Transcriber's Note:
A number of typographical errors have been corrected. They are shown in the text with mouse-hover popups.

Beginning at page 22, all images have been provided as thumbnails. A larger version of those images is available by clicking on the image number.

THE ART
OF
MODERN LACE-MAKING.

PRICE:
FIFTY CENTS OR TWO SHILLINGS.

PUBLISHED BY
The Butterick Publishing Co. (Limited).
London and New York.
1891
PRINTED IN NEW YORK.

INTRODUCTION.

Owing to the growing popularity of the fascinating art of lace-making and the appeals of our readers to place it within their reach, we have prepared this pamphlet. In making it a perfect instructor and a reliable exponent of the favorite varieties of lace, we have spared neither time nor expense, and are most happy to offer to our patrons what a celebrated maker of Modern Lace has pronounced as "the finest book upon lace-making to be found on either continent."

The illustrations, in the main, are direct reproductions from genuine, hand-made modern laces, such as any lady may make who masters the instructions found upon these pages.

The beauty of these laces is beyond question, their durability all that can be desired, and their textures may be varied from an extreme delicacy to a sumptuous opposite. In introducing the art of modern lace-making into the realms of our readers, we feel all of the pleasure we are sure we thus convey.

The Butterick Publishing Co.,
Limited.

CONTENTS.

Pages 5 to 9—
[Lace-Making, Ancient and Modern Methods.]

Pages 9 to 19—
[Stitches used in Modern Lace-Making.]

Pages 19 to 22—
[Fancy Braids Cords, Rings and Buttons.]

Pages 22 to 96—
[Designs, Lace Articles, Edgings, etc., etc., in Modern Lace.]

Pages 96 to 125—
[Darned Net Samples, Kerchiefs, Tidies, Edgings, Insertions, etc.,
etc., with Designs for the same and other Articles.]

Lace-Making
ANCIENT AND MODERN METHODS.

The art of making lace in one form or another has existed from the earliest ages. There are Scriptural references to various web-like fabrics, which were of rude construction, no doubt, but whose general characteristics were identical with those productions of modern skill which have for centuries been known as lace. Homer and other ancient writers constantly mention net-works of fancifully embroidered materials; gold thread-work was known to the Romans; and as Egyptian robes of state are depicted upon the tombs of the earlier dynasties as being fashioned from a looped net-work or crochet, it is probable that the Israelites learned the art from the Egyptians. Museums contain specimens of lace dating back to periods that to us of the present day seem mere dreams of reigns and eras, and history includes a scattered literature of lace which proves that the art must have been practised almost from the beginning.

Up to the Sixteenth Century, however, open work embroidery was the favorite decoration, and from it the tangible origin of lace seems derived. During the Renaissance period the first book of embroidery patterns and lace-work appeared. The earliest volume bearing a date was printed at Cologne in 1527; and it was during the reign of Richard III. of England that the word lace was first used in the descriptions of the royal wardrobe.

At first the best known laces were those of Venice, Milan and Genoa. The Italians claim the invention of point or needle-made lace; but the Venetian point is now a product of the past, and England and France supply most of the fine laces of the present time.

Lace-makers in the various European countries are trained to the work from childhood; but it is said that the makers of Honiton lace, the fabric of which Queen Victoria's wedding gown was made, are rapidly decreasing in numbers, so that there are few persons now living who understand the construction of this exquisite "pillow" lace. The costly point and Honiton and the dainty Mechlin and Valenciennes of bygone days can only be produced by trained lace-workers, whose skilful fingers weave bobbins of cobweb-like thread to and fro over the "pillow" necessary to antique methods; and for this reason fine lace-making is practically beyond the skill of the amateur. Besides, some of the threads in the very filmy laces are so fine that they cannot be successfully manipulated except in a moist atmosphere, such as that of Great Britain; and even there some of the more exquisite specimens must perforce be made in underground rooms, since it is only there that the proper degree of moisture can be obtained. In dry climates these gossamer-like threads would roughen and break at almost the slightest touch.

Referring to the known origin of some of the earlier laces, a writer upon the subject says:

"They say it was a woman, Barbara Uttmann, who invented pillow lace in the 16th century. Women have ever been patrons of lace-making. Victoria has kept the Honiton laces in fashion, and it was the Duchess of Argyle who introduced lace-making in Scotland. The Countess of Erne and Lady Denny and Lady Bingham began it in Ireland, and Lady De Vere gave her own Brussels point for patterns when the first Irish point was made at Curragh. It was Elizabeth of Denmark who introduced lace-making in that country, and the Archduchess Sophia who started lace schools in Bohemia. "Now at least I can have laces," said Anne of Austria, when Louis XIII., her husband died, and her court was famous for its cleanliness and its Spanish point. Colbert had three women as coadjutors when he started lace-making in France. It was because Josephine loved point d'Alençon that Napoleon revived it. Eugenie spent $5,000 for a single dress flounce, and had $1,000,000 in fine laces."

Victoria's favorite, Honiton, is not considered a particularly beautiful lace, although its weaving is so tedious and difficult. "Real Honiton laces," so says an authority, "are made up of bits and bits fashioned by many different women in their own little cottages—here a leaf, there a flower, slowly woven through the long, weary days, only to be united afterward in the precious web by other workers who never saw its beginning. There is a pretty lesson in the thought that to the perfection of each of these little pieces the beauty of the whole is due—that the rose or leaf some humble peasant woman wrought carefully, helps to make the fabric worthy the adorning of a queen or the decoration of an altar, even as the sweetness and patient perfection in any life makes all living more worthy and noble. A single flower upon which taste and fancy were lavished, and which sustained and deft labor brought to perfection, represents the lives of many diligent women workers.

