The Young Ladies' Journal Complete Guide to the Work-Table Sixth Edition 1888

Page 1

Page 2

N II

Page 3

.1

Page 4

Page 5

ADVERTISEMENTS. Baldwins Walkers IITTING EAncy Special malces for Machine Kiilters SOLD BY ALL LEAD/NQ DRAPERS L HOSIERS. i HIGHLAND WOOLS y^ FINGERING WOOLS f VEST WOOL [^ SHETLAND WOOLS (I I Wools tsTABJ^oTsse WEST CROFT MILLS, Halifax, Yorkshire. ^ HARRIS I NOVELTY IN NEEDLEWORK. The only Flax Embroidery Threads used at the Royal School of Art Needlework, South Kensington, and obtainable there. For the Bedroom, Drawing-boom, Panels. Curtains, Screens, Table Cloths, Ladies* & Children's Dresses, Ecclesiastical, & all High-Class Needlework. ART SHADES AND BRILLIANT COLOURS. ^___^__ 5 Exceeflinj? in Artistic Effect the Finest Silk at One-third the cost of Filoselle. WILL WORK ON ANY MATERIAL. COLOURS TRUE TO SHADE. EXACT MATCEINQ- GUARANTEED. CAUTIOJ^.— Beii-are o/iu- ferior and thoroughly unre- liable imitations, and see tliat EVEtiY SKEIN heavs the Signature, J. HARRIS Sign SO^ FLAX EMBROIDERY THREADS. a7id SUNS, CocUYmwth. Highest Awards wherever Exhibited. Thread Cards of 250 Shades (Fast Dried Washing Colours) in 14 sizes ; and washing instructions Free. Kept in stock in every size and shade, by the Manu- facturers, from the heaviest COUCHING and ROPE FLA:^ to the FINEST ETCHING. If you cannot obtain tlie sizes and shades you require at the shops, write direct to the Mills. Samples of Work on Approval. • ^ J. HARRIS & SONS, Derwent Mills, COCKERMOUTH,^°f.d°^/J^^f-:;l°^y- 2>yfcs KNnnHGiiniOLS -3^'j\(^,^0M THE FACTORS .f)/-*^- i.cMllis % son.Wakereld WHO SUPPLY THE CELEBRATED YARNS MANUFACTURED BY ISAAC BRIGGS 8f SONS, RUTLAND M!LLS,WAKEF1ELD. BEST SCOTCH _ FINGERING % PLY-FINE. _^ PLY-STOUT APPLYto THE FACTORS FOR PRICE LISTS SSAMPLCS.

Page 6

ADVFJITISEMENTS. Needles, Sewing Machine Needles PENELOPE CROCHET HOOKS, and KNITTING PINS of ALL KINDS, AND or THS riANUrAGTUili::D BY Kaiiufactupep by Special Appointment to HEH MOST GHACIOnS MAJESTY QDEEN VICTORIA Of the "QuBBN'3 Own" Ridgbd-Byed Needles, Etc. Etc, Holesale Only, 53, Gresliam Street, London. Manufactory-Redditcli, H WALKER'S '* BIDGED-BYBD NEEDLES " have a wide reputation for superior Quality and Finish, and his PENELOPE CEOOHET HOOKS are invariably used in prefereoce to all others. H, WALKER'S " BELL GAXTG-E " will be found useful to Needleworkers and Knitters. A ny of the above Goods can be obtarmdai Berlin Repositories or of the usual Wholesale Houses^ Two Gold Medals obtained at the Paris Exhibition, 1878, and the ONLY Gold Medal awarded for Needles^ exQUisixe ill all Colours am ^ M'i Shades ^<^ SPECMLLV ^Di^PTED FOR MAKING EMBROIDERY, SHAWLS, A/so Bmld, Corded - Pearl Barley, Granulated- -^ . ^ -2- Crewel ma Ice wools and all kinds of^ knitting urns. ^ 7ne use of these greatly facilitates the making of Bedutifui Designs in Meedlmork MANTLES %. SHAWLS SUPPLIED-from -the- ABOVE. ;\LL GOODS POST FRES AT WHOLESALE PRICES DIRECT FROM THE WORKS Mterns, Sijcw'e €ards and Full Particulars Free en Applicahm.

Page 7

CSMfilTI CTIBI m Til WilK-TAJil. 003^TJk.IUIl^a- IITSTI^TTOTlOlsrS IN BERLIN WORK, CROCHET. DRAWN»THREAD WORK, EMBROIDERY, KNITTING, KNOTTING OR MACRAME, LACE, NETTING, |i;um^i[0us Jllmtpli0ns nnd (!{0lom[ud S^^iinjj. Bcceecceooeaijuii London s E. HARRISON, MERTON HOUSE, SALISBURY SQUARE, FLEET STREET.

Page 8

INDEX. BERLIN WORK. Brocart de Bourgoyne , Cheiiiiile • , , ... Pesign on Java . • Diaper Pattern , , Fancy Stitches . , • Framed Cross Stitch , , Framed Star .... Fringe Fringe of Wool through Canvas Gobelin . , . , . Introduction .... Leviathan and Cross Stitch . Plait, Cross, and Long Stitches Plait Stitches, A Variety of . Point de Fantasie . Point Reprise on Java Canvas Raised Berlin Hook Satin, Cross, and Back Stitches Satin Stitoh , , , , Sofa Cushion , , Star Pattern, Raised or Plush Stitch Vandyke and B^ok Stitohes. • CROCHET. Basket' Pattern, Tricot Chain Stitch .... Cro88 Treble . , . . Design for Shawls Directions for Holding Work Doable . • . , . Doable Foundations • Doable and Treble |. , Doable Treble , Edging, Crochet and Hairpin Hoc k Edging, Crochet and Mignardise. Fringe. Fork Work , , « Hairpin Work . .' , , Half Treble ..... Insertion, Crochet and Fancy Gimp Insertion, Boll Fioota and MignaiKliso Introda(ki>A«i PAGE . 120 . 120 . 120 . 115 . 120 . 115 . 115 . 120 . 120 , 115 . 115 . 114 . 114 . 115 . 115 . 115 . 120 . 115 . 114 . 114 . 120 . 114 14 11 14 15 11 11 11 14 14 10 10 14 14 11 10 15 II Materials , , • • • ( • . V, Muscovite Tricot . li Shell Pattern . 14 Single Crochet , 11 Treble . , , 14 Tricot . . 14 Tricot and Treble . 14 Trimming , 14 Trimming, Crochet and Honiton iiiaid , 15 Trimming, Crochet and Waved Braid • 15 Trimming, Hairpin Work . , • ♦ , 15 Tuft Stitoh . 14 Wool BaU . . t f • • 1 . 14 DRAWN-THREAD WORK, OR POINT COUPE. Armenian Lace Trimmings . . . . , 111 Border, Drawn Threads and Reticella Work . 106 Border or Insertion, Drawn Threads and Spun Stitches Ill Border, Interlaced 107 Border, Pyramid, Cross, and Armenian Stitohes 111 Borders ....,..,. 107 Cane Pattern 107 Feather or Coral Stitch Ill Herringbone Pattern ♦,.,.. Ill Insertion or Stripe 107 Introduction 107 Reticella Lace , .111 Simple Design • , 107 EMBROIDERY. Appliqnfi Arrasene «»•••• Beading ..•.,., Chain Stitch Choice of Designs . • . , Cording Stitoh . . • • • . . 8 : :^'f . * 7 . . 3

Page 9

INDEX. iU PAGK Cotton k la Croix # > t f . • . • 6 Conohin^ Stitoh • . . . , • . 7 CoTering Joins of Foundations • • • i 7 Crewels » » » 6 Desoription of Coloured Supplement . • 8 DotStxtoh ........ 7 Feather or Coral Stitoh . . , » . 7 Gold and Silver Thread 6, 7 Herringbone Stitoh ,».»». 7 Interlaced Ground •.•... 7 Introduction • « 3 Italian Stitoh ,7 Knot Stitoh . 6 Materials used for Embroidery .... 6 Materials for Foundations . . , . , 3 Mode of Sttetohing Embroidery .... 8 Needles « 6 Paste for Appliqu6 Embroidery .... 8 Satin Stitch 6 Silks .6 Traoingr 3 Twisted Stitches 7 Washing Crewel Work 8 KNITTING. Bed Best . • Bodice, Infant's • Boot, Infant's . Border for Counterpane Brioche or Patent Cable . Cane Work . Casting Off . Casting On . Coral Pattern. Cord Counterpane, Borders for Counterpane, Diamond Stripe for Counterpane, Hexagon Counterpane, Square for Counterpane, Stripe for Description of Stitches Diamond Diamond with Open Trellis Double Knitting . Doable liose Leaf . Edging . . ♦ . Escallops • . » Fancy Pattern for Socks and Stockings Feather Pattern . General Directions . Glove, Infant's , , Herringbone Stripe Implemonta t , • Insertions • « . Introduction • • Jacket for Lady . Knee Cap . . . Knickerbocker Stockings Knit at the Back . Knit in the Bound Knitting Knit Two in One , Knit Two Together Leaf and Trellis . Make a Stitch Mat. Brioche • « Materials . • . . Mitten . , . . Oval and Diamond Pattern Pass Slip Stitch Over . latent or Brioche i 43, 36 55 47 ai, 63 58 43 48 62 7,38 48 48 38 55 43 64 54 56 35 55 38 35 48,51 35 56 42 42 38 37 37 38 38 50 37 56 35 39 47 38 38 PAGE Pence Jug . ^ • • • • . - . 34 Petticoat, Child's . . 54,62 Petticoat, Infant's . , « . , 61 Petticoat in Stripes . , • , 5K: Purling or Ribbing , « . . 3^ Ribbing with Two Pius . 39 Shawl, Design for . • . 62 Shawl, Half Square , . 51 Slip a Stitoh • . « i , 37 Sock, Child's . . • , . 46 Sock, Gentleman'i . . • 60 Stitches, To Raise . . , . 38 Stocking, Ladies' Winter . . 63 Stripe for Hem, Top of Stocking, Ac. . 51 Stripe with Crochet Edge . . 47 Tobacco Bag . 47 Triangular Kilted Pattern , . 39 Trimming for Chemise . , . 54 Twisted Bar Stripe . . , 38 Vandyke Pattern . . • , 38 Vest, Infant's , . 39 Wave Pattern . , , . , . . 62 KNOTTING OR MACRAMB. Bar with Knots 94 Cross Knot for Open Diamonds , 95 Fringe of Two Colours , 90 Fringes , 94,95 General Hints 91 Glass-Hoaded Pins 91 Heading Ribs and Diamonds , 94 Heading with Slanting Ribs 94 Knotted Heading of Fringed Threads 95 Lead Cuslnon .... 94 Leading Bar with Solomon Knots 95 Maorame Knot . • . • 94 Materials ....«< 91 Picot Heading . « . * • 95 Rich Knot with Eight Strands . 95 Simple Chain , . . . , 95 Spherical Knot , . . . . 94 Spiral Cord 95 Steel Crochet Hooks 91 Tools Required . , . • 91 Waved Bar . . , . 95 Waved Loop , , 95 LAOB. LIMOGES. Instruotioni • • 79 Stitches used in Limoges , . • « .80 OLD POINT. Materials for Old Point . . . . • 75 Old Point, Directions for 75 POINT AND HONITON. Bar Rosette , . . 72 Buttonhole Bars 72,74 Buttonhole Stitch Backwards, Point de Venise . 71 Buttonhole Stitoh Looped, Point Turo . . 71 Buttonhole Stitch, Point d'Anvere and Point de Malines ........ 71 Buttonhole Stitch, Point de Bruxelles . , 71 Buttonhole Stitches, Point de Sorento . , 71 Cravat End , . 66 Cross Rosette ....»•• 74 Directions for Tracing « , . • . 66 Double Leaf with Vein 72 Festoon Joini^int, Point d'Esyrit , • • » 71

Page 10

^l)Et. PAGE Jjuce Border . . • • i • t 72 Jjoaf Ornamentation ,,..•« 72 Ix)08e and Twisted Bars, Point d' Alec 900 . • 71 Materials 66 Mode of Tracing and Sewing on Braid • « GQ Open Wroath Boeetto .••••• 74 Otals in Point Alen9on • • • • .74 Pioots for Bars • • 72 Pyramid Pattern, Irish Stitch . , • ^ 72 Pyramid Roaettes and Ovalfl , . , , 74 Rosette Pattern, Point d'Angleterre ... 72 Rosette Squares •...,, .^ 74 Spinning Wheels 72, 74 Squares with Pyramid Scallops, Point d*Eaprib Rings, &c. 75 Square with Rings in Point d'Esprit and Open Scallops . • . . . . . 74, 75 Trefoils. . , 72 Trefoil Rosette , , 74 T mated liaco Stitch, Point d'E=>pagne • . 72 Various Designs for Filling in Squarer • « 74 Washing, Directions for • • • • # 80 Wheels with Thread Bars 74 VENETIAN POINT. Directions for Working . • • . SO Materials for Venetian Point • • • .80 Trimming • i # • • . 80 FANCY NETTING. n order. Cross Netting, and Twisted Loops Border, Honeycomb and Rose • Border, Rose and Sheaf , » Border, with Bandies of Loops . Border, with Double Loose Loops Border, with Round Loop Heading Border, with Tufts and Scalloped Edge Circle, Mode of Beginning , . Common Netting * • • • Gross Netting , . , . Curtains , , . . . Design for Antimncapsars, Fiehua, &c, Design witli Long and Crossed Loops Design with Twisted Loops • Diagonal . . » t » Diamond Pattern .... Diamond Pattern and Round Netting Doily Edging, Double Fan or Sheaf • Pan Pattern Foundation, Interlaced Foundation, with Holes for Embroidery Foundation, with Needlework . Fringe ,,.... Honeycomb Insertion, Rose and Plain Netting Introduction . • • • » Lappets for Caps . <« • • Loop Nettinsr , . , . Loose Loop Pattern . » • Mitten ... ^ - Neckerchief « . . • • Night Net Open and Darned Stripe Rose Netting .... Rose Netting, Plain and Striped Scallop Square Pattern . . . Star Netting . t • • Stripe Netting " , • , IftgBdi ana Frixifica • 1 • 135 126 134 131 131 134 134 127 123 126 135 135 134 134 126 134 123 127 131 131 127 123 127 135 126 126 123 130 123 127 135 135 135 127 122 126 131 126 126 126 135 Trimming, Thick Loops and Fan Edge Trimmings .... GUIPURE NETTING. Angular Edge . , , Circular Foundation • • Cravat End .... Double Cross ... Festoon and Trellis Combination General Remarks . • Guipure in Relief . . Implements • • • • Introduction . • • • Knot for Joining • , Mesh Mushroom Stitch , • Needle, To Fill . Netting, Directions for , Oblong ..... Picots Points Croise, Cross Stitch . Point d'Esprit, Festoon Stitch Point de Reprise and Festoon Point de Toile, Trellis Stitch Point Evantail, Fan Stitch Point Reprise or Darning Stitch Pyramid. . , , • Quarter Sqnare • • • Scallops, . • . . Slanting. .... Spinning Stitch and Wheels Square . . . • , Square Fonndations , S Stitch Star or Radii .... Stirrup Trellis and Wheels Combination Tufted Buttonhole • Wire Frame « • . . 18, FAOH 127 127 23 22 26 31 23 23 31 19 19 20 19 30 19 22 22,30 27 27 23 23 23 30 23 30 31 22 27 22,31 22 31 31 19 23 30 22 POONAH PAINTING. Diagram of Coloured Design for Damask Rose Directions, General Directions for Painting on Silks and Satins of Light Shades Formulas Mixing Colours • Painting on Paper Painting on Velvet Preparations for Painting on Wood Varnish ...... TATTING Design for Sqnare Dollys, &o. Edging with Beads Edging with Two Threads Insertion^ Insertion and Trimming Introduction . , . Josephine Knot • • Picot . , , • Ring and Pin . , Rosette • . . • Rosette in Progress . Shuttle .... Square # , . . Stitches .... Tatting with Two Shuttles To Wash Work Basket, Ornamented 82 82 88 83 85 88 86 88 8^ 103 102 103 102 103 99 102 102 99 103 102 09 103 99 102 104 da

Page 11

COLOURED SUPPLEMENT TO THE YOUNG LADIES' JOURNAL. COMPLETE GUIDE TO THE WORK TABLE. ALPINE PRIMULA IN EMBROIDERY,

Page 12

Page 13

HE COMPLETE mmi T§ TIE W§K-TigiE, EMBROIDERY. ^miT^ ;■ eoixonijED •:• iiiLiiST^/iTioi}.4> ALSO FULL DIRECTIONS FOR "SILK CREWEL, AND ARRASENE WORK, WITH B-IA^EiMS ^f SflT^SSS.

Page 14

^P^EB?I(5E.4 thereby utilize spac^. 'm our pages, this Edition has been carefully revised. LondoUf JamMfy^ iSB8,

Page 15

»THE YOUNG LADIES' JOURNALS- COMPLETE GUIDE TO THE WORK-TABLE. --«Hi>»tc> EMBROIDERY. INTRODUCTION. It is about seven ye.ars since embroidery once again became the favourite work of English ladies; for many years previous to that time, only the professional embroiderers dared to venture upon work, which was by most ladies regarded as extremely difficult. We believe embroidery is indebted for its revival to the specimens of old work which have been exhibited from time to time at the South Kensington Museum ; and for its present popularity to the favour it lias found with Royalty and Nobility, who have done so much in establishing the Royal School of Art Needle- work, at South Kensington, where embroidery is to be seen in perfection. The Supplement of Crewel-work which we issued in 1877 did very much in popularizing this elegant and artistic needlework ; crewel led the way to the mani- pulation of silk and other more costly materials, and at the present time we find embroidery a subject of very general interest to our subscribers. Embroidery is not at all difficult ; and we cannot wonder at it being especially interesting work to all ladies possessing artistic taste, because, from the pliant character of the stitches, almost everything that can be painted can be imitated— flowers, fruit, birds, animals, and even landscapes — while the articles of dress and furniture which may be ornamented by its means are very numerous. CHOICE OF DESIGNS. Perhaps the first thing that should be borne in mind, is, that the choice of designs is an important feature ; they should be selected as well drawn, and as open, as possible ; crowded designs are not suited to the production of artistic embroidery. MATERIALS USED FOR FOUNDATIONS. The foundations generally employed for embroidery are unbleached linen of a good even make— that known as Bolton sheeting is a material much in use for doilys, toilet-sets, nightdress-sachets, chair-backs, and one-yard square table-covers. Bolton sheeting being, inexpensive, we recommend its use to beginners. There are other materials which are employed for foundations for various purposes, such as Roman satin, twilled silk, broccatine, honeycomb tapestry, oat-cake cloth, platted linen, serge, diagonal cloth, felt of various colours, cricketing flannel, Holland, nainsook muslin, satin, plush, and velvet. Very elaborate pieces of embroidery are better worked in a frame; but for all ordinary purposes, such as chair-backs, doilys, small table-covers, &c., it is best to work in the hand. Some materials, such as thin satin, need lining before j^ou begin to work— a thin, open kind of Irish linen is the best thing we know of for the purpose. .It should be tacked very evenly to the foundation at the edges, and a stitch here and there may be put in and drawn out before you work ' \¥here the tacking stitch is. TRACING. The following method of tracing is the siir.plest am' easiest we can give : — Place tracing-paper over the design, and trace with a coloured pencil the outlines and veins of the design. Turn the tracing over, and trace over its back with a B.B. black lead pencil. Next place the tracing, the black side next the material ; fasten the material and tracing upon a drawing-board ordeal table with drawing-pins. Having stretched the material, and made it smooth, draw over the coloured outline with a sharp, short-pointed H.H.H. pencil, holding the pencil as upright as possible. This will transfer to the material (if white or light-coloured) a fine, firm line. The advantage in using the coloured pencil for the first tracing is this : that when you are making the final transfer with a black pencil, you can see exactly how you progress, so that no portion of the drawing will be found unfinished when the tracing- paper is removed. It may here be well to caution ladies in the purchase of drawing-pins to obtain only those with solid heads, because no danger is incurred by the thumb in pressing them down. Sometimes the steel of the commoner kinds of drawing-pins comes through the head and inflicts a wound. Another mode of transferring more rapidly than the former is intended for those who have learnt to draw. Make a tracing of the design with a fine r^encil. Lay it on the material, and pin down firmly. With a strong darning-needle .or stiletto prick the outline of tlHi tracing well through the paper. Then remove the tracing-paper, and, with the original design before you for your guidance, draw over the lines outlined on the material, the complete design. Another plan, which will also answer very well, is to place carbonic paper upon the material, place the design over it, and with an agate, or any other point, trace c>ver every part of the design. You must be careful that neither the material nor the design be shifted during the process of tracing. You can get the carbonic paper either in blue or red. The blue is useful for white or light-coloured materials ; the red answers best upon black or dark colours. Francis' patent transfer cloth is specially prepared for tracing on either light or dark coloured, materials. The light colour is sold at Is. 6d. per sheet, the dark at Is. This is very valuable where much tracing is required, as it can be used a great number of times, and is so very clean that there is no fear of soiling the foundation in its use. All these things are worth knowing where ladies design for themselves — where they desire to copy outlines of such designs as ave frequently produced in The Young Ladies' Journal or in other publications. Since embroidery has become popular, several manufacturers have produced patent transferring-papers which save ladies the trouble of tracing. Messrs. Briggs and Co.'s designs are trans- ferred to the material by placing them on it, and passing over them a hot iron. Poirson's patent transfer papers are first wetted on the back, and are then laid on the foundation, and the design is trans* f erred to it by slight pressure with a paper or palette knife.

