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THE
LADIES’ COMPLETE GUIDE
TO
Crochet, Fancy Knitting, and Needlework.

BY MRS. ANN S. STEPHENS.

Containing a complete Dictionary of the technical terms and characters used in descriptions of Crochet and Fancy Knitting Patterns. In this work the terms are so clearly explained, that any person who can read, can in a few hours learn to execute the most complicated and difficult patterns in Crochet and Knitting. This work also contains the clearest elementary information and the fullest instructions for every species of Needlework, with new and beautiful edgings and insertions, in addition to the choicest specimens of Ladies’ work.

NEW YORK:

DICK & FITZGERALD,

18 ANN STREET.

Entered according to Act of Congress, in the year 1854, by

GARRETT & CO.,

In the Clerk’s Office of the District Court of the United States for the Southern District of New York.

CONTENTS.

LADIES’ COMPLETE GUIDE TO CROCHET AND NEEDLE WORK.

NEEDLE WORK AND ITS HISTORY.

The first step in education ever made by the feminine mind was the art of Needlework. Before women began to read, and when they considered writing as a mystery only to be undertaken by men of nobler parts, Needlework became a sort of medium by which women attempted to express their ideas and embody those affectionate thoughts that must have some expression to keep the full heart from overflowing.

In olden times, when war and warlike fame was the great object of every brave man, woman first learned to write her love and all the mysterious faith which, with the educated or uneducated, is a portion of her being, in those war pennants and embroidered scarfs that were worn by the sterner sex as rewards of valor or expressions of love. Taking a hint from the flowers, God’s own handwriting of love upon the bosom of the earth, she began to symbol the deep feelings of her nature in imperfect imitations, and this was the first step made by woman in the progress of mind.

How rude and uncouth these first attempts were, matters little. They constituted the alphabet of all the bright creations, whether of the pencil or pen, which are the glory of the present century. During the dark ages Needlework was considered an aristocratic, nay, almost a regal accomplishment, and queens vied with each other in the gentle art as ardently as their husbands struggled in the battle-field.

The Lady of a castle in those times made it a portion of her duty to initiate the noble damsels of her household in the mysteries of cross and tent-stitch, just as her lord held noble youths in training for the battle-field.

The amount of Needlework done by the female sovereigns of England and France is really wonderful! The wife of William the Conqueror wrought whole suits of tapestry with her own hands, and poor Mary Stewart has left scores of mournful proofs how great a consolation this accomplishment is to the suffering and afflicted. Her solitude in the various prison castles of England was softened more by this gentle occupation of the hands, than by her literary or conversational talent put together. The most touching memento of this beautiful woman at Holyrood Palace is the basket in which she placed those pretty garments, enriched by her own skill, intended for the infancy of her only son—that son who allowed her to remain a prisoner during his entire youth, rather than endanger the friendship of her royal murderess. Indeed one of the most painful events of her life was connected with this art. After a year of prison life, spent in embroidering a robe for this pusillanimous son, after she had woven as it were her anguish and her tears in the rich fabric, she forwarded the garment to Scotland, accompanied by a letter full of maternal love. This letter was directed to James, Prince of Scotland, not to the King. Holding her own sovereign rights as sacred, how could she acknowledge those of another by her own hands. James sent the robe back because of this omission It is easy to fancy, after this outrage, that poor Mary Stewart might receive her death warrant with comparative composure.

KNITTING.

We should find it difficult to trace the origin of this particular class of work-table employment, of which our book treats, except as it sprang from these intricate stitches first introduced into old point lace. The transition from one needle to more, and the weaving of thread into forms of beauty, was a progress natural to the spirit of invention, and the facilities for thought which the first step in any art creates.

Probably the first progress which Knitting made toward a distinct art, was when yarn stockings were invented in Flanders. The stitch, as every New England housewife knows, is simple enough. But inventive genius has so adorned and varied it, that stockings are easily enriched with lace-work, and lace itself is abundantly manufactured by a little thread and a pair of knitting needles. There is no female accomplishment so universal as this of knitting. The women of different nations perform the simple stitches with a process of their own, but the result is the same. In Germany and Russia, the yarn is held in the left hand, and wound in an intricate fashion among the fingers of that hand, while with us it is simply folded over the front and little finger of the right hand. The author remembers well the amazement and merry smiles of a Russian lady in St. Petersburg, when she exhibited this American method of producing the stitch the lady had been forming in the continental fashion; this was but natural; for the amusement was quite mutual. Nothing could be droller than the way in which she handled her needles.

All over Europe, ladies may be seen in their balconies after dinner, grouped around their work-baskets, while the gentlemen converse with them, or silently watch the progress of their pretty tasks. In the sitting-room of every mansion, some one corner is rendered cozier than the rest, by the well-used work table, laden with pretty boxes and baskets, crowned with a rainbow wreath of Berlin wool. Fashionable as this household accomplishment is getting among us, American ladies devote themselves less to needlework than those of almost any other nation.

CROCHET WORK.

Crochet Work proper is, in its present improved form, almost a modern invention. It has only been introduced to any extent into the country within the last twenty years, but now it is very general, and our old-fashioned knitting work is completely thrown into the back ground by the Crochet needle. The embroidered sheath and chased silver needle-case have disappeared even from the cherry-wood workstands of New England, and a thousand beautiful designs for chairs, cushions, toilets and wearing apparel, supply the place of the old-fashioned stocking basket with its well mended contents. In England and Ireland, where the ladies are always industrious, Crochet work has arisen to the dignity of an art. It is introduced into the national schools, and hundreds of poor are supported by the rich laces and pretty collars produced there.

It is quite wonderful to what perfection this art has reached in some districts of Ireland. Every day develops new improvements and contributes some novel pattern to the world, which promises to render this class of lace making more popular than even the English point, has been, especially on this side the Atlantic. At the Crystal Palace this year, some specimens of Crochet collars, sleeves, and even entire dresses, were exhibited that had all the rich effect of old point lace. Flowers, even raised in petals from the ground work, have been invented, and the most intricate patterns are given with a boldness of effect only to be found in the ancient lace we have mentioned.

Thus it is pleasant to see that what was late only a dainty accomplishment with which the gentlewoman idled away her time, promises to become a means of support to the working classes.

In this country, Crochet work can only be denominated an accomplishment, but we must consider it not merely as an elegant way of whiling away time, but as one of those gentle means by which women are kept feminine and lady-like in this fast age. Masculine women of hard and coarse grained natures, are seldom given to these pleasant household employments. We never hear that Elizabeth amused herself with the needle, she was too busy with her pen signing death warrants, or with her tongue scolding her council, for any thoughts of the graceful art which brightened the prison she gave to her beautiful rival. Indeed, fancy work in all its branches is always subservient to the household spirit which attends every true woman.

There is a careless fashion among gentlemen, of speaking lightly regarding those graceful exhibitions of female industry, which pass under the head of Fancy Work. Yet, to our mind, there is no amusement more innocent and graceful. One of the most distinguished literary ladies of this country once told us that she cultivated a love of her old-fashioned knitting, because it gave employment for her hands, which were so used to motion, that she really felt uncomfortable when they were unemployed. Our friend is only singular in the homeliness of her taste in knitting useful stockings, instead of pretty ornaments. The ladies of almost every country we have ever seen appear most natural and charming when employed in some graceful task of needlework or knitting.

