Beeton's Book of Needlework

No. 460 is a rosette or star which is used to fill circles of braid, and forms the centre of many modern point lace patterns. It is worked upon a pattern traced and pricked in small holes at equal distances. Two threads are employed, one coarse tracing thread, the other of finer thread. The coarse thread is laid on thus:–Pass the needle containing the fine thread, No. 12, through one of the pricked holes, over the tracing thread and back through the same hole; repeat, following the traced outline until the whole of the coarse thread is laid over the outline, then work over in tight button-hole stitch with picots or purls, as on the Raleigh bars (see page 477). This mode of laying on tracing or outlining thread is also applied to fine braid and to point lace cord, as in the alphabet No. 400 (see page 500).

BARS.

The word Bar is applied to the various stitches used to connect the various parts of point lace work, and the beauty of the work depends greatly upon the class of bar and its suitability to the lace stitches used. The simplest bar is–

No. 461.–THE SORRENTO BAR.–It is worked from right to left, a straight thread being carried across and fastened with a stitch. The return row consists of a simple twist under and over the straight thread; three of these bars are usually placed close together at equal distances between each group. The thread is sewn over the braid in passing from one spot to another.

Sorrento bars are also applied as shown in illustration No. 462.

No. 463.–D ALENCON BARS are worked upon point de Bruxelles edging, and are only applied to the inner part of a pattern, never being used as groundwork bars. The thread is merely passed three times over and under the point de Bruxelles stitches, the length of these bars being regulated by the space to be filled; when the third bar is completed a tight point de Bruxelles stitch is used to fasten off the bar, the thread is passed through the next point de Bruxelles stitch, and a second bar begun.

No. 464.–THE VENETIAN BAR is so simple that it hardly needs description. It is worked over two straight threads in reverse button-hole stitch.

No. 465 shows the Venetian bar applied as the "veining" of leaf, and worked upon Sorrento bars.

No. 466.–VENETIAN BARS are worked so as to form squares, triangles, &c., in button-hole stitch upon a straight thread. The arrow in the illustration points to the direction for working the next.

No. 467.–BARS OF POINT D'ANGLETERRE.–These bars may be worked singly or to fill up a space, as in illustration. Work rosettes as in point d'Angleterre, page 461; when each rosette is finished twist the thread up the foundation thread to the top, fasten with one stitch, then pass it under the parallel line running through the centre and over into the opposite braid; repeat on each side of each rosette, inserting the threads as in illustration.

No. 468.–POINT DE VENISE BARS (EDGED).–Begin at the right hand and stretch a line of thread to the left side of the braid, fastening it with one tight stitch of point de Bruxelles. Upon this line work a succession of tight point de Bruxelles stitches. In every third stitch work one point de Venise stitch.

No. 469.–We now come to the most important feature of BARS–the dot, picot, or purl, for by all these names it is known. This dot is worked in various ways upon different lace bars. Dotted point de Venise bars are worked as follow:–

Stretch the thread from right to left, on this work five tight stitches of point de Bruxelles, then insert a pin in this last stitch to hold it open and loose, pass the needle under the loose stitch and over the thread, as clearly shown in illustration No. 469, and in this loop work three tight point de Bruxelles stitches. Then work five more stitches, and repeat to end of row.

No. 470 shows a dot or picot upon a Sorrento bar worked between rows of point de Bruxelles, three twisted stitches being worked into the loop left by the twisted thread; this forms a picot resembling satin stitch in appearance.

Nos. 471 and 472.–RALEIGH BARS are worked over a foundation or network of coarse thread, twisted in places so as to more easily fall into the desired form.

By following the numbering from No. 1 to 21, in No. 472, a square place may be easily filled, and portions of this arrangement applied to form groundwork of any shape desired. Upon this groundwork tight point de Bruxelles stitches are worked, and the dot worked upon these in one of the following ways:–

DOT or PICOT:–

1st Mode: Five tight point de Bruxelles stitches, one loose point de Bruxelles; pass the needle under the loop and over the thread, as shown in point de Venise bars No. 469, draw up, leaving a small open loop as in tatting. Work five tight point de Bruxelles and repeat.