Page 16

TiiE irou:xa ladies jouknal :ID. X.'—COBpINa- STITCH, KO 3 — RATSiD IL3»\i:.B W0RK£I> LENGTHWISE. NO. 3.— CORDI\G-STITeH:> ui-ox^^ I> OLILU>£ EMBROIDEU w'-^ ^:^w^'\ v\^% jj,.. vs^^^^i^u^r^^'H^^r^ * ^P? Bl^i^^ L NO. 5.— RAISED FLOWEB 1 WORKED CROSSWISE, NO. 6,— :&XOT-STITCH, NO. 7.— FUiT PETALS. NO, 8.— E^-OI-s■^IiCH, :ssg ^(^ i^;?^ 2rO, lO.—MONOGRAM ? catsKoiPEBr. NO. X2,— MONOXJRAM; SMSROIDSB^X-

Page 17

Co5rPLETE GUIDE TO THE WORK-TABLE. ^STD COVLAJL- STITCH*

Page 18

THE YODNG LADIES' JOURNAL For the reasoh that embroidery is extremely dura- ble, it is best to select materials of the best quality to embroider with. It is not advisable to wind crewel, or embroidery silk ; the skein should be cut twice, and either put into thread papers or drawn through stitched cases made for the purpose ; the latter are neat and durable, and keep the materials free from being soiled or dis- coloured by the effect of the atmosphere. SILK. Silks should be those of the best makers, and should not be chosen for their cheapness, but for their soft- ness and freedom from an admixture of cotton, as the brilliancy of good silk is so much longer retained than that of a common make. The silks mostly employed are embroidery silk, crewel embroidery silk, and fast-dyed embroidery silk. CREWEL. The word "Crewel," according to Johnson, comes from the Dutch word Xleicel, which he defines as yarn twisted and wound on a knot or ball. The crewel that was in use for ladies' embroidery at the beginning of this century was in tightly- twisted small skeins. The crewel at present in use is a loosely twisted yarn, or worsted, and is in much larger skeins than formerly. It is now sold in all shades and colours. To the soft blending of shades the beauty of the work is in great measure due. Crewel is sold in two sizes, fine and coarse. ARRASENE. Arrasene is a newly-invented material for embroi- dery, resembling in appearance fine chenille, but is flat instead of round. Arrasene is made in both silk and wool, in a great number of beautiful colours and shades. It produces very effective work, and wears extremely well; it is especially suited for working large flowers and foliage plants. Arrasene should be used in short lengths, as long needlefuls become im- poverished by being drawn through and through the foundation. A very mistaken idea exists with some persons respecting arrasene, which is, that it cannot be used for working through thick materials ; it is quite as easy to embroider velvet, plush, or felt with arrasene as with silk or crewel, and the work can be done in very much less time. GOLD AND SILVER THREAD. Gold and silver thread is a good deal used for out- lining embroidery of both silk, arrasene, and crewel. Ladies should be especially careful to purchase this material of the best quality, otherwise it so very soon becomes tarnished, that it is not worth working ; it should bo kept closely wrapped in tissue paper. / COTTON A LA CROIX. There is no make of cotton that produces a better effect upon embroidery muslin, mushn, or Hnen than cotton a la croix. NEEDLES. For embroidery in silk, crewel, or cotton a la croix, Walker's Elliptic needles are the best we know of. For arrasene or thick wool embroidery chenille needles should be used. They resemble a Berlin needle in the are, but differ from it in having a sharp point. ^J{lt§^$ «$^tr in '^tnhm^xtl. CORDING-STITCH. In cording-stitch begin with the stalk of your design, and work as shown in illustrations Nos. 1 and 2 (page ^), working towards the right and left. Wlier- ever it is practicable work in curved lines. When you have reached the top of your work, turn it round, and work towards tlie bottom, then again upwards, so as always to work from you. If you begin with the central vein of a leaf, continue to work from the centre to the edge. Never work be- tween two lines of stitches, so as to fill up, as it were, between work, as this plan will entirely spoil the effect of the stitch. Keep the coloured design before you, and shade according to it. Two kinds of stitches are generally used in crewel embroidery. The principal is the cording-stitch, to which we have already called attention ; the other is the knot-stitch, sliown in illus- trations 6 and 8. The vase shown in No. 4, Outline Embroidery, is nearly all worked in cording-stitch, and therefore affords a good specimen of the effect whicli can be produced by this useful stitch. Wo may here observe that where the cording-stitch is practicable it is the best to use, especially where the articles are intended to be washed. KNOT-STITCH. To work the knot-stitch your needle and silk must be pulled through to the front of the work exactly where you desire the knot to be. Hold the silk down with the thumb of the left hand, and twist the needle twice or thrice, according to the size of the knot re- quired, through the part of the silk which is tightened by the left thumb, (see illustration No. 6). Continue to hold the silk with your left thumb, and turn the needle quite round towards the left with your right hand. Insert it the distance from the place it was brought up (shown by a small cross in No. 8). Con- tinue to hold the silk with the left thumb until you have drawn the knot to its proper degree of tightness. If you have followed exactly our instructions, vou will have a knot Hko the one shown in the designs Nos. 6 and 8. "^ SATIN-STITCH. In more elaborate embroidery designs the satin- stitches shown in Nos. 3 to 5 and 7 may be used. The mode of working these is so clearly shown that, there is no need of much description. Whei-e a rich raised effect is desired it can be produced by running between the outline more or less thickly (see Nos. 3- and 5). If a flat appearance is desired, work without running under (see No. 8). The embroidered crest shown on the outer leaf of Supplement comprises cording, long, satin, and dot stitches: 3atin-stitch is much used in working monograms or initial letters, also for working generally on embroidery muslin or linen ; if for white embroidery, there is no better cotton for the purpose than cotton a la croix. Examples of satin-stitch will be found in monograms Nos. IDs and 12. ;

Page 19

COMPLETE GUIDE TO THE WORK-TABLE. "1 DOT-STITCH. Dot-stitch is a very short stitch, worked like back- stitch, with the exception that the needle is not put back to the place it is drawn out from, but an interval of about the length of the stitch remains unworked. Dot, cording, and satin stitches are shown in No. 10. FEATHER OR CORAL STITCH. The feather or coral stitch may sometimes be in- troduced with good effect for the light parts of embroidery. Make a knot, and draw the silk through the work. Hold the silk down with your thumb, keeping it towards the right hand. Put the needle in about the eighth of an inch from where the silk is drawn tlirough, take a stitch slanting downwards towards the left about the eighth of an inch in length, and draw the silk up. For the next stitch your thread must be turned completely round towards the left, and the stitch must be taken slanting towards the right. These two stitches are repeat^ alternately. (See centre of illustration No. 19). The feather-stitch is shown in this design, on a groundwork of stitches, aad running between two lines of chain-stitch. CHAIN-STITCH. For chain-stitch, make a knot, draw the silk through the material,' hold the silk down with the thumb, work a short stitch in a straight line, and draw it up. For the next stitch, continue to hold the silk down as described for the first stitch, put the needle through the lower part of the last stitch, make a stitch of the same length, and draw through. (See illustrations Nos. 17, 19, and 22). No. 17 shows a finished outline of chain-sfeitch. Nos. 19 and 22 show chain-stitch in the process of working. HERRINGBOI^ E-STITCH. This stitch comes effectively into some kinds of IBmbroidery ; when worked, it resembles the letter X placed in continuous lines. The great point is to work in even parallel lines. Put the needle in from right jto left at the bottom line, take up a few threads, and 4raw out the needle quite straight with the place you put it in. Then at an angle work another stitch in the same way at the upper line, keeping your thread .over the little finger of the right hand. Herringbone- stitch is shown unequally worked in monogram No. 12, which also shows cording and satin stitches. A good illustration of herringbone-stitch is shown in illustration No. 9, where it presents the even appear- ance which is generally needed. BEADING-STITCH. Illustration No. 11 shows the exact mode of work- ing the stitch, which is used sometimes where very light sprays are introduce4 into a desigQ, ITALIAN-STITCH. This work is now pretty well known as Holbein em- broidery, for the reason that Holbein introduced it in some of his paintings. Illustration No. 11 gives an exact though small specimen of the work, and showf more clearly than any description the mode of work ing ; this work is quite as neat on the wrong as o«*; the right side ; it is worked in back-stitch. In our illustration the lower part of the design is worked in herringbone-stitch. Italian-stitch is frequently intro- duced into cross-stitch designs. COUCHING-STITCH. Couching-stitch is frequently employed for covering joins ; it consists of a strand of cord, or of several strands of silk or wool, laid together and caught down by stitches of the same or some other material at equal distances. No. 18 shows an example of using cord; No. 20 is a couching-stitch with wool. This stitch is at present much used in embroidery on plush. GOLD AND SILVER THREAD EMBROIDERY. This is the most costly style of embroidery, and is more used for ecclesiastical or church work than any other; it is generally mixed with coloured embroi* dery-silk or filoselle. In some cases gold thread em- broidery is worked over slips of parchmant cut a trifle smaller than the outline of the design ; over this the gold thread is worked closely ; a specimen of this is shown in illustration No. 13. Illustration No. 15 shows a spray outlined with gold thread sewn down with fine silk stitches. The inner part of the designs are filled up with coloured embroidery-silk. Spangles are very frequently introduced into gold and silver em- broidery; they are sewn over with silk, or gold, oi* silver thread. TWISTED-STITCH. Broad arabesque designs are sometimes filled ii? with this stitch. Silk or wool of one colour is held down and worked through with a second colour (see illustration No. 16). This design would be outlined with a couching-stitch. INTERLACED GROUND. No. 18 shows an effect produced by couching and ground; the work has the appearance of applique when finished. The design is traced on the material, a ground is worked to the outline; filoselle is the material mostly employed for this grounding. The stitch resembles cording-stitch, but is worked straight. In working, the needle is put through the middle <of the silk (see illustration No. 18) ; the cord-couching is put on after the ground is finished. COVERING JOINS OF FOUNDATIONS. It is now usual to combine materials in working embroidery, and in some cases ornamental stitchei? are employed for the purpose. We give a very pretty joining in illustration No. 22 ; it is worked partly in silk and partly in arrasene. The lower edge, which is silk, is worked with three long-stitches into a point The arrasene upper edge is worked with two stitches i a line of gold cord is laid alon^ the centre of t±ie twc materials, and is sewn down at intervals with arrasen©

Page 20

THE YOUNa LADIES' JOURNAL APPLIQUE EMBROIDERY. Appliqu6 embroidery is very fashionable at present. The foundation for it is usually plush or velvet ; and satin is more often the material applied. Arabesque designs are mostly used for applique work. Unless the foundation is very firm it will require lining, and this is effected by pasting linen at the back, taking care not to wet the material too much. The design to be applied must be traced, then cut with scissors and pasted to the foundation, which should also be traced roughly for the different parts to be fitted to. When thus applied it must be allowed to dry. The founda- tion is best put into a frame, or it must be held down very firmly by weights in order to keep it quite flat whilst the applique is drying. The various stitches described for embroidery gene- rally are used on most applique designs ; the edges of the applique are sometimes buttonholed, sometimes worked in chain, and sometimes in cording stitch ; and in some cases gold or silk cord is sewn over the edges. Illustration No. 14- gives an example of velvet applique on a silk foundation with the edge worked over in chain-stitch. Illustration No. 18 shows a mode of edging applique with couching in cord. Illustra- tion No. 21 is a picot edge for applique worked with fine gold or silver thread ; it will be quite easy to tAvist the gold or silver thread into the picots as the stiffness will allow them to retain their form. Two strands of cord are sewn down with a third strand of the same. Illustration No. 22 shows another mode which is very rich ; it is a line of rich cord couched over a double line of chain-stitches. PASTE FOR APPLIQUE EMBROIDERY, To three tablespoonfuls of flour allow half a tea- spoonful of powdered resin, mix smoothly with half a pint of cold water, let it boil five minutes, stirring all the time ; if the paste is to be kept some time, it will be found advisable to add a teaspoonful of essence of cloves into it whilst it is boiling ARRASENE EMBROIDERY. We strongly recommend arrasene to the attention of our subscribers for its extreme beauty, as well as for its novelty and durability. We give a few hints on the working of arrasene, which we trust will bo useful to our readers. The design must first be traced upon the material to be worked upon in the same way as for crewel or silk embroidery. Arrasene may be worked on plush, velvet, cloth, Utrecht velvet, satin, Roman satin, Java canvas, or crash. If on furniture-satin, it wiU not be necessary to line it ; it thin satin be used, a lining of muslin, thin linen, or some material of the kind will be needed. Arra- sene may be worked either in the hand or in a frame. If the piece of work be large, or the foundation be satin, a frame is convenient to prevent the work from puckering or shrinking, but there is no fear of that with a small piece of work. The needle used for working should be what is called a chenille needle ; it is like a Berlin-wool needle, with one exception— it has a sharp point; it must have a very large eye. Wool and silk arrasene are used separately or together ; the silk relieves and brightens the wool very much in the same way as filoselle is used to improve Bei'lin- ^'/Qol work. The stitcii Txiostly employed i^ arrasene is the ^ame ^ cotdln^-^titc^, but it IS worked r^jJaer hx^s^ei-. ' Care must be taken not to twist the arrasene in working : as before mentioned, it is not well to use a very long needleful of arrasene, as it becomes somewhat im- poverished in working when used too long. The arra- sene requires to be drawn steadily through the material, so as to prevent roughening it too much. When the work is finished, a soft brush may be used to raise the pile and equalize the surface. Where a stitch of the arrasene does not quite fall in its place with other stitches, put the needle under it, and give it one twist, which will sometimes greatly improve the work. Arra- sene is shown in the upper edge of illustration No. 22. MODE OF STRETCHING FINISHED EMBROIDERY. When the work is finished it will be found that it has become much drawn and puckered. To remedy this a clean cloth must be wetted in clear cold water, wring it out tightly, and place it on a deal board or table, then put the work upon it face upwards. With drawing or other pins pin out the work and strain it as much as possible ; leave it for twelve hours in dry weather, and longer in damp weather ; if it has been properly stretched it will be perfectly smooth when taken off the board. If it has not been tightly strained repeat the process, again wetting the cloth. WASHING CREWEL-WORK, We have previously said that crewels of the best quality should be purchased. The shades are better, and they wash well, if the following simple plan be observed : — Make a lather of the best primrose soap or curd soap, and rub the article to be washed in it. Do not put a particle of soap on the work. I^nse in clean warm water, and squeeze ; do not wring, ^hake well, and stretch till dry, as directed for new work. Another mode is to tie a handful of bran in a muslin bag, and make with it a lather in warm water ; wash the crewel in this lather without using soup. Crewel embroidery worked with the brightest co- lours may be safely washed if previously immersed in a solution made by dissolving a pennyworth of sugar of lead in a quart of hot water ; di7, then wash in the usual way, using as little soap as possible. |)^$5ripttxtit rtf ^tdttttr^ f ttppt^^tth DESIGN IN EMBROIDERY FOR ALPINE PRIMULA. This design has been printed from the worked flower to give an exact idea of the proper length and place of stitches, also the mode of shading silk or crewel em- broidery ; it will be found a good guide for beginners, as few colours are needed to produce the proper effect. SPECIMENS OF CREWEL-WORK. A specimen of crewel or arrasene work can t^ sent from tl^e London Pi^blisliing O&c^ of th^s Jouftiul on recait>t of Sd.

Page 21

OMfLITE mim Jn tie Wail-TABiE. CROCHET, NO. 2.— INSERTION : CROCHET AND FANCF GIMP. rULL DIRECTIONS FOK NO. 3.— edging: CROCHET AlfD HAIKPIN-WORK. PLAIN AND FANCY CROCHET, TRICOT, HAIRPIN-WORK, ETC.

Page 22

3D THE YOUNG LADIES' JOURNAL DESCRIPTION CJF ILLUSTRATIONS ON PAGE 9. nsamOQQQQQOOrri^ No. 1.— EDGING : CROCHET AND MIGNARDISE. 1st Row : To form the scallops work one single into each of seven successive picots, pass the cotton at the back of mignardise, and work one single into each of seven successive picots on the other side. Repeat. 2nd Row . ,jne single into the first picot worked into of the fir."i: row, one chain, one half treble into centre of scallop, one chain, one single into last stitch of scal- lop, pass the cotton ^t the back of mignardise ; work the samo in next scallop. 3rd Row : One double treble into two picots together at right-hand side of scallop, two chain, one single into each of three next successive picots, two chain, one double trebb into tw^ next picots together ; keep the top loop of double treble on the hook. Repeat from the beginning of- the ro^r, drawing the top loops of the two double trebles together. 4th Row : One treble separated by one chain into each alternate stitch of last row. This edging is an example of working mignardise and crochet. No. 2.--INSERTI0N : CROCHET AND FANCY GIMP. Commence v/ith the crochet rosette, work fifteen chain, join round. 1st Row : Twenty-four doubles under the chain. 2nd Row : Oik double treble into a stitch, five chain, one doublo treble into the same stitch, pass over one stitch, and repeat from the beginning of the row eleven tiroes more. * 3rd Row: * Three doubles under the chain, four chain ; take a length of cotton gimp, one single into the second picot, four chain, three doubles under same chain the last were worked into, repeat from * five times more, work alternately into the second and fifth picots on each of three patterns of gimp, then take another length of gimp, and work the same on three patterns (see design). Cross the lengths of gimp be» fore commencing the next pattern. For the sides, one triple treble into the second picot of a pattern of gimp, work off all but the last two loops, one double treble into the same picot, two double trebles into the fifth picot on the next pattern of gimp ; then work off the rest of the loops on the hook as for a treble, ten chain, two double trebles into the centre 1 bar of gimp between two patterns (see design No. 2 on first page), six chain, one single into second picot on next pattern, * two chain, one single into next picot, repeat from * twico more, six chain, two double trebles into the bar between two next patterns of gimp, ten chain. Repeat from beginning of row. 2nd Row : One treble separated by one chain into each alternate stitch of last row. 3rd Row : One treble under a stitch, one chain, pass over one stitch, one treble under each of two next stitches, one chain, pass over one stitch, and repeat. The other cido is worked in the same way. This is an example of crochet and fancy gimp. No. 3.— EDGING : CRuCHET AND HAIRPIN WORK. Make a«piece of hairpin-work the length required, (for illustration and description of hairpin- work, see No. 25). For the edge : — 1st Row: Work two doubles into three loops of hairpin- work together, three chain. Repeat from the beginning of the row. For the edge : — One double, three half trebles, and one double under each three chain of last row. For the heading : — 1st Row : One double into three loops of hairpin- work together, three chain. Repeat. 2nd Row : One treble separated by one chain into each alternate stitch of last row. This is an example of crochet and hairpin work.

Page 23

COMPLETE GUIDE TO THE WORK-TABLE. U CROCHET, INTRODDOi'ION. The application of crochet for useful and orna- mental purposes is so varied, that it is work which will remain popular, in one form or other, for years to come. Nevertheless, there is a diffi- culty sometimes experienced by the uninitiated in finding elementary instructions in crochet and tricot. This fact has come to our knowledge through correspondents having written to us from time to time, asking us to give directions for the various stitches. It is almost impossible to make ele- mentary instructions really useful without illustrating them, as we have done in the clearest possible man- ner in the succeeding pages. We trust that this Crochet Supplement will be as much appreciated as our Embroidery Supplement has been. Crochet of a very tine quality was worked by nuns on the Continent in the sixteenth century, but was not popular work in England until about 1840, when for quite twenty years it was very fashionable ; and exceedingly beautiful designs— copies of Kose point and Venetian lace were much worked. This more ela- borate kind of crochet comes to England still in large quantities as Irish point. The work is veiy inexpen- sive as to cost of material ; a handsome collar may be made for sixpence, but skill and patience is needed to work well. MATERIALS. Good crochet-hooks are of tho utmost importance in forming nice even work. They should be very smooth and selected of a size suited to the material to be worked. Crochet and tricot hooks are made of steel for fine work, and of ivory, bone, wood, and vulcanite for coarse work. They should be measured like a knitting-pin, by inserting them in the round hole of a gauge. For measuring hooks we use Walker's bell gauge. We take the opportunity of cautioning ladies never by any chance to put an unprotected steel crochet- hook into their pockets ; accidents have been the fre- quent result of so doing. It should be remembered that it is scarcely possible to remove a steel hook from the flesh without the aid of a surgeon. Crochet cotton is much better to use than knitting cotton for crochet, as the twist being tighter adds much to the good appearance of the work. Wools of all descriptions, purse-silk, braid, chenille, arrasene, and gold and silver threads may all be worked into different crochet articles. Fancy and plain braids, gimp and mignardise, are also frequently introduced into crochet designs. DIRECTIONS FOR HOLDING THE HOOK AND MATERIAL. When working crochet, the hook should be held lightly III the r'^ht hand between the thumb and t^;o first fingers; it should be kept in a horizontal position. The work is held in the left hand ; the last worked stitches should be between the thumb and forefinger ; /the thread passes over the first and second finger, under the third, and over the little finger. A chain foundation is required for all the stitches forming crochet patterns. No. 1.— CHAIN-STITCH. Make a slip-knot, and pass it over the hook, put the thread over the hook, by a slight movement of the hands, draw the thread that is over the hook through the slip-loop. No. 2.— DOUBLE FOUNDATION. Work a chain as described for No. 1, break off the thread when the chain is the length required, make a slip-loop, pass it over the hook, insert the hook into the first chain-stitch, taking up both loops, draw through the stitch worked into and the loop on the hook together. No. 3.— DOUBLE FOUNDATION, WORKED WITH ONE THREAD. Make a slip-loop, pass it over the hook, one chain, draw up a loop through the slip-loop, draw through both loops on the hook, * draw up a loop thaough the left loop, draw through both loops together. Repeat from *. No. 4.— DOUBLE FOUNDATION, WORKED WITH TWO THREADS. Make a slip-knot and pass it over the hook, make another slip-knot on a second length of thread, pass it over the hook, draw through both loops with the left- hand thread; work one chain with the right-hand thread, and one with the left alternately ; the alter- nate threads must be tightened after each stitch. This makes a pretty guard, if worked with coarse purse silk. No. 5.— SINGLE CROCHET. Put the hook through the first stitch, draw the thread through the stitch worked into and the loop on the hook together. No. 6.— DOUBLE CROCHET. Put the hook through a stitch of foundation, twist the thread over the hook, draw through the founda- tion, then draw through both loops on the hook together. No. 7.— HALF TREBLE. Turn the thread over the hook, pass the hook through a stitch of foundation, draw through, turn the thread again over the hook, and draw through aU three loops on the book together.