But a love of it is increasing, and still increasing. Let gentlemen deride these pretty occupations if they please; we know how much of a soothing influence lies in the dreamy habit of counting stitches, and how many bright faculties are pleasantly exercised in arranging and matching colors.

On no occasion does a lady seem more lovely than when half occupied with some feminine art which keeps her fingers employed, and gives an excuse for downcast eyes and gentle pre-occupation. This sort of playing at work, and working at play, sheds a home feeling around the guests which no studied effort at hospitality can produce, and forms habits of usefulness which consumes many an hour of idle time that might be put to far more harmful uses.

There is an air of tranquility, and a proof of innocent contentment in these domestic accomplishments, that have a beautiful significance in the family circle. It is only in well regulated households that leisure moments are thus gathered up. It is only minds composed and serene in their joy, or submissive in sorrow, that can constrain themselves to the gentle monotony of work like this.

With a crotchet-needle in the hand, we join more pleasantly in conversation; the little implement fills up all embarrassing pauses: its use gives a feminine and domestic air, which men may smile at, but cannot condemn; and, under all circumstances, it is better than counting beads, like the modern Greeks, or flirting fans, like the Spanish belles—or flirting without fans, as sometimes happens to ladies of all nations.

The time which any lady gives to ornamental needlework is usually made up of those leisure moments which would be lounged away on a sofa, or in a rocking-chair; and it is wonderful how many pretty objects start into existence, that, but for this taste, would be dreamed away into nothingness.

Of course, no person of well regulated intellect would make a business of this graceful accomplishment, unless compelled to exercise it for a subsistence. We advocate it simply as an amusement, like all recreation, to be indulged in only when the more serious duties of life are disposed of. But it has advantages not always recognized. Many a fine eye for colors has been cultivated into artistic perfection, by the nice discrimination necessary to assort the tints of a worsted rose. Grouping may be learned from a close study of patterns, and a thousand charming associations may be woven in with the forget-me-not or heart’s-ease, which we have wrought tremblingly into the canvass, which a beloved eye was gazing upon.

Without a gift for needlework, what should we ladies do for appropriate mementos for our brothers, husbands, and friends, at Christmas time, and when birthdays come round, sounding their yearly remembrances upon our heartstrings? What should we do for wedding cushions, and christening robes, when our favorite cousins insist upon becoming heads of families, and useful members of society? What excuse should we have for casting down our eyes, when other people’s eyes become troublesome? Every lady knows how many heart-tremors can be carried off in a vigorous twist of the crotchet-needle; how many pleasant words may be innocently received in a sensitive heart, when all its defensive faculties are busy counting stitches? In short, we persist in it, that a feminine character cannot be quite perfect without a knowledge of all sorts of needlework, and a down-right hearty love of it, too. For our part, we have buried many a heart-ache in the growing leaves of a silken rose, and blunted the sharp edge of pangs that would not be wrestled with by the sweet, calm monotony of a shining bit of steel.

The delightful art of netting produces not only objects of beauty but of comfort so indispensable in our severe winters, that the fair hand employed in netting may be deemed useful as our grandmothers’ were when they seamed enormous quantities of yarn away in winter socks and stockings. In our cold seasons, when parties most prevail, sleeves, cuffs, rigolettes, and over-shoes of delicate Berlin wool, have saved many a fair form from colds and their consequent diseases, which, without such care, prove so fatal when heated rooms are exchanged for the biting cold of a winter’s night. With soft warm cuffs, or oversleeves, to draw over the arms, a snowy web of netting and tassels upon the head, and shoes thickly wadded with silk, drawn over the satin slippers, added to the usual wrappers, no lady need expose herself to cold though the atmosphere be at Zero and her dress of gossamer, with low neck and short sleeves. It is not always that fashion blends so gracefully with taste and comfort, as it does in these charming little trifles manufactured at odd moments, from Berlin wool, by the fair hands of those who intend to present or wear them. Besides, the fabrication of these articles is a pretty accomplishment that possesses a social value, independent of time well employed, and comfort secured.

Knitting, crochet work, and the manufactory of lace are so connected and interwoven together that the history of one would be incomplete without the other. We therefore go on from our familiar and pleasant talk about needlework as an accomplishment and give its history as a matter of trade. In this point of view, lace making is the most important, and indeed so connected with the rest that we give concise history of its rise and progress in the world.

We have already spoken of needlework in its first rude condition, when uncouth figures and a barbarian taste for gorgeousness prevailed without those powers that create harmonious beauty.

After these rude attempts at a first step in the arts, it is not wonderful that improvements were made, almost unconsciously, and that the innate genius that existed then as now in the female bosom found at all times some imperfect means of expression through the needle, which ended at last in those stitches, that have since been combined into the fabric called lace.

It is certain that neither labor nor ingenuity was spared in the production of the magnificent borderings for robes, often worked in gold and silver and various colors, which are associated in our minds with the ancients on better grounds than mere tradition. What, then, is more probable than that, in the search for novelty and variety—as much an object of desire, no doubt, in that age as in our own—the idea should have presented itself to some tasteful eye of relieving the pattern of the fabric with occasional spaces, either left wholly vacant, or filled up with a web-like ground work? This would, in reality, constitute lace, however much it might differ from the delicate material known by that name in the present day. Whether the introduction of lace is referable to the classic ages or not, certain it is that a very respectable degree of antiquity may be claimed for it.

It must be borne in mind that real or handmade lace is divided into two distinct classes: first, that worked with the needle, which has for ages been known by the name of point, and is but transparent embroidery; and secondly that made on a hard cushion or pillow, by the interweaving of numerous fine threads wound on wooden bobbins. The latter method of lace making is comparatively of modern invention; so that in the early history of the fabric it must be understood as referring solely to the point. During the earlier periods at which the existence of lace is generally recognised, it was exclusively worked in conventual institutions, and applied to the adornment of church-furniture and the state-vestments of the priests. Had it been made in populous towns, and formed an article of commerce, more satisfactory information would have been here and there discovered; but of those old isolated convents in Spain and Italy, and of the habits and pursuits of their inhabitants, little beyond vague tradition has descended to us. There is every reason to suppose, that during the thirteenth, fourteenth, and two following centuries, the making of lace occupied the same important position in the daily employments of the nuns, as the arts of copying illuminating manuscripts, amongst the monks and friars.

It is singular that, in later years, the secrets connected with the manufacture of old point lace have been lost to us; and that, although ingenious imitations are by no means rare, the authentic method of making it is quite unknown. The substratum used, or ‘foundation,’ as it is called, would appear to have been fine linen, though scarcely a thread is visible to the eye, from the heavy embroidery upon it, which here and there stands out in complete relief. The pattern consisted of small sections of fantastic and varying outlines; now a rather unnatural imitation of a flower, now some quaint arabesque or mechanical form, resembling nothing in the world but itself. These being distinct from each other, were united by delicate fibres made with the still common button-hole stitch; and it is not easy for mere description to render justice to the beauty of the general effect. It seems wonderful that so perfect a result could have been attained by following the impulse of the moment; but still more difficult to believe that any design could have been invented so strange and capricious in character. As for the untiring patience displayed in the execution, we can only rejoice that it was believed to be in a good cause; that the pious nuns could not foresee the desecration to which, in the course of some few centuries, their cherished productions were to be subjected. When accident or necessity by degrees alienated the more valuable adornments of church-furniture, they were applied to secular purposes; and no doubt many a modern belle may have unconsciously displayed in a ball room a lace flounce which has adorned an image of the Virgin, or sought ineffectual protection from a draught by drawing around her a mantle of old point, which has witnessed from the shoulders of a cardinal many a grand and imposing ceremony. There are, of course, comparatively few specimens extant of this very antique lace, properly described as Spanish point; and these few have in most cases been handed down to their possessors as valued heir-looms from generation to generation; regarded with as much honest pride by the ladies of the line, as the more valuable portion of the family heritage by their matter-of-fact husbands. As the supply of old point can never be renewed, and competition can never affect it, its value naturally increases; and when it can be bought at all, it is only at a price that would be deemed extravagant by any other than a genuine lace-fancier.