It has become so much the fashion to worship all things ancient that most lovers of fine lace would prefer to have it a century old; and yet there never was a time when laces were more beautiful, more artistic and more unique in design than just at the present day; for modern laces preserve the best features of the laces that have gone before them, and have added so many new inspirations that except for the sentiment, the romance or the history connecting this scrap with a title, that with a famous beauty, and another with some cathedral's sacred treasure, the palm would certainly be given to the gauze-like production of the poor flax thread spinner of the present day."

Not all people know the difference between point lace which is made with the needle, and pillow lace which is made with the bobbins—but much of the beautiful point lace of the present day is made with the needle, and its beauty stands a favorable comparison with the more costly pillow lace.

Strictly modern lace-making is a result of American ingenuity, and it has so simple a basis and is so easy to learn that any woman of average skill may, with little difficulty, produce by its different processes, laces that are really magnificent and quite as substantial and useful as they are exquisitely beautiful. In America modern lace-making has been developed to a high degree of perfection by its pioneer, Mrs. Grace B. McCormick, in whose designing rooms at No. 923 Broadway, New York, may be seen specimens of modern laces of every variety, from dainty needle-point to a very elaborate kind known as the Royal Battenburg. This English name for an American production was selected in honor of the Battenburg nuptials, which occurred about the time a patent for making the lace was applied for at Washington. Only a few years have elapsed since this plucky little woman made a single piece of lace edging from common braid as an experiment, and sold it for a trifling sum. Love for the work and perseverance have enabled her to overcome obstacles that would have discouraged a woman of ordinary energy, and she has gradually improved upon her earlier methods until modern lace occupies a front rank among the numerous dainty forms of needle-work of the day.

One of the finest specimens lately placed on exhibition is a table-cloth intended for use at elaborate dinners. It is made of the finest table linen and Royal Battenburg lace. The cloth is, of course, very large, and the lace, in the form of wide insertion, is let in above the border and is also arranged to divide the center into three squares. An outside border of edging to match completes this exquisite production, which has been two years in course of construction, and is valued at four hundred and seventy-five dollars. The same style of lace may be made by any one who studies the art and in any width or form, and it may be produced in many textures, although really intended for heavy effects. The making of such lace possesses a great charm for womankind in general, and will undoubtedly retain favor as long as needlecraft remains a pastime and employment with the gentler sex.

MATERIALS.

The requirements of modern lace-making are few. The products are classed as Honiton, Point, Duchesse, Princesse, Royal Battenburg or Old English Point, etc., etc.; but all are made with various braids arranged in different patterns and connected by numerous kinds of stitches, many different stitches often appearing in one variety of lace.

The materials required are neither numerous nor expensive. The following is a complete list: Tracing cloth, leather or toile cirée, lace braids of various kinds, linen thread, two or three sizes of needles, a good thimble and a pair of fine sharp scissors.

For each kind of lace there is a special sort of braid in various patterns, and the selection of the thread depends entirely upon the variety and quality of lace to be made. This selection should be left to the decision of the teacher or the skilled maker of laces, as she knows from experience the proper combinations of materials. Thus, in making Honiton and point lace, thread in twelve different degrees of fineness is used; and as the braids also vary in size, the thread must always be adapted to the braid. For Battenburg lace the thread is in eight sizes, the finest being used only for "whipping curves" or drawing edges into the outlines required. The "Ideal Honiton" is a new lace made with fancy Honiton braid and wash-silk floss in dainty colors, and is exquisite for doilies, mats, table scarfs and center-pieces.

Designs sold by lace-makers are usually drawn upon tracing cloth, as this is flexible and much more agreeable to work upon than any other material. The tracing cloth, when the braid is arranged, is basted to a foundation of leather or toile cirée; or smooth wrapping-paper may be basted under the design and will furnish all the support that is necessary, while being lighter than the toile cirée.

It must be remembered that the work is really wrong side out while in progress, so that it will not show its true beauty until finished and removed from the foundation or pattern. According to the braid and thread selected, these laces may be made of fairy-like fineness or of massive elegance—general results being dainty enough for the gown of a bride or sumptuous enough for the adornment of an altar.

Lace-making establishments will furnish designs of any width or shape desired, and will also originate designs for special articles for which there are only occasional calls. Regular edging designs are ordinarily made in four widths—from quite narrow to very wide; and not infrequently a handkerchief design is enlarged sufficiently to form a square for a table or a fancy stand.

In filling in the spaces of any design or pattern, the worker may choose the stitches that please her best, if she does not like those accompanying the design that she has selected or that has been sent her.

STITCHES USED IN MODERN LACE-MAKING.

As in all fancy work which has a set of foundation stitches peculiar to it that may be varied according to the proficiency and ingenuity of the maker, so has Modern Lace a series of primary stitches from which may be evolved many others. A large number of illustrations of stitches, some of which are primary or foundation stitches, while others are combinations, are here presented, with full instructions for making; and the entire series given will make perfectly plain to the student the ease with which she may combine or invent stitches, when those of the design she is to work are not to her liking. The first stitch given is the main foundation stitch.

PLAIN POINT STITCHES.

Nos. 1 and 2.—Point de Bruxelles or Brussels Point.—Among the stitches most used in lace-making is Point de Bruxelles or Brussels point. It is simply a button-hole stitch worked loosely, and it must be done with regularity, as the beauty of the work depends almost wholly upon the evenness of the stitches. Brussels point is occasionally used as an edge, but is more frequently seen in rows worked back and forth to fill in spaces, or as a ground work. The illustrations clearly represent the method of making this stitch.