Page 24

12 THE YOUNGr LADIES* JOURNAL NO. 8.— TEEBLE. xNO. 9.— DOUBLE TREBLE. NO. 12.— TRICOT. 0. ic^poTOT^s Ar^v rtmujii If*-* V>r^^<^9 TBEBi:?. KO. 13.— BASKET P^TTE^K : Tv^t^OI'-

Page 25

COMPLETE aUIDK TO THE >TUxiK-TABLi£ >0, 14.— TRICOT AND TREBLK. h'O. 17.— CAKD FOH BALLS NO. 18.— WOOL WOUND OVER CARD FOR BAXLS. NO. 15.— TXJTT-STITCH. :'GE rORK. »t f « \t » ♦ » « ^Q. 23,— I>ETAJtL 07 FRINas. VO, 33.— -rBINGB: FORE-WORK AND CROCHET,

Page 26

1^ THE YOUNG -LADIES' JOURNAL No. 8.— TREBLE. Put the thread once over the hook, insert the hook into the foundation, draw a loop through the foundation ; you will then have three loops on the hook, turn the thread again over the hook, draw through two loops, turn, the thread again over the hook, and draw through the two next loops together. ]^o. 9.— DOUBLE TREBLE. Put the thread twice over the hook, insert the hook into the foundation, turn the thread over the hook, draw through the foundation, turn the thread over the hook, draw through two loops, turn the thread over the hook a second time, and draw through two loops, turn the thread a third time over the hook, and draw through the two last loops on the hook. jS"o. 10.— DOUBLE AND TREBLE. The 1st and 2nd Rows are worked in double-stitches throughout. 3rd Row : Work five doubles, then work two trebles into the first row (see arrow). Repeat throughout the row. 4th and 5th Rows r Like first and second rows. 6th Row : Like third row, but work the two treble stitches into the third row to commence with ; this alternates the pattern. Repeat from first row. No. 11.— CROSS TREBLE. Turn the thread twice round the hook, insert the hook into a stitch, turn the thread over the hook, draw through the stitch, turn the thread over the hook, draw through two loops together, turn ^he thread over the hook, pass over two stitches, insert the hook into the next stitch, draw through, pass the thread over the hook, draw through two loops, pass the thread over the hook, draw through two loops, pass the thread over the hook, draw through all the loops on the hook together, two chain, one treble into centre of cross treble. Repeat from the beginning. No. 12.— TRICOT. Make a foundation chain the length required, allowing one chain over for the forward row. In tricot a row consists of working up and off the loops. Insert the hook. into the second stitch of chain, draw up a loop, keep it on the hook, and continue to draw up a loop through each of the following chain-stitches. In working off put the thread over the hook, draw through the last loop, * put the thread again over the hook, and draw through two loops on the hook together. Repeat from * to the end of the row. In the second and following forward rows work up the loops through the front perpendicular loop of each stitch of previous row, commencing with the second perpendicular loop. The last loop of a tricot row appears to lie somewhat at the back of the work. Care must be taken to work it, or a straight edge cannot be obtained. No. 13.— BASKET-PATTERN TRICOT. Make a chain the length required. 1st Row : Work up a loop through the first stitch, work one chain through the loop. Repeat until all the loops are worked up. In working off, work through a loop, slip each alternate loop off the hook, work three chain between the loops worked through. 2nd Row : Pass the slipped-off loop at the back of the chain, draw up a loop through it, then work one chain through the loop, draw up a loop through the next loop, and under the chain, work one chain through the loop. Repeat from the beginning of the row until all the loops are worked up ; the loops are Worked off as described for the first row. The second row is repeated throughout. ^t<, Observe. — The working up and off is reckoned in tricot as oif' ,?ow. iVo. 14.— TRICOT AND TREBLE. 1st and 2nd Rows : Plain tricot (see No. 12). 3rd Row : Work up one loop, * work one treble into the first row, work up four loops. Repeat from * to the end of the row ; work off in the usual way. 4-th Row: Plain tricot. 5th Row : Work up three loops, * one treble into the third row, work up four loops. Repeat from * to the end of row ; work off in the usual way. 6th Row : Plain tricot. Repeat from the third row. No. 15.— TUFT-STITCH CROCHET. 1st Row : One double into each stitch. 2nd Row : One double into a stitch, draw up a loop through the next stitch, draw the right side of the loop with the finger and thumb of left hand, over the left side of loop (see arrow), insert the hook into tlie loop thus held by the finger, draw up a loop, turn the thread over the hook, draw up another loop through the same loop, draw through five loops on the hook together, work up a loop through the last stitch worked into, draw through both loops on the hook together. These two rows are repeated throughout, arranging the tuft-stitches so that they lie between each other in alternate rows ; this is done by commencing one pat- tern row with the double, and the other with a tuft- stitch. No. 16.— MUSCOVITE TRICOT. 1st Row : Work up the loops as for ordinary tricot, work off the first loop, * three chain, work oft' the two next loops. -Repeat from * to the end of row. 2nd Row : Work up the loops like last row, * three chain, work off two loops. Repeat from * to the end of row. These two rows are repeated alternately. Nos. 17 TO 19.— WOOL BALL. In making wool balls the size of the circles of card must be regulated by the size you wish the ball to be ; two circles of card must be cut to exactly the same size, with a hole in the centre, as shown in No. 17. With a needle and wool sew evenly over both cards, as shown in No. 18 ; continue to sew over and over until the centre hole is quite filled; cut the wool between the cards with a sharp penknife or scissors, and tie the wool tightly in the centre between the cards (see No. 19), remove the cards, rub the ball in the hand, steam it over boiling water, and trim the edges with a pair of scissors. A ball made over a circle of card measuring four inches in diameter, with a hole in the centre one and a half inch in diameter, and a variety of colours of Berlin wool tied strongly between the discs with fine twine, makes a capital ball for children to play with in the house. No. 20.— SHELL-PATTERN CROCHET. Make a chain the length required, draw up a loop through each of five successive stitches, draw through all the loops on the hook, close the cluster with one chain, * draw up a loop under the last chain, another through the back perpendicular loop of last stitch, and one through each of two next stitches, draw through all the loops on the hook together, close with one chain. Repeat from * to the required size. For the edge : — 1st Row : One double into every stitch, 2nd Row : One double into a stitch, * pass over two stitches, eight trebles under next stitch. Repeat from *.

Page 27

COMPLETE GUIDE TO THE WORK-TABLE. 15 3rd Row : One double into each stitch of last row. A ball as described in Nos. 17 to 19 is tied between each scallop. Nos. 21 TO 23.- -FRINGE : FORK-WORK AND CROCHET. The fork-work for this fringe is made on a fork, as will be seen in Illustrations Nos. 21 and 23. No diffi- culty will be found in working it if attention be paid to these illustrations. Make a loop of Andalusian wool, pass it over the narrow side of the fork, turn the fork, and you will have a loop over the wide side ; draw up a loop through the first loop on the hook (see Illustration No. 21), turn the fork, draw up a loop through the wide loop (see No. 23), draw through both loops together, turn the fork, draw up a loop through the narrow loop, draw through both loops on the hook together. Repeat from * for the length required. For the crochet heading, which is worked with a lighter colour of wool : 1st Row : One double into two of the wide loops of fork-work together, turning the loops as shown in Illustration No. 22, two chain. Repeat. 2nd Row : One double under two chain, three chain. Repeat. For the edge: 'Work one double into two of the small loops together (see design), five chain, repeat ; strands of wool about one and a half inch deep are knotted into the loop of five chain to form tassels ; a little ball of the lightest shade of wool is sewn under the head- ing at equal distances. The ball is made according to directions in Nos. 17 to 19. . No. 2*.— TRIMMING : CROCHET AND WAVED BRAID. For the edge : — 1st Row : One treble into the right-hand side of a scallop of braid, two chain, one treble into the top of same scallop, three chain, one treble into braid (see design), two chain, one treble into braid. Repeat from the beginning of the row. 2nd Row : One treble into second treble of last row, three chain, one treble into first of three chain, three chain, one treble into the next stitch, three chain, one treble into tlie same stitch, three chain, one treble into the next stitch, three chain, one treble into top of treble of last row, one double into the first treble worked into top of next scallop of braid, nine chain, one double into next treble. Repeat from the begin- ning of the row. 3rd Row: One double under first three chain of second row, * five chain, one treble into the first, one double under next chain; repeat from * three Umes more, four chain, one double into fifth of nine .^hain, four chain. Repeat from the beginning of the row. For the heading :— 1st Row : Like first row of edge. 2nd Row : One treble under first three chain of last row, five chain, one double under next chain, five f'hain, one treble under next chain. Repeat from the beginning of the row. 3rd Row : One double under five chain of last row, five chain. Repeat. The stitches in the braid are worked with coloured cotton. Example of crochet and waved braid. No. 25.-^HAIRPIN-WORK. Make a slip lo^, pass it over one side of tb^ Vn, turn the pin round, and you will have a loop on each side. Draw up a loop through the first loop, one chain, *, take out the hook, turn the pin, and insert the hook in the loop from which it was withdrawn ; one double under the left-hand loop. Repeat from "* for the length required. No. 26.— TRIMMING : CROCHET AND HONITON BRAID. For the heading : — 1st Row : One double treble into a bar between two patterns of braid, five chain, one treble into third hole at the edge of the braid, five chain, pass over five holes, one half treble into the next, five chain, pass over four holes, one double into the next, five chain, pass over four holes, one ?ialf treble into the next, five chain, pass over five holes, one treble into the next, five chain. Repeat from the beginning of row. 2nd Row : One treble into centre of first chain, * five chain, one half treble into centre of next tivr chain, repeat from * three times more, five chain, one treble into centre of next five chain, five chain. Re* peat from the beginning of the row. 3rd Row : One half treble into centre of five chain of last row, three chain. Repeat. 4-th Row : One treble separated by one chain into each alternate stitch of last row. For the edge : One treble into the bar between two patterns of braid, two chain, one treble into the second hole on the edge of next pattern of braid, three chain, pass over two holes, one treble into the next hole * three chain, one single into first, repeat from * twice more, one treble into top of last treble, pass over two holes, one treble into the next, three chain, pass over two holes, one treble into the next, repeat from first * twice more, two chain. Repeat from the beginning of the row. Example of crochet and Honiton braid. No. 27. — TRIMMING: CROCHET AND HAIRPIN WORK. Make a piece of hairpin-work the length required, according to directions given for No. 25. For the edge of trimming : One single into a loop of hairpin-work, three chain, one single into the first, one chain, one single into each of fifteen loops of hair- pin-work, three chain, one single into first picot, one chain, one single into second of three chain, one chain, * one double into a loop of hairpin-work, five chain, one double into the second, one chain, repeat from * six times more, then repeat from the beginning of the row. For the heading : — 1st Row : One chain, one single, separated by one chain, into each of threa loops of hairpin- work in the depth of a scallop, one single into each of nine loops, one single separated by one chain into each of three next loops, one chain, one single into first chain, fasten the cotton off securely, and work the same in the depth of each scallop. 2nd Row : One triple treble under the chain in the depth of scallop, three chain, one double treble through* the next two loops of hairpin-work toge- ther, throe chain, one treble through two next loops together, three chain, one treble through two next loops together, three chain, one double treble through two next loops together, three chain. Repeat from the beginning of the row. 3rd Row: One treble separated by one chain into each alternate stitch of last row.

Page 28

16 THE YOUjhU LADIES^ JOUiiNAL KO- 26.— cR0CH£i a:ni> NO. 24- -TRIMMI^'Q : CROCHET AliD WATED BRAID, NO. 3^— HAIRPIN WORK, NO. 37.— TRIMMINa : OROCHiT AND HAIRPIN WORK, NO- 38.— CROCHET DESIGN TOR SHAWLS, &C. NO- 29.— INSERTION : CROCHET, ROIL PIC0T9, AND MIQNABDISE. Ko- Z$,-^CROCHET DE3IGN FOR SHAWLS, &o, ^ No. 29 1st Row ; Make a chain the length required, work one double into a stitch, five chain, pass over five stitches, and repeat, 2nd Row : One double into the third of five chain of last row, five chain, one double into the third of next five chain, five double trebles into the double of last row between the loops of five chain, * one double into the third of next five chain, five chain. Repeat from * twice more ; then repeat from the beginning of the row. 3rd Row : Like first row, 4th Row: Like second, working the five double trebles into the chain between the two clusters of five double trebles of last row to form the pattern. The shawl may be made any size; it should be finished with a baU friri^e or a crochet lace abou^ thr«e inches deep. -mSERTION: CROCHET ROLL PICOXS, AND MIGNARDISE. ist Row : One double into two picots of mignardisa together, one chain, one double into the two next picots of Diignardise, one chain, four roll picots each separated by one chain into the two next picots together, one chain. Repeat. A roll picot is worked thus: Turn the cotton six times round the hook, insert the hook in the picot directed, draw up a loop, then draw through all the loops on the hook together. 2nd Row : One treble separated by two chain under «ach of the one chain of last row over the roll picots, pass over the one chain between the two single, and repeat from the beginning of the row. 3rd Row: One double under every stitch of lust sow^ The other side is worked the same way.

Page 29

ff mwfim mim m tie w§iK-TiBtt GUIPURE NETTING FULL DIRECTIONS FOR OTJII»XJItB KTBTTJClXrCt.

Page 30

46 THE YOUNG LADIES' JOURNAL DESCRIPTION OF JLLUSTRATION ON PAGE 17. SQUARE IN GUIPURE NETTING. This square is suitable for mixing with squares of another pattern in netting, or with squares of other material, for chair-backs, counterpanes, bassinette- Tuilts, &c. The square shows a number of the most elaborate stitches used in guipure netting. As these can only be learned by a study of the various stitches contained in these Supplements, the following hints will be all that are needful here :— The close flat-stitch embroidery worked upon the foundation covered with point de toile must be worked before the guipure in relief. Buttonhole-stitch completes the inner part ol the embroidery to make the edge appeap even.

Page 31

COMPLETE GUIDE TO THE WORK-TABLE. 59 GUIPURE NETTING, o>^<y INTRODUCTIOISr. This beautiful work has long been fashionable, and the varied purposes for which it can be used, its strength and durability, will continue to keep it fashionable for many years to come. These Supple- ments are a revise of those given some years since with this Journal, with additional directions and illus- trations for netting foundations ; and as our " Complete Guide to the Work-table" would not answer to its name were these omitted, we trust those ladies who have preserved the original issue will be pleased to see these in a form which will enable them to have them bound with the rest of the Supplements forming the ** Complete Guide to the Work-table." Some of the uses to which the work can be put we will enumerate : — For household purposes : window- curtains, toilet-covers, toilet-cushions, antimacassars, and doilys. For articles of dress : parasol-covers, borders for handkerchiefs, caps, cravats, chemisettes, collars, cutfs. Insertions and lace of all widths for trimming underlinen ; and also, worked fine and in the more elaborate patterns, the lace c^n be used for trim- ming dresses of the richest material, such as velvet, satin, &c. Guipure Netting, Guipure d'Art, Filet Guipure, and Filet Erode are one and the same work, which has gone under a great many r^iore names since its introduction in the middle ages. The word " Guipure " comes from Guipe—a, kind of thick cord or thread, round which threads of gold, silver, and silk were twisted. IMPLEMENTS REQUIRED. ^J"otting-needles and meshes of various sizes. These are made of steel for fine work, and of ivory, bone, and boxwood for larger and coarser work. The needles must be chosen of a suitable size for the mesh — not too large, or they will be difficult to get through the work ; and not toe small, or they will not hold enough of material without joining in frequent and perhaps inconvenient parts of tho foundation. A good stirrup is requisite if a lead cushion is not at hand, as it is very needful to keep the work firm. The lead cushions are shown Li the next page. We consider the lead (jushion has an advantage over the stirrup, as ladies need not stoop to their work. We will, however, give directions for a good stirrup for those who may prefer to use one. Linen thread is the material used for the foundation and for the stitches of guipure netting. A wire frame is also essential for working in. Care must be taken to have tho working material quite smooth and even, without knots. The proper thread and implements for guipure netting are suppUed ^^ Mr. Bedford. Nos. 1 AND 2.— TO FILHi A NETTING-NEEDLE. Tie a little loop over one of the forked ends, and wind the thread from end to end firmly on the needle ; when the needle is filled press the prongs togethet quite close. For very fine netting, which will noj admit the filled needle uhrough the holes, a long blu# darning-needle mist be used. No. 3.— NETTING-MESH. For fine work knitting-pins are generally used for meshes; but for larger work boxwood, bone, and ivory meshes ; both flat and round are sold at all fancy-work shops. To know the size mesh you should use, you must measure one side of a square, and select a mesh the exact size of it. STIRRUP. We have elsewhere stated that we consider the weighted cushion better than a stirrup for netting, as it prevents the need of stooping over the work, which is desirable ; but there are ladies who have so accus- tomed themselves to work with a stirrup, that they find It more convenient tlian the cushion, therefore we insert the following directions for a very good stirrup : Materials : A pair of wood or bone pins, No. 12 ; two small pieces of scarlet worsted braid. Cast on nine stitches, knit three rows plain. 3rd Row : Knit two together throughout the row. 4th Row: SHp the first stitch, * take up the loop between the stitches and knit it, knit a stitch, take up the loop, &c., from * to the end of the row. 5th Row : Plain knitting. 6th Row; Purl. The third, fourth, fifth, and sixth rows are to be repeated sixteen times ; work the plain rows as at the commencement.

Page 32

20 THE YOUNG LADIES' JOURNAL XO. I.— NETTING-NEEDLE. NO. 3.— MODE or THREADING NEEDLE,

Page 33

COMPLETE GUIDE TO THE WORK-TABLE. 21 NO. 13. OBLONG NETTING. I^^CE 5 ii T n ^ ^ i L 1 1 >""' r ^ H T J I/I i h q A y q -— M i~ ' '+ «=- F ^ *m u L. E El — i ' •/|| ri r^r^ fi e a u ^ ^ ^ IfO, I ^.— MODE OF FASTENING SQUARE INTO FRAME. «o. J3. r'^. 34. KC»- 2$, TO. a?-

Page 34

22 THE YOUNG LADIES' JOURNAL Cover a thin piece of wood three inches long with ribbon or silk of the colour of the braid, and line tlie braid with ribbon ; then sew the knitted ends to the ribbon covering the wood. To make a. foundation to net upon, net two or three stitches, and continue until you have a piece about a yard long, which you can net upon at any part suitable to the length of your work. The two ends of the foundation can then be fastened together to the top of the stirrup. Nos. 4 AND 5.— KNOT FOR JOINING. The knot represented in No. 4 needs no description, being simply the usual knot-loop with the two ends placed over each other, firmly drawn (see No. 5) and the ends cut aff . This knot is considered as secure as the complicated weaver's knot. Nos. 6 TO 8.— DIRECTIONS FOR NETTING. The foundation : Netting, — ^is commenced in various WAys. We recommend a piece of thread tied in a knot and fastened to a heavy cushion, as shown in Nos. 6 to 8, which forms a foundation for the first row. When the work is finished the thread is taken out. Take the thread-loop, fasten it to the cushion, tie the working-thread to the loop, take the filled needle hi the right hand and the mesh in the left; hold the latter horizontally between the thumb and forefinger, as shown in No. 6 ; lay the working-thread over the mesh downwards round the middle finger of the left liand, and then between the mesh and the forefinger, a little towards the left, where the left thumb encloses the thread, and by that means the loop laid round the mesh and finger is firmly held; then, according to No. 7, the needle is carried again towards the right, and pushed from underneath through the thread-loop lying round the left hand, forming a wide scallop with the thread ; then the needle is placed under the loop, and between the finger and mesh again through the foundation-stitch; keeping the left hand quite still, draw the needle quite through with the right hand ; then with the help of the left hand draw the knot quite tight, which completes the stitcli. This is done by taking the two middle fingers of the left hand out of the loop in taking up the needle with the right hand (see No. 8), and only directing the knot to the top of the mesh with the right hand, where all the knots are placed in a line close togetlier. The loop must be quickly and firmly drawn up with the little fin- ger of the left hand over which the thread is carried slowly — and by that means the stitches are evenly drawn up. It is better, if possible, to avoid making knots except at the outer-side stitches. Having once learnt the stitch, netting a ground presents no diffi- culty, as the stitches are all worked like those of the preceding row. When the whole line is finished the mesh is carefully taken out, the work turned round, and the mesh placed again to commence another row, which is worked in the same manner. Every stitch is commenced by pushing the needle into a stitch of tha preceding line. After refilling the needle ar knot must be tied, as shown in Nos. 4- and 5, and as before explained. Nos. 9 AND lO.—SQUARE NETTING. For netting in straight lines, begin always at one corner with two stitches, and work rows forwards and backwards. At the end of each row increase one stitch by making two stitches in one at the last stitch until the netting is the required width. No. 9 shows the commencement of the corner. The straight net- ting is either in squares, in an oblong form, in stripes, or in angular edges. For the square : Work as many holes in the length as in the breadth, increasing at the end of each row until there is one stik'h more than the finished square of holes must contain in one line. For the five holes of the square represented in No. 10, there must be six stitches ; then net one more row over this with the same number of stitches plain, and decrease in the same proportion, for which the two last stitches in each row must be netted together with one knot. Having by this means reduced the number again to two, unite the two last stitches with one knot in the middle. This is, however, no stitch ; simply carry the thread tight across to the joining knots. Nos. 11 AND 12.— SQUARE FOUNDATIONS OF TWO SIZES. These foundations are made by putting the thread once round for the small hole, and twice for the large hole of the square. No. 12 shows the style of work for which this foundation is required. No. 13.— OBLONG NETTING. For an oblong form or shape, as shown in No. 13, the increasing for the corner must be continued until there are two more stitches than are required for the breadth. This increasing must be continued without interruption on one side ; but on the opposite side it will be necessary always to decrease, so that the num* ber of stitches always remains the same. When the netting is the required length, the last corner must be worked by decreasing, as in the square. No. 14-.— SLANTING NETTING. For the slanting netting, commence with the re- quisite number of stitches for the length, and work rows forwards and backwards, as shown in No. 14-. These slanted stripes are used for collars, cuffs, cravat- ends, the separate gored parts of parasol-covers, &c., and in all cases where there is a deviation from the square, and where the foundation has to be cut.' In this case work the separate parts in the whole foun- dation rather close to each other, and cut them out of each other, and fasten the outlines with buttonhole- stitch. No. 15.— WIRE FRAME FOR GUIPURE NETTING. For the guipure work the netted foundation must, for small things, be placed in a strong wire frame sol- dered by a tinman. It must be large enough to stretch the work tightly. No. 15 shows the work nearly placed in the frame, and ready for the darning, which must be done carefully, and the threads evenly drawn. The wire frame is covered with a narrow sarsnet rib- bon, to which the work is sewn (see Illustration). CIRCULAR FOUNDATIONS. Circular foundations for doilys, circular cushions, mats, &c., are worked precisely tlie same as square netting. The circle must be formed by running a thread round to the size r6i»uired, and working over it with close buttonhole-stitch. Cut away the super- liuous Dart.