It was not until the latter part of the fourteenth century, that the world at large was indulged with more than an occasional glimpse of the beautiful fabric when displayed in the great festivals of the Church; but by that time some knowledge of the art had crept out of its holy hiding-places, and had found its way amongst the merchants of one or two continental cities, to whom its novelty and beauty could not fail to recommend it as a subject of extensive and profitable commerce. It is true, we do not hear of it at once as being in general use; but Rome was not built in a day, neither was point lace to be produced at a wish. The hands that made it had to be carefully instructed and exercised in their employment before any degree of perfection could be attained, and then long and unwearyingly had they to pursue it before even the wealthier classes of society, to whom alone it was attainable, could be adequately supplied. We meet with most frequent allusion to Venice, that great bazaar of the luxuries of the middle ages as the chief seat of the point lace manufacture in early times. As this city certainly monopolised the most skilful artisans in every branch of ornamental handicraft, and was the great emporium whence everything beautiful and costly was spread over the world, it is by no means extraordinary that the establishment of lacemaking in other countries should be generally referred back to some wandering band from the city of the winged lion.

The character of the lace worn during the fifteenth and sixteenth centuries differed in some respects from the conventual point, if it may be so termed. It was less massive, and although, certainly, exhibiting no deficiency of work, did not display that superabundance of adornment which distinguished the chiefs-d’œuvre of the holy sisterhoods. This is easily accounted for by the circumstance, that the one kind was made for money by those whose bread depended on the work of their hands, whilst the other was the chosen occupation of leisure hours, and an outward demonstration of heart-service.

Brussels, which has during several centuries maintained a reputation wider and more extended than any other place, may certainly in the present day be said to support and, if possible, extend the renown of its lace; of this there are two distinct varieties, easily recognisable by the initiated in such matters. The more valuable and beautiful kind is that called pointe a l’ aiguille, or, more commonly, Brussels point; it is worked wholly with the needle, and is, as its name implies, a very refined descendant of the ancient family of the points. It was very much in vogue among the wealthier classes in England during the reigns of Charles I. and several succeeding monarchs, and has been immortalised in Vandyck’s portraits of the martyr-king, under the form of the beautiful pointed collar and cuffs which were dignified by the name of the artist. Fashion has, in this case, been more constant than usual, since the taste for Brussels point has continued so decidedly among us, that we still monopolise a large proportion of the whole quantity made; the other variety, called Brussels plait, being more extensively used in France Spain, Russia, and other countries. In the latter description of lace, the flowers for the pattern are made separately on the pillow, and afterwards attached to net. It differs, in fact, but little from the best English Honiton, of which I shall speak hereafter.

In the lace called Mechlin, made at Malines and Antwerp, there are some of those nice distinctions which render an account of the various productions of Brussels unavoidably rather complicated. Mechlin lace is made entirely on the pillow, and in one piece; it can therefore be applied only to articles of limited size. Lappets or trimmings are the forms under which we generally see it; and in these the exquisite delicacy of its texture can be thoroughly appreciated. The chief peculiarity consists in the filmy lightness of the ground, and in a thick plait-thread, as it is called, following the outline of the pattern, and giving the effect of embroidery.

The next class of Belgian lace, called generally Valenciennes, will be familiar to most of our readers; but they may be scarcely aware that the contributions of each of the six towns in which it is chiefly made offer some distinctive peculiarity, which would enable a person accustomed to compare them to decide with certainty upon their birthplace. The finest description is that which comes from Ypres. This town is acknowledged to excel in laces of the finest square ground and in the widest and most expensive kind; its productions have been known in some instances to produce as much as L.50 the yard.

Although Caen and Bayeux were the principal seats of the blonde manufacture in France, a variety was originated at Chantilly, which was brought to a higher perfection than any other, and was proportionably higher in price. It was extensively worn in England about thirty years ago, but is now almost traditionary here. The peculiarity of Chantilly blonde consisted of the rich close pattern, which contrasted with the filmy lightness of the ground. It was chiefly woven for veils, which then differed a good deal from our present idea of them: they were simply squares surrounded by one of these deep heavy borders of irregular outline, and also flowered over in the centre, and were thrown over the bonnet, completely enveloping the head and shoulders of the wearer. This description may be recognised by any one who has ‘assisted,’ as the French say, at the bringing to light of those treasures of by-gone days consigned by the changes in taste and fashion to the darkness and oblivion of a lumber-room. Among such articles would be most likely included a Chantilly veil of gigantic dimensions, or a collar of proportionate magnitude. But although the general rage for Chantilly has long past away, it is still used in small quantities, and is made of exquisite beauty, as if thereby to retain with the very fastidious the favor it has lost among the great body of lacewearers.

We should be charmed to proceed with this history of lace making, till the subject exhausts itself, but our present book deals with it only so far as it throws light upon and is connected with the branch of art particularly under consideration. Crochet work has now become a branch of lace making to a considerable extent, even in our country, where it has been exclusively held as an accomplishment. But however charmed we may be with the subject, a regard for space must prevent us running off into a dull essay instead of giving the ways and means by which this particular class under consideration is to be fabricated—as a bad example to new beginners, for if they indulge in such deviations among the stitches the workmanship will be a failure, we can assure them. But now we begin in sober earnest to explore the complicated mysteries of Crochet work as an art.

INTRODUCTION.

In commencing our instructions in Crochet Work in all its variations, we supply what certainly is a great want in the American Household, where some sort of fancy work is essential to the completion of those domestic circles which render an American home so cheerful. In giving those general directions regarding terms and stitches, which will, we trust, prove acceptable, we have endeavored to be as concise and clear as the nature of the subject will admit.

“The Ladies’ Complete Guide to Crochet and Needlework,” may therefore be regarded as a compendium both of choice and accurate receipts and of clear elementary instruction.

We will begin by giving those which are required for Crochet, and beg our fair readers to refer to them on any future occasion of doubt or difficulty.

Chain Stitch (abbreviated into ch.) is the foundation stitch in crochet. A loop of thread made on the hook, and through this the thread is drawn, forming the first chain stitch; draw the thread through this one, and a second is formed. Continue the process until you have done the required number.

Slip Stitch (sl.) is a stitch chiefly used for the veinings of leaves, and similar parts, in imitations of Honiton lace. It serves, also, to carry the thread from one part to another, without either breaking it off or widening the work. Insert the hook in the stitch next to that already on the needle (unless the directions particularly say, miss so many,) and draw the thread at once through both stitches. Repeat.

Single Crochet (sc.)—Insert the hook in the chain, and draw the thread through it; this forms a second loop on the hook. Draw the thread through these two by a single movement and the stitch will be completed.