No. 1.—Point de Bruxelles (Brussels Point).

No. 2.—Point de Bruxelles Worked in Rows.

No. 3.—Point de Venise, or Venice Point.—This stitch is worked from left to right, like Brussels point. Work 1 loose button-hole stitch, and in this stitch work 4 button-hole stitches tightly drawn up, then work another loose button-hole stitch, then 4 more tight button-hole stitches in the loose one; repeat to the end of the row, and fasten off.

No. 3.—Point de Venise (Venice Point).

No. 4.—Petit Point de Venise (Little Venice Point).

No. 4.—Petit Point de Venise, or Little Venice Point.—This stitch is worked in the same manner as point de Venise, but one tight stitch only is worked in each loose button-hole stitch. This is a most useful stitch for filling in small spaces.

No. 5.—Italian Lace Stitch.—Commence at the right side and pass the thread to the left.

First row.—Make a loose button-hole stitch into the braid to form a loop, then pass the needle under the line of thread, making the loops an eighth of an inch apart.

Second row.—Pass the thread back to the left, make a button-hole stitch in every loop, and pass the needle under the line of thread after each button-hole stitch.

No. 5.—Italian Lace Stitch.

No. 6.—Cobweb Lace Stitch.

No. 6.—Cobweb Lace Stitch.—Commence at the right side, pass the thread to the left, work 3 button-hole stitches, miss the space of 3, which will leave a small loop, and continue these details to the end.

Second row.—Pass the thread back to the left side, work 3 button-hole stitches in each loop, taking up the line of thread with the loop, as seen in the engraving.

No. 7.—Point Brabançon.—This stitch is worked as follows from left to right:

First row.—Make 1 long, loose point de Bruxelles, and 1 short loose one alternately, to end of row.

Second row.—Make 7 tight point de Bruxelles in the 1 long, loose stitch, and 2 short, loose point de Bruxelles in the short, loose stitch on previous row, and repeat across the row.

Third row.—Same as first.

No. 7.—Point Brabançon.

No. 8.—Point de Valenciennes (Valenciennes Stitch).

No. 8.—Point de Valenciennes, or Valenciennes Stitch.—This stitch appears complicated, but is really easy to work. Begin at the left hand and work 6 point de Bruxelles stitches at unequal distances, every alternate stitch being the larger.

Second row.—Upon the first large or long stitch, work 9 close button-hole stitches, then 1 short point de Bruxelles stitch under the one above, then 9 close stitches, and so on to the end of the row (right to left).

Third row.—Make 5 close button-hole stitches in the 9 of previous row, 1 short point de Bruxelles, 2 close, in the Bruxelles stitch, 1 short point de Bruxelles, 5 close, 1 short point de Bruxelles, 2 close, 1 short, 5 close, 1 short and repeat.

Fourth row.—Make 5 close, 1 short point de Bruxelles, 2 close, 1 short, 5 close, 1 short, 2 close, 1 short, and repeat. Continue the rows until sufficient of the pattern is worked.

No. 9.—Point d'Espagne, or Spanish Point.—This variety of stitch is worked from left to right as follows: Insert the needle in the edge of the braid, keeping the thread turned to the right, and bringing it out inside the loop formed by the thread (see illustration No. 9); the needle must pass from the back of the loop through it. Pass the needle under the stitch and bring it out in front, thus twice twisting the thread, which produces the cord-like appearance of this stitch. At the end of each row fasten to the braid and sew back, inserting the needle once in every open stitch.

No. 9.—Point d'Espagne (Spanish Point).

No. 10.—Genoa Lace Stitch.—Commence at the right side, and work as follows:

First row.—Work 4 button-hole stitches, miss the space of 3, work 3, miss the space of 3, work 4. Continue to the end.

Second row.—Work 9 stitches close together, 3 into the spaces of the 4, and 3 more into the loop at each side of it. Miss the 3 stitches, and make 9 as before.

Third row.—Make 9 close stitches, 3 into the last 3 spaces of the 9, 3 into the loop, and 3 into the first spaces of the 9 next, and so on to the end.

Fourth row.—Repeat the first, making the 3 stitches into the loop, and the 4 into the center spaces of the nine.

No. 10.—Genoa Lace Stitch.

No. 11.—Flemish Lace Stitch.

No. 11.—Flemish Lace Stitch.—Commence at the right side, and work as follows:

First row.—Work 2 button-hole stitches close together, miss the space of 2, work 2, miss the space of 8; this will leave a large loop and a small one alternately.

Second row.—Make 8 button-hole stitches in the larger loops and 2 in the small ones.

Third row.—Repeat the first row, making 2 stitches in each loop of the second row.

No. 12.—Point de Fillet, or Net Groundwork Stitch.—This stitch is also represented at No. 21, on page 13, but the method of making the knot is here illustrated. It is used for ground-work where Brussels net is not imitated, and is very effective wherever it is used. It is begun in the corner or crosswise of the space to be filled. A loose point de Bruxelles stitch is first taken and fastened to the braid, then passed twice through the braid as shown in the illustration, and worked in rows backward and forward as follows: 1 point de Bruxelles stitch, then before proceeding to the next stitch, pass the needle under the knot, over the thread, and again under it, as shown in the illustration. This stitch is very quickly worked.

No. 12. Point de Fillet (Net Groundwork Stitch).

No. 13.—Point de Reprise.

No. 13.—Point de Reprise.—This stitch is worked by darning over and under two threads forming a triangle. The space is filled by parallel and crosswise bars placed at equal distances, and on the triangles thus produced point de reprise is worked.