Page 35

COMPLETE GUIDE TO THE WORK-TABLE. 23 GENERAL REMARKS ON GUIPURE NETTING. The size of the cotton must be regulated by the holes of the netted ground, so as to blend nicely, and to be neither too close nor too loose. Generally the same size of thread may be taken as that used lor the foundation ; sometimes the pattern .requires different parts to be worked with different cotton — some fine, some coarse. A common darning or tapestry needle may be used. Very nice needles are made for the guipure work without points. The greatest care and accuracy are required in working all stitches in guipure; the thread must be always carried alternately over and under the netted threads ; the work must always be uninterrupted, and the thread fastened with a firm knot (see Nos. 4 and 5) ; and when it is impossible to pass immediately from a filled- up part to the next hole of the netted ground, the thread must be wound round the threads between that and the next hole, to bo worked as carefully as possible, s© as to be almost imperceptible. Nos. 16 TO 19.-P0INT DE REPRISE: DARNING- STITCH. rhis is a stitch which is employed in n«arly all patterns ; in some it is used alone, in others alternated with other stitches. The principle of the stitch is that of ordinary darning. The holes must be entirely filled up, placing the needle over one thread of the netting and under the other. The darning must be always in the same direc- tion. Any deviation in the pattern will be seen in the designs. We can give no description of these stitches which could be half as useful to the worker as a care- ful observation of the Diagrams Nos. 16 to 19. Xt-s. 20 TO 27 AND 32.— POINT DE TOILE: TRELLIS- WORK STITCH. In working this stitch great care must be taken to make the threads cross each other evenly. Different patterns may be worked in this stitch. The number of threads in a square must be regulated by the size of the square ; but there must be the same number of long and cross threads, and the numbers must be even — two, four, six, &c. ; an odd number of threads would spoil the work. All the designs show where the patterns commence and where the thread is wound round to continue the pattern. Nos. 28 TO 30, AND 33 to 35.— POINT D'ESPRIT : FESTOON-STITCH. Work rows forwards and backwards. In this pat- tern the alternate over and under stitches are Kot regularly observed, but by attention to the designs the deviations may be seen and the stitch easily worked. Sometimes the whole netted ground is covered with this stitch. No. 31.— ANGULAR EDGE FOR HANDKERCHIEF- BORDERS, &c. For an angular edge round pocket-handkerchiefs, covers, or the outer edge of a square with a thick middle piece of linen, &c. (see No. 31), it is ad- visable to place the design before one. The commen- cing corner mav bo easily known by the commencing thread which forms the upper point of the square. Beginning with a cornor, increase until there are two more than double the number of stitches that are re- quired for the breadth; therefore, for the edge of square No. 31, v^/hich is three stitches broad, eight stitches will be required. Then the part marked with dotted lines a 1 to a 2 must be worked with four stitches as far as the half of the corner ; and then turn- ing round with these stitches, continue the stripe, always increasing at the outer and decreasing at the inner edge. For the next corner at the inner edge, where until now the decreasing has been carried on^ following the row marked b 1 and b 2, after the decreas- ing, make one more stitch in the outermost edge stitch, and with this begin the increasing for the second side of the inner edge ; at the outer edge decrease in the same proportion. Having arrived at the third (the opposite one to the beginning) corner, cut off the thread at the last row at the inner edge (see cl to c2) according to the knot d 1, the thread is then put on again at the upper corner ; and according to the dotted line the first row of the side edge as far as d 2 is to be worked. The work is then continued as at the first half of the edge as far as the under corner, and on arriving there the thread is again cut off at the innei side. Put the thread on afresh at the knot marked g ; and, according to design, in the next row enclose thtt two inner stitches where the cut-off thread hangs, together with ono knot which forms thei comer, and must now be completed as for a square by decreasing at the end of each row. This is the last corner. No. 32. Is another example of point de toile. The direc- tions for working will be found under No. 20. Nos. 33 to 35. Further examples of point d'esprit or festoon-stitch. No. 34- shows a ground entirely covered with i^r^ stitch. For directions for working see No. 28. No. 36.-COMBINATION OF FESTOON AND TRELLIS STITCHES. This design gives the festoon (point d'esprit and trellis-stitch) joined together in one pattern. The latter is worked like common darning (point de ro- prise). No. 37.— COMBINATION OF TRELLIS - STITCH AND WHEELS. The trelHs-stitch has already been explained ; each row of trellis should be worked first, and afterwards the rows of wheels, spun-stitches, or spider-webs, as they are sometimes called. These stitches will be illustrated and described in our next Supplement-. Nos. 38 AND 39 —COMBINATION OF POINT DE REPRISE AND FESTOON. Each of these stitches have already been illustrated and explained. A combination of the two in fine work will make a pretty lace for trimming dresses, &c^ They will also make a very pretty doily or antima- cassar. If space will admit of our doing so in a future Supplement, we will give a design for these patterns in a proper size. Nos. 38 and 39 are shown in a greatly increased size to facilitate copying them. We need hardly say that the letters sho¥>' whera*** repeat tlie pattern ; a must meet a, and h v.j

Page 36

24 THE YOLinG LADIES' JOUKiV.ii> NO. 38. tio. 39:

Page 37

MfflETE mmi T© TIE W8IK-TAB1E. GUIPURE NETTING FULL DIRECTIONS FOR CS-TTIX^TTX^S NSWIZycS-.

Page 38

THE YOUNG LADIES' JOURNAL DESCRIPTION OF ILLUSTRATION ON PAGE 25. CRAVAT-END. This design is worked in some of the most elaborate stitches, tha directions for all of which will be found m these Supplements. The cravat-ends are finished by a pearl lace edge, which must be taoked on to the scallop of the cravat-end, and worked over with fine buttx)nhole-stitch. The finished ends may bo tacked iip a silk, net, or muslin cravat.

Page 39

COMPLETE GUIDE TO THE WORK-TABLE. 27 GUIPURE NETTING (CoTttin-uiedh Nos. 40 TO 46.~POINT CROISE : CROSS-STITCH. These stitches may be used as a whole or half pattern for separate squares, or an entire surface with either single or double threads ; the second thread is wound round the first. I*fo. 40 shows the mode of working a single thread crossed with a tied knot, which fastens all the threads at the crossing - point. This stitch resembles the common buttonhole-stitch, with this difference only, that the stitch is put in over instead of next to the starting- thread. The double- thread cross IVo. 41 requires the crossed thread to be once more tied in a separate hole of the square. For this double cross stretch the first loose thread for two bars of the cross lying near each other, then return as far as the middle only. Twist the thread round the latter, from here going always forwards and backwards to form the third and fourth bars ; then unite all the four bars by one stitch, and then twist the thread a few times round the first bar with a single thread and finish. After uniting the four cross-bars, it will be easy to make a little round pattern in the middle by drawing the thread round the cross. No. 42 shows clearly the mode of working half cross-stitch in rows. No. 43 shows a simple mode of making a cross- stitch with a thread. Work the first line of this cross-stitch by looping a simple thread cross-stitch round the thread of the netted foundation (as in working with a needle), then in the returning row, which completes the cross ; the knot must be always made in the middle. Twisted crosses may be made in the same manner by first stretching the single thread across, and then twisting the thread round in returning. This is clearly shown in No. 44, with little round patterns added at the cross points (spinning patterns), by- working round the tied knots in the twisted lines. The next variation of ^e cross-stitch, which also forms the ground of the spun-stitch, and which f^ the thread-cross interwoven with the 'point d^espn in No. 45, may also have a loose thread circle as ih No. 46. The interwoven cross of No. 41 may now be com- pleted by the point d'esprit^ for which stick always through the winding of the cross-bars, as shown in No. 45. Nos. 46 TO 49.— SPINNING-STITCH AND WHEELS. These patterns are generally worked over four holes of the netted square at the crossing-point of the cross- bars stretched across, and either unite the eight radii or meet over these in the centre of a netted hole with the thread wound round. This winding round is so contrived that the wound bars lie underneath the threads of the foundation, and the stitch is on thi? account called a web. No. 46 represents one of the^ patterns with a loose thread circle ; No. 47 a web witf a looped circle, and it forms the middle of the patterL represented in No. 50. A wheel differs from a web m the mode of weaving it ; in the former the threads, appear to be reversed. No. 49 represents a finished wheel surrounded with very pretty picots. Nos. 50 AND 51.— PICOTS. These picots consist of buttonhole-stitches worked close tctf'ether, as is?hown in No, 50. The number of

Page 40

NO. 40. THE YOUNG LADIES' JOURNAL :?o. 41. NO. 43. 170. 42* NO. 45. NO. 46. m, 47. NO. 48. NO. 49. NO. 52. NO. 54. ^ NO. 56. NO. 57- NO. 58. NO. 59. NO. 61. NO. 63. NO. 60. NO. 64. NO. 62.

Page 41

COMPLETE GUIDE TO THE WORK-TABLii- m. IS. 1(0. A KO. 77.

Page 42

■^0 THE YOUNG LADIES' JOURNAL buttonhole-stitches must be regulated by the quality of the cotton and the size of the picot. No. 51 shows another very effective picot, which may be worked either round the threads that cross each other in the netting for the middle of a cross (cross-stitch), or round a little spinning-stitch or wheel ; this kind may also be used for flowers. These owisted picots are worked in the well-known hroderie d la minute (see No. 51). For tliis kind of picot make flrst a buttonhole-stitch round the netted cross, push the needle in it, and wind the cotton ten or twelve times round for one picot ; then carefully draw ano- ther buttonhole-stitch round the netted cross to fasten the finished picot and to prepare for the next. Nos. 52 TO 55.— PYRAMID-STITCH. This stitch is made with sometimes one, two, or more divisions. No. 52 gives a design with patterns of pyramid- stitch in three divisions, which are worked according to No. 53. This stitch differs only so far from that m two divisions, in that from the middle hole when the triangle is stretched across, the thread stretched across is carried to the middle of the netted bar, and rises from there to the point. No. 54 shows the mode of working this. Tie the thread on with a knot, carry it as far as the middle of the outer netting thread of the pattern, fasten it for a triangle again to the middle hole returning. By winding the last thread backwards the point of the pyramid is again reached, a»d the bars must now be closely worked in point de reprise, as shown in the design. No. 55 shows a little finished pattern with one division between the bars of a web. These pyramid-stitches may be made stronger and more effective by twisting several stretched threads together, which form a kind of frame. Nos. 56 TO 58 AND 61.—MUSHR00M-STITCH. This is worked in a kind of point de reprise in a corner of a netted square, a twisted thread having been previously drawn across obliquely (see No. 56). Nos. 56 to 58 show the usual modes of placing these patterns together. No*. 61 gives a little square pattern containing double point d'esprit between the diffe- rent arrangements of the mushroom-stitch. The double point d'esprit is merely a second worked inside the first. Nos. 59 AND 60, 62 to 65.— POINT EVANTAIL : FAN- STITCH. This is a kind of continuation of the mushroom- stitch, and may be easily worked from Nos. 59 and 60. Nos. 62 and 65 show how they may be arranged in patterns. Tlie flat fan-stitch in No. B9 forms an almost exclusive pattern of itself, but the corner fan- stitch in No. 60 serves also as a finish to the trellis- '^^'ork pairts, s^ p^wwd ia /^Tos, 63 and 64. A variety of this pattern is called the twisted fan-stitch, anri answers the same purpose, as shown also in a square pattern in No. 76. Nos. 66 TO 70.— SCALLOPS. Tliese are numerous in their arrangement and modes of working. In order to make two of these pointed scallops in a hole of the netting, work always two buttonhole-stitches on the thread of the netting intended for the long side of each scallop (according to No. 66), one buttonhole-stitch on the thread in- tended for the short side of the scallop at the middle point of the threads turned towards the star, so that the latter seems only half filled when the side thread is covered with stitches. No. 66 shows one scallop with loose threads finished; the second laid on. Having finished the latter, carry the thread at the foot of the finished scallops as far as the next dis- engaged hole to work the next two scallops, or by means of a bar of the thread cross in the middle of the star ; continue the w^ork. The. thick button scallops (Nos. 67 and 68) are worked in rows forwards and backwards in common buttonhole-stitch, as shown in No. 67, For thick but- tonhole scallops with picots, see No. 68. The thick pyramid scallop is like the pjramid-stitch, but according to No. 68, it hes loose upon the ground, and the frame of stretched threads is worked in point de reprise. In working these large scallops, in which the threads are closely interwoven, and which has the effect of pyramid-stitch in five divisions, it is very necessary that the five threads of the frame should be firmly stretched. They all unite in the point — not all together round the knots of the netted foundation, but after the looping are placed perpendicularly on the straigltt netted bar, and closely wound round. This twisted bar may be completed with a thick pat- tern, spun-stitch, a wheel, or a picot. The threads on the foot of the frame joined to the trellis-stitch may be easily worked from No. 69. The loose corner scallop which serves for filling up this, as well as the slanting half of a hole of the netting in the mushroom- stitch, is worked the same as No. 70, without a sup- porting middle thread, and like the loose star scallop worked with buttonhole-stitch in No. 66. For every triangle two buttonhole-stitches must be made over each thread of the netting. No. 71.— TUFTED BUTTONHOLE-STITCH. This stitch will be very easily worked from the design. It forms the border to the square No. 75. No. 72.— OBLONG PATTERN. These patterns are formed by drawing the thread loosely round the netting. They are used for orna- menting larger patterns. No. 72 shows how they are used with other stitches to ^-^^m a pattern.

Page 43

COMPLETE GUIDE TO THE WORK-TABLE. 31 No. 73.— THE LETTER " S " STITCH. This ia a sort of combination of the mushroom- stitch, and is used in square No. 77. No. 74.— THICK SQUARE. This simple stitch needs no description — it will be seen in the finished square No. 77. Nos. 75 AND 77.— SQUARES IN GUIPURE NETTING. These squares may be used alternately, and will make a pretty insertion, a heading for guipure lace, or joined for pincush'^n-tops, doilys, &c. No. 76.— QUARTER OF SQUARE. All the stitches in this design have been already described, except the stalk-stitch which crosses the point de toile. They are worked according to Nos. 85 and 86. This square will make a pretty doily, or, com- bined with other squares, will serve for antimacassars, &c. No, 78.— PATTERBT IN FAN, OBLONG, AND SPINNING STITCHES. This shows the mode of working a combination of the above stitches. Nos. 79 TO 81 AND 90.— STAR OR RADII. For the mode of working the star represented in No. 79, see No. 80. The star requires cross-bars placed in the same manner as for a wheel, the ends of which must again have crossbars for the rounding of the star. Round the interwoven wheel in the middle the separate radii are arranged, which are formed, accord- ing to the previous directions, of loose threads round the bars of netting, and placed together in a bunch at the under part with two buttonhole-stitches upon the wheel. The little stars, arranged in a pretty pattern with cross-stitch and point d'esprit in No. 90, consist, as shown in No. 81, of loose threads stretched across and joined by being twice firmly interwoven in the middle. No. 82.— DOUBLE CROSS. Th ? pattern is very effective for the middle of a •\^uare, or even for a comer. The loose threads must be first stretched across from one side over the hole of the netting, and a bar woimd round in the opposite* direction, interweaving it with the first bar, as ^h^^vo in design. Nos. 83 TO 85 AND I 9.— GUIPURE IN RELIEF. These very effective patterns may be placed upon a ground of point de toile, or even upon plain netting. They present no difficulty, but require practice and the greatest accuracy. They consist of loose threads stretched over the foundation, and worked in like the point de reprise — for small patterns, over two threads, with one division; for broad patterns, leaves, &c., with two or three divisions over three or more threads. Leaves should be graduated. Stalks on leaves, or sometimes raised veins (see No. 76), are formed, accord- ing to the thickness required, of threads stretched across, wound once or several times round, and closely corded in returning. The large patterns, in filling up the stretched threp.ds of which the frame of bars is composed, require a thread of the foundation to be worked in here and there lightly, which causes the guipure to keep its place better. No. 83 gives a finished cross in relief upon a netted foundation, covered with point de toile. No. 84 shows the mode of working this. Nos. 85 and 89 show the mode of placing the large and small leaves and stalks so clearly that no description is necessary. No. 88 shows a combination of these stitches. Nos. 86 AND 87.— BUTTONHOLE-STITCH EDGE. The buttonhole-stitch makes a very pretty scallop border, lliis edge may be either plain or ornamented with picots. It is advisable to work it in a frame. It is important that it should be carefully traced, so that when the threads of the netting are cut away the stitches remain in their places. For this stretch the thread firmly round the netted thread, and tie it always with- the loop described for the cross-stitch (see No. 40). Returning it must be closely twisted again, and then fastened with button- hole-stitch, as shown in No. 86. No. 87 shows the mode of working the picots ; they are formed by simply making another separate buttonhole-stitch, which lies free underneath, and is fastened to the next in continuing the row. CONCLUSION. From the descriptions and illustrations of stitches which we have given in these Supplements we believe our readers will find no difficulty in working any of the guipure netting designs which we have already given, and shall continue to give, in our Journal. ThQ designs on pages 17 and 25 of our Guipure TTc^tingf Supplements are each somewhat difficult, and shouiu not be attempted until the stitches have all been well practised ; but they are ver}^ beautiful designs, and show what very nice work may be produced in guipure netting.

Page 44

32 THE YOrNG LADIES* JOURNAL. NO. 86. NO. 87. KO. 88. NO. 89. fiO»99»

Page 45

, . m. Til WSttTABife. KNITTING. KNITTED BORDER FOR COrNTEEPANE. FULL DIRECTIONS FOR PLAIN AND FANCY KNITTING.

Page 46

34 THE YOUNG LADIES' JOURNAL DESCRIPTION OF ILLUSTRATION ON PAGE 33 AND COLOURED SUPPLEMENT. KNITTED BORDER FOR COUNTERPANE. a Materials Hequired : Strutts' knitting cotton No. 8, two knitting pins No. 14- (Walker's bell gauge). Knit the long way. Each pattern requires twenty- one stitches. You must cast on 3, 6, or 9 patterns. 1st Row ; Furl three, knit three, knit two together, make one and knit one eight times, knit two together at the back, knit throe. Repeat. 2nd Row : Purl two, purl two together at the back, purl sixteen, purl two together, purl two, knit three. Repeat. 3rd Row : Purl three, knit one, knit two together, knit sixteen, knit two together at the back, knit one. Repeat. 4-th Row : Purl two together at the back purl six- teen, purl two together, knit three. Repeat. Repeat each of these four rows five times more. Knit the two next rows, purl the 27th and knit the 28th. For the 1st Row of the raised pattern, make one, knit one, make one, purl eight. Repeat from the beginning of the row. 2nd Row : Knit eight, purl three, knit eight. Repeat. 3rd Row : Knit one, make one, knit one, make one, Isait one, purl eight. Repeat. 4th Row : Knit eight, purl five. Repeat. 5th Row : Knit two, make one, knit one, make one, knit two, purl eight. Repeat. -•• 6th Row : Knit eight, purl seven. Repeat. 7th Row : Knit three, make one, knit one, make one, knit three, purl eight. Repeat. 8th Row : Knit eight, purl nine. Repeat. 9th Row : Knit two together at the back, knit five, knit two together, purl eight. Repeat, 10th Row : Knit eight, purl seven. Repeat. 11th Row : Knit two together at the back, knit three, knit two together, purl eight. Repeat. 12th Row : Knit eight, purl five. Repeat. 13th Row : Knit two together at the back, knit one, knit two together, purl eight. Repeat. 14-th Row : Knit eight, purl three. Repeat. 15th Row : Slip one, knit two together, pass the slipped stitch over them, purl eight. Repeat. 16th Row : Knit. 17th and 18th Rows : Purl. 19th Row : Make one, knit two together at the back. Repeat throughout the row. 20th Row: Purl. 21st Row : Knit one, ^ make one, knit two together at the back. Repeat from *, end the row with knit one. 22nd Row: Purl. 23rd Row : Like nineteenth row. 24th Row : Purl. 25th and .26th Rows : Knit. 27th Row: Purl. 28th Row : Knit, then cast off the stitches. For the crochet edge : — 1st Row: Work one double into every stitch of border. 2nd Row : One double into a stitch in^the depth of scallop, * four chain, one treble into the first, pass over two stitches, one double into the next. Repeat from * eight times more, then repeat from the beginning of the row. COLOURED SUPPLEMENT. DESIGN FOR KNITTED PENCE-JUG. Materials Required: Three skeins each of throe shades of Berlin wool, four pins No. 17 (Walker's bell gauge). Begin with the darkest shade, cast on three stitches on each of three pins, knit one round. 2nd and all following Rounds : Knit one stitch in the front of a loop, and one in the back, of the first and last stitches on each pin, until you have twenty-one stitches on each pin. Knit two rounds without increase or decrease. Purl three rounds, knit three rounds. With the second shade purl three rounds and knit three rounds. With the lightest shade, purl three rounds and knit three rounds. With the second shade purl three rounds. With the lightest shade knit two rounds, and purl two rounds. For the raised pattern work with the lightest shade of wool for the ground, and the darkest for the leaves. The light wool being carried at the back of the leaves, care must be taken not to draw it at all tight in crossing the leaves at the back, or the effect of the pattern will be very much spoilt. For the 1st Row of raised pattern, make one, knit one, make one, purl eight. Repeat. 2nd Round : ^nit eight, purl three. Repeat. 3rd Round : Knit one, make one, knit one, make one, knit one, purl eight. Repeat. 4th Round : Knit five, purl eight. Repeat. 5th Round : Knit two, make one, knit one, make one, knit two, purl eight. Repeat. 6th Round : Knit seven, purl eight. Repeat. 7th Round: Knit three, make one, knit one, make one, knit three, purl eight. Repeat. 8th Round : Knit nine, purl eight. Repeat. 9th Round : Knit two together at the back, knit five, knit two together, purl eight. Repeat. 10th Round : Knit seven, purl eight. 11th Round : Knit two together at tlie back, knit three, knit two together, purl eight. Repeat. 12th Round : Knit five, purl eight. Repeat. 13th Round : Knit two together at the back, knit one, knit two together, purl eight. Repeat. 14th Round : Knit three, purl eight. 15th Round : Shp one, knit two together, pass the slipped stitch over the two knitted together, purl eight. Repeat. 16th to 18th Rounds : Purl. After finishing the pattern, work two plain and three purl rounds with the second shade of wool ; then take the darkest shade and work six ribbed rounds of knit two and purl two alternately, nine round's are ribbed with the second shade and six with the lightest. For the lip : Knit seven rounds, increasing one stitch in each round. Above one point of the triangle, purl one round, then cast off all the stitches except five exactly opposite the increased stitches; these are knitted plain for the handle, which is two inches in length ; to shape the end, decrease by knitting two stitches together at the end of each row, until one stitch only is left ; this end is sewn to the jug upoq the rib of the second shade above the raised patterns.

Page 47

PENCE JUG KNITTING

Page 48

Page 49

COMPLETE GUIDE TO THE WORK-TABLE. 31^ KNITTING INTRODUCTION. Knitting is a very useful and amusing employment both for ladies and children, and should be tauglit generally, for the reason that the plainer sorts of knitting can be taken up at any time. Knitting is work alike suited to young and old. The invahd and the blind person find in it occupation with which to wliile away many hours that would otherwise pass wearily. In tlie gloaming work requiring strong light must be put aside, and a piece of knitting at liand — such as a sock, stocking, or mitten — can be taken^up and worked at until it is thought time to draw the curtains and light up. Knitting in Italy and Spain was general long before its introduction into England. One of the wives of Henry VIII. had a present of a pair of knitted stockings. In the early part of Queen Elizabeth's reigtt knitted stockings must, however, have been rare, as the Queen is said to liave had a pair of woven stockings presented to her, when she declared she would not again wear stockings made of cloth. Stocking-knitting must, towards the end of her reign, have become a work of some importance, as the stock- ing-knitte-rsof Nottingham drove away from their town Lee, who invented a machine for weaving stockings. Lee retired to Paris, where disappointment and grief caused his death. The vScotch and GermaTa women and children surpass the English in the quantity, and general!}^ in the quality, of their knitting. The Ger- mans are acknowledged to be the best knitters on the Continent, and they "take their knitting with them to the tlieatre. It is so much a habit with them to knit, that it in no way distracts their thoughts from what is going on around them. The word " knit " is from the Anglo-Saxon cnytan^ or cnyttan. The Icelanders and Swedes call it knytay and the Danes knytte. IMPLEMENTS. No. 1.— THE GAUGE. First of all comes the gauge with which to measure accurately the knitting-pins. We give an illustra- tion of the gauge, which is of white metal, and advise ladies who knit to procure one. Walker's ^auge is the one we illustrate, an4 with which we measure. KNITTING-PINS. Knitting-pins, or needles as they are sometimes called, are made of steel for finer kinds of work, and wood, ivory, bone, and vulcanite, when coarser mate- rials are knitted. KNITTING-SHIELDS. Knitting-shields may be purchased in bone and ivory ; they are very necessary when steel pins are used, as they preveHt the possibility of tlie work escaping from the pins. Shields are made both in plain and fancy forms, and are held together by a piece of fine elastic. MATERIALS KNITTED. Beginners should use knitting-cotton, as its smooth surface admits of its slipping more freely from the pins than wool can do. Strutts' knitting cotton can be thoroughly recommended for its smoothness, soft- ness, and even texture. Strutts' summer merino, both in white and colours, will make excellently strong summer socks and stockings for children and gentle- men. P"or ladies' stockings, Messrs. Strutt manufacture a very fine cotton called best knitting. For knitting trimmings, antimacassars, &c., their crochet cotton is very good. For woollen socks and stockings, Messrs. Faudel, Phillips, and Sons manufacture the finest qualitj' of knitting wools in their peacock fingering, fleecy, Shet- land, Andalusia, and eider yarn. They also make a very fine quality of knitting silk, called ice silk. Messrs. Pearsall supply a very strong and good quality of knitting silk, called imperial knitting silk. These materials are all supplied by Messrs. Bedford, 186, Regent Street, and 23, Goodge Street, W. GENERAL DIRECTIONS. To knit well, the pins must be held lightly in the hands rather close to the points, and there should be very little movement of the hands for knitting easily and rapidly. In winding wool, merino, cotton, or silk, care should be taken not to wind too tightly, as the material id impoverished thereby. It should be borne in mind that the size of the work is ruled more by the qualitjjf of the material than b^ tl;^e size of th© pins.