Double Crochet (dc.)—Raise the thread over the hook, so as to pass it round, before inserting the latter in the chain; draw the thread through, and you will find three loops on the hook; bring the cotton through two, which makes one instead of those taken off. Thus two are still on the needle; finish the stitch by drawing the thread through these.

Treble Crochet (tc.) is a stitch precisely similar to the last; but as the thread is passed twice round the hook before the insertion of the latter in the chain, there will be four loops on, when the thread is drawn through. Bring the thread three times through two loops to finish the stitch.

Long Treble Crochet (l tc.) has the thread twisted three times round the hook, before it is passed through the chain; consequently, it will require the thread to be drawn four times through two loops to finish the stitch.

To work THROUGH a stitch, is to draw the thread under instead of in it. This is stronger than the usual method, but not so neat; it is, therefore, rarely used for anything but very open work.

Square Crochet is that which is made entirely in small squares, those which form the pattern being closely filled in, and the ground open. Open squares are formed thus: 1 dc. 2 ch., miss 2, repeated. Close squares contain three dc. stitches, thus: 1 c. 1 o., would have 4 dc. 2 ch. Every pattern in square crochet requires a foundation chain of stitches which can be divided by three and leave one over; as it is obvious that if an open square were the last on the pattern, a dc. stitch would be required to form the square at the end.

Sometimes a very large piece of work may be made in treble square crochet. In this work, a close square of 4 tc. stitches; an open square, 1 tc. 3 ch. miss 3. This style requires the pattern to be divisible by four, with one stitch over.

The stars, daggers, and asterisks used in printing knitting and crochet receipts signify that any stitches given between two similar marks are to be done as many times as directed; thus, ✕ 3 dc. 2 ch. ✕ three times, means 3 dc. 2 ch., 3 dc. 2 ch., 3 dc. 2 ch.

When one repetition occurs within another italics are used at each end of the part. * 1 p. 2 k. 1 p. 1 k. (a) m. 1, k. 1 (a) 6 times * 8 times, means that one complete pattern being finished, when you have made 1, knitted 1, 6 times, 8 of those patterns, beginning again each time at the first *, will be required for the round or row.

HONITON LACE COLLAR.
[Fig. 1.]

The same sprigs and edgings may be used for a Bertha, or Veil, as they are complete in themselves, and only require to be tastefully grouped and lightly sewed on Italian net, already cut into the form required.

Materials.—Crochet cotton, No. 60; crochet hook, No. 24; eagle card-board gauge.

For the Border.—Make a chain of the length required, taking care that there are so many sevens and two over. 2 sc. on ch. ✕ 5 ch., miss 5, 2 sc. on 2 ch. + repeat.

2nd Row.—2 sc. on the other side of the chain, ✕ 2 dc. 3 tc., 2 dc., in 5 ch., 2 sc. on same 2 ch. that were worked in the last row + repeat.

3rd Row.—2 slip on 2 sc. + 1 sc. 3 dc., 1 sc. on 5 ch. 1 slip on sc.; make a chain of 12, close for a loop, and work round in sc., 1 slip on second sc. stitch + repeat. Do not make the loop of 12 at the last pattern.

For the small Sprigs.—16 ch. close in 5th for a loop, leaving a stem of four; work round the loop in sc., 2 ch. in continuation of stem, 18 ch., close for loop, round which work thus: 3 ch., miss 2, sc. on 3rd, 3 ch., miss 2, dc. on 3rd, ✕ 3 ch., miss 1, dc. on 2nd + twice, 3 ch., miss 2, dc. on 3rd, 3 ch. miss 2, sc. on 3rd, 3 ch., miss 2, slip stitch at the close of the loop; work round in sc. and down the 6 ch. of the stem.

The large Sprig.—30 ch., close for a loop, and work round it thus: 1 sl., 2 sc. dc. all the rest but 3; 2 sc., 1 slip. Turn the work on the wrong side; 16 ch., miss 3, slip on 4th, + 4 slip on the last 4 of the chain; 16 ch., miss 4, slip on 5th, + 5 times; 4 slip on last 4 of the 16; 12 ch., miss 3, slip on closing stitch; work all round these loops in dc., except the first and last stitches of each loop, which must be sc. This completes the flower: 16 ch., on which work back, 1 sc. + 2 dc. in one chain, + 4 times, 1 dc., 9 ch., 1 sc., 7 dc. on the 9; 1 dc. 1 tc., in next chain of 16; 1 dc., in next; 1 sc. in next; 1 slip in next; slip back on the last 3 stitches; 6 ch., on which 1 slip, 1 sc., 8 dc. (the last of which will come on the 16 ch.) ; 2 sc., 1 slip, leaving 2 ch. for the stem, 8 ch.

Shamrock.—21 ch., join in 7th for loop, and slip 4 on the last 4; 11 ch., join to the stitch which closed the loop; slip back 4 as before 11 ch., join at the close of the loop, and work all round in sc., also 6 sc. on stem; 26 ch. slip 11, leaving 14 for stem; work round the 11 thus: 1 slip, 1 sc., 7 dc., 1 sc. 1 slip, on each side, which forms a close leaf; repeat leaf, with 8 ch. for stem instead of 14; then another leaf close to it; 8 sc. on 8 ch. of stem; repeat the leaf; 7 sc. on stem; repeat the shamrock; 7 sc. on stem; repeat the leaf, making a ch. of 14 instead of 12; work in sc. to the base of the flower; fasten off.

Honiton lace sprigs and edgings must be finished by running the ends of thread at the back with a fine sewing needle, and then cutting them off.

To make hemstitch for the neck, make a chain the required length, and work thus: 2 ch. miss 1, 1 dc. This gives the circular form requisite for the neck of a collar.

PASSION FLOWER IN CHENILLE
[Fig. 2.]

Materials.—One piece of green chenille, of a medium tint; one of a very delicate green; one of violet ditto; and a small quantity of rather stout liteaux. This last is a kind of fine wire, used in making up flowers, &c. The chenille is the fine kind termed chenille a broder. Crochet hook, No. 14.

Cut a piece of liteaux, about a quarter of a yard long; make a loop at one end of it, occupying an eighth of the whole length, and twist the wire, to keep the round perfect; on this loop work 16 dc. stitches with the lightest green or white chenille, and on these another round of dc. stitches. Repeat this seven times more; so that on the length of liteaux eight of these petals are formed. When all are done, twist together the ends of every two, and fasten them thus on a piece of liteaux, as close together as possible. Then prepare the stamens and pistil. Twist some short pieces of liteaux, into a form as nearly as possible resembling that of the natural pistil, which, it will be remembered, has three branching arms. Cover this with pale green chenille. The stamens are short pieces of liteaux, some covered with violet, and some with green chenille: they are to be made of different lengths, and the ends to be twisted round that of the pistil, so that they may surround it. Then make a small ring of liteaux, put it round the stamens and pistil, and cover it with violet chenille, when the centre of the flower is completed. Put round it the liteaux with the eight petals attached, so that the ring of violet covers the joins. Work on a small wire ring two rounds of dark green chenille for the calyx, in which place the flower.

Twist the ends all together, to form a stem, and cover it with chenille of the same color.

For the Bud.—Work 20 tc. stitches with the light green chenille on a bit of liteaux, laying in another piece of wire at the edge. Draw the stitches rather together, so as to form a cup, in which put a morsel of cotton wool. Work on another bit of liteaux 16 dc. stitches with dark green chenille; twist the ends together, drawing the wire into the form of a leaf. Four of these make the calyx which is to surround the bud. Twist the ends together, and cover the stem so formed with chenille.