No. 14.—Point Turque, or Turkish Point.—This easy and effective stitch is very appropriate for filling either large or small spaces; the thread employed should be varied in thickness according to the size of the space to be filled.

First row.—Work a loop into the braid, bringing the thread from right to left, passing the needle through the twist and through the loop (see engraving), draw up tight and repeat.

Second row.—1 straight thread from right to left.

Third row.—Work the same as first, using the straight thread in place of the braid, and passing the needle through the loop of the previous row, as shown in the illustration.

No. 14.—Point Turque (Turkish Stitch).

No. 15.—Treble Point d'Espagne.—This stitch is worked in exactly the same way as the open and close varieties just mentioned, as follows: 3 close stitches, 1 open, 3 close to the end of each row. Sew back, and in the next row make 1 open, 3 close, 1 open, 3 close to the end; repeat the rows as far as necessary, taking care that the close and open stitches follow in regular order. Diamonds, stars, squares, blocks and various other pretty patterns may be formed with this stitch.

No. 15.—Treble Point d'Espagne.

No. 16.—Point d'Espagne. (Close.)

No. 16.—Point d'Espagne (Close).—This stitch is worked like open point d'Espagne (see No. 9, page 10) but so closely as to only allow the needle to pass through in the next row. It is also worked from left to right, and is fastened to the braid at the end of each row.

No. 17.—Point de Grecque or Grecian Point.—Point de Grecque is made from left to right, and is worked backward and forward. It is begun by 1 stitch in loose point de Bruxelles and followed by 3 of close point d'Espagne; then 1 Bruxelles, 3 point d'Espagne, to the end of the row; in returning work in the same manner.

No. 17.—Point de Grecque (Grecian Point).

No. 18.—Point de Cordova.

No. 18.—Point de Cordova.—This stitch is useful as a variation, and resembles the point de reprise of Guipure lace making. It is worked in a similar manner, over and under the sides of squares formed by intersecting straight lines of the thread.

No. 19.—Point d'Alençon, with Twisted Stitch.—This stitch is used to fill in narrow spaces where great lightness of effect is desired, and is usually seen along the sides of insertions and the tops of edgings. Plain point d'Alençon is worked over and under in bars in a sort of herring-bone pattern, and a twisted stitch is made as seen in the engraving, by twisting the thread three times around each bar and knotting it at the angles as pictured. The effect is similar to one of the drawn-work hem-stitches.

No. 19.—Point d'Alençon, with Twisted Thread.

No. 20.—Point d'Angleterre.

No. 20.—Point d'Angleterre.—This lace is worked as follows: Cover the space to be filled in with lines of thread about an eighth of an inch apart, then form cross-lines, intersecting those already made and passing alternately under and over them; work a rosette on every spot where two lines cross by working over and under the two lines about 16 times round; then twist the thread twice round the ground-work thread, and begin to form another rosette at the crossing threads.

No. 21.—Point de Fillet and Point de Reprise.—The net-work seen in this engraving is the first stitch mentioned, while the block-work is the second. Both are clearly illustrated and need no written explanation of the methods employed in making them.

No. 21.—Point de Fillet And Point de Reprise.

No. 22.—Point de Tulle.

No. 22.—Point de Tulle.—This stitch is used as a ground-work for very fine work, and is worked in rows backward and forward in the same stitch as open point d' Espagne. When this is completed the work is gone over a second time by inserting the needle under one twisted bar, bringing it out and inserting it at + and bringing it out again at the dot. This produces a close double twist which is very effective.

No. 23. Fan Lace Stitch.—Commence at the right side, and work as follows:

First row.—Make 1 button-hole stitch and miss the space of 8, which will leave a long loop.

Second row.—Make 8 button-hole stitches in each loop.

Third row.—Make 7 stitches into the spaces between the 8, and so decrease one in every row until only one remains, as may be seen by referring to the illustration.

No. 23.—Fan Lace Stitch.

No. 24.—Rose Point Lace Stitch.

No. 24.—Rose Point Lace Stitch.—Make a foundation of single threads, crossing them to form the large squares. Work a button-hole stitch at each crossing to make it firm. Now begin at the top, at the right side and fill the first square with Brussels net stitches, finishing at the lower left corner. Fill every alternate square in the same way as seen in the picture.

Now cross the open squares diagonally with two threads, twisting each thread around the adjoining one as represented. (Carry one thread across all the squares from corner to corner first, then twist back, fastening at the corner started from; cross these threads in the same way from the opposite direction). When twisting the thread back from the last set of crossings, make a rosette at each center crossing as follows: Keep the space open with a pin and trace round it with a darning movement five or six times; commence at the single thread and work a close button-hole stitch over the tracing entirely around, and then twist along the single thread to the center of the next square. This is a very effective design for spaces.

WHEELS AND ROSETTES.

Wheels and rosettes are used to fill up spaces, or in combination, to form lace.

No. 25.—Rosette in Raised Point d'Angleterre.—This rosette is worked in a manner similar to the English wheel, the difference being that after each stitch is passed round and under the bars, the thread is passed loosely around in the reverse direction, as shown in the illustration, before proceeding to make the next stitch.

No. 25.—Rosette in Raised Point d'Angleterre.

No. 26.—Mechlin Lace Wheels.—This is one of the prettiest stitches in point lace, but also one of the most difficult to work correctly. It is made thus: Work a number of diagonal bars in button-hole stitch on a single thread in one direction, then begin at the opposite side in the same way, and work 5 or 6 stitches past the spot where the two lines cross; pass the thread round the cross twice, under and over the thread to form a circle. Work in button-hole stitch half of one-quarter, make a dot by putting a fine pin in the loop instead of drawing the thread tight, and work 3 button-hole stitches in the loop held open by the pin, then take the pin out and continue as before. Beginners will do well to omit the dot, leaving the loop only on the wheel. Mechlin wheels are also worked in rows upon horizontal and parallel lines of thread.