Page 50

36 THE YOUNG LADIES' JOURNAL To learn knitting, coarse cotton — say Strutts' No. 8, and pins No. 12 or 14— should be selected. No. 2.— CAST ON WITH ONE PIN. Twist the cotton once round the forefinger of the left hand (see diagram), hold one end of wool between the thumb and second finger of the left hand. Hold the pin lightl3% much the same way as you would hold a pen, in the right hand, keep the other part of the wool over the forefinger of the right hand, under the second and third fingers, and over the little finger, pass the pin under the wool on the left forefinger from left to right. With a shght movement of the right- hand forefinger pass the wool in the right hand round the pin, draw the pin with the wool round it to the left so as to bring it under the loop on the finger in which it was inserted, slip the thread off the left forefinger, and tighten it to form the stitch. Repeat from th^ beginning. It is undesirable to cast on with one pm if you have many stitches in length, as you are apt not to have enough of the short end of the wool, unless you are v good judge of the length needed. Nos. 3 AND 4.-T0 CAST ON WITH TWO PINS. Pass a loop over the left-hand pin near the end of the cotton, hold the right-hand pin as already; de- scribed for casting on with one pin ; put the right- hand xnn into the loop, passing the pin through from left to right, keeping the right-hand pin under the left pin ; * pass the wool over this pin, between it and the left-hand pin, pull the loop up towards the right ; now draw the right-hand pin up, and pass the stitch on it on to the left-hand pin, by putting the left pin through the left side of the loop, keeping the right-hand pin in the loop ready to begin the next stitch. RepfWv fr^JH * for tho required number of stitches.

Page 51

COMPLETE GUIDE TO THE VVORK-TABLS:. 37 1 No. 5.— KNIT- TING. Aftei having cast on the num- ber of stitches needed, hold the pin with the cast-on stitches in the left hand, * pass the right- hand pin into the first stitch from left to right, put the cotton round between the two pins, pull the loop thus made through the loop on the left pin, and slip that loop off the left pin. Repeat from ♦. No. 6. — PURL- ING OR RIB- BING. Keep the cot- ton in the front of the work, * put the right- hand pin into a stitch from right to left, passing it upwards through the front loop of a stitch, the right- hand pin resting on the left ; pass the cotton round /"/ the front of the /\/4 pin, bring it back between ^ " the two pins, pull the right- hand pin slight- ly back, so as to secure the loop on the right- hand pin, and drawoff the loop on the left pin. Repeat from *. No. 7.~T0 KNIT IN THE ROUND Four and even five pins are sometimes used for knitting in the round. Cast on a third or fourth of the number of stitches required on each of the three or four pins ; then, with the fourth or NO. 7.~FNITTINC} im THE ROUND. fifth pin, join round by knit- ting into the first stitch that was cast on, and continue round. TO SLIP A STITCH. To shp a stitch pass it from one pin to the other without knit- ting it at the be- ginning of a row^ in knitting with two pins, the first stitch of a row should al- ways be shpped to make the work even ; un» less otherwise directed, put the pin into the stitch you are about to slip from left to right. TO MAKE A STITCH OR COTTON FOR- WARD. m knitting, pass the cotton from the back to the front of the work, and knit the next stitch as usual. In purhng, pass the cotton complete- ly round the pin. TO MAKE TWO STITCHES. Pass the wool to the front, then round the pin. If three stitches are to be made, the cotton must again be passed round. In knit- ting off two 01' more made stitches, the first you can knit in the usual w^ay; the second you must put the pin into the back loop, then knit off as usual

Page 52

38 THE YOUNG LADIES' JOURNAL TO KNIT TWO STITCHES IN ONE. i*lrst knit the front loop, and without removing the left-hand stitch from the pin, knit the back loop, then Blip tho stitch off the left-hand pin. TO RAISE A STITCk the threaa xnat lies Pick up and knit a stitch in crosswise between two stitches. TO KNIT AT THE BACK. Put the pin through tlie back loop on the left-hand needle, and knit as usual. TO KNIT TWO TOGETHER. Put the loft-hand pin through two stitches toge- ther, and kSi' as one stitch. TO KNIT TWO TOGETHER AND PASS A SLIP- STITCH OVER. 'ass a stitch from the left to the right hand pin f .bhout knitting it, knit two stitches together as a.lready described, then, with the left-hand pin, draw V« slip-stitch off the right hand over the last stitch , ^j:nitted, which is still on the right-hand pin. ^ ro CAST OFF. Knit two stitches, pass the first stitch over the second, knit a third stitch, and pass the second over It. Continue in this way until all the «titches are worked off. doujble knitting. In casting or., for this pattern allow three stitches to knit plain at each end. 1st Row : Knit three, * bring the wool forward, slip a stitch as if for purling, pass the wool back, knit one, putting the wool twice over the pin. Repeat from * until within three stitches of the end of row, knit these three. In tiie next Row the stitch that was knitted is slipped, and the slipped stitch knitted. No. 8.— CANE- WORK PATTERN. Cast on any number of stitches divisible by four. 1st Row : Make one, knit one, make one, knit three. /Repeat. 2nd Row : Purl. 3rd Row : Knit three, make one, slip one, knit two together, pass the slip-stitch over the two knitted to- (■^ther, make one. Repeat. 4th Row : Purl. 5th Row: Make one, slip one, knit two together, ^9 the slip-stitch over, make one, knit three. Repeat. 6th Row : Purl. Tth ilow : Like third row. a^lj Kcw: Purl. 9th Row : Make one, slip one, knit two together, pass the slip-stitch over, make one, knit three. Repeat. 10th Row : Purl. Repeat from the third row. No. 9.— VANDYKE PATTERN. Cast on nine stitches for each pattern. 1st Row : Knit three, * make one, knit two together at the back, knit four. Repeat from *. 2nd Row : Purl. 3rd Row : Knit one, knit two together, make one, knit one, make one, knit two together at the back. Repeat. 4th Row : Purl. 5th Row : Knit two together, * make one, knit three, make one, slip one, knit two together, pass the slip- stitch over. Repeat from *. 6th Row : Purl. Repeat from first row. No. 10.— HERRINGBONE STRIPE. Cast on any number of stitches divisible by three. 1st Row : Knit one, knit two together, make one. Repeat. End the row with knit two. 2nd Row : Purl one, purl two together, make one. Repeat. End the row with purl two. These two rows are repeated throughout. No. 11.— STRIPE WITH TWISTED BARS. Cast on any number of stitches divisible by six. 1st Row : Knit one, cotton forward, knit one, knit three together, knit one, make one. Repeat from the beginning of the row. For the 2nd and every alternate row the single stitch between the two made stitches is purled ; the rest of the row is knitted. These two rows are re- peated for the required length. No. 12.— PATENT KNITTING, OR BRIOCHE KNITTING. Cast on any number of stitches divisible by three. Cotton forward, slip one, knit two together. Every row is worked the same. The edge shown in illustration No. 12 is in crochet, and merely consists of one row of double and the second row, which is three chain, one double into the first. Repeat. No. 13.— CABLE PATTERN. Cast on eighteen stitches for a stripe, thus for six plain stitches on each side of the cable, for two pat- terns thirty stitches will be required, and so on. 1st Row : Purl six, knit six, and purl six. 2nd Row : Knit six, purl six, knit six. 3rd Row : Like first row. 4th Row : Like second row. 5th Row : Like third row. 6th Row : Knit six, take a third pin and purl three ; with the first right-hand pin purl the next three stitches, and knit six. 7th Row : Purl six, knit the three stitches on the third or additional pin, knit the three stitches on the left-hand pin, purl six. 8th Bow : Like second row. Repeat from first row-

Page 53

COMPLETE GUIDE TO THE WORK-TABLE ^ No. 1^.— KNITTED MITTEN. The border which is worked round the top, and the finished mitten, are shown on page 40. This mitten is suitable for a Imnd that will take a 7 or 7i ladies' glove. It is to wear over the glove. If a small size is required, Andalusian wool and pins No. 15 may be used in place of the Berhn wool. Double BerUn wool and pins No. 14- will work out a large size for a gentleman's mitten. The directions are very simple, and the mitten is a particularly easy one to knit. Materials Required : 1^ oz Berlin wool ; two pins No. U and four pins No. 15 (Walker's gauge). For the left-hand mitten : Cast on fifty-five stitches with the No. 14 pins, forty of which form the hand, and fifteen the ribbed wrist. Always slip the first stitch of each row. 1st Row : Knit. 2nd Row : Knit forty, purl fifteen. 3rd Row : Knit. 4th Row : Knit forty, purl fifteen. 5th Row ; Purl fifteen, knit forty. 6th Row: Knit. Repeat from the first row till you liave 101 rows. Tlien begin the thumb : , ^ ^ 102nd Row : Cast off from the top of the hand four- teen stitches, knit twenty-five, leave the ribbed wrist stitches on the pin until the mitten is finished. 103rd Row : Knit twenty-six, cast on the same pin ten stitches. 104th Row : Knit twenty-five, make one, knit two together at the back, turn. 105th Row : Knit one, knit the made stitch at the back, knit the remaining stitches of the row plain. 106th Row : Knit twenty-foui; make one, knit two together at the back, leave the other stitch on the ^^Xt pin, turn. ^ , ., The 105th and 106th Rows are now repeated alter- nately, with this difference, you knit one stitch less in each row until you have ten stitches to knit before the make one knit two together at the back, and leave one on the left-hand pin. 136th Row : Knit thirty-six. 137th Row : Knit thirty-six. Cast off, sew up the thumb as far as the opening, then sew the sides of mitten together. With three pins (No. 15) pick up the between stitches round the top of hand of mitten, and purl for six rounds, cast off . Any small embroidery pattern may be worked in these rounds, and up the back of mitten if preferred. For the right-hand mitten: Cast on fifty-one stitches, knit two plain rows. 3rd Row : Knit ten. 4th Row : Turn and knit the ten stitches. 5th Row : Knit nine, make one, knit two together at the back, taking the second stitch of the two toge- ther from the left-hand pin. 6th Row: Knit one, knit the made stitch at the back, knit the rest. The 5th and 6th rows are repeated alternately, knitting one stitch more in each alternate row pre- vious to the make one, until you have increased to twenty-five stitches in the 35tli row, when you make one, knit two together at the back, and knit nine from the left-hand pin. 36th Row : Knit back plain. 37th Row : Cast off ten stitches, knit twenty-six. 38th Row : Knit back the twenty-six stitches, cast on fourteen stitches. 39th Row : Knit. . ^, ... 40th Row : Repeat from the first row of the lett- hand mitten until you have 101 rows at the wrist. Finish the right-hand mitten as described for the \eft. No. 15.-TRIANGULAR KILTED PATTERN. Cast on any number of stitches divisible by nino. 1st Row : Purl eight, knit one. Repeat. 2nd Row : Purl two, knit seven. Repeat 3rd Row : Purl six, knit three. Repeat. 4th Row : Purl four, knit five. Repeat. 5th Row : Purl four, knit fire. Repeat. 6th Row : Purl six, knit three. Repeat. 7th Row : Purl two, knit seven. Repeat. 8th and 9th Rows : Like first row. Repeat irom second row. , , , • x -uu For the crochet edge: Work one double into th& first stitch— that is knitted throughout— pass over three stitches, three trebles, three double trebles, and three trebles into the next stitch, pass over three stitches, and repeat. No. 16.-RIBBED KNITTING WITH TWO PINS. In knitting with two pins to produce a rib, joxl must knit two and purl two alternately. In the alter- nate rows you must reverse the work by purling tlifc. knitted and knitting the purled stitches. fe?metime.^ ribbed knitting is worked alternately, one stitch knit and one purl. For wide ribs three knit and thiec purl are Sometimes worked. No. 16 shows a rib o^ one knit and one purl, alternated after every sixt>^ row ; the rib is reversed by repeating the sixth row. No. 17 —INFANT'S VESTo Materials Rfquirbd ; 2 oz Lady Beti^ or whit- Berlin wool, three bone pins No. 10 (A^'alker'j^ bel] gauge)- cast on one pin 100 stitches, knit three ribs, Thur; knit two rows, purl two rows, knit two rows. Ther* knit forty stitches, and with the third pin continue t^ work on these forty stitches until you have twenty^ two rows— that is, eleven ribs. Leave these stitches on the pin. With the third pin cast off twenty stitches for the shoulder (by passing one stitch over the other) of the sixty stitches left on the first pm. Knit on the remaining forty stitches twenty-two rowa for the back the same as for the front. In the 23rd Row, cast on twenty stitches for the other shoulder, and knit them on one needle with the forty stitches left from the front. You will now have 100 stitches again, on which knit six rows as at the beginning. , •■, ^ Cast off the stitches, and sew up the sides under the arm, leaving the armhole open. A crochet edging is worked round the neck and sleeves. 1st Row : One single into the edge of knitting, two chain, pass over one stitch of knitting, one single into the next. , , . /. , ^ 2nd Row : One double under two chain of last row, three chain, one double under next two chain. R^' ^^A tape or ribbon is run through the first row oi' crochet round the throat.

Page 54

THE YOUNG LADIES' JOURNAL. NO. 17 —INFANT'S VEST, NO. 12.— PATENT OR BRIOCHE PATTERN. isr NO. 13.— CABLE TWIST. mm. NO. 14.— EDGE C aUTTi^N, NO. lir-TRIANGULAR KILTED NO. It).— RIB8K© BOBBER.

Page 55

c8M»iTi mim n tie w^ik-tabil KNITTING. NO 1 8a KNICKERBOCKBR STOCKINGS. IHO. l8C NO. 19.— KNKii-CAP. XiL^ZIX'^E'X^O^.

Page 56

*12 THE YOUNG LADIES' JOURNAL DESCRIPTION OF ILLUSTRATIONS ON PAGE 41, No. ]8a ^KNICKERBOCKER STOCKING FOR BOY F/<:)M TEN TO TWELVE YEARS OF AGE. Materials Required : 4 oz fine gray and 2 oz fine black peacock fingering, four pins No. 15, and two No. 16 (Walker's gauge). Cast on ninety-six stitches with black wool on three pins. No. 15. Knit two, purl one alternately for three inches, which will be about thirty-four rounds. With gray wool continue as before until you have worked the sixteenth stitch of the third pin, pick up one stitch for the seam — that is the loop lying between the sixteenth and seventeenth stitches, purl this stitch in every succeeding round. To mark it, draw a piece of bright-coloured silk or cotton^ through it. Work off as before to the end of the rounds. Work eleven more rounds of gray. With black wool, work one round. 2nd Round : Increase one stitch on each side of the seam-stitch by picking it up as described for the seam- stitch, and working it to continue the rib. Work five rounds without increase. In the 8th Round increase as described for the second round. 9th to 12th Rounds without increase. With gray wool, work twelve rounds without in- crease or decrease. With black wool, work one round. /n the 2nd Round work two together before and after the seam, then work four rounds without de- crease. In the 7th Round decrease as described. 8th to 12th Rounds without decrease. Work three stripes of twelve rounds each, alter- nately gray and black, decreasing as described for the last stripe. Work five stripes without increase or de- crease. Work five rounds gray, then commence the heel. Divide the stitches thus :— Place twenty -one each side of the seam, that is, forty-three on the heel pin, leaving forty-two for the instep. Take a second ball of gray wool, so as to knit the heel with double wool and No. 16 pins. Continue the rib working on the heel stitches only for twenty-eight rows. 29th Row : Knit two past the seam, knit two to- gether, knit one, turn, purl nine, purl two together, purl one, turn, knit eleven, knit two together, knit one ; continue these last two rows, taking in two stitches more at each turn till all the side stitches are taken in. At each side of the heel pick up neatly, with a crochet-hook, thirty stitches ; work with pin No. 15. Then take in the forty-two stitches left before com- mencing the heel, but let them remain on a separate pin, as they must continue to be ribbed. Decrease in every round until forty stitches are left at the sole. To decrease, knit two together at the right side and slip one, knit one, pass the slip-stitoh over at the left side of the sole. To know left from right, imagine sock on right foot. When the foot measures about six inches, commence the decrease for the toe thus : decrease one stitch at each side of back and each side of front stitches, always making the decrease the second stitch "from the side. Work the next round plain. The two last rounds are to be worked alternately until you have twenty-eight stitches, when cast off, and sew up on the wrong side. No.lS^^KNICKERBOCKER STOCKING. Materials Required: 6 oz fine fingering, four pins No. 15, and two pins No. 16 (Walker's gauge). The shaping and all directions for No. ISawill serve for this stocking. For the top knit one, purl two for three inches. For the leg and top of foot work two rounds knit, and two purl, throughout the stocking. For the heel, working with two pins. No. 16, and double wool, one row knit, one row purl. The sole and gusset are knitted throughout. No. 19.— KNEE-CAP. Materials Required : 3 oz Berlin wool or four-thread fleecy, four steel pins No. 13 (Walker's gauge). . Cast on eighty-eight stitches — that is, twenty-nine on each of two pins, and thirty on the third, knit two and purl two alternately all round for fifty-two rounds. In the 53rd Round knit twelve, cast off twenty-eight, knit twenty, cast off another twenty-eight. The twenty stitches form the part at the back of the knee, and are left on a separate pin. On the twelve stitches knit plain, pick up one of the cast-off stitches from the twenty-eight at the end of each row to increase the size of the gusset. Continue working thus till you have sixty-eight stitches on the pin. Now commence the decrease by knitting the last two stitches to- gether until only twelve remain. Pick up the side stitches of the second half of gusset and knit round with the twenty left on the separate pin, then continue the rib for fifty- two rounds and cast off. For tlie band cast on ten stitches, work for 112 rows. To make the point, decrease one stitch by knitting two together at the end of each row until one stitch remains. For the wider band cast on twenty-two stitches and knit 112 rows. Buttonholes are worked in this band as follows : Knit to the centre of the twenty-two stitches, take a third pin, work five rows on the eleven stitches, work the same number of rows on the other eleven stitches, then knit on all the stitches, work eight plain rows between each of the buttonholes, which are worked over with wool in the ordinary way. The bands are sewn to the back of the knee-cap by a needle and wool. The narrow band is sewn three ribs in front of the wide band, and is passed through the middle of it. For the crochet edge work one double into a stitch at the edge of knitting, four chain, pass over two stitchesi and repeat.

Page 57

COMPLETE GUIDE TO THE WORK-TABLE. e/6 KNITTING (ConUTLTLecL). o>i^o No. 20.-EDG1NO. Materials Required: Two pins No. 17 (Walker's gauge), Strutts' crochet cotton No. 10. Cast on eleven stitches. 1st Eow: Knit nine, turn the cotton twice over the pin, knit two. 2nd Row: Knit two, knit one and purl one in the made stitch, knit nine. 3rd Row: Knit nine, shp one knit one pass the slipped stitch over, knit two. 4tli Row : Knit two, cotton twice over the pin, knit ten. 5th Row : Knit six, slip one knit one pass the slipped stitch over, knit two, knit one, and purl one in the made stitch, knit two. 6th Row: Knit two, slip one knit one pass the slipped stitch over, knit three, cotton twice over the pin, knit six. 7th Row : Knit six, knit one and purl one in the made stitch, knit four, cotton twice over the pin, knit two. 8th Row : Knit two, knit one and purl one in the made stitch, knit four, slip one knit one pass the slipped stitch over, knit six. 9th Row: Knit four, slip one knit one pass the slipped stitch over, knit one, slip one knit one pass the slipped stitch over, knit two, slip one. knit one pass the slipped stitch over, knit two. 10th Row : Knit two, cotton twice over the pin, knit three, cotton twice over the pin, knit three, cotton twice over the pin, knit four. 11th Row : Knit four, knit one and purl one in the made stitch, knit three, knit one and purl one in the made stitch, knit three, knit one and purl one in the made stitch, knit two. 12th Row : Knit two, slip one knit one pass the slipped stitch over, knit three, slip one knit one pass the slipped stitch over, knit three, slip one knit one pass the slipped stitch over, knit four. 13th Row: Knit six, slip one knit one pass the slipped stitch over, knit three, knit two together, cotton twice over the pin, knit two. 14-th Row : Knit two, knit one and purl one in the made stitch, knit two together, knit three, cotton twice over the pin, knit six. 15th Row ; Knit six, knit one and purl one in the made stitch, knit two, knit two together, slip one knit one pass the slipped stitch over, knit two. 16th Row : Knit two, cotton twice over the pin, knit four, slip one knit one pass the slipped stitch over, knit six. 17th Row : Knit nine, knit two together, knit one and purl one in the made stitch, knit two. 18th Row : Knit two, slip one knit one pass the slipped stitch over, knit ten. 19th Row : Knit nine, knit two together, cotton twice over the pin, knit two. 20th Row : Knit two, knit one and purl one in the made stitch, knit two together, knit eight. 21st Row: Knit nine, slip one knit one pass the slipped stitch over, knit two. 22nd Row : Knit two, slip one, knit one, pass the slipped sf-'tch over, knit eight. Repeat from first row. No, 21.--INSERTI0N. Cast on fifteen stitches. 1st Row : Knit two, cotton twice over the pin, knit two together, knit nine, knit two together, cotton twice over the pin, knit two. ^ 2nd Row : Knit one, knit two together, purl one, knit ten, knit two together, purl one, knit two. Repeat the first and second rows alternately three times more. 9th Row : Knit two, cotton twice over the pin, knit two together, knit four, slip one knit one pass the slip stitch over, knit three, knit two together, cotton twice over the pin, knit two. 10th Row : Knit one, knit two together, purl one, knit five, cotton twice over the pin, knit four, knit two together, purl one, knit two. 11th Row : Knit two, cotton twice over the pin, knit two together, knit four, knit one and purl one in the made stitch, knit four, knit two together, cotton twice over the pin, knit two. 12th Row : Knit one, knit two together, purl one, knit three, ^ slip one, knit one, pass the slip stitch over. Repeat from * twice more, knit two, knit two together, purl one, knit two. 13th Row : Knit two, cotton twice over the pin, knit two together, knit two, cotton twice over the pin, knit three, cotton twice over the pin, knit two, knit two together, cotton twice over the pin, knit two. 14-th Row : Knit one, knit two together, purl one, * knit three, knit one, and purl one in the made stitcli, repeat from * once more, knit two together, purl one. knit two. 15th Row : Knit two, cotton twice over the pin-, knit two together, knit two, slip one knit one pass the slip stitch over, slip one knit one pass the shp stitch over, knit one, slip one knit one pass the slip stitch over, knit two, knit two together. 16th Row : Knit one, knit two together, purl one, knit five, cotton twice over the pin, knit four, knit two together, purl one, knit two. 17th Row : Knit two, cotton twice over the pin, kni6 two together, knit four, knit one and purl one in the made stitch, knit four, knit two together, cotton twice over the pin, knit two. 18th Row : Knit one, knit two together, purl one, knit five, slip one knit one pass the slip stitch over, knit four, knit two together, purl one, kiiit two. Repeat from first row. Nos. 22, 23, AND 31.— COUNTERPANE. Materials Required : Strutts' knitting cotton, No. 13 three-thread super, and two pins No 19 (Walker's gauge). We may here mention that Walker's knitting pins are very nice to knit with, as they are particularly well made, with long tapering points, and will be found much better for this pattern than pins at all blunt at the point. The finished counterpane is shown in No. 22, and is trimmed with fringe made of fork-work with lengths of cotton tied in and knotted. The hexagons and their six separate parts are sewn together witii a needle and cotton. The star in the centre of each hexagon is worked with long-stitches. It is not possible to state the quantity of cotton, as this must be ruled by the size of the counterpane. Cast on thirty-seven stitches. 1st Row: Purl. 2nd Row: Knit.