The Leaves.—Twist a piece of liteaux large enough to form the centre of a leaf, and work round it in dc. with the darkest green chenille, taking care to make your stitches very close together. Work round this another row of the same chenille, with a bit of very fine wire in the edge. Do all in dc. except the first and last stitches, which must be in sc. Twist the ends of the wires for a stem, and cover with the same shade of chenille. If these artificial flowers are to be used for a head dress, four of them must be made, and a sufficient number of leaves to form a drooping branch on each side of the hair. For a bonnet, they may be formed into a group.

To make a wreath of the present style, unite the two sprays by either a coronet of leaves, or a plait of lilac chenille.

For dark hair, make flowers of scarlet chenille instead of lilac.

CARD BASKET IN CROCHET
[Fig. 3.]

Materials.—Rich blue Berlin wool, two ounces; gold colour and scarlet filoselle, three-quarters of an ounce each; fine window cord; Bone crochet hook.

Form with the cord as small a round as you can for the commencement of the stand, and continue to work in it, round and round, until all the flat part of the basket is done, all in sc.

1st round.—12 stitches, blue.

2nd.—18 ditto.

3rd.—24 ditto.

4th.—36 ditto.

5th.—1 gold, 3 blue, 2 gold, 3 blue, 1 gold. 4 times.

6th.—1 gold, 4 blue, 2 gold, 4 blue, 1 gold,. 4 times.

7th.—2 gold, 5 blue, 3 gold, 5 blue, 1 gold,. 4 times.

8th.—4 gold (the 1st on the 1st of last row,) 1 blue, 7 gold, 1 blue, 3 gold. 4 times.

9th.—2 gold, 2 scarlet on 1 gold, 3 gold (the centre on the single blue,) 2 scarlet on 1 gold, 3 gold on 3 gold, 2 scarlet on 1 gold, 3 gold, 2 scarlet on 1 gold, 1 gold. 4 times.

10th.—1 gold on 1st gold of last row, 3 scarlet on two stitches, 5 gold, 3 scarlet on 2, 1 gold on centre of 3 gold, 3 scarlet as before, 5 gold, 3 scarlet. 4 times.

11th.—2 gold on 1, 4 scarlet, 4 gold on 3, 4 scarlet, 2 gold on 1, 4 scarlet, 4 gold on 3, 4 scarlet. 4 times.

12th.—3 gold on 2, 4 scarlet, 3 gold on 2, 4 scarlet, 6 gold, 4 scarlet, 3 gold on 2, 4 scarlet, 3 gold on 2. 4 times.

Thus it will be perceived, the written instructions are for one exact quarter of each round. After having done the last round, do one entirely of scarlet; cut off the cord at the end of the round, and work a few stitches to conceal the termination of it.

For the Sides of the Basket.—The rounds alternately blue and gold.

1st Round.—1 dc., 3 ch., miss 1; repeat.

2nd.—1 dc. on centre of 3 ch., 3 ch., miss 3.

3rd.—As last, with 4 ch. between.

4th.—Repeat, with 5 ch. between.

5th.—As 4th.

6th.—5 dc. on 5 ch., 1 ch., miss 1; repeat.

7th.—Sc. all round, with cord in as in the first part.

8th.—3 sc. on 3 centre of 5, 9 ch., miss 3, repeat.

9th.—To be worked on the same row as the last, 3 sc. on the 3 missed, 9 ch., miss 3; repeat. Work these two rows in different colours, and form a band of wire, covered with ribbon or crochet, to correspond; conceal the fastening with bows.

BORDER FOR AN EMBROIDERED QUILT.
[Fig. 4.]

KNITTED EMBROIDERY.

Materials.—Knitting cotton, white and ingrain pinks, No. 12; knitting needles, No. 15; eagle card-board gauge.

Knitted Embroidery, of which the engraving shows a very simple specimen, is a very novel and beautiful style of work. In wool, its effect rivals that of the costly chenille, with the advantage of being washable; and now that cottons are dyed of such exquisite colors, they are also very suitable for it.

With the white cotton cast on 16 stitches, and purl a row.

1st.—W.: k. 2, m. 1, k. 2 t., k. 3, ✕ k. 1 P., 1 W., 1 P., ✕ W. k. 4, m. 2, k. 2.

2nd.—W.: k. 3, p. 1, k. 1, p. 3, ✕ p. 1 P., 1 W., 1 P., ✕ white p. 3, k. 4.

3rd.—W.: k. 2, m. 1, k. 2 t., k. 5, ✕ k. 3 P, ✕ k. 8 W.

4th.—W.: k. 2, m. 2, k. 2 t., k. 1, p. 4, ✕ p. 1 P., ✕ W., p. 4, k. 4.

5th.—All white: k. 2, m. 1, k. 2 t., k. 12, p. 1, k. 2.

6th.—W.: k. 6, ✕ p. 1 P., 1 W., 1 P., 3 W., 1 P., 1 W., 1 P., ✕ k. 4 W.

7th.—W.: k. 2, m. 1, k. 2 t., ✕ k. 1 P., 1 W., 1 P., 3 W., 1 P., 1 W., 1 P., ✕ W., k. 2 t., m. 2, k. 2 t., k. 2 t.

8th.—W.: k. 3, p. 1, k. 1, ✕ p. 3 P., 3 W., 3 P., ✕ W., k. 4.

9th.—W.: k. 2, m. 1, k. 2 t., k. 1, ✕ k. 1 P., 5 W., 1 P., ✕ W., k. 5.

10th.—All White: cast off 2, k. 2, p. 9, k. 4. Repeat the pattern to the length required.

+ + Between these marks only the colors intermix.

CROCHET EDGING.
[Fig. 5.]

Like all other crochet patterns, the size depends wholly on the materials employed. For dress trimmings, No. 30 Crochet cotton, with crochet hook No. 19, will be suitable; or even finer cotton may be used. But this pattern being particularly suitable for trimming curtains and so forth, I recommend Crochet cotton, No. 10, and steel crochet hook, No. 14.

Make a chain of 15 stitches, and sc. into the 6th of these to make a loop. Work under the upper half of this loop 8 sc.; 11 ch.; form this loop as before, leaving one chain between it and the last; work 8 sc. in it; do three more with 11 ch., then one with 15, and so on throughout. When sufficient is done for the piece required, allowing for its diminishing by one-third, work 7 sc. on the other side of every round, and 1 sc. between. On the five chain between every five work 2 sc.

3rd Row.—Begun at the same place as the last 3 sc. on the three centre stitches of the first loop, 2 ch., 2 sc. on the centre stitches of the next 3 loops, with 2 chain between, 3 sc. on the last of the five, and 4 chain between; repeat.

4th. Worked the same way. 3 sc. on the 3 sc. of last row, 13 ch., 3 sc. on 3 sc. of the fifth loop, 4 sc. on 4 ch.; repeat.

5th.—1 dc., 1 ch., miss 1; repeat.

6th.—Sc. throughout.

When this is done, work with a common needle and thread three bars of button-hole stitch, to connect the three centre loops, as seen in the engraving.

PUNCH’S ANTI-MACASSAR.
[Fig. 6.]

Materials.—Crochet cotton, No. 10; crochet hook, No. 15; eagle card-board gauge; 136 ch.