2nd Mode: Proceed as above, but instead of continuing the tight stitches work two or three tight stitches in the loop thus formed, and repeat.

3rd Mode: Work four tight point de Bruxelles stitches, one loose, through which pass the needle point, wind the thread three or four times round the point, as shown in illustration No. 473, press the thumb tightly on this, and draw the needle and thread through the twists. This is a quick mode of making the picot, and imitates most closely the real Spanish lace.

Illustration No. 473 also shows how this stitch may be applied as a regular groundwork, but the beauty of old point groundwork bars is the variety of form.

EDGES AND PURL FINISH.

The correct edging of lace is a most important part of this art, and care should be taken to work a proper edge for each kind of lace. Sorrento edging should be worked upon Limoges lace. Spanish lace requires a full rich edge, as shown in No. 478, &c. The simplest edge is point de Bruxelles, which is worked somewhat like the stitch No. 433, and is secured by a knot worked in the braid. Many lace-workers omit this knot.

No. 475.–SORRENTO EDGING is worked with one short and one long stitch alternately.

No. 476.–POINT DE VENISE is worked precisely like that stitch (see page 456), three and even four stitches being worked in the loop.

No. 477.–POINT D'ANGLETERRE EDGING is worked in point de Bruxelles, the thread being again drawn through the braid before proceeding to the next stitch. This edging is strong and useful.

No. 478.–POINT D'ESPAGNE EDGING.–This stitch is easily worked. Insert the point of the needle through the braid and wind the thread round it 20 times, draw the needle through these windings and draw the picot tight, sew over the braid the space of 3 stitches, and repeat.

No. 479.–ANTWERP EDGE.–This edge is only a variety of point d'Angleterre edging, and differs only in the mode of making the knot; the thread is passed over, under, and through the loop formed by the point de Bruxelles lace.

NOTE.–It will be observed that the stitches here given are much enlarged for the sake of clearness in showing details.

POINT LACE PATTERNS

No. 480.–Star in Point Lace.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 20.

Trace the outline upon paper or leather, lay the braid on as directed. Work the centre in Sorrento bars, and on these work a rosette in point d'Angleterre, the edge in point d'Angleterre edging, and the wheels in open English lace.

No. 481.–Medallion in Point Lace.

Materials: Linen Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 14.

This medallion is useful for cravat ends and for a number of purposes, as trimming for sachets, dresses, &c. Having placed the braid as before directed, work an English rosette in the centre, fill in the ground with point de fillet or with point de Bruxelles. An edging of Spanish point completes this pretty medallion.

No. 482.–Point Lace Border.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12.

This border represents the completed work shown on p. 454. A point d'Angleterre rosette is worked in each circle. The plain braid is edged by Sorrento edging. Venice bars are worked above the trimming, and treble point de Venise edges the border.

No. 483.–Point Lace Border.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 10.

This border is both easily and quickly worked in Sorrento bars. The edge is worked in two rows of point de Bruxelles.

No. 484.–Insertion in Limoges Lace.

Materials: Plain linen braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 14.

This insertion will be found very useful, being so quickly worked. Edge the braid with Sorrento edging, fill up with bars and plain point d'Alençon and Sorrento wheels, No. 456.

No. 485–Point Lace Border for Handkerchief.

Materials: Fine lace braid or cord; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 24.

This border is suited for a handkerchief or for trimming a square bodice. The braid is not tacked on by stitches running through the centre, as is usual in point lace braids, but sewn on by passing a thread from underneath over the braid and out through the same hole, as is done by lace-workers with a thick thread; this forms the design. The stitches employed in this pattern are Raleigh bars, which connect the work; Sorrento edging, which finishes the whole outline; English rosettes filling the open spaces. Point lace cord may be used for this in place of braid.

No. 486.–Star-Centre for Toilette Cushion in Point Lace.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 16 and 12.

This beautiful star will be found useful for other purposes than as a toilette cushion cover, and is worked as follows:–English rosette in centre; Sorrento wheels in the 4 ovals, worked with No. 12 thread; point de Bruxelles ground, worked with No. 16; braid edged by dotted Venetian edges. The eight spaces may be filled with 2 or 4 contrasting stitches, taking care that they contrast well, and are placed alternately, and worked in No. 12.