Page 58

THE YOUNG LADIES* JOURNAL fe ^^ ^^^^ ^s § ^3 ^^ ^^^^^ p^ ^^ ^^^^^ m ^B ^ ^5 ^^^3 Ki^. ^ ^&i NO. 28.— DETATX 01 NO. 20. yO. 27.— DO' AIL OF NO. 2t). NO. 39. —infant's BOWCK

Page 59

COMPLETE GUIDE TO THE WORK-TABLE. 45 NO. 3^. —DIAMOND ATIIH CF£N lEELLIS. j,0. ai.— TiUMONP PATTED".

Page 60

46 THE YOUNG LADIES' JOURI^Mj Srd Row : Knit two, * make one, knit two together, repeat from * seven times more, make one, knit three together, * make one, knit two together, repeat from ^ six times more, make one, knit two. 4th Row: Knit. 5th Row : Knit two, make one, knit two together, ^ knit two, purl two, repeat from * twi^^^ more, knit two, purl one, * knit two, purl two, repeal ^ 'om last * twice more, knit six. , 6th Row : Knit two, make one, knit two together, * purl two, knit two, repeat from * twice more, purl one, knit three together, * purl one, knit two, purl two, repeat from last * twice more, knit four. 7th Row : Knit two, make one, knit two together, ^ knit two, purl two, repeat from * twice more, knit three, * purl two, knit two, repeat from last * twice more, knit four. 8th Row : Knit two, make one, knit two together, * purl two, knit two, repeat from * twice more, purl three together, * knit two, purl two, repeat from last * twice more, knit four. 9th Row : Knit two, make one, knit two together, * knit two, purl two, repeat from * twice more, hnit one, purl two, knit two, purl two, knit two, purl t ''O, knit six. 10th Row : Knit two, make one, knit two togetlicr, purl two, knit two, purl two, knit two, purl two, knit one, knit three together, knit one, purl two, knit two, purl two, knit two, purl two, knit four. 11th Row : Knit two, make one, knit two together, knit two, purl two, knit two, purl two, knit two, purl three, knit two, purl two, knit two, purl two, knit six. 12th Row : Knit two, make one, knit two together, purl two, knit two, purl two, knit two, purl two, knit three together, purl two, knit two, purl two, knit two, purl two, knit four. 13th Row : Knit two, make one, knit two together, knit two, purl two, knit two, purl two, knit two, purl one, knit two, purl two, knit two, purl two, knit six. lith Row : Knit two, make one, knit two together, purl two, knit two, purl two, knit two, purl one, purl three together, purl one, knit two, purl two, knit two, purl two, knit four. 15th Row : Knit two, make one, knit two together, knit two, purl two, knit two, purl two, knit three, purl two, knit two, purl two, knit six. 16oii Row : Knit two, make one, knit two together, purl two, knit two, piirl two, knit two, purl three to- ^'ether, knit two, purl two, knit two, purl two, knit four. 17th Row : Knit two, make one, knit two together, knit two, purl two, knit two, purl two, knit one, purl two, knit two, purl two, knit six. 18th Row : Knit two, make one, knit two together, purl two, knit two, purl two, knit one, knit three to- gether, knit one, purl tw^o, knit two, purl two, knit four. 19th Row : Knit two, make one, knit two together, knit two, purl two, knit two, purl three, knit two, purl two, knit six. 20th Row : Knit two, make one, knit two together, purl two, knit two, purl two, knit three together, purl two, knit two, purl two, knit four. 21st Row : Knit* two, make one, knit two together, knit two, purl two, knit two, purl one, knit two, purl two, knit six. 22nd Row : Knit two, make one, knit two together, purl two, knit two, purl one, purl three together, purl one, knit two, purl two, knit four. 23rd Row : Knit two, make one, knit two together, knit two, purl two, knit three, purl two, knit six. 24-th Row : Knit two, make one, knit two together, purl two, knit two, purl three together, knit two, purl two, knit four. 25th Row : Knit two, make one, knit two together, knit two, purl two, knit one, purl two, knit six. 26th Row : Knit two, make one, knit two together, purl two, knit one, knit three together, knit one, purl two, knit four. 27th Row : Knit two, make one, knit two together, knit two, purl three, knit six. 28th Row : Knit two, make one, knit two together, purl two, knit three together, purl two, knit four. 29th Row : Knit two, make one, knit two together, knit two, purl one, knit six. 30th Row : Knit two, make one, knit two together, purl one, purl three together, purl one, knit four. 31st Row : Knit two, make one, knit two together, knit seven. 32nd Row : Knit two, make one, knit two together, purl three together, knit four. 33rd Row : Knit two, make one, knit two togetlier, knit five. 34-th Row : Knit two, make one, knit two together, knit one, knit two together, knit two. 35th Row : Knit two, make one, knit three together, knit three. 36th Row : Knit two, make one, knit three together, knit two. 37th Row : Knit two, make one, knit three together, knit one. 38th Row : Knit one, knit three together, knit one. 39th Row: Knit three together, draw the cotton through the loop on the pin. No. 24.— CHILD'S SOCK. Materials Required : One ball silk or 1 oz Strutts' knitting cotton No. 16, three-thread super, four pins No. 20 (Walkers gauge). Cast on sixty-eight stitches, twenty-two on each of two pins and twenty-four on the third pin, knit two, and purl two for two and a quarter inches, keep the pin with twenty-four stitches for tlie back of the sock, knit twelve stitches from this pin, pick up and knit a stitch for the seam, tie in a piece of coloured cotton, and purl this stitch throughout, knit plain for six rounds. l^br the fancy pattern, either the stripe with twisted bars, or the herringbone stripe in No. 10, (page 40), or the oval and diamond pattern. No. 30. (page 45), will be suitable. Of course in knitting in the round the purled rounds must be knitted instead of purled, as the patterns are described for working on two pins. Keep the back pin in plain knitting throughout and work the fancy pattern on the two front pins. Con- tinue for two inches before beginning the heel, or longer if preferred. For the heel: Work on thirty stitches, one row knit, and one row purl, for one and a halt inch. For the centre of hool, work sixteen plain, knit two together, knit one, turn, purl four, purl two toge- ther, purl one, turn, knit live, knit two together, knit one ; continue in this way, knitting one more stitch before the two together until all the stitches are knitted. Pick up twenty-four stitches on each side of the heel (keep the front stitches on one pin and the sole stitches on two pins) ; continue the pat- tern on the front pin. To shape the foot, decretise two stitches at the beginning of one sole pin and at the end of the other until thirty stitches remain on the two sole pins, work one and a half inch without increase or decrease, knit all roimd plain for three rounds ; in the fourth round, at the beginning of the front pin, knit one, slip one purl one pass the slip stitch over. At the end of the same pin knit two together, knit one. At the beginning of the first sole pin knit one, slip one knit one pass the slip stitch over ; at the end of the

Page 61

COMPLETE GUIDE TC ySE WORK-TABLE. 4*1 second %oIq pin knit two together, knit one. The next round is plain knitting without decrease. Con- tinue to work the last two rounds alternately till twenty-six stitches remain, cast off, and sew up the toe on the wrong side. No. 25.— CORD. Cast on five stitdies. 1st Row : Slip one, knit four. 2nd Row : Slip one as if for purling, knit three, purl one at the back. These two rows are repeated alternately. This is suitable for passing through a row of holes to draw up pelerines, petticoats, &c., or will make a good garter by casting on fifteen stitches. Nos. 26 TO 28.— INFANT'S GAITEK. Materials Required: 4 oz white Berlin wool, four pins No. 14 (Walker's gauge). Cast on seventy-two stitches, that is twenty-four on each of three pins. Knit two and purl two for two and a half inches ; for the first to fourth rounds of calf (see design No. 27), knit with the exception of the centre stitch of one pin, which is purled in every round to form the seam. Mark the stitch by drawing a piece of coloured wool through it, so that you may observe to purl it in every round. 5th Round: Knit one, purl two, repeat. Increase by knitting the back, as well as the front of the loop, be- fore and after the seam in each fourth round three times, repeat from the first to the fifth rounds four times, then commence the decrease in the same propor- tion as you increased (by taking two together) until you have worked eight patterns ; purl two rounds, then commence the pattern shown in No. 28. 1st to 3rd Rounds : Knit, decrease two in the first round. 4th to 7th Rounds : Purl three, knit three, decrease two in the fifth round, repeat from the first to the seventh rounds twice more, then divide the stitches as you would for the foot of a stocking, that is, take the same number for the heel as there are for the front of foot. Continue the pattern on the back half of stitches for twenty-eight rows. Cast off. Pick up" the stitches at each side of the heel and knit them on the pin with the front stitches. Decrease by knitting two together at the beginning and end of every row until twenty-six stitches remain. Cast off. Sew a strap of leather to each side of the front to pass under the foot. The simulated buttonholes are made (see design), by working one treble into a stitch at the side of gaiter, three chain, pass over two stitches and repeat ; a bone button is sewn in each scallop. No. 29.— INFANT'S BODICE. Materials Required: 5 oz white Berlin wool, four pins No. 14 (Walker's gauge). Commence with the band for the waist. Cast on twenty-eight stitches, work backwards and forwards in plain knitting until you have worked eighteen or twenty inches ; now commence the decrease for the pointed flap by — 1st Row : Knit two stitches together at the begin- ning of the row, knit six, slip one knit one pass the slip stitch over, knit to within ten stitches of the end, slip one knit one pass the slip stitch over, knit six, knit two together. 2nd Row : Knit seven, cotton twice over the pin, knit to within seven stitches of the end, cotton twice over the pin, knit seven. 3rd Row : Knit two together, knit five, knit one and purl one in the made stitches, and knit the two last stitches of the row together. 4th Row : Knit six, slip one knit one pass the slip stitch over, knit across to the other stitches worked in the made stitch, slip one knit one pass the slip stitch over, knit six. ' The holes thus formed are for buttonholes, which should be worked over in buttonhole-stitch. Continue the decrease at the beginning and end of every other row until you have sixteen stitches on the pin, when make another hole as before described ; when only twelve stitches remain cast off. Fold the band as shown in the illustration, pick up the back half of stitches, knit one and purl one alter- nately for tliree inches. The purl and knitted stitches must be reversed in every other row to keep the rib on the right side ; cast off. The fronts are worked in two parts ; pick up the stitches for one side, knit one and purl one alternately for three inches, cast off all but the six stitches nearest the arm, on these work four more rows and cast off. The other half of front is worked in the same way. Sew the back and front together at the shoulders. With three pins pick up the stitches round the arm- hole for the sleeve, knit two, and purl two alternately for two inches. Cast off. A crochet edge is worked round the neck and sleeves. 1st Row : One treble into a stitch at the edge of knitting, one treble into the next stitch, two chain, pass over two stitches and repeat. 2nd Row : One double under two chain, three chain. Repeat. A ribbon is run through the row of trebles and is tied in front. No. 30.-OVAL AND DIAMOND PATTERN. Cast on any number of stitches divisible by six. 1st Row : Knit one, make one, knit two together at the back, knit one, knit two together, make one. Re- peat from the beginning of the row. 2nd Row: Purl. The first and second rows are repeated alternately twice more. 7th Row : Knit two, make one, knit three together, make one, knit one. Repeat from the beginning of the row. 8th Row : Purl. 9th Row : Knit one, knit two together, make one, knit one, make one, knit two together at the back. Repeat from the beginning of the row. 10th Row: Purl. 11th Row : Knit two together, * make one, knit three, make one, knit three together. Repeat from *. At the end of the row omit the made stitch and knSt one. 12th Row : Purl. Then repeat from the first row. No. 31.— See No. 22. No. 32.— STRIPE WITH CROCHET EDGE. Cast on as many stitches as are needed for tns length of your work. 1st Row : Knit. 2nd Row: Purl. 3rd Row : Knit. 4th Row : Purl. 5th Row : Make one, knit two together throughout. 6th Row : Purl. Repeat from the first row. For the crochet edge : — _ 1st Row : Work one treble into a stitch of the knit- ting:, two chain, pass over two. Repeat. 2nd Row : One double, one half treble, one treble, one half treble, and one double under each two chain throughout. No. 33._TOBACCO-BAG. Materials Required : One ball red, and one ball black knitting-silk, four pins No. 18 (Walker's gauge). With red silk cast on 180 stitches, that is sixty stitches on each of three pins, knit eighteen rounds plain.

Page 62

^8 21st Round, with black silk : Make one, knit two together. 22nd Round, with the same colour : Knit. With red silk continue to knit and purl alternately for one inch. Work one round like the twenty-first, then continue one round knit, and one round purl for five inches. To commen.ce the decrease for the bottom : — 1st Round : Knit two together, knit five. Repeat all round. 2nd to 4th Rounds : Knit. 5th Round : Like first. 7th to 10th Rounds : Knit. 8th Round : Knit four, take two together. 9th to 11th Rounds : Knit. 12th Round : Like eighth round. 13th to 15th Rounds : Knit. 16th Round : Knit three, knit two together. 17th to 19th Rounds : Knit. 20th Round : Like sixteenth round. 21st Round : Plain. 22nd Round : Knit one, knit two together. Repeat the two last rounds until you can decrease no more, draw up the loops that are left with a needle and silk. Hem the top of the bag so that the hem comes just above the second row of holes, the first row forming the top edge. Line the bag witli wash-leather ; make a crochet chain of black silk, and pass through the row of holes to close the bag up ; tie silk tassels on to the chain. No. 34.— INSERTION. Cast on twelve stitciies. 1st Row : Knit two, make one, knit two together twice, cotton twice over the pin, knit two together, knit two, make one, knit two together. 2nd Row : Knit two, make one, knit two together, knit two, purl one, knit three, make one, knit two together. 3rd Row : Knit two, make one, knit two together, knit six, make one, knit two together. 4th Row : Like third row. Repeat from the first row. No. 35— SQUARE FOR COUNTERPANE. Mateeials Required : Strntts' cotton No. 12, super three-threads, five pins No. 19 (Walker's gauge). Cast on 184 slitches, that is forty=six stitches on each of four pins. 1st Round : Knit. 2nd Round : Purl. 3rd Round : Make one, knit two together throughout. 4th Round : Knit. 5th Round : Purl two together at the beginning and end of each pin, purl the remaining stitches. Repeat the fourth and fifth rounds alternately, until only one stitch remains on each pin. Break o-ff the cotton and draw through all the stitches on the pins with a needle and the end of the cotton. No. 36 — DIAMOND WITH OPEN TRELLIS. Cast on any number of stitches divisible by fourteen. 1st Row : Knit one, make one, knit two together at tho back, make one, knit two together at the back, knit five, knit two together, make one, knit two toge- ther, make one. Repeat. 2nd Row: Purl. 3rd Row : Knit two, make one, knit two together at the back, make one, knit two together at the back, knit three, knit two together, make one, knit two toge- ther, make one, knit one. Repeat. 4th Row : Purl. 5th Row : Knit three, make one, knit two together At the back, make one, knit two together at the back, knit one, knit two together, make one? knit two toge- ther, make one, knit two. Repeat. __ — 6th Eow ; Purl. THE YOUNG LADIES' JOURNAL 7th Row : Knit four, make one, knit two together at the back, make one, knit three together, make one, knit two together, make one, knit three. Repeat. 8th Row: Purl. 9th Row : Knit three, knit two together, make one, knit two together, make one, knit one, make one, knit two together at the back, make one, knit two toge- ther at the back, knit two. Repeat. 10th Row : Purl. 11th Row : Knit two, knit two together, make one, knit two together, make one, knit three, make one, knit two together at the back, make one, knit two together at the back, knit one. Repeat. 12th Row : Purl. 13th Row : Knit one, knit two together, make one, knit two together, make one, knit five, make one, knit two together at the back, make one, knit two toge- ther at the back. Repeat. 14th Row : Purl. 15th Row : Knit two together, * make one, knit two together, make one, knit seven, make one, knit two together at the back, make one, knit three together. Repeat from *. At the end of the last pattern in this row there will be only one stitch to knit instead of three together. 16th Row : Purl. Then repeat from the beginning of the row. No. 37 — DIAMOND PATTERN. Cast on any number of stitches divisible by four- teen. 1st Row : Knit four, * slip one knit two together pass the slipped stitch over the two knitted together, mako one by knitting the horizontal loop before the next stitch, knit seven. Repeat from *. End the row with knit two. 2nd Row : Purl. 3rd Row : Knit three, * knit two together, make one, knit two together at the back, knit five. Repeat from *. End the row with knit two together at the back. 4th Row: Purl. 5th Row : Knit two, * knit two together, make one, knit one, make one, knit two together at the back? knit three. Repeat from *. End the row with kniti one. 6th Row: Purl. 7th Row : * Knit one, knit two together, make one, knit one, make one, knit one, make one, knit one, make one, knit two together at the back. Repeat from *. End tlie row with knit one. 8th Row : Purl. 9th Row : Knit two togetlier, * knit seven, slip one, knit two together, pass the slipped stitch over the two Ivnitted together, make one by knitting the horizontal loop. Repeat from *. End the row with knit eight. 10th Row : Purl. 11th Row : Make one. * knit two togetlier at the back, knit five, knit two together, make one, knit one. Repeat from ♦. End the row with knit five. 12th Row : Purl. 13th Row : * Knit one, make one, knit two togethei- at the back, knit three, knit two together, make one. Repeat from *. End the row with knit one. 14th Row : Purl. 15th Row : Knit one, make one, knit one, make one, knit two together at the back, knit one, knit two together, make one, knit one, make one. Repeat from the beginning of the row. End the row with knit one. 16th Row : Purl. Then repeat from the first row. The two designs, Nos. 36 and 37, are suitable •:>r either window-curtains or shawls ; if for the former use 'knitting cotton No. 18, and bone pins No. 10 (Walker's gauge) . For shawls, Andalusian or Shetland wool, and bone pins No. 11 (Walker's gauge).

Page 63

HE mmnm mim « tie w§iK-Tiiii. KNITTING. NO. 38.— LEAF AND TBELLIS. ISLBJITTIKTO

Page 64

BO THE YOUNG LADIES' JOURNAL DESCRIPTION OF ILLUSTRATION ON PAGE 49. No. 38.--LEAF AND TRELLIS PATTERN. This is a very beautiful pattern for shawls, curtains, &;c. In working a shawl or curtains it is best to cast on suiBcient stitches to work six stitches plain at the Beginning and end of each row. This applies both to the purl and knit rows ; and to make the square com- plete, six rows of knit and purl alternately must be ::>^orked before beginning, and at the end of the work. Twenty stitches are needed for each pattern. Knitters must not expect to find that they can work to the end of the pattern described in the last repeat of a row, in consequence of the pattern waving a great deal. It is always begun from one side and will work out perfectly correct, as anyone will find after trying it through. 1st Row: Purl. 2nd Row : Knit six, ^ make one and knit two to- gether three times, make one, knit two, knit two to- gether, knit ten. Repeat from * (there will be only f our out of ten stitches to knit before the border stitches of this row in the last repeat). 3rd Row : Purl. 4th Row : Knit two, * knit two together, knit two, make one, knit one, make one and knit two together five times, knit five. Repeat from *. 5th Row : Purl. 6th Row : Knit one, ^ knit two together, knit two, make one, knit three, make one and knit two together three times, make one, knit two, knit two together, knit three. Repeat from *. 7th Row i PurL 8th Row : Knit two together, knit two, make one, knit five, make one and knit two together three times, make one, knit two, knit two together, knit one. Re- peat from beginning of row. 9th Row : Purl. 10th Row : Knit three, * make one, knit seven, make one and knit two together three times, make one, knit two, slip one, knit two together, pass the slip stitch over the last stitch, knit two. Repeat from * (in the last repeat there will be but one stitch to.pass the slip stitch over, before the edge stitches, which must be kept straight). 11th Row : Purl. 12th Row : Knit two together, knit five, * knit two together and make one five times, knit one, make one, knit two, knit two together, knit five. Repeat from *. 13th Row : Purl. 14th Row : Knit five, * knit two together, knit two, make one and knit two together three times, make one, knit three, make one, knit two, knit two toge- ther, knit three. Repeat from *. 15th Row : Purl. 16th Row : Knit four, * knit two together, knit two, make one and knit two together three times, make one, knit five, make one, knit two, knit two together, knit one. Repeat from *. 17th Row: Purl. 18th Row : Knit three, knit two together, knit two, * make one and knit two together three times, make one, knit seven, make one, knit two, shp one, knit two together, pass the slip stitch over the last, knit two. Repeat from *. Repeat from the third row for the required length.