The first four rows in open square crochet.

5th.—19 o., 1 c., 25 o., 1 dc.

6th.—16 o., 4 c., 7 o., 1 c., 17 o., 1 dc.

7th.—16 o., 4 c., 4 o., 4 c., 17 o., 1 dc.

8th.—17 o., 1 c., 1 o., 1 c., 4 o., 4 c., 17 o., 1 dc.

9th.—18 o., 1 dc., 1 ch., 5 dc., 5 o., 1 dc., 1 ch., 6 dc., 1 ch., 17 o., 1 dc.

10th.—18 o., 3 c., 3 o., 4 c., 17 o., 1 dc.

11th.—13 o., 1 dc., 1 ch., 6 dc., 1 ch., 1 o., 1 dc., 1 ch., 11 dc., 2 ch., 2 ch., 1 dc., 1 dc., 2 ch., 4 c., 17 o., 1 dc.

12th.—13 o., 3 c., 2 o., 3c. 2 o., 4 c., 18 o., 1 dc.

13th.—12 o., 1 dc., 1 ch., 12 dc., 1 ch., 1 dc., 2 ch., 13 dc., 2 ch., 11 dc., 1 ch., 18 o., 1 dc.

14th.—12 o., 1 dc., 1 ch., 41 dc., 2 ch., 18 o., 1 dc.

15th.—As 14th.

16th.—13 o., 43 dc., 2 ch., 17 o., 1 dc.

17th.—14 o., 43 dc., 2 ch., 16 o., 1 dc.

18th.—14 o., 46 dc., 2 ch., 15 o., 1 dc.

19th.—14 o., 1 dc., 1 ch., 47 dc., 2 ch., 14 o., 1 dc.

20th.—15 o., 46 dc., 2 ch., 14 o., 1 dc.

21st.—15 o., 1 dc., 1 ch., 44 dc., 2 ch., 14 o., 1 dc.

22nd.—11 o., 57 dc., 1 ch., 14 o., 1 dc.

23rd.—15 o., 61 dc., 2 ch., 9 o., 1 dc.

24th.—16 o., 46 dc., 2 ch., 13 o., 1 dc.

25th.—16 o., 1 dc., 1 ch., 45 dc., 1 ch., 13 o., 1 dc.

26th.—17 o., 44 dc., 1 ch., 13 o., 1 dc.

27th.—18 o., 41 dc., 1 ch., 13 o., 1 dc.

28th.—16 o., 47 dc., 1 ch., 13 o., 1 o.

29th.—Like 28th.

30th.—16 o., 48 dc., 2 ch., 12 o., 1 dc.

31st.—16 o., 1 dc., 1 ch., 29 dc., 2 ch., 16 o., 2 ch., 12 o., 1 dc.

32nd.—14 o., 35 dc., 1 ch., 1 o., 1 dc., 1 ch., 14 dc., 2 ch., 12 o., 1 dc.

33rd.—14 o., 34 dc., 2 ch., 2 o., 13 dc., 2 ch., 12 o., 1 dc.

34th.—15 o., 31 dc., 2 ch., 2 o., 13 dc., 2 ch., 12 o., 1 dc.

35th.—16 o., 31 dc., 2 ch., 1 o., 13 dc., 2 ch., 12 o., 1 dc.

36th.—15 o., 37 dc., 2 ch., 1 dc., 1 ch., 9 dc., 1 ch., 13 o., 1 dc.

37th.—12 o., 7 dc., 2 ch., 37 dc., 2 ch., 1 dc., 2 ch., 7 dc., 2 ch., 13 o., 1 dc.

38th.—12 o., 34 dc., 2 ch., 1 dc., 2 ch., 5 dc., 1 ch., 2 o., 5 dc., 1 ch., 14 o., 1 dc.

39th.—12 o., 37 dc., 2 ch., 20 o., 1 dc.

40th.—13 o., 34 dc., 2 ch., 20 o., 1 dc.

41st.—14 o., 10 dc., 2 ch., 16 dc., 2 ch., 21 o., 1 dc.

42nd.—14 o., 1 dc., 1 ch., 35 dc., 2 ch., 18 o., 1 dc.

43rd.—15 o., 32 dc., 1 ch., 19 o., 1 dc.

44th.—14 o., 34 dc., 2 ch., 19 o., 1 dc.

45th.—15 o., 28 dc., 2 ch., 20 o., 1 dc.

46th.—16 o., 25 dc., 2 ch., 20 o., 1 dc.

47th.—Like 46th.

48th.—17 o., 22 dc., 2 ch., 20 o., 1 dc.

49th.—18 o., 19 dc., 2 ch., 20 o., 1 dc.

50th.—18 o., 19 dc., 2 ch., 1 dc., 2 ch., 7 dc., 2 ch., 16 o., 1 dc.

51st.—Like 50th.

52nd.—19 o., 16 dc., 2 ch., 1 dc., 2 ch., 4 dc., 2 ch., 17 o., 1 dc.

53rd.—20 o., 19 dc., 2 ch., 18 o., 1 dc.

54th.—21 o., 13 dc., 2 ch., 19 o., 1 dc.

55th to 58th inclusive, in open squares.

Border for the Anti-Macassar, which must have a row of sc. up each side previously done to fasten in the threads.

1st.—1 dc. over dc., of the Anti-Macassar, ✕ 2 ch., 7 dc. in next dc., 3 ch., 1 dc. in same stitch. ✕; repeat all round.

2nd.—Sc. in the centre of the 3 ch. of last round, ✕ 9 ch., sc. in centre of the next, ✕ ; repeat.

3rd.—✕ Sc. on 1st of 9 ch., 3 ch., miss 2, 1 dc. on 3rd, 4 ch., miss 1, 1 dc. on 2nd. 3 ch., miss 2, 1 sc. on the last of the 9, ✕; repeat.

DEEP LACE IN CROCHET.
[Fig. 7.]

FOR ANTI-MACASSARS, ETC.

Materials.—Crochet cotton, No. 12; crochet hook, No. 14 or 15.

Make a chain the required length.

1st Row in sc.

2nd.—1 tc., 1 ch., miss 1, repeat.

3rd.—1 dc., 7 ch., miss 3, dc. in 4th; repeat.

4th.—✕ Sc. in centre of 7 ch., 7 ch., ✕; repeat.

5th, 6th, and 7th.—Like 4th.

8th.—† Sc. in centre of 7 ch., ✕; 9 ch., sc. in same stitch, ✕ twice 3 ch., miss 3, dc. on 4th. 3 ch., miss 3, †; repeat.

9th.—Sc., miss every sc. stitch of last row.

10th.—✕ sc. on point of the next loop, 3 ch., sc. on point of the next loop, 7 ch., ✕ repeat.

11th.—† Sc. on centre of 7 ch., ✕ 9 ch., sc. in same stitch, + twice 9 ch., †; repeat.

12.—† 9 sc. on 9 ch.; then, on the first loop of 9, work 1 sc., 2 dc., 6 tc., 2 dc., 1 sc.: then make the flower thus: 12 ch., slip in 6th for a loop, ✕ 5 ch., 1 sc. under loop, ✕ 4 times; work these 4 loops in sc., missing all the previous sc. stitches, then the 5 ch. that were left of the 12; 1 sc., 2 dc., 6 tc., 1 sc. on 2nd loop of 9, †; repeat.

TATTED INSERTION.
[Fig. 8.]