No. 26.—Mechlin Lace Wheels.

No. 27.—English Wheel.

No. 27.—English Wheel.—This is worked in the same manner as Sorrento wheels, but instead of winding the thread over and under the bars, the needle is inserted under each bar, and brought out again between the thread and the last stitch; this produces a kind of button-hole stitch, and gives the square, firm appearance possessed by this wheel.

Nos. 28 and 30.—Sorrento Wheel.—This is worked by fastening the thread in the pattern to be filled up, as indicated by the letters. Fasten it first to the place a, then at place b, carrying it back to the middle of the first formed bar by winding it round; fasten again at c, carrying it back again to the center by winding it around the bar, and so on to all the letters; then work over and under the bars thus formed.

No. 28.—Sorrento Wheel.

No. 30.—Sorrento Wheel.

No. 29.—Close English Wheels.—These wheels may be used in open spaces and may be very easily made from the engraving. They are much like the wheels used in drawn work—indeed, many of the stitches used in lace are identical with those used in drawn-work.

No. 29.—Close English Wheels.

BARS AND PICOTS.

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

Nos. 31 and 32.—Raleigh Bars.—These bars are much used in making Battenburg lace and are very effective. They are worked over a foundation or net-work of coarse thread, and are twisted in places so that they will more easily fall into the desired form.

By following the numbering from 1 to 21, in No. 31, a square place may be easily filled, and portions of this arrangement applied to form ground-work of any shape desired. Upon this ground-work tight point de Bruxelles stitches are made, and the dot worked upon these in one of the following ways:

No. 31.—Net-work for Working Raleigh Bars.

Dot or Picot.—First Method.—Make 5 tight point de Bruxelles stitches, 1 loose point de Bruxelles; pass the needle under the loop and over the thread, as shown in point de Venise bars at No. 47, on page 18, and draw up, leaving a small, open loop as in tatting. Work 5 tight point de Bruxelles stitches, and repeat.

Second Method.—Proceed as above directed, but instead of continuing the tight stitches, work two or three tight stitches in the loop thus formed and repeat.

No. 32.—Raleigh Bars.

Third Method.—Work 4 tight point de Bruxelles stitches; 1 loose, through which pass the needle point, wind the thread three or four times round the point (see No. 48, page 18), 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. 48 shows how this stitch may also be applied as a regular ground-work, but the beauty of old point ground-work bars consists of variety in form.

No. 33.—Italian Ground Stitch.—Commence at the left side, and work as follows:

First row.—Make a loose button-hole stitch to form a loop a quarter of an inch wide, and then make a plain stitch into the loop to twist it, and continue to the end.

Second row.—Make two plain stitches into each loop, working back to the left.

Third row.—Repeat first row.

No. 33.—Italian Ground Stitch.

No. 34.—Open Lace Bars.

No. 34.—Open Lace Bars.—Pass a thread from right to left. Make it firm by working a second stitch into the braid; work 2 button-hole stitches on this line of thread, close together. Then work 1 button-hole stitch on the lower thread at the left hand side, and draw it close to the 2 stitches on the line of thread. Miss the space of 2 and repeat.

Nos. 35 and 36.—Sorrento Bars.—Each of the bars is worked from right to left, a straight thread being carried across and fastened securely with a stitch. The return consists of a simple twist under and over the straight thread; three of these bars are usually placed close together at equal distances between the groups. The thread is sewn carefully over the braid in passing from one spot to another.

No. 35.—Sorrento Bars.

No. 36.—Sorrento Bars.

Nos. 37 and 38.—Venetian Bars.—The bar at No. 37 is so simple that it really needs no description. It is worked over two straight threads in reverse button-hole stitch. No. 38 shows the Venetian bar used as the veining of a leaf and worked upon Sorrento bars.

No. 37.—Venetian Bars.

No. 38.—Venetian Bars.

No. 39.—Point d'Anvers Bars.—Two upright bars form the foundation. The thread is carried over and under them as seen in the engraving, the side loops being added by the method depicted at the top of the point.

The over and under work in point d'Anvers bars, without the side loops, is often used for plain bars for filling in odd spaces or wheels in heavy lace.

No. 39.—Point d'Anvers Bars.

No. 40.—Point Grecque Bars.

No. 40.—Point Grecque Bars.—These bars are so simply made that they are great favorites with beginners. They are begun at the top of the point, one straight thread being carried to the bottom; then the cross bars are worked after the method seen in the illustration.

No. 41.—Bars of Point d'Angleterre.—These bars may be worked singly or to fill up a space, as in the illustration. Work rosettes as in point d'Angleterre; 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 center and over into the opposite braid; repeat on each side of each rosette, inserting the threads as seen in the illustration.

No. 41.—Bars of Point d'Angleterre.

No. 42.—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. Then in every third stitch work one point de Venise stitch.

No. 42.—Point de Venise Bars (Edged).

No. 43.—d'Alençon And Sorrento Bars.

No. 43.—d'Alençon and Sorrento Bars.—At Nos. 35 and 36 (page 16), a description of the method of making Sorrento bars is given, while at No. 19 (page 12), is a description of plain and fancy d'Alençon stitches. The two methods are combined in the work seen at No. 43 where the process is so clearly illustrated that a mere novice in lace-work could not fail to produce it perfectly. The combined stitch is used in filling in spaces, etc., etc.