Page 65

COMPLETE GUIDE TO THE WORK-TABLE. m KNITTING (CoTttzTZTzed). o^e^o Nos. 39 AND 40.— HALF-SQUARE SHAWL. Materials Required: 3 oz blue Berlin wool, eight bal]s Messrs. Faudel, Phillips, & Son's white pom- padour wool, two bone pins No. 9 (Walker's gauge). This prett}^ and effective shawl is easily worked, and will be found a most comfortable opera-wrap ; it measures If yard across the top from point to point. Cast on with Berlin wool 300 stitches. Decrease to shape the shawl by knitting two together at the end of each row ; work in plain knitting throughout. 1st Row : With Berlin wool. 2nd to 9th Row: With pompadour wool. 10th Row : With Berlin wool to form the lozenge- shaped pattern. When working the first and second stitch pick up and knit the corresponding stitches of the last Berhn row with them, bnit eight stitches, then pick up the two next stitches and so on (see design No. 40). ^ ^ 11th Row : With Berlin wool, knit plain. Repeat from the second row, reversing the pattern formed in the tenth row by picking up the stitches between those picked up in the tenth row. The two sides are finished by tying in lengths of wool to form tassels. The straight edge is finished by crochet scallops of pompadour wool. 1st Row: One double into each of the cast-on stitches. 2nd Row: One double into a stitch, pass over two doubles, five trebles into the next. Repeat. No. 41.— STRIPE WITH HEMMED TOP FOR STOCKING. Cast on three pins any number of stitches divisible by eight. 1st to 6th Rounds : Knit. 7th Round : Make one, knit two together through- out. 8th to 13th Rounds : Knit. When the work is finished, the first six rounds are turned down and hemmed, leaving the seventh round to form the points at the top. 14th and 15th Rounds : Purl. Now commence the pattern. 1st Round : Knit one, make one, knit two, slip one, knit two together, pass the slip stitch over the two knitted together, knit two, make one. Repeat from the beginning of the round. 2nd Round : Knit. These two rounds are repeated alternately. No. 42.-INSERTION. Cast on twenty-eight stitches. 1st Row: Slip one, make one, knit two together tiwice, make one, knit two together, knit five, knit two together, make one, knit two together, knit five, knit two together, make one, knit two together, knit one, make one, knit two together. 2nd Row: Slip one, make one, knit two together, knit one, knit one and purl one in the made stitch, knit seven, knit one and purl one m the made stitch, knit seven, knit one and purl one in the made stitch, knit two, make one, knit two together. 3rd Row : SHp one, make one, knit two together, knit seven, knit two together, make one, knit two together twice, make one, knit two together, knit eight, make one, knit two together. 4th Row : Slip one, make one, knit two together, knit eight, knit one and purl one in the made stitch, knit two, knit one and purl one in the made stitch, knit nine, make one, knit two together. 5th Row Slip one, make one, knit two together, knit five, knit two together, make one, knit two toge- ther twice, make one, knit two together twice, make one, knit two together, knit six, make one, knit two together. 6th Row : Slip one, make one, knit two together, knit six, knit one and purl one in the made stitch, knit two, knit one and purl one in the made stitch, knit two, knit one and purl one in the made stitch, knit seven, make one, knit two together. 7th Row : Like the third row. 8th Row : Like the fourth row. 9th Row : Like the first row. 10th Row : Like the secoiad row. • 11th Row : Slip one, make one, knit two together, knit two, knit two together, make one, knit two toge- ther, knit ten, knit two together, make one, knit two together, knit three, make one, knit two together, 12th Row : Slip one, make one, knit two together, knit three, knit one and purl one in the made stitch^ knit twelve, knit one and purl one in the made stitch> knit four, make one, knit two together. 13th Row : Slip one, make one, knit two together twice, make one, knit two together twice, make one, knit two together, knit six, knit two together, make one, knit two together twice, make one, knit two toge- ther, knit one, make one, knit two together. 14th Row : Slip one, make one, knit two together, knit one, knit one and purl one in the made stitch, knit two, knit ©ne and purl one in the made stitch, knit eight, knit one and purl one in the made stitch, knit two, knit one and purl one in the made stitch^ knit two, make one, knit two together. 15th Row : Like the eleventh row. 16th Row : Like the twelfth row, then repeat froi^ the first row. Nos. 43 AND 47.— INFANT'S PETTICOAT. Materials Required : 8 oz white and 2 oz pink j3er- lin wool or peacock fingering, four pins No. IG (Walker 's gauge) . ' Commence with the bodice. Cast on sixty stitches, knit six rows, knit twenty stitches on these with the third pin, knit ten rows, cast off (this is for the first half of front) ; cast off twenty stitches of the forty left on the first pin (that is for the shoulder). Knit on the remaining twenty stitches for twenty rounds for the back of bodice, cast on with the third pin twenty stitches for the other half of front and knit ten rounds-, then on the same pin cast on twenty more for the other shoulder, knit on one pin with the twenty for the back ; you will now have sixty stitches on the pin, on these knit six rounds and cast off. Sew up under the arms with a needle and wool. Pick up the stitches round the armhole with three pins and knit with a fourth six plain rows. Pick up the stitches at the waist. For the band, make one, knit two together throughout, this forms the holes at the waist through which to run the ribbon to tie round the waist. Next row knit plain. For the pattern shown in No. 47. 1st Row : Knit one and purl one in the first and last stitches, knit the rest plain.

Page 66

THE YOUNG LADIES' JOURNAL so, 43.-nreEJP.IJC; KO. 43 — INTANX'S TSStlGOA^'

Page 67

COMPLETE GUIDE TO THE WORK-TABLE. NO. SO.r— DOITBLB ROSE LKAT. NO. 5I.~C0RAL PATTERN.

Page 68

64 THE YOUNG LADIES' JOURNAL 2nd Row: Knit. 3rd Row: Purl. 4th R«)w : Purl one, knit one in the first and last j.titches, purl the rest. 5th Row : Enit one, purl one. 6th Row : Knit one, slip one. 7th Row : Purl. 8th Row : Knit. 9th Rovv : Knit. Itepeat from the first row five times more and cast olf . The lower half of skirt is worked separately in cable pattern, directions for working which will be found jn No. 13, (page 38). Cast on fifty-four stitches, this will allow for six plain stitches at eacn edge, and twelve stitches between each of three patterns. This is sewn to the skirt with a needle and wool ; the pink stripes are worked in crochet on the sixth row of plain stripes between the cable patterns. At the bottom of petticoat and round the sleeves work one double into a stitch of knitting, pass over one stitch, five trebles into the next, pass over one stitch, and repeat from the beginning of the row. For the crochet edging round the neck : — 1st Row : Work with white wool one double into a stitch of knitting, one chain, pass over one stitch, and repeat. 2nd Row : One double under one chain, three chain. Repeat. A ribbon is run through the first row and is, tied in f rontc Nos. U AND 48.— TRIMMING FOR CHEMISE. Materials Required : Crochet cotton No. 20, and two ' pins No. 20 (Walker's gauge). Cast on twenty-four stitches. Ti&l and 2nd Rows : Knit. ii^rdRow: SUp one, knit two together, make one, rv;.i/.u; two together, knit fourteen, knit two together, Kt^^Ha one, knit two together, knit one. v..iia Row: Knit one and purl one in the made »tf«j^hes, knit the rest. {'ih Row : Knit. M.ih Row : Like the third row. »5th Row : Like fourth row. ath Row : Like fifth row. 9th Row : SUp one, knit two together, make one, knit two together, knit five, knit two together, make one, knit two together, knit five, knit two together, make one, knit two together, knit one. 10th Row: Knit one and purl one in the made stitches, knit the rest plain. 11th Row : Slip one, knit seven, knit two together, make one, knit two together twice, make one, knit two together, knit eight. 12th Row : Slip one, knit two together, make one, knit two together, knit four, knit one and purl one in the made stitch, knit two, knit one and purl one in the made stitch, knit four, knit two together, make one, knit two together, knit one. 13th Row : Slip one, knit one, knit one and purl one in the made stitch, knit two, knit two together, make one, knit two together twice, make one, knit two together twice, make one, knit two together, knit two, knit one and purl one in the made stitch, knit two. 14-th Row: Knit one and purl one in the made stitches, knit the rest plain. 15th Row : Slip one, knit two together, make one, knit two together, knit three, knit two together, make one, knit two together twice, make one, knit two toge- ther, knit three, knit two together, make 006, knit two together, knit one^ 16th Row: Knit one and purl one in the made stitches, knit the rest plain. 17th Row : Slip one, knit nine, knit two together, make one, knit two together, knit ten. 18th Row: Knit one and purl ono in the made stitches, knit the rest plain. Repeat from the third row for the length required round the neck. The sleeves are worked separately, just the length for round the arm. For the crochet edge : — 1st Row : One double into a stitch of knitting, one chain, and repeat all round. 2nd Row : One double under one chain, one chain. Repeat. 3rd Row : One double under one chain, three chain, bne double into the first, one chain, pass over one chain of last row, and repeat. A ribbon is run through the rows of holes in the knitting and is tied in bows, which shapes the top of the trimming. No. 45.-DESIGN FOR STOCKINGS, SOCKS, &;c. This pattern is knitted in the round. Cast on any number of stitches divisible by ten. 1st Round : Purl three, make one, slip one, knit one, pass the slipped stitch over, knit five. 2nd Round t Purl three, knit two, make one, slip one, knit one, pass the slip stitch over, knit four. 3rd Round: Purl three, knit two, make one, slip one, knit one, pass the sUp stitch over, knit three. 4th Round : Purl three, knit three, make one, slip one, knit one, pass the slip stitch over, knit two. 5lh Round: Purl three, knit four, make one, slip one, knit one, pass the slip stitch over, knit one. 6th Round : Purl five, knit five, make one, slip one, knit one, pass the slip stitch over Repeat from the first round. No. 46.-DESIGN FOR CHILD'S PETTICOAT. Materials Required : 6 oz white peacock fingering, and two pins. No. 13 (Walker's gauge). With the wool and pins named nine stitches measure an inch. Cast on any number of stitches divisible by four. 1st Row : Knit. 2nd and 3rd Rows : Purl. 4th Row : Knit. 5th Row: Make one, slip one, knit one, pass the slip-stitch over, knit two. 6th Row : Purl. 7th Row : Knit one, make one, slip one, knit one, pass the slip-stitch over, knit two. End the row with knit one. 8th Row : Purl. 9th Row : Knit two, make one, slip one, knit one, pass the slip-stitch over. 10th and 11th Rows : Purl. 12th Row : Knit. 13th Row : Knit three, purl one. 14-th Row : Knit one, purl three. 15th Row : Purl one, ^ knit one, purl three, repeat from ^ ; end with purl two. 16th Row : Knit two, purl one, knit three ; end with knit one. 17th Row : Knit one, ^ purl one, knit three, repeat from ^ ; end with knit two. 18th Row : Purl two, * knit one, purl three, repeat from * ; end the row with purl one. Repeat from the thirteenth row fbr the length required. For the edging cast on seven stitches : — 1st Row : Slip one, knit two, make one, knit two together, cotton twice over the pin, knit two toge- ther.

Page 69

COMPLETE GUIDE TO THE WORK-TABLE. 55 2nd Row : Slip one, purl one knit one and purl one in the stitch made by passing the cotton twice over the pin, knit two, make one, knit two together, knit one. 3rd Row : Slip one, knit two, make one, knit two together, knit four. 4th Row : Slip one, knit five, make one, knit two together, knit one. • 5th Row : Slip one, knit two, make one, knit two together, cotton twice over the pin, knit two together, cotton twice over the pin, knit two together. 6th Row : Slip one, purl one, knit one, and purl one in the made stitch, knit one, purl one, knit one, and purl one in the next made stitch, knit two, make one, knit two together, knit one. 7th Row : Slip one, knit two, make one, knit two together, knit eight. 8th Row : Cast off six stitches, knit three, make one, knit two together, knit one. Repeat from the first row. This edging is sewn to the bottom of petticoat with a needle and wool. No. 47.— See No. 43. No. 48 .—See No. 44. No. 49.— INFANT'S GLOVE. Materials Required for a Pair : 1 oz white Berlin wool, one skein blue, two knitting-pins No. 10, and two No, 14 (Walker's bell gauge). Cast on fifty-seven stitches with pins No. 10. 1st to 14th Rows : Make one, slip one, knit two together. Repeat to the end of row. 15th to 18th Rows : With No. 14 pins, like first to fourteenth. 19th Row : Knit one, knit two together. Repeat. 20th Row : Knit one, * make one, knit two together. Repeat from * to the end of row. 21st Row : Knit. 22nd Row : Knit one, purl one. Repeat. 23rd Row: Purl the knitted and knit the pm-1 stitches of last row. The t-wenty-second and twenty- third rows are repeated three times. 30th Row : Make one, slip one, knit one. Repeat to the end of row. 31st to 37th Rows : Make one, slip one, knit two together. Repeat to the end of rows. 38th Row : Make one, slip one, knit two together, repeat five times more; turn, leaving the other stitches, and knit the eighteen stitches in the same pattern for thirteen rows more. 52nd Row : Knit one, knit two together t© the end of row. 53rd Row : Knit two together to the end of row, then cast off. This forms the thumb. Now, with the stitches that are left on the pin, com- mence the thirty-ninth row of hand by knitting three stitches together to decrease one rib, "then make one, sHp one, knit two together to the end of row. 40th Row : Make one, slip one, knit two together to the end of row, knitting the three last stitches toge- ther. Repeat the two last rows once more, but you will have only two stitches to knit together at the end. 43rd Row : Knit three together ; to decrease as be- fore, * make one, slip one, knit two together. Repeat from *. 44th Row t Make one, slip one, knit two together, knitting three together at the end; repeat thwj last row fourteen times more, knitting two instead of three together at the end of the rows. 59th Row : Knit one, knit two together to tl.ie end. 60th Row : Knit one, purl one. Repeat. 61st Row : Like sixtieth row. 62nd Row : Knit two together, repeat, then cast off, sew the ends and inside of the thumb together, and the edge-stitches of the hand ; a narrow sarsnet ribbon may be run through the holes at the wrist if preferred, or a row of crochet chain may bo worked round it to draw the wrist in a- little. This glove is for the right hand. Commence to knit the hand part first instead of the thumb for the left hand. The little pattern on the cuff is made by working diagonally about four chain-stitches with a needle and blue wool. No. 50.— DOUBLE ROSE-LEAF PATTERN. Cast on three stitches for each close stripe, and seventeen stitches for each open stripe. As many stripes can be worked as the width of article requires ; the open stripe must have a close stripe on each side of it. 1st Row : * Knit one, purl two, knit one, make one, knit one, slip one, knit one, pass the slipped stitcli over, purl one, knit two together, knit one, puri one, knit one, slip one, knit one, pass the slipped stitch over, purl one, knit two together, knit one, make one knit one, repeat from * ; end the row with nml two , knit one. 2nd Row : * Purl one, knit two, purl four, knit ontj purl two, knit one, purl two, knit one, purl four, re^ peat from ^ ; end the row with knit two, purl one. 3rd Row : "^ Knit one, purl two, knit one, make one, knit one, make one, slip one, knit one, pass the stipped stitch over, purl one, knit two together, purl one, slip one, knit one, pass the slipped stitch over, purl one^ knit two together, make one, knit one, make one, knit one, repeat from * ; end the row with purl two, knit one. 4th Row : * Purl one, knit two, purl five, knit one, purl one, knit one, purl one, knit one, purl five, repeat from * ; end with knit two, purl one. 5th Row : ^ Knit one, purl'two, knit one, make one. knit three, make one, slip one, knit two tegether, pass the slipped stitch over, purl '>ne, slip one, knit two together, pass the slipped stitch over, make one, knit three, make one, knit one, repeat from '^ ; end with purl two, knit one. 6th Row : * Purl sne, knit two, purl seven, knit one, purl seven, repeat irom * ; end with knit two, purl one. 7th Row : * Knit one, purl two, knit one, make one, knit five, make one, slip one, knit two together, pass the slipped stitch over, make one, knit five, make one, knit one, repeat from ^ ; end with purl two, knit one. 8th Row : * Purl one, knit two, purl seventeen, re- peat from * ; end with knit two, purl one. There are eight rows to a pattern. Sixteen rows must be worked before whole pattern is seen No. 51. -CORAL PATTERN. Cast on any number of stitches divisible by twenty- one. 1st Row : Knit two together, knit three, knit two together, knit one, make one, knit one, make one, knit one, knit two together, knit three, knit two togethi knit one, make one, knit one^ make one, knit two. 2nd Row : Purl. 3rd Row : Knit two together, knit one, knit two to- gether, knit one, make one, knit three, make one, kniti one, knit two together, knit one, knit two together knit onot make one, knit threei make onei knit i^iro^

Page 70

THE YOUNG LADIES' JOURNAL 4th Row: Furl. 5th Row : Slip one, knit two together, pass the slip stitch over, knit one, make one, knit five, make one, knit one, slip one, knit two together, pass the slip stitch over, knit one, make one, knit five, make one, knit two. 6th Row : Purl. 7th Row : Knit two, make one, knit one, make one, knit one, knit two together, knit three, knit two to- gether, knit one, make one, knit one, make one, knit cne, knit two together, knit three, knit two together. 8th Row : Purl. 9th Row : Knit two, make one, knit three, make one, knit one, ^{^nit two together, knit one, knit two toge- ther, kni one, make one, knit three, make one, knit one, knit iwo together, knit one, knit two together. 10th Row: Purl. nth Row : Knit two, make one, knit five, make one, knit one, slip one, knit two together, pass the slip stitch over, knit one, make one, knit five, make one, knit one, slip one, knit two together, pass the slip stitch over. Repeat from the first row. FEATHER-PATTERN KNITTING. Cast on any number of stitches divisible by twenty- five, allowing three extra stitches at each edge to be knitted plain, to form a straight edge. 1st Row : Knit the three first stitches, knit two to- gether four times, * knit one, make one, and knit one eight times, knit two together eight times, repeat from *. End the row with knit two together four times, knit three. 2nd Row: Purl. 3rd Row: Knit. 4th Row : Purl. i^epeat from the first row. KNITTED JACKET FOR LADY. ^Iateeials Requieed: 6 oz each scarlet and gray double Berlin wool, two bone knitting pins, No 6 (Walker's gauge), a tricot hook No. 7. This jacket is very easy to make ; it is knitted in three stripes, two gray and one scarlet. The stripes are joined by a needle and wool. For the gray stripes, which are made long enough to pass over the shoulder and form both the front and back stripe, cast on twenty-one stitches, knit three and purl three alter- nately ; always slip the first stitch ; continue to knit thus until you have made the stripe the length re- quired, purling the knitted and knitting the purled stitches in each alternate row. About 174 rows will be required. These stripes compose the two sides, shoulder-pieces, and fronts. The stripe for the back is knitted with scarlet wool in the same way, making it half the length. The light stripes are sewn one each side of the back, then each is folded and sewn up under the arm, leaving a sufficient space for the arm- hole. With scarlet wool work a stripe of tricot on eight stitches. For the edge of the stripes work one double*into a stitch, four chain, one treble into first of four chain, pass over two stitches of tricot and re- pea^ This stripe is sewn to the jacket as shown in th9 illustration. A similar stripe serves for the sleeves, working on six instead of eight stitchei. Th^< jacket is fastened by pearl buttons. PETTICOAT KNITTED IN STRIPES. Materials Required : | lb Berlin or three-thread fieeoy wool, two bone knitting-pins No. 9, and two pins No. 11 (Walker's gauge). This petticoat is simply and quickly made ; it is composed of twelve stripes, each knitted separately. Commence at the bottom ; cast on with white wool forty-one stitches. 1st Row : Make one, knit nineteen, slip one, knit two together, pass the slipped stitch over the two knitted together, knit nineteen. 2nd Row : Make one, knit to the end of the row. These two rows are repeated throughout. The 3rd, 4th, 7th, 8th, 11th, and 12th rows are knitted with blue wool, all the rest with white. To decrease the size of the petticoat towards the waist, knit with No. 11 pins after two-thirds of the length has been worked. The length of the petticoat must be regulated according to the size required. When all the stripes are worked, they are joined together on the right side with single-stitches worked in crochet. For the crochet edge, work with blue wool one double into the edge of knitting, four chain, one treble into first of four chain, one double into petticoat. Re* peat all round. The top of the petticoat is sewn to a deep band oi": white linen ; put the points into the linen band. Tha bottom is finished by a kilting of muslin, edged witi? lace, put in under the points. BRIOCHE MAT. Materials Required: 1 oz each of two colour* double Berlin wool, two pins No. 8 (Walker's gauge). Pale blue or coral pink with bronze-green will make a pretty mat. Cast on eighteen stitches. 1st Row : Put the pin into a stitch, wind the wool three times over first two fingers of the left hand and over the pin, pull the three thicknesses through and knit off the stitch, repeat from beginning three times more, * make one, slip one, knit two together, *- You will now have seven stitches on right-hand pin. 2nd Row : Turn, * make one, slip one, knit two to- gether, * knit four, taking the loops of fringe with each stitch. 3rd Row : Repeat from beginning to end of first row, repeat from * to * once more. You will now have ten stitches on your right-hand pin. 4th Row : Like second row, repeating from * to * twice. 5th Row : Like first row ; repeating from * to * three times, you have thirteen stitches on right-hand pin. 6th Row : Like second row, repeating from * to * three times. 7 th Row : Like first, repeat from * to * three timos, knit five, you have now all the stitches on your pin. 8th Row : With the second colour, knit five, make one, slip one, knit two together three times, knit four. Repeat from the beginning fifteen times more. Cast off, sew up, and draw the centre closely together.