SUITABLE FOR CUFFS, BANDS, ETC.

Materials.—White cotton braid, No. 9; Crochet No. 70, and tatting-cotton, No. 3.

For the Tatting.—6 double stitches; make a picot with a fine pin; 3 double stitches, 1 picot, 3 double stitches, 1 picot, 6 double stitches. Draw this loop up, and leave a space as great as that indicated in the engraving before making the next. When a sufficient quantity of this is done, take a piece of colored paper, rather longer than you require the insertion to be, and on it rule two parallel lines, an inch apart, and another exactly between them. Take on the tatting, allowing it to touch, alternately, each outer line; then back again in the same manner, so that the threads cross at the centre line, and form a hexagonal space between every two tatted loops. Braid the outer lines and the ends; and if the piece be intended for a cuff, put a double line of braid at one end for the buttons, and also two braid loops at the other, for button-holes. A long needleful of Crochet, No. 70, must then be taken along the centre line, connecting the cross lines with a button-hole stitch wherever they occur. Then work a rosette of English lace in every space, and another when the four threads cross each other. The tatting edging is made without picots, and lightly sewed on the outer edges of the braid, both sides of which should then be finished with a row of Venetian edging.

ANTI-MACASSAR.
[Fig. 9.]

LAURESTINA LEAF PATTERN.

Materials.—Crochet cotton, No. 8; knitting needles, No. 13.

Cast on any number of stitches you like, which can be divided by 16, and 6 over for the border. Knit three plain rows.

1st.—K. 3, + m. 1, k. 1, m. 1, k. 2, slip 1, k. t., pass the slip stitch over, k. 2, + twice for every pattern, k. 3.

2nd. and every alternate. Knit the three first and last stitches, and purl all the remainder.

3rd.—K. 3, + m. 1, k. 3, m. 1, k. 1, slip 1, k. 2 t. pass the slip stitch over k. 1. ✕ twice for each pattern, k. 3.

5th.—K. 3, + m. 1, k. 5, m. 1, slip 1, k. 2 t., pass slip stitch over; ✕ twice as before; repeat and k. 3.

7th.—K. 3, ✕ m. 1, k. 2, slip 1, k. 2 t., pass slip stitch over; k. 2, m. 1, k. 1. ✕ twice for each pattern, k. 3.

9th.—K. 3, ✕ k. 1, m. 1, k. 1, slip 1, k. 2 t., pass slip stitch over; k. 1, m. 1, k. 3, m. 1, k. 1, slip 1, k. 2 t., pass slip stitch over; k. 1, m. 1, k. 2 +; repeat to the last 3 k. 3.

11th.—K. 3, ✕ k. 2, m. 1, slip 1, k,. 2 t., pass slip stitch over; m. 1, r. 5, m. 1, slip 1, r. 2 t., pass slip stitch over; m. 1, k. 3, +; repeat to the last, 3, k. 3.

13th.—K. 3, ✕[^[1]] k. 2 t., k. 1, m. 1, k. 1, m. 1, k. 2, k. 3 t., k. 2, m. 1, k. 1, m. 1, k. 2, k. 2 t. ✕. Repeat k. 3.

[1]. Instead of knitting two together at the beginning and end of the pattern, in this and the following rows, the worker will find that she must knit three together in the body of the Anti-Macassar and at the beginning and end of the row, only as directed in the text.

15th.—K. 3, ✕ k. 2 t., m. 1, k. 3, m. 1, k. 1, k. 3 t., k. 1, m. 1, k. 3, m. 1, k. 1, k. 2 t., +; repeat, k. 3.

17th.—K. 2, k. 2 t., ✕ m. 1, k. 5; m. 1, k. 3 t., ✕. Repeat to the end of the row, when you will knit 3 together, and then 3 of the border.

Repeat from 7th to 18th rows inclusive, until sufficient is done; then knit 3 plain rows, and fasten off.

Border for Anti-Macassar.—Same cotton and needles. Cast on 17 stitches.

1st.—Slip 1, k. 2, m. 1, slip 1, k. 2 t., pass slip stitch over; m. 1, k. 3, m. 1, k. 2 t., k. 1., m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1.

2nd.—K. 1, purl all but five, k. 5.

3rd.—Slip 1, k. 2, m. 1, k. 2 t., m. 1, k. 2 t., k. 1, k. 2 t., m. 1, k. 3, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1.

4th.—Like 2nd.

5th.—Slip 1, k. 2, m. 1, k. 2 t., k. 1, m. 1. slip 1, k. 2 t., pass slip stitch over, m. 1, k. 5, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1.

6th.—Like 2nd.

7th.—Slip 1, k. 2, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k. 1, m. 1, k. 2 t., k. 5, m. 1, k. 2 t., m. 1, k. 2 t., m. 1, k 1.

8th.—Cast off 5, purl all the remainder, except the last five, which knit plain.

NET FOR THE HAIR.
[Fig. 10.]

Materials.—Three good skeins of scarlet or blue netting silk; elastic ribbon and tassels to correspond; crochet hook, No. 12.

Make 6 chain, and form them into a round.

1st.—1 tc. into every chain, and 1 ch., after every tc., thus making 12 stitches in the round.

2nd.—1 tc. on one chain, 3 ch., miss tc. stitch. Repeat.

3rd.—✕ 1 tc. on the centre of the loop, 5 ch., ✕ repeat.

4th.—✕ 1 tc. on centre of loop, 7 ch. ✕ repeat.

5th to 10th rounds inclusive.—Like the last, increasing two chain at every round, so that 9 ch. are made in the 5th, and 19 in the 10th round.

11th.—3 tc., 3 ch., miss 3. Repeat.

12th.—✕ 3 tc. on 3 ch., 3 ch., miss 3, + repeat.

13th.—✕ 4 tc., 4 ch., miss 4, ✕ repeat.

14th.—+ 4 tc. on 4 ch., 5 ch., miss 4, + repeat.

The elastic ribbon is to be run in the 11th round, and tassels fastened to hang over the ear.

BERLIN WORK AND CANVAS EMBROIDERY.

It being one of the chief objects of the Proprietors of this little work, to present to the reader, in a very portable form, the clearest and most accurate elementary instructions for every kind of fashionable Needlework, I have selected Berlin Work or Canvas Embroidery as the subject for explanation in this part.

Berlin work is the general term for what might perhaps be more properly termed embroidery on canvas; a material with which, doubtless, most of my readers are well acquainted, although they may not be familiar with the names of the different kinds and sizes.

The French Canvas, (sometimes called Patent) is the one which I prefer for all ordinary purposes. The open squares are very exact, and the threads and selvage usually firm and strong. It is the only kind that is suitable for large pieces, or for wreaths, or any thing else, in fact, in which squareness and strength are essential.

Penelope Canvas has the threads placed two and two in both directions; and took its name, I presume, from the appearance it presents of having been worked, and the work picked out again, like that of the faithful wife of Ulysses. As all trouble of counting the threads is saved, it is very easy to work on, but can only be worked in cross-stitch.

German Canvas differs from the French in having every tenth thread a different color, and not being so true a square in the mesh.

It is altogether inferior to the French (or patent); and, (amongst other disadvantages,) has that of showing the colored thread through any light wool. Still, as it obviates, in some degree, the trouble of counting, many people like to work on it.

