The Art of Modern Lace Making Part 8

ITALIAN LACE.

This lace is of a conventional Italian pattern, and is filled in with the Italian lace and ground-st.i.tches, and Sorrento bars. The lower edge is very daintily completed with a b.u.t.ton-hole effect. The design is simple, elegant, and popular, and may be wrought in Battenburg or the finer braids, and in any width desired, the braid selected and the width decided upon determining the use to which the lace shall be put.

[Ill.u.s.tration: No. 42.--Italian Lace (Half Size).]

No. 43.

MODERN VENETIAN POINT.

The engraving shows a reduced representation of a very elegant specimen of modern lace--the reduction in size being necessary in order to present the whole design. In making the lace, narrow braid and cord are used for the foundation of the design, and then the filling-in st.i.tches are made and at the same time rings and b.u.t.tons and bars and picots are introduced. Some of the filling-in st.i.tches are combinations--as in the figures with very open bars where point d'Espagne and point Brabancon are combined, and at the middle section of the central figure where point de Valenciennes and point Brabancon are combined. Other st.i.tches used are d'Alencon bars, Raleigh bars, church st.i.tch, point de Bruxelles, "spiders," Sorrento bars, and picots. The greater the variety in the filling-in st.i.tches, the more beautiful the lace. A picot edge finishes the lace in a very dainty manner along its lower outline, while a cord forms the upper edge.

[Ill.u.s.tration: No. 43.--Modern Venetian Point.]

No. 44.

DESIGN FOR MODERN LACE.

This design may be made up in Battenburg braid, or of point or Honiton braid according to the texture of the lace desired. In making it for garments or articles that are to be renovated occasionally, the Battenburg braids are advisable; but for daintier uses, point or Honiton may be chosen. The Raleigh-bar st.i.tch, point de Bruxelles, and "spiders"

may be used in following the outlines given for st.i.tches.

[Ill.u.s.tration: No. 44.--Design for Modern Lace.]

No. 45.

CORNER IN MODERN LACE.

The suggestions given above will also apply to this design, which may be used for a table spread, or a handkerchief, according to the braid selected. As ill.u.s.trated, the design is of pretty dimensions for a doily or a toilet-cus.h.i.+on cover, or for a handkerchief. All of the bar work seen may be done with single threads instead of the complete Raleigh method, and the rosettes or "spiders" may be larger or smaller as preferred.

[Ill.u.s.tration: No. 45.--Corner in Modern Lace.]

No. 46.

PILLOW-SHAM OF BATTENBURG LACE AND LINEN.

A very elaborate pillow-sham is here ill.u.s.trated. It is made of Battenburg braid and appropriate thread, together with an intermingling of rings, and forms one of the most elegant appointments of a handsomely furnished bed-room. The pattern is very distinct and is called the "rose and leaf" design. The ground-work is formed of rings and Raleigh bars, while the centers of the roses and their leaves are filled in in various fancy st.i.tches which include the crosses and rosettes used in drawn-work, Sorrento bars, points de Venise and Bruxelles, d'Alencon bars, etc., etc. If desired the linen square may be made larger, and the lace but one row of blossoms in width. The square is made of the finest household linen and is completed with a broad hem-st.i.tched hem before the lace is added. The lace design may be obtained in any width desired by sending to a professional lace-maker; or, a clever student may be able to enlarge the design herself.

[Ill.u.s.tration: No. 46.--Pillow-Sham of Battenburg Lace and Linen.]

No. 47.

DESIGN FOR PRINCESS OR d.u.c.h.eSSE LACE COLLAR AND CUFFS.

Although this design is represented very small, it is sufficiently clear to convey a good idea of its outlines, and enable a student of average ability to adapt it to collar and cuffs of any size desired. Raleigh bars are used in connecting the various portions of the braids, while any of the fine st.i.tches preferred may be chosen to fill in around the loops of the blossoms and foliage. A fine picot braid finishes the edge.