Page 71

MPiiTi mim m tie KNITTING. W@IK-TiBM. NO. 52.— COITNTERPAXK WiTH DIAMOND STRIPE. JK.Ti!rTTTXlKCh. ^

Page 72

56 THE YOUNG LADIES' JOURNAL KNITTING (Conttn-cLecL). No. 52.— DIAMOND STRIPE FOR COUNTERPANE. Materials Required: Strutts' best three-thread knit- ting cotton No. 16 ; two knitting pins No. 16 (Walker's 1 bell gauge). The quantity of cotton must depend on the size of quilt. For the wide stripe cast on fifty-three stitches. 1st Row: Purl one and knit one ten times, purl three, knit three, purl one, knit three, purl three ; knit one and purl one ten times. 2nd Row : Knit one and purl one ten times, knit three, purl three, knit one, purl three, knit three, purl one and knit one ten times. 3rd Row : Like first row. 4-th Row : Purl one and knit one nine times, purl one, knit three, purl three, knit one, purl one, knit one, purl three, knit three. Purl and knit alternately to the end of the row, 5th Row: Purl the knitted and knit the purled stitches of last row. 6th Row : Like fourth row. 7th Row : Purl and knit alternately nine times, purl three, knit three, purl one, knit three, purl one, knit three, purl three, knit and purl alternately to the end of the row. 8th Row : Like the fifth row. 9th Row : Like the seventh row. 10th Row : Purl and knit alternately eight times, puri one, knit three, purl three, knit one, purl five. knit one, purl three, knit three. Purl and Imit alter- nately to the end of the row. 11th Row : Like eighth row. 12th Row : Like tenth row. 13th Row: Purl and knit alternately eight times, purl three, knit three, purl one, knit three, purl one, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 14-th Row : Like eleventh row, 15th Row : Like thirteenth row. 16th Row : Purl and knit alternately seven times, purl one, knit three, purl three, knit one, purl three, knit three, purl three, knit ©ne, purl three, knit three. Purl and knit alternately to the end of the row. 17th Row : Like fourteenth row, 18th Row : Like sixteenth row. 19th Row : Purl and knit alternately seven times, purl three, knit three, purl one, knit three, purl five, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 20th Row : Like seventeenth row. 21st Row : Like nineteenth row. 22nd Row : Purl and knit alternately six times, purl one, knit three, purl three, knit one, purl three, knit seven, purl three, knit one, purl three, knit three. Purl and knit alternately to the end of the row. 23rd Row : Like twentieth row. 24th Row: Like twenty-second row. 25th Row : Purl and knit alternately six times, purl three, knit three, purl one, knit three, purl nine, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 26th Row ; Like twenty-third row. 27th Row : Like twenty-fifth row. 28th Row : Purl one and knit one alternately five times, purl one, knit three, purl three, knit one, purl three, knit eleven, purl three, knit one, purl three, knit three. Purl and knit alternately to the end of the row. 29th Row : Like twenty-sixth row. 30th Row : Like twenty-eighth row. 31st Row : Purl one and knit one alternately five times, purl three, knit three, purl one, knit three, purl six, make one, knit one, make one, purl six, knit three, purl one, knit three, purl three. Knit and purl alter- nately to the end of the row. 32nd Row : Knit the purl and purl the knitted and made stitches. 33rd Row : Purl on© and knit one alternately five times, purl three, knit three, purl one, knit three, purl six, knit one, make one, knit one, make one, knit one, purl six, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 34-th Row : Purl one and knit one alternately four times, purl one, knit three, purl three knit one, purl three, knit seven, purl five, knit seven, purl three, knit one, purl three, knit three. Purl and knit alternately to the end of the row. 35th Row : Knit one and purl one alternately four times, knit one, purl three, knit three, purl one, knit three, purl seven, knit twe, make one, knit one, make one, knit two, purl seven, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 36th Row : Purl the kni,t and made stitches, and knit the purl stitches of last row. 37th Row : Purl one and knit one alternately four times, purl three, knit three, purl one, knit three, purl eight, knit three, make one, knit one, make one, knit three, purl eight, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 38th Row : Like thirty-sixth row. 39th Row : Purl one and knit one alternately four times, purl three, knit three, purl one, knit three, purl eight, knit two together at the back, knit five, knit two together, purl eight, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 4-Oth Row : Purl one and knit one alternately three times, purl one, knit three, purl three, knit one, purl three, knit nine, purl seven, knit nine, purl three, knit one, purl three, knit three. Purl and knit alternately to tlie end of the row. 4-lst Row : Knit one and purl one alternately three times, knit one, purl three, knit three, purl one, knit three, purl nine, knit two together at the back, knit three, knit two together, purl nine, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of tlie row. 4-2nd Row : Purl the knit and knit the purl stitches of last row. 4-3rd Row : Purl one and knit one alternately thren times, purl three, knit three, purl one, knit three, purl ten, knit two together at the back, knit one, knit two together, purl ten, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 4-4-th Row ! Like forty-second row. 4-5th Row : Purl one and knit one alternately three times, purl three, knit three, purl one, knit three, purl

Page 73

COMPLETE GUIDE TO THE WORK-TABLE. 59 ten, slip one, knit two together, and pass the slip stitch over them, purl ten, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 46th Row : Purl one and knit one alternately twice, purl one, knit throe, purl three, knit one, purl three, knit twenty-three, purl three, knit one, purl three, knit three. Purl and knit alternately to the end of tlie row. 47th Row : Knit one and purl one alternately twice, knit one, purl three, knit three, purl one, knit three, purl twenty-three, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 48th Row : Knit the purl and purl the knit stitches ot last row. 49th Row : Purl one and knit one alternat^y twice, nurl three, knit three, purl one, knit three, purl six, mBKe one, JKnit one, make one, purl eleven, make one, knit one,- make one, purl six, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 50th Row : Purl tlie knitted and made stitches and knit the purl stitches of last row. 51st Row : Purl one and knit one alternately twice, purl three, knit three, purl one, knit three, purl six, knit one, make one, knit one, make one, knit one, purl eleven, knit one, make one, knit one, make one, knit one, purl six, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 52nd Row : Purl one, knit one, purl one, knit three, purl three, knit one, purl three, knit seven, purl five, knit eleven, purl five, knit seven, purl three, knit one, Durl three, knit three. Purl and knit alternately to twe*© end of the row. D3rd Row : Knit one, purl one, knit one, purl three, knit three, purl one, knit three, purl seven, knit two, make one, knit one, make one, knit two, purl eleven, knit two, make one, knit one, make one, knit two, purl seven, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 54th Row : Like fiftieth row. 55th Row : Purl one, knit one, purl three, knit three, purl one, knit three, purl eight, knit three, make one, knit one, make one, knit three, purl eleven, knit three, make one, knit one, make one, knit three, purl eight, knit, three, purl one, knit three, purl three, knit one, purl one. 56th Row : Like fifty-fourth row. 57th Row : Purl one, knit one, purl tliree, knit three, purl one, knit three, purl eight, knit two together at the back, knit five, knit two together, purl eleven, knit two together at the back, knit five, knit two together, purl eight, knit three, purl one, knit three, purl three, knit one, purl one. 58th Row : In this row the decrease of the diamond is commenced. Purl one, knit one, purl one, knit three, purl three, knit one, purl three, knit seven, purl seven, knit eleven, purl seven, knit seven, purl three, knit one, purl three, knit three, purl one, knit one, purl one. 59th Row : Knit one, purl one, knit one, purl three, Jcnit three, purl one, knit three, purl seven, knit two together at the back, knit three, knit two together, purl eleven, knit two together at the back, knit three, Icnit two together, purl seven, knit three, purl one, knit three, purl three, knit one, purl one, knit one. 60th Row : Like forty-eighth row. 61st Row : Purl one, knit one alternately twice, purl three, knit three, purl one, knit three, purl six, knit t wo together at the back, knit one, knit two together, purl eleven, knit two together at the back, knit one, knit two together, purl six, knit three, purl one, knit three, purl three, knit one, purl one, knit one, purl one. 62nd Row : Like sixtieth row. 63rd Row: Purl and knit alternately twice, purl three, knit three, purl one, knit three, purl six, slip one, knit two together, pass the slip stitch over them, purl eleven, slip one, knit two together, pass the slip stitch over them, purl six, knit three, purl one, knit three, purl three, knit one, purl one, knit one, purl one. 64th Row : Purl one and knit one alternately twice, purl one, knit three, purl tliree, knit one, purl three, knit twenty- three, purl three, knit one, purl three, knit three. Purl and knit alternately to the end of row. 65th Row : Like sixty-second row. 66th Row : Like sixty-fourth row. 67th Row : Purl one and knit one alcemately three times, purl three, knit three, purl one, knit three, purl ten, make one, knit one, make one, purl ten, knit three, purl one, knit three, purl three. Knit and purl . alternately to the end of the row. 68th Row : Like fiftieth row. 69th Row : Purl one and knit one alternately three times, purl three, knit three, purl one, knit three, purl ten, knit one, make one, knit one, make one, knit one, purl ten, knit three, purl one, knit three, purl three. _ Knit and purl alternately to the end of the row. 70th Row : Purl one and knit one alternately three times, purl one, knit three, purl three, knit one, piirl three, knit nine, purl five, knit nine, purl three, knit one, purl three, knit three. Purl and knit alternately to the end of the row. 71st Row : Knit one and purl one alternately three times, knit one, purl three, knit three, purl one, knit three, purl nine, knit two, make one, knit one, make one, knit two, purl nine, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 72nd Row : Purl the knit and made stitches, and knit the purl stitches of last row. 73rd Row : Purl one and knit one alternately four times, purl three, knit three, purl one, knit three, purl eight, knit three, make one, knit one, make one, knit three, purl eight, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 74th Row : Like seventy-second row. 75th Row : Purl one and knit one alternately four times, purl three, knit three, purl one, knit three, purl eight, knit two together at the back, knit five, knit two together, purl eight, knit three, purl one, knit tliree, purl three. Knit and purl alternately to the end of the row. 76th Row : Purl one and knit one alternately four times, purl one, knit three, purl three, knit one, purl three, knit seven, purl seven, knit seven, purl three, knit one, purl three, knit three, purl one and knit one alternately to the end of the row. 77th Row : Knit one and purl one alternately four times, knit one, purl three, knit three, purl one, knit three, purl seven, knit two together at the back, knit three, knit two together, purl seven, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of row. 78th Row : Like forty-eighth row. 79th Row : Purl one and knit one alternately five times, purl three, knit three, purl one, knit three, purl six, knit two together at the back, knit one, knit two together, purl six, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 80th Row ; Like fotty-eighth row*

Page 74

eo THE YOUNG LADIES' JOURNAL 81st Row: Purl one and knit one alternately five times, purl three, knit three, purl one, knit three, purl six, slip one, knit two together, pass the slip stitch over them, purl six, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 82nd Row : Purl one and knit one alternately five times, purl one, knit three, purl three, knit one, purl three, knit eleven, purl three, knit one, purl three, knit three. Purl and knit alternately to the end of the row. 83rd Row : Like forty-eighth row. 84th Row : Like eighty-second row. 85th Row: Purl one and knit one alternately six times, purl three, knit three, purl one, knit three, purl nine, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 86th Row : Like eighty-third row. 87th Row : Like eighty-fifth row. 88th Row : Purl one and knit one alternately six times, purl one, knit three, purl three, knit one, purl three, knit seven, purl three, knit one, purl three, knit three. Purl and knit alternately to the end of the row. 89th Row : Like eighty-sixth row. 90th Row : Like eighty- eighth row. 91st Row : Purl one and knit one alternately seven times, purl three, knit three, purl one, knit three, purl fivp, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row, 92nd Row : Like eighty-ninth row, 93rd Row : Like ninety-first row. 94th Row : Purl one and knit one alternately seven times, purl one, knit three, purl three, knit one, purl three, knit three, purl three, knit one, purl three, knit three. Purl and knit alternately to the end of the row. 95th Row : Like ninety-second row. 96th Row : Like ninety-third row. 97th Row : Purl one and knit one eight times, purl three, knit three, purl one, knit three, purl one, knit three, purl one, knit three, purl three. Knit and purl alternately to the end of the row. 98th Row : Like ninety-fifth row. 99th Row : Like ninety-seventh row. 100th Row : Purl one and knit one alternately eight times, purl one, knit three, purl three, knit one, purl tive, knit one, purl three, knit three. Purl and knit alternately to the end of the row. 101st Row : Like ninety-eighth row. 102nd Row : Like 100th row. 103rd Row : Purl one and knit one alternately nine times, purl three, knii three, purl one, knit three, purl <3ne, knit three, purl three. Knit and purl alternately to the end of the row. 104th Row : Like the 101st row. 105th Row : Like the 103rd row. 106th Row : Purl one and knit one alternately nine times, pm-1 one, knit three, purl three, knit one, purl one, knit one, purl three, knit three. Purl and knit alternately to the end of the row. 107th Row : Like 104th row. 108th Row : Like 106th row. Now repeat from the first row for the length required. These stripes are alternated with a feather-pattern stripe, for which cast on twenty-five stitches. 1st Row : Purl four, knit three, knit two together, make one and knit one seven times, make one, knit two together at the back, knit three, purl four. 2nd Row : Knit four, purl two, purl two together at the back, purl fifteen, purl two together, purl two, knit four. 3rd Row : Purl four, knit one, knit two together, knit fifteen, knit two together at the back, knit one, purl four. 4th Row : Knit four, purl two together at the back, purl fifteen, purl two together, knit four. Repeat these four rows for the required length. The finished stripes must be sewn together. The border is the same as that shown on page 33. This border must be knitted in pieces and sewn toge- ther ; it will not show the joins if neatly sewn ; cast on on the same plan for which we gave directions. The number of stitches cast on must be divisible by twenty-one for the feather pattern, and by nine for the raised leaf pattern above it. Therefore you must cast on for three, six, nine, or twelve repeats of the feather pattern illustrating this principle. Three times twenty- one are sixty-three, and seven times nine are sixty- three. If this is not kept in mind the pattern will be throwTi out. No. 53.-GENTLEMAN'S SOCK. Matehuls Needed : Four pins No. 14 (Walker's gauge), four cocoons of knitting wool, or 5 oz Scotch fingering. This «\'ill leave a little for mending when the stockings become worn. Cast on twenty-eight stitches on each of three pins with double wool ; for this, allow about two yards cf wool, and begin at the folded-over end. Knit two and purl two alternately until your work measures three and a half inches in depth. Then commence to knit plain, with the exception of the seam stitch, which must be purled in every row ; for this pick up an additional stitch level with the end of the wool left from casting on, which in working will remind you of the seam stitch when you come to it. When you have knitted seven inches divide the stitches : put half of the stitches on one pin to work the heel upon, thus twenti^-one stitches on each side of the seam stitch; divide the front stitches equally on two pins, the front stitches are now left until the heel is worked. Work the heel with double wool (if the socks are intended for hard wear) ; knit a row, decreasing by knitting two together eight times, that is, at every fifth stitch. Do not interfere with the seam, but continue it by purling it in the knitted rows and knitting it in the purled rows throughout the heel, continue to purl and knit the heel alternately for about twenty-eight rows or two and a quarter inches. For the gusset heel : Work twenty plain, knit two together, knit one, turn, purl nine, purl two together, purl one, turn, knit eleven, knit two together, knit one, continue these two last rows, taking in two stitches more at each turn until all the side stitches are taken in. At each side of the heel pick up neatly thirty stitches, then take in the forty-three stitches left before commencing the heel, in the round, but let them remain on a separate pin, decrease in every round until forty-two stitches are left at the sole. To decrease : Knit two together the right side and slip one, knit one, pass slip stitch over the left side (tc know left from right, imagine sock on right foot). When the foot measures seven and a half inches or eight inches, according to size wanted, for the toe, knit five plain rounds. 6th Round: Decrease one stitch on each side of the front and each side of back stitches, always making the decrease in the second from the outside. 7th Round : One plain round. Continue 6th and 7th Rounds until twenty-eight stitches are left, cast off all round and sew up on the wrong side.

Page 75

COMPLETE GUIDE TO THE WORK-TABLE 61 wail.— DESIGN FOR SHAWLS. NO. s 7. -child's petticoat. NO. ^4.«-C0tmTEBPANE. KO. s6--WAJ» .^IMSKW. "miW'uM Kd 58.— BORCIB FCR PETTICOAT.

Page 76

62 THE YOUNG LADIES' JOURNAL No. 54.— DESIGN FOll COUNTERPANE. Two pins No. 15 (Walker's gauge) ; Strutts' cotton, N©. 16 three-thread super. This counterpane must be knitted in stripes of 100 stitches, or cast on any number of stitches divisible by- five. 1st Row : Knit three, purl two. 2nd Row : Knit two, purl one, knit one, purl one. Repeat these two rows fourteen times. For the diamond pattern : — 1st Row : Knit one, make one, knit two together at the back, knit three, knit two together, make one, re- peat from the beginning of row ; end the row with make one, knit one. 2nd Row : Purl. 3rd Row : Knit two, * make one, knit two together at the back, knit one, knit two together, make one, knit three, repeat from * ; end the row with make one, knit two. 4th Row : Purl. 5th Row : Knit three, * make one, k^iit three toge- ther, make one, knit five, repeat from * ; end the row with make one,^knit three. 6th Row: Purl. 7th Row : Knit two, knit two together, * make one, knit one, make one, knit two together at the back, knit three, knit two together, repeat from * ; end the row with knit two. 8th Row : Purl. 9th Row : Knit one, knit two together, * make one, knit three, make one, knit two together at the back, knit one, knit two together, repeat from * ; end the row with make one, knit two together, knit one. 10th Row : Purl. 11th Row : Knit two together, ^ make one, knit five, make one, knit three together, repeat from * ; end the row with make one, knit two together. 12th Row: Purl. Repeat from the first row of diamond pattern once more ; then repeat the ribbed stripe for eighteen rows, w^ork this and the diamond stripe alternately till your work is the length you desire it to be ; finish each stripe with twenty-eight rows of the ribbed pattern. The crochet edge is worked with one treble into a stitch of knitting, two chain, pass over two stitches. Re- peat. No. 55.— DESIGN FOR WOOL SHAWLS. Shetland wool ; pins No. 10 (Walker's gauge). Cast on any number of stitches divisible by four, and allow three additional stitches for each edge. Knit three plain rows for an edge. 1st Row : Slip one as if for purling, slip one, knit one, pass the slip stitch over, * wool twice over the pin, knit two together twice, repeat from ^ ; end the row with wool twice over the pin, slip one, knit one, pass the slip stitch over, knit one. 2nd Row : Slip one, knit one, * knit one and purl one in the made stitch, knit two, repeat from ^ ; end the row with knit two. 3rd and 4th Rows : Knit. Repeat from first row. Finish by knitting three plain rows. No. 56.— WAVL. PATTERN. This pattern is suitable to be used as a border for counterpanes, shav/ls, petticoats, &c. Cast on any number of stitches divisible by twelve, and two extra stitches for the end. 1st Row : Purl two, make one, knit three, knit two together at the back, knit two together, knit three, make one. Repeat from the beginning of thn row ; finish the row with/»url two. "In the 2nd and each alternate Row: Knit the purled and purl the knitted and made stitches of the previous row. 3rd Row : Purl two, knit one, make one, knit two, knit two together at the back, knit two together, knit two, make one, knit one. Repeat from the beginning of the row ; finish with purl two. 4th Row : Like second row. 5th Row: Purl two, knit two, make one, knit one, knit two together at the back, knit two together, knit one, make one, knit two. Repeat from the beginning of the row ; finish with purl two. 6th Row : Like second row. 7th Row : Purl two, knit three, make one, knit two together at the back, knit two together, make one, knit three. Repeat from the beginning of the row ; finish with purl two. 8th Row : Like second row. Repeat from the first row. For the crochet edge: Work one double into the first stitch in the depth of scallop, four chain, one double into the first, one double into next stitch, * four chain, one double into the first, pass over one stitch, one double into the next. Repeat from * four times more, then repeat from the beginning of the Nos. 57 AND 58.— CHILD'S KNITTED PETTICOAT. Materials Required: 6 oz white and 1 oz scarlet Berlin wool, two knitting pins No. 10^ and two No. 14 (Walker's bell gauge). Cast on 200 stitches with scarlet wool, and com- mence the border shown in Illustration No 58 1st Row : Knit. 2nd Row : Purl with white wool. 3rd Row: Knit. 4th Row : Knit one, make one, knit two, knit three together, knit two, make one. Repeat from the beginning of the row. The 5th, 7th, and 9th Rows are purled ; the 6th, 8th, and 10th Rows are like the fourth row ; after the tenth row, repeat from the first row three times more. The skirt of the petticoat is worked in ribbed knit- ting of purl three and knit three alternately. The stitches that are purled in one row must be knitted in the next to keep the ribs. When you have worked about half the length of the petticoat, take the pins No. 14, and knit for the length required. The change of pins will make the petticoat narrower at the top : cast off the stitches, sew the two sides together until within three inches of the top, then sew to a linen band in which must be worked buttonholes, in order to button the petticoat to the stays. The border of this petticoat makes a very pretty antimacassar knitted in shades. INFANT'S BOOT. Materials Required: | oz white AndaJusian wool, four pins No. 14 (Walker's gauge), and 1 yard of ribbon. Commence with the leg. Cast on fifty -three stitches. 1st and 2nd Rows : Knit. 3rd Row: Purl. 4th to 48th Rows : Slip one, * make one, slip one, knit two together, repeat from *. End the rows with knit one. 49th and 50th Rows : Knit. 51st Row : Knit two together, make one, * knit two together, knit two, make one. Repeat from *. 52nd and 53rd Rows : Knit.

Page 77

COMPLETE GUIDE TO THE WORK-TABLE. 63 54th Row : Knit thirty-five, leave seventeen on the pin, turn, take a third pir; knit eighteen, turn, take a fourth pin, and on these last eighteen stitches knit the front of the foot in herringbone stripe. 1st Row : Knit one, knit two together, make one, repeat. End the row with knit three. 2nd Row : Purl one, purl two together, make one, repeat ; end the row with purl two. Repeat these two rows ten times more. 23rd to 38th Rows : Knit. 39th to 46th Rows : Knit, decrease by knitting two together at the end of every row. There should be ten stitches for the front of toe. Now work on the seventeen stitches of the side of leg for seven rows, and pick up in each forward row one stitch of the front and knit it. This makes four stitches picked up. Now pick up twenty-seven stitches of the side of the front. Work the second side like the first. With the ten stitches of the toe you will have 106 stitches, which may now be worked off equally on the three pins. Work ten plain rows. 11th Row : Knit forty-eight, knit two together, knit six, knit two together, knit forty-eight. 12th and each alternate rows to the end, knit with- 13th Row : Knit forty-seven, knit two together, knit six, knit two together, knit forty-seven. 15th Row : Knit forty-seven, knit two together, knit four, knit two together, knit forty-seven. 17th Row : Knit two together, knit forty-four, knit two together, knit four, knit two together, knit forty- four, knit two together. 19th Row : Knit two together, knit forty-two, knit two together, knit four, knit two together, knit forty- two, knit two together. 21st Row : Knit two together, knit forty, knit two together, knit four, knit two together, knit forty, knit two together. 23rd Row: Knit two together, knit thirty-eight, knit two together, knit four, knit two together, knit thirty-eight, knit two together. ^ 25th Row : Knit two together, knit thirty-six, knit two together, knit four, knit two together, knit thirty- six, knit two together ; cast off, sew up on the wrong side. , ., - The holes round the ankle are to run the ribbon through. Any small pattern, of which we have given several, may take the place of the herringbone pattern for the front. ^ , .^, The top of the boot may be ornamented with a crochet edge worked into it : — 1st Row : Si^ trebles into a stitch of knitting, pass over two stitches. Repeat. 2nd Row : One double into every stitch. The second row of crochet may be worked in pink or blue silk or wool. BORDER FOR COUNTERPANES. Cast on forty-six stitches. 1st Row: Knit thirty-four, purl two; leave the lemaining ten upon the pin, turn, purl thirty-six. 2nd Row : Same as first. 3rd Row : Knit thirty-four, purl two, * make one, knit two together ; repeat from * three times more ; knit two. 4fch Row : Knit ten, purl thirty-six. 5th Row: Knit thirty-four, purl two, turn, purl thirty-six. 6th Row : Same as fifth. 7th Row: Knit thirty-four, purl two, krait eight, purl two. 8th Row: Purl ten, knit thirty-six. Repeat from the beginning, knitting instead of purHng, and purHng instead of knitting the ribbed part only—iov instance, where it specifies knit thirty-four, purl two, you must purl thirty-four and knit two. This occurs in every alternate rib. Th e heading remains the same through- out. KNITTED FRINGE FOR COUNTERPANES, &c. Cut the cotton in lengths rather longer than double the length you wish the fringe to be ; put four strands of cotton together. Cast on on steel pins. No. 13 (Walker's gauge), nine stitches. Knit three rows plain. 4th Row : Slip one, knit five, take a set of the cotton and pass over the right-hand pin, knit a stitch, keep- ing the set at the back of the pin, bring the set for- ward, knit a stitch, put the set back, knit the last stitch. 5th Row : Knit two, take the head of the set and the third stitch and knit them together, knit the rest plain. 6th Row : Slip one, knit one, ^ put the cotton twice over the pin and knit two together, repeat from * once ; put on the set as before. 7th Row : Knit two, knit the third stitch and the head of the set together, * knit one, knit half the made loop, cotton forward, knit the other half of the loop, repeat from * once more, knit to the end of row. 8th Row : Slip one, knit nine, put on the set as before. 9th Row : Same as fifth row. 10th Row : Cast off four, knit one, ^ cotton twice over the pin, knit two together, repeat from * once more ; put on the set as before. Repeat from seventh row. BED-REST FOR INVALID. With the coarsest knitting-cotton and two No. 12 bone pins, cast on thirty-six stitches. Knit half a yard plain ; then increase