No. 44.—Picot Or Dot on Sorrento Bar.—This dot is worked between rows of point de Bruxelles, 3 twisted stitches being worked into the loop left by the twisted thread; this forms a picot resembling satin stitch in appearance.

No. 44.—Picot or Dot on Sorrento Bar.

No. 45.—d'Alençon Bars.—These bars are worked upon point de Bruxelles edging, and are only applied to the inner part of a pattern, never being used as ground-work 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 fastens off the bars, and the thread is passed through the next point de Bruxelles stitch.

No. 45.—d'Alençon Bars.

No. 46.—Plain Venetian Bars.

No. 46.—Plain Venetian Bars.—These bars are worked so as to form squares, triangles, etc., in button-hole stitch upon a straight thread.

The arrow in the illustration points to the direction for working the next stitch.

No. 47.—Dotted Point de Venise Bars.—These pretty bars are worked as follows: Stretch the thread from right to left; on this work 5 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 the illustration, and in this loop work 3 tight point de Bruxelles stitches. Then work 5 more stitches and repeat to end of row.

No. 47.—Dotted Point de Venise Bars.

No. 48.—Third Method of Making Picots or Dots.

The making of the dots or purls before mentioned as picots, is an important feature in bar work. All three names are employed for the same class of stitch.

No. 48.—Third Method of Making Picots Or Dots.—This method has been fully described in connection with the making of Raleigh Bars at Nos. 31 and 32 (page 15), and requires no further description at this point. All dots and picots render work much more effective, and may be introduced at will by the worker.

In making modern lace, the various kinds require appropriate braids. There are three classes of these braids—those for Battenburg lace, those for plain Honiton and point, and those for the newest kind of lace, which is called the "Ideal Honiton." Each class of braids contains many designs and widths, and a large number of them, together with various cords, buttons and rings also used are illustrated on following pages.

FANCY BRAIDS, CORDS, RINGS AND BUTTONS.

BRAIDS.

The braids, cords, rings and buttons illustrated upon the following two pages are all used in modern lace-making. They are all made of pure linen thread, and according to the fancy, the lace including them may be heavy or light. Royal Battenburg lace, as originated, was heavy—in some cases massive; but at present many lighter varieties are made, as will be surmised upon an inspection of the braids for its manufacture which are represented on the pages mentioned. As shown by No. 1, these braids are about a third narrower than their actual width, and the picot edges numbered 16 and 17 are plain tatting made for the purpose, as the picot edges woven for lighter laces are not heavy enough for Battenburg lace. The numbers opposite the specimens are simply for convenience in ordering, if the order is sent the lady mentioned in another part of the book as the Pioneer of Lace-Making in America; but in ordering from other lace-makers or manufacturers of braids, these numbers will be of little use, as every lace-maker or manufacturer has his or her own individual identifications for materials. Almost any of the braids, or those very similar, may be found at large fancy stores, but in buying them at such stores, be careful to get linen braids, as cotton braids do not make pretty lace, neither do they wear or launder well. In ordering these braids from other lace-makers or from fancy stores, it will be necessary to forward the illustration of the kind wanted, as the braids cannot be described with sufficient accuracy to obtain the desired varieties. Some are sold by the yard, some by the dozen yards and others by the piece, according to the position to be occupied in the work.

The point, Honiton and Princess braids are represented full size, and are much daintier in texture than the Battenburg braids. Of this class of braids (see No. 2) are made the plain Honiton and point laces, and the braids for these two laces combined produce the Princess lace—a creation whose beauty fully entitles it to its royal name.

The braids seen at No. 3, page 21, are those which are used in making the new "Ideal Honiton" lace represented in another portion of the book. As illustrated, these braids are three-quarters of their proper widths, the top braid, No. 38, being just one inch wide in the fabric itself. The "Ideal Honiton" is one of the prettiest laces made, and is very appropriate for tidies, doilies, squares and scarfs. It is daintily secured to the finest of lawn in charming designs, and then the lawn is cut out from beneath it. (See doily, page 33).

The cords seen at No. 4 are used in making Battenburg laces, and greatly increase the beauty of the work in addition to forming a distinctive species of lace. After the ordinary Battenburg is worked with quite thick braid, the cord, in any size desired, is used to follow one edge of the design, as will be seen from illustrations upon other following pages.

RINGS AND BUTTONS.

The rings and buttons illustrated, are made throughout of linen thread in layers of button-hole stitches, and are sold by the dozen or gross. Buttons arranged as grapes (see No. 50, page 21), add greatly to the sumptuous effect of a heavy lace, and may be purchased already arranged as illustrated, or they may be arranged by the purchaser of a quantity of them. The latter method is a good plan if spaces are to be filled with clusters which must be of a certain shape.

No. 1.—Braids used in Making Battenburg Lace.

No. 2.—Braids used in Making Honiton, Point and Princess Lace.

No. 3.—Braids used in Making "Ideal Honiton" Lace.

No. 4.—Cords, Rings and Buttons used in Making Battenburg Lace.

DESIGNS, LACE ARTICLES, EDGINGS, INSERTIONS, ETC., IN MODERN LACE.