487.–Cravat End in Point Lace.

Materials: Fine braid: Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12.

This cravat is worked in Sorrento wheels, point d'Alençon bars, and Sorrento edging.

488 and 489.–Point Lace Edgings.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 12 and 16.

These edgings can be used as a finish to insertions and other trimmings or for edging couvrettes. No. 488 is worked with Sorrento wheels; the edge in two rows of point de Bruxelles, a straight thread being drawn from the end to the beginning of each scallop over which the second row is worked. No. 489 is worked with the same materials in treble point de Venise, edged by the same, and finished off with a row of point de Bruxelles, the upper edge being worked in the same way.

490.–Design in Point Lace for Collar, Lappet, &c.

Materials: Linen braid; Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 10 and 16.

This design may be used for a variety of purposes, and is extremely effective. The principal stitches required are given at the sides of the pattern. a is Valenciennes lace, b Brussels net, c Venetian spotted, d Sorrento edging, e Mechlin wheel, f English rosette, g Raleigh bars.

491.–Oval for Cravats, &c.

Materials: Point lace cord; muslin; embroidery cotton; Messrs. Walter Evans and Co.'s Mecklenburg thread Nos. 14 and 18.

This beautiful oval is worked in point lace and embroidery. This is begun from the centre on the muslin by overcasting the space filled by a wheel. The eyelet-holes are then worked, and the satin stitch ornament raised and prepared for working. The edge, of point lace cord, is then laid on, and the under portion edged in tight and open point de Bruxelles, the centre of the circles being worked in point de Bruxelles. The light groundwork is worked entirely in Mechlin wheels, the satin stitch being worked when these are completed. This pattern can be enlarged and applied to many purposes. The muslin is cut away when the whole work is finished.

492.–Point Lace Trimming for Square Bodice.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 12 or 20.

We give two sizes of thread, as this design is capable of many uses, and the size of the thread differs with these. The pattern is worked in English rosettes and bars (see No. 467). No. 488 edging looks well with this pattern.

493–Point Lace Collar.

Materials: Fine braid or cord; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 22.

Set on the braid or cord by passing a thread through a hole pricked in the pattern over the braid and out again through the same hole. Edge the braid with point de Bruxelles, the design being filled by Mechlin wheels, Sorrento wheels, point de feston, and the mixed stitch shown in No. 494, which is composed of d'Alençon and Sorrento bars, and is easily worked. Those who cannot work Mechlin wheels easily, can substitute close English, as shown in illustration No. 495. The bars are Sorrento.

496.–Point Lace Collar.

Materials: Fine braid or cord; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 22.

This collar is worked in the same way as No. 493, though the stitches vary. The Grecian line is worked in point de reprise, the pattern in close English wheels, point de reprise, point de Bruxelles, English rosettes, and Raleigh bars.

497.–Point Lace Lappet.

Materials: Braid; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 16 or 24, according to the fineness required.

This lappet is exceedingly pretty. It is composed of the following stitches:–Point d'Alençon, point de tulle, English rosettes, Sorrento bars, d'Alençon bars, dotted Venise bars, and the fancy stitch point d'Anvers, which is not a true point lace stitch, but which is much employed in modern point.

Point Grecque is another useful variety of fancy stitch, and so easily worked as to be a favourite stitch with beginners.

500 to 502.–Alphabet in Point Lace. (See end papers.)

Materials: Point lace cord; Messrs. Walter Evans and Co.'s Mecklenburg thread No. 36.

This alphabet is useful for marking pocket-handkerchiefs, and for initials for sachets, &c. The cord is laid upon the pattern and pricked out by passing a thread up through a hole over the cord, and back through the same hole; then pass on to the next hole, and repeat. The holes should be about an eighth of an inch apart, or nearer when the pattern is finely convoluted. The letters are worked in point de Bruxelles, point d'Alençon, and dotted Sorrento bars. No. 501 shows the letter A greatly enlarged, to show the mode of working.