Silk Canvas is a very expensive article; but it saves much labor, as designs worked on it do not require to be grounded. I should never advise any but white silk canvas being used, as the colored ones do not wear well. There are so many different qualities of silk canvas, that none should be bought without careful examination, by laying something of an opposite tint underneath it, and thus detecting any irregularities, roughnesses, &c., good silk canvas should be perfectly even.

Canvas is made of almost every variety of width; the narrow silk canvas being the proper size for braces.

Canvas is chosen according to its size, being numbered much like cotton, according to the number of threads in the inch. We seldom require a coarser size than No. 8, which contains 11 threads to the inch—10 has 13,—and so on to 24, which has 27 threads. The next number, 30, has 31 threads, 40 has 35, and 50, 37. We seldom use any finer than this.

There are not so many sizes manufactured of either silk or Penelope canvas; and the former is never made so coarse as the cotton article.

The surface of canvas is covered by being worked with various substances, of which silks, wools, chenille, and beads, may be considered the principal. Beads are now very much used, intermingled with silks and wools. For grounding large articles a new and very beautiful kind of wool has lately been introduced, termed filoselle. It works in admirably, and imparts a very rich effect to a design. It is about the size of Berlin wool which is fresh and good. For finer articles floss silk is common, and chenille may be worked on silk canvas with excellent effect.

Berlin wool may be used for almost any purpose; for, if too coarse, it can be split without injury; and if the reverse, two or three threads may be worked together. It should never be wound, for however lightly done it is certain to be injured.

Fleecy wool has been greatly improved both in texture and dye of late years, and may now be used for groundings and those purposes for which, formerly, it would have been quite unsuitable. It is much cheaper than Berlin wool.

English, or Embroidery wool, is a much stronger substance than Berlin; the dark shades are excellent for the ground of large pieces, but the lighter tints are not equal to those in the Berlin wool.

The chenille used for embroidery is called chenille a broder, to distinguish it from the chenille ordinaire, which is much coarser. The effect of flowers, birds and butterflies, worked in chenille, is rich and beautiful in the extreme, but the pile so easily attracts dust, and is so liable to injury, that it should be used only for articles which will be defended by glass. The needle used for chenille should have round eyes, and be sufficiently large to prepare a passage in the satin or canvas through which the chenille may pass without injury.

THE STITCHES USED IN BERLIN WORK.

There are but five stitches for canvas work, although many others are enumerated; for they are but varieties of the following:

Cross-stitch,

Tent-stitch,

Irish-stitch,

German-stitch,

Gobelin or Tapestry stitch.

Cross-Stitch is worked by bringing up the needle on the left hand, crossing two straight and two perpendicular lines, and putting in the needle on the right; bring the needle up on the right again, in the space which forms a right angle with the two already occupied; cross the first thread, and bring the needle under on the left hand again.

When grounding is done in this stitch, take care to avoid all appearance of lines and joins by using unequal length of wool, finishing each stitch before the next is begun. Grounding should be begun at the left hand lower corner and worked upwards.

Four tent-stitches, just occupy the space of one cross-stitch a tent-stitch being taken diagonally from one space to the next above it to the left.

Tent-stitch and Cross-Stitch are distinguished among the French by the names of Petit point and Gros point.

Irish-Stitch is extremely simple, and very rapidly done. It consists of a series of upright stitches which cross the horizontal lines, and are worked between the perpendicular ones. For the first line, (beginning at the left hand corner,) bring up the needle in the lowest vacant space, and put it down in the fourth above it, allowing it to cover four bars of thread; bring up the needle on the line with the first stitch, with one upright thread between, and down on the third space, the wool covering two threads. Repeat these alternate short and long stitches, throughout the line. The next and following lines, every stitch must cover four threads; and as you bring out the needle in the space in which you brought it down in the last row, the stitches are still alternately two threads higher than the intermediate ones.

German Stitch is very similar to the above; but the stitches are taken diagonally. The first stitch is taken from one space to the next diagonal one; in the second, one space is missed; so that the stitches are alternately long and short. All the following rows are worked like the first, care being taken that the long stitches of one row shall join the short, and vice versa. This stitch is only used for grounding.

Gobelin Stitch is that which is more peculiarly fitted for delicate and beautiful picture working; but the needle requires a really artistic hand to direct it in forming patterns in this stitch. The wool crosses two threads in height, but only one in width; two tapestry stitches therefore, are equal to a cross-stitch, remembering that the square so formed is not a true one.

Some writers enumerate other stitches on canvas; but the best authors reckon the above named only, all others being merely varieties of them.

You will observe that any pattern may be made larger or smaller than the original when worked, simply by selecting the canvas that will effect the requisite alteration. When you choose your Berlin pattern, consider what size you will desire your work to be, and calculate by the scale I have already given you, what canvas will be needed; and also whether it will require to be worked in tent-stitch or in cross-stitch. If for the former you may reckon a thread of canvas for every square. For the most part, Berlin patterns are intended to be worked in tent-stitch; but some have each square in the more delicate parts divided into four. When this is the case, the mass must be worked in cross, and the fine parts in tent-stitch; otherwise it is quite optional.

I must repeat my previous caution not to attempt Berlin patterns on German canvas. Figure pieces especially, would suffer materially in the effect from the want of squareness in the canvas. It is not advisable to attempt reducing very materially a pattern crowded with subjects; nor, on the other hand, to enlarge one that has few. The reason of this is obvious.

TO FRAME CANVAS.

There is considerable art in doing this properly; and if negligently arranged, it is certain that the work will be distorted when complete.

Turn down the canvas and herring-bone it at each raw edge: then sew it to the webbing of the frame, thread by thread. When the first end is sewed, take care that the other end shall be as nearly as possible opposite it. If too large for the frame, wrap some clean silver paper several times round the roller, before the canvas goes round it.

The part where the pattern is to be begun is the only part to be exposed in the frame. The sides must then be tightly braced with fine twine; and the canvas is then ready for the work. Berlin work is often done on canvas, with cloth, satin or velvet underneath it: this saves the labor of grounding, as the pattern being worked, the superfluous canvas is cut away, and the embroidery appears on the solid material. Some people draw out the threads of the canvas: this is not only very troublesome, but it also spoils the effect of the work. Small intermediate spaces of canvas, not covered with embroidery, are usually grounded with wool exactly the color of the cloth.

In framing cloth and canvas together, it must be borne in mind that the former stretches considerably more than the latter. If therefore, they are intended to be the same size, the cloth must be cut rather narrower, and (the edges being turned in,) must be firmly tacked to the selvages of the canvas. This will, of course, render the edges thicker than the centre; and to equalize the height, paper should be wrapt round the roller.

All patterns should be commenced at the left hand corner, unless they are intended for a centre; when the work must be begun on the centre stitch.

Delicate grounds should never be attempted on any but perfectly white canvas; and black grounds should always be avoided, if practicable.

The last direction I can give is to ensure a proper quantity of wool to begin with; as there is often great difficulty in matching shades, especially for grounding.

NEEDLES.

The needles principally used are tapestry needles, which are thick and blunt and have a long open eye,—Sharps, which are similar needles with sharp points, and are used for working on thicker substances than canvas,—as cloth, &c.; and short long eyes, which are used for the same purpose, and are like common needles, but very short, and with long eyes.

CROCHET COLLAR.
[SEE FIG. 1, FRONTISPIECE.]

Materials.—Crochet cotton, No. 30. Crochet hook, No. 20, or 21. Make 320 chain.