Of necessity, most of the designs and specimens given on this and the following pages are smaller than the articles they represent, but they afford a correct idea of the method of making and the beauty of Modern Lace, and also its adaptability to dainty accessories of the toilet and the household. As before mentioned any design desired can be obtained from any lace-making establishment in any size, width or shape, according to the requirements of the article or lace to be made, and individual taste. Ingenious students will no doubt be able to adapt for themselves the designs offered, but it is not advisable for those who have no talent in the matter of drawing or designing to undertake an elaborate adaptation, though they may easily accomplish a simple one. Besides, a professional designer will furnish the design for a moderate sum, perfectly outlined upon tracing cloth, with ink, and with the proper filling-in stitches perfectly delineated; and if the student wishes it, will select the thread and braid appropriate for the design; or the student may select the braid she fancies, and the designer will then select the thread suitable for the braid.

No. 1.
DESIGN FOR A LACE HANDKERCHIEF.

This design is suitable for point lace braid, but is of course very much reduced in size, in order to show the effect and arrangement of a design ready for working, as sent out from the lace-maker's. By a reference to the various stitches illustrated on preceding pages, the stitches shown in one corner of the design may be readily identified. The following engraving shows how braid is applied to a design before the stitches are begun.

[No. 1.]—Design for a Lace Handkerchief.

No. 2.
METHOD OF PLACING BRAID UPON DESIGNS.

This illustration shows the method of arranging braid upon designs for modern lace, and how, after the braid is basted along the pattern, the tracing cloth is basted to toile cirée or to smooth, light brown wrapping paper to provide sufficient firmness for working.

The following instructions apply particularly to engraving No. 2, but their principle should be observed and applied to any design decided upon, as good results in lace-making largely depend upon the arrangement of the braid.

Run on a straight line of braid for the lower edge, with fine stitches, working as shown, from left to right. Take another piece of braid, or the other end of the same piece, and begin to lay the braid by "running" stitches in its center, keeping it as smooth and even as possible. The outer edge presents no difficulty, but the inner edge will not lie evenly without being drawn in by a needle and thread, as follows: Fasten whipping thread securely, and insert the needle in and out of the edge of the braid, as if for fine gathering; this thread when drawn up will keep the braid in its place. Two or three fastening-off stitches should be worked when each circle, half circle, or rounded curve of a pattern is finished, as the drawing or gathering thread remains in the work, and forms an important, though unseen, part of its structure.

Before cutting off the braid run a few stitches across it to prevent it from widening. Joins should be avoided, but when a join is indispensable, stitch the braid together, open and turn back the ends, and stitch each portion down separately. When passing the thread from one part to another, run it along the center of the braid, allowing the stitches to show as little as possible. In commencing, make a few stitches, leaving the end of the thread on the wrong side and cutting it off afterwards. In fastening off, make a tight button-hole stitch, run in three stitches, bring the needle out at the back, and cut off.

[No. 2.]—Method of Placing Braid upon Designs.

No. 3.
ROYAL BATTENBURG LACE BUREAU-SCARF.

The engraving on the opposite page represents the article above mentioned, and shows the effectiveness of this magnificent and durable lace. In actual size the scarf is about a yard and one-half long and one-half yard wide, and is made of a heavy Battenburg braid, having a fancy edge (See Nos. 5 or 7, on page 20) and cord, rings and buttons. The main part of the design is outlined with the braid, cord is used as a veining for the leaves, and the rings and buttons are introduced here and there over the surface, as seen in the picture. Raleigh bars with picots connect the border and center designs, while the palms along the border as well as other small spaces are filled in with point Turque and point de Grecque stitches. Sorrento bars are also used in some of the long leaf-like spaces, while in a few of the circular spaces point d'Angleterre rosettes are introduced. These rosettes are also frequently called "spiders," and are made, according to the space, large or small; and according to the requirements of the braid selected, heavy or light.

For convenience in giving the name of this lace, the full title is rarely used—"Battenburg Lace" being considered sufficient to identify the fabric from the other and lighter laces.

Battenburg lace is made both heavy and light, according to personal taste or the object for which the lace is intended, but it was originally designed for heavy work only.

[No. 3.]—Royal Battenburg Lace Bureau-scarf.

No. 4.
POINT LACE DOILY FOR A TOILET CUSHION.

This dainty doily may be made of the point lace braids illustrated at Nos. 30 and 31, together with the picot edging No. 36, seen on page 20. In filling in the spaces, thread suitable for the braid is used, and the stitches are point de Valenciennes, point d'Espagne, Sorrento bars, point de Bruxelles, open rings and "spiders." As all of these stitches, with many others are illustrated in that section of this book devoted to stitches, it will be unnecessary to repeat the details for making, as they are fully given in the department mentioned. It will also be understood that most of the articles illustrated are not of full size, but in some instances are nearly so. The doily just described is illustrated about three-quarters of its actual size; but by using a fine braid a doily of fairy-like texture, and just the size of the engraving may be produced. Any one accustomed to drawing may enlarge this or any of the designs given, but only clever fingers should try this experiment.

[No. 4.]—Point Lace Doily for a Toilet Cushion.

No. 5.
BATTENBURG EDGING, WITH CORD.

This is a very elegant looking lace, though simply made after the regular Battenburg method. A plain braid (No. 10, page 20) is chosen to form the outlines, and after the stitches are filled in, cord of a suitable size is carried around the petals and foliage of the design, and rows of it are also used to indicate the vine, though the latter may be outlined with the tape and then with the cord. The petals of the blossoms are filled in in point de Bruxelles and point de Venise stitches, while point d'Espagne and point Brabançon are used for the foliage and vine. Point Grecque and d'Alençon bars are also used at the very heart of the blossom, and Raleigh net-work bars connect the design to the edge and are dotted here and there with "spiders."

[No. 5.]—Battenburg Lace, with Cord.

No. 6.
BATTENBURG INSERTION, WITH CORD.