[Ill.u.s.tration: No. 47.--Design for Princess or d.u.c.h.esse Lace Collar and Cuffs.]

No. 48.

ENGLISH NEEDLE-POINT LACE.

This engraving ill.u.s.trates a very beautiful specimen of modern-point lace in a design combining the lily and the rose. Raleigh bars and b.u.t.tons render the heavy part of the work effective, while the daintier point st.i.tches and bars are used to fill in the floral sections--coa.r.s.e and fine thread being used in the work.

This lace, like any of the varieties now fas.h.i.+onable may be made wide or narrow, or fine or coa.r.s.e by designs furnished as required by lace-makers in general; and the patterns may also be developed in silk or ribbon needle-point, which is a style of ornamentation appearing extensively as a decoration for scarfs, piano and table covers, mantel valences, etc., etc.

[Ill.u.s.tration: No. 48.--English Needle-Point Lace.]

No. 49.

ROYAL BATTENBURG LACE.

This design was among the first ones of this lace to appear, and is fully ent.i.tled to its royal name. Fancy Battenburg braid was selected for the foundation, and various st.i.tches chosen for filling-in purposes.

Among the st.i.tches are point de Bruxelles, made similarly to the Italian lace st.i.tch, point de fillet, plain Raleigh bars, point d'Alencon, rosettes, rings and point de Grecque. The central figure conveys a hint of the outlines of the royal crown, and the lace is really sumptuous in design and texture. In 1883, Mrs. Grace McCormick, the originator of the design and lace was awarded a diploma for her work which was forwarded from Was.h.i.+ngton, where she applied for a patent for her specimens of Royal Battenburg lace, of which this is one.

[Ill.u.s.tration: No. 49.--Royal Battenburg Lace.]

No. 50.

ROMAN LACE (CORAL PATTERN).

The design here given is for a lappet or scarf-end, and will afford a suggestion for the making of larger articles or edging in similar arrangements of braid. It will be observed that the braid forms irregular lines that recall the branchings of coral, and it will be a very easy matter for an amateur lace-maker to similarly arrange her braid for any purpose she desires. Fine Raleigh bars form the connecting work, and a b.u.t.ton-hole picot-finish is made along the edge of the braid which forms the border. In making an edging, a definite outline could be kept for the lower edge, and above this an irregular or indefinite outline arranged.

[Ill.u.s.tration: No. 50.--Roman Lace (Coral Pattern).]

No. 51.

TIDY OF BATTENBURG LACE.

The tidy here ill.u.s.trated is made entirely of Battenburg lace, and is a beautiful specimen of this kind of work. The border design is the same as the one previously described for a pillow-sham, except that but one row of the blossoms and foliage is used. The center is composed of rows of braid crossed to form squares or open s.p.a.ces that are filled in with rosettes in point d'Angleterre. This center is attached to the braid at the inner edge of the border by a series of bars arranged in d'Alencon style and then wrought with the thread after the method used in d'Anvers bars. This tidy, enlarged, forms an elegant design for a pillow-sham.

When laid over a tinted silk spread or pillow, a sham of this design shows its full beauty. When the braid is basted on in the outlines desired, the remainder of the work will be a pleasing pastime, as none of it is so fine as to require very close attention.

[Ill.u.s.tration: No. 51.--Tidy of Battenburg Lace.]

No. 52.

MODERN LACE.

A handsome specimen of lace is here ill.u.s.trated. It will be observed that the braid from which it is made is woven like fine binding braid, and in this respect differs from any of the lace-braids herein ill.u.s.trated. It will also be seen that no two figures of the design are alike, and that various st.i.tches are used in completing them, many being combinations of or adaptations from the st.i.tches ill.u.s.trated at the beginning of this pamphlet. The engraving is sufficiently plain to enable the worker to decide which st.i.tches are used alone or in combination, and to guide her correctly in their application. The picot-edge is done in point de Venise st.i.tch.