw the left forefinger backwards through the loop and behind the thread that is round the loop and lies in the left hand, fig. 832. As you lay the thread round the left forefinger, you must pass the knot and the ends of thread as well, over into the left hand, and with the right hand pull the thread that lies on the right and draw up the loop, fig. 833.

[Illustration: FIG. 831. KNOTTED CORD. FIRST POSITION OF THE HANDS.]

[Illustration: FIG. 832. KNOTTED CORD. SECOND POSITION OF THE HANDS.]

[Illustration: FIG. 833. KNOTTED CORD. THIRD POSITION OF THE HANDS.]

In fig. 834, representing the fourth position of the hands, you are shown how the forefinger of the right hand lifts up the thread and passes through the loop on the left hand; the end will consequently also pass immediately into the right hand and the left hand will tighten the knot.

It is by thus drawing up first a loop on the right and then one on the left that this pretty cord is produced.

Skilful hands will soon learn to make a cord of the same kind with four threads, as follows: knot the four ends of thread together, make a few knots, using two threads as one, then dropping the loop on your forefinger, put the next one upon it and draw up the knot, passing however the threads over those that you dropped. Then drop the loop you have on your finger again and take up the first loops.

[Illustration: FIG. 834. KNOTTED CORD. FOURTH POSITION OF THE HANDS.]

For the cord made with double threads, represented in fig. 835 on a magnified scale, use Cordonnet 6 fils D.M.C or one of the other materials mentioned at the foot of the illustration. Soutache D.M.C will always be found to be very suitable for this purpose.

BALLS FOR TRIMMINGS (figs. 836, 837, 838, 839, 840, 841).—Amongst the crochet patterns are two that are finished off with balls; to make these, begin by cutting a number of rounds of cardboard, two for every ball, with holes in the middle, fig. 836.

[Illustration: FIG. 835. KNOTTED CORD. MATERIALS: Fil à pointer D.M.C Nos. 10 to 30, Coton à tricoter D.M.C Nos. 6 to 12, Cordonnet 6 fils D.M.C Nos. 3 to 25 or Soutache D.M.C Nos. 1 to 3.[A]]

If you have a great many balls to make it is well worth your while providing yourself with a metal die of the proper size, to cut the rounds with.

[Illustration: FIG. 836. BALLS FOR TRIMMINGS. CIRCLE OF CARDBOARD.]

[Illustration: FIG. 837. BALLS FOR TRIMMINGS. OVERCASTING THE CIRCLE OF CARDBOARD.]

[Illustration: FIG. 838. BALLS FOR TRIMMINGS. CUTTING THE STITCHES ROUND THE EDGE.]

[Illustration: FIG. 839. BALLS FOR TRIMMINGS. PUTTING IN THE LOOP.]

[Illustration: FIG. 840. BALLS FOR TRIMMINGS. CUTTING OUT THE CARDBOARD.]

[Illustration: FIG. 841. BALL COMPLETED WITH LOOP ATTACHED.]

Lay two of these rounds together and cover them closely with stitches, fig. 837, using for this purpose Coton à tricoter D.M.C (knitting cotton) or Coton à repriser D.M.C (darning cotton).[A]

When the round is entirely covered, put the scissors in between the two circles of cardboard and cut open the stitches all round the outer edge, fig. 838; then draw a piece of thread between the two circles and knot it firmly round the stitches that meet in the centre hole, fig. 839; leave sufficiently long ends of thread hanging to form a loop by which the ball can afterwards be fastened to the heading of the fringe; when the stitches are knotted together you cut and pull out the cardboard, fig. 840, and snip the thread with your scissors until it becomes quite fluffy and the ball is perfectly round, as shown in fig. 841.

TAMBOUR WORK (figs. 842, 843, 844, 845).—Since the introduction of the sewing machine, by means of which this charming kind of embroidery can be so quickly and easily executed, it has somewhat gone out of favour. As however, the fine patterns with a good deal of shading in them, can be far more accurately worked by hand than by machine, tambouring, which is in point of fact merely a form of crochet, has lately been revived. The piece of stuff on which the tambour work is to be done must be mounted on a frame.

[Illustration: FIG. 842. THIMBLE FOR TAMBOURING.]

[Illustration: FIG. 843. TAMBOUR NEEDLE.]

The loops which are made with a small hook, called a tambour needle, form a fine chain stitch and must be regular and even; to facilitate this a sort of thimble, fig. 842, is worn on the forefinger of the right hand, formed of a small plate of sheet brass, rolled up but not joined, so as to fit any finger; it is open at the top like a tailor’s thimble and has a little notch on the side which is placed above the nail, and in which you lay the tambour needle whilst you work. From the thimble being cut slightly slanting at the top, it follows that the inside where the two ends meet is a little shorter than the outside.