This insertion matches the edging or lace above described, and is, therefore, made in exactly the same way, except that the design is double. Both the edging and insertion may be made of any width desired; and the design will be found very pretty for fancy-edge or plain braids without the cord. Buttons or rings may be used in place of the "spiders" seen in the engravings if preferred.

[No. 6.]—Battenburg Insertion, with Cord.

No. 7.
DESIGN FOR A HONITON LACE CAP.

The design illustrated is, of necessity, much smaller than the cap it is intended for; but the clever student may easily enlarge it to, or design one for herself of the size required. Lace-makers will duplicate designs in any size desired for a moderate sum, thus saving the amateur much work and at the same time putting her to little expense.

The design here illustrated might also be used for handkerchief corners, scarf-ends, etc., etc.; and any of the stitches illustrated on preceding pages may be selected for filling-in purposes.

[No. 7.]—Design for a Honiton Lace Cap.

No. 8.
DESIGN FOR A CORNER IN BATTENBURG, POINT, OR HONITON LACE.

According to the article to be decorated, this design will be found appropriate for either of the braids used for the laces above mentioned.

For table scarfs, tidies, heavy borders, etc., etc., the Battenburg braids should be selected; but for handkerchiefs or doilies, the point or Honiton braids are the proper ones to choose for this design.

Raleigh bars, Brussels point and any other stitches preferred, may be used in filling in the spaces. When a design is procured from a lace-maker a portion of it is always marked with the stitches to be used; but this is not an arbitrary matter, since the one who is to make the lace, may desire to and may insert other stitches in preference to those indicated.

[No. 8.]—Design for a Corner in Battenburg, Point, or Honiton Lace.

No. 9.
DOILY IN "IDEAL HONITON" LACE-WORK AND LINEN LAWN.

One of the prettiest and the very newest of the modern laces is here illustrated. It is made of two of the many varieties of Honiton braids, wash-silk floss and linen lawn. The braid is basted smoothly upon a square of lawn in the design illustrated (though individual taste will no doubt suggest many other equally pretty designs), after which the inner edges of the braid are permanently secured by a "short and long stitch." This is merely a short and long button-hole stitch reversed so that the cross loops are on the edge of the braid, while the stitches them selves extend beyond the braid, into the lawn, as seen in the engraving. Two short stitches alternate with single long ones throughout this part of the work. The outer edges are then fastened to the square by tiny button-hole scollops. Then the lawn is cut from under the squares formed by the braid, and the openings are button-holed through the lawn and braid so that the edges of the lawn will not fray. When this is done the spaces are filled in with fancy stitches, and when they are completed the lawn is cut away from the edge-scollops with a pair of fine sharp, scissors. In the doily illustrated "spiders" and point de Venise stitches are used for filling in the spaces. The floss used may be white or tinted, the latter washing as well as the white; but as a rule, white or yellow flosses are selected in preference to other colors. "Ideal Honiton" scarfs, tidies, doilies, pillow shams, tray cloths, etc., etc., may be purchased with the braid already basted on in a pretty design and with the necessary threads or floss, or they may be designed at home, and by either method will result in a beautiful variety of modern lace.

[No. 9.]—Doily of "Ideal Honiton" Lace and Linen Lawn.

No. 10.
DESIGN FOR A CORNER IN BATTENBURG LACE.

Although this design is intended for Battenburg lace, and may be made up of any of the braids used for that kind of lace, it will also be found suitable for the finer point or Honiton braids for handkerchiefs, doilies, mats, etc., etc. As illustrated it would be suitable for a handkerchief. Enlarged and followed in Battenburg braid it would make a very handsome border for a table-scarf, curtains or draperies, or a substantial decoration for a gown of wash fabric or other goods. Raleigh bars, "spiders" and point de Bruxelles stitches are used for filling in, and a dainty picot edge is sewed to the outer line of the braid. Plain or fancy braid may be used for this design. If fancy loop-edge braid is selected, the picot edge will not be needed, the loops taking its place.

[No. 10.]—Design for a Corner in Battenburg Lace.

No. 11.
BATTENBURG EDGING.

The edging here illustrated is represented about one-third less than its actual width, but the design is so distinctly brought out that its beauty in any width may be readily conceived. It is formed of fancy Battenburg braid, but may be made from a plain variety if preferred. The design is known as the fern leaf and is easy to follow. Sorrento bars are used to connect the work, and "spiders" are made here and there to add variety to the work. Point de Bruxelles stitches are used to fill in the spaces at the sides of the leaves, and, with the fancy braid, produce a very dainty, delicate effect.

[No. 11.]—Battenburg Edging.

No. 12.
BATTENBURG INSERTION.

This insertion is made to match the edging seen above it, but is much wider than the edging, though formed of the same braid. Either design could be varied so as to result in an edging and insertion of equal width, or the edging could be arranged for an insertion, and the insertion illustrated changed into an edging.

[No. 12.]—Battenburg Insertion.

No. 13.
FINGER-BOWL DOILY OF PRINCESS LACE AND LINEN LAWN.

Princess lace, (also known as Duchesse lace) as elsewhere mentioned, results from combining Honiton and point lace braids in one design; and a charming specimen of this lovely lace is here illustrated.

The doily is pictured only a trifle smaller than its actual size, and even in its full size is a very dainty affair. After the braids are basted along the design, they are then connected by twisted bars that are an adaptation from the point d'Alençon bars with the twisted stitch; and the spaces are filled in in small d'Angleterre rosettes or "spiders." As few bars as possible are employed for the spiders, in order to produce a very delicate effect. The lawn center is added last.

[No. 13.]—Finger-Bowl Doily of Princess Lace and Linen Lawn.