TABLE OF THREADS SUITED TO VARIOUS ARTICLES WORKED IN POINT LACE

Point lace cord runs about twelve yards to the hank.

Point lace edged braid runs thirty-six yards on cards.

Plain linen twelve yards in each hank.

GUIPURE D'ART

INSTRUCTIONS AND PATTERNS IN GUIPURE D'ART

Ancient Guipure was a lace made of thin vellum, covered with gold, silver, or silk thread, and the word Guipure derives its name from the silk when thus twisted round vellum being called by that name. In process of time the use of vellum was discontinued, and a cotton material replaced it. Guipure lace was called intelle à cartisane in England in the sixteenth century. Various modern laces are called Guipure, but the word is misapplied, since Guipure lace is that kind only where one thread is twisted round another thread or another substance, as in the ancient Guipure d'Art.

In every design where lace can be introduced, Guipure d'Art will be found useful. It looks particularly well when mounted upon quilted silk or satin. The squares, when worked finely, look well as toilet-cushions, or, if worked in coarser thread, make admirable couvrettes, and as covers for eider-down silk quilts are very elegant. Guipure squares should be connected by guipure lace, crochet, or tatting, or they may be edged with narrow guipure lace and joined at the corners only when placed over coloured silk or satin; thus arranged, a sofa-cushion appears in alternate squares of plain and lace-covered silk; a ruche of ribbon and fall of lace to correspond completes this pretty mounting.

Not one of the least important attractions of Guipure d'Art is the speed with which it is worked, and the ease with which fresh patterns are designed by skilful workers.

GUIPURE D'ART is an imitation of the celebrated ancient Guipure Lace, and is worked in raised and intersected patterns upon a square network of linen thread, Mecklenburg thread of various sizes being used for this purpose. The needles employed are blunt, and have large eyes, to admit the linen thread.

Materials required: One frame of wire covered with silk ribbon; one square of Mecklenburg thread net (fillet), either coarse or fine; Mecklenburg thread; netting-needles and meshes of various sizes.

The netted foundation, or "fillet," upon which this elegant work is embroidered, can be made by ladies very easily, and at much less cost than when bought ready made.

The square is worked by netting with coarse No. 2 or fine No.10 thread over a mesh measuring three-quarters of an inch or more, in rows backwards and forwards. Begin with 2 stitches, and increase 1 at the end of every row till you have one more stitch than is required for the number of holes. Thus, if a square of 26 holes is required, continue to increase up to 27 stitches, then decrease 1 at the end of every row till 2 stitches only remain. The last 2 stitches are knotted together without forming a fresh stitch.

The completed foundation is laced upon the frame, taking the lacing cotton through the double edge formed by the increased and decreased stitches. If the four corners of the netting are tied at each corner of the frame before beginning the lacing, that operation is greatly facilitated. The netting should be laced as tightly as possible, it being far easier to darn on than when loose.

Ladies who wish to excel in working guipure d'art should practise each of the stitches until they attain perfect regularity and quickness in their execution. Two or three hours devoted to this in the first instance will not be time wasted, as the most elaborate pattern will be worked with ease as soon as the stitches are mastered.

The Mecklenburg thread of Messrs. Walter Evans and Co., of Derby, will be found a better colour than any other, as it closely resembles the shade of the ancient guipure lace.

It is sold only in spools of 200 yards each, and the numbers run as follow; No. 2, 4, 6, 8, lo, 12, 16, 20; No. 2 being the coarsest, and No. 20 the finest.

The principal stitches used in guipure d'art are POINT D'ESPRIT, POINT DE TOILE, POINT DE FESTON, POINT DE REPRISE, POINT DE BRUXELLES, and WHEELS and STARS. POINT D'ESPRIT is worked with finer cotton than the foundation, say No. 10 on a foundation of No. 6. It consists of a succession of small loops, as will be seen clearly in the illustration. The learner should begin from the mark * No. 503, and working a row of loops the length required, turn the frame and work loops on the opposite half of each square intersecting the first worked loops in the centre of each intervening bar of netting. A careful examination of Nos. 503 and 506 will explain this more clearly than is possible in words.