The thread is drawn through in a loop to the front of the work by means of the hook, whilst it is held at the back in the left hand, and when the needle is put downwards through the stuff, laid round it. The needle in its downward and upward passage, should be kept in the notch in the thimble and the stuff pressed down with the thimble, as the needle is drawn up to the surface of the work, fig. 844.

[Illustration: FIG. 844. POSITION OF THE HANDS IN TAMBOURING.]

A little practice is necessary to acquire the right action of the hands, there being always a tendency, the same as in tatting and macramé, to confuse the movements of the two. As soon as you realize that the upward drawing of the needle and the downward pressure of the stuff with the thimble must be simultaneous, you will find that you can work with great rapidity and with admirable results. Thread with a very strong twist, which the hook will not split, is the only suitable kind for tambouring. Of the D.M.C materials, Fil d’Alsace[A] and Fil à dentelle[A] are the most to be recommended.

Numbers of patterns, originally intended for other kinds of embroidery can be executed in tambour work; amongst those contained in this Encyclopedia, figs. 192, 210, 216, 219, and 227 are the ones that are best adapted to the purpose.

[Illustration: FIG. 845. DRAWING OUT THE THREAD WITH THE NEEDLE.]

SMYRNA STITCH WORKED WITH A CROCHET-NEEDLE (figs. 846, 847, 848, 849).—In the chapter on tapestry, p. 137 we remarked that Oriental carpets and mats could be worked in different other ways, to be subsequently alluded to at greater length.

[Illustration: FIG. 846. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE. FIRST DETAIL.]

[Illustration: FIG. 847. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE. SECOND DETAIL.]

[Illustration: FIG. 848. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE. APPEARANCE OF THE KNOTS UNDERNEATH.]

[Illustration: FIG. 849. SMYRNA STITCH WORKED WITH A CROCHET NEEDLE. APPEARANCE OF THE WORK WHEN FINISHED.]

Smyrna stitch requires only a crochet needle and is worked on very coarse canvas or Java linen. You take a coarse mesh of cotton, such as Nos. 6, 8 or 10 of Colon à tricoter D.M.C (knitting cotton), cut it into lengths of 8 c/m., fold two lengths together in half, stick in the crochet needle from above, under two threads of the canvas, take hold of the loop with the hook, fig. 846, and draw it in; then push out the hook to seize the ends of the cotton and draw them through the loop which is on the needle, as indicated by the little arrow in fig. 847. The stitches or tassels should be two or three double threads of the canvas apart. As you finish each row, comb the ends of the tassels out carefully with a fine metal comb. When the whole piece of work is finished shear the entire surface, quite even, with a pair of sharp scissors. Fig. 849 shows a square of the work completed, presenting that warm velvety appearance which distinguishes the Smyrna carpets.

[Illustration: FIG. 850. MALTA STITCH. FIRST DETAIL.]

[Illustration: FIG. 851. MALTA STITCH. SECOND DETAIL.]

[Illustration: FIG. 852. MALTA STITCH. THIRD DETAIL.]

[Illustration: FIG. 853. MALTA STITCH. FOURTH DETAIL.]

MALTA STITCH (figs. 850, 851, 852, 853, 854).—This stitch is much used by the Maltese; it is the same as the «point tricot» excepting that in the latter, the loops formed by the return of the thread are open and the stitches packed very closely together, whereas in the Maltese work there is always one close loop and two open tassels.

[Illustration: FIG. 854. MALTA EMBROIDERY. MATERIALS: Coton à repriser D.M.C No. 25.[A] COLOURS: Jaune-vieil-Or 680, Vert-Mousse 469, Bleu-Indigo 311 and Rouge-Cornouille 449.[A]]

It is worked as follows: take a thick bunch of lengths of Coton à repriser D.M.C, pass it under two vertical threads of the stuff, from right to left, fig. 850, leaving an end, 1 or 2 c/m. long, lying on the surface of the work; put the needle in again under the two threads that are in front of the first stitch and leave the tassel, formed by the first stitch, above the one by which you bring the needle back between the two stitches.

The needle must now follow the same course it took for the first stitch and the thread must be drawn out far enough to form a loop as long as the tassel; you then repeat the second stitch, carrying back the working thread however this time above the loop, after which you cut the two open ends the same length as the loop. In the Maltese work, three times as many threads have to be left between the tassels as are covered by the stitch.

Thus if your stitch cover 4 threads of the foundation, you should leave 12 threads between the tassels, and if it cover 6, you should leave an interval of 18 threads, that the stuff may always be visible between the little tassels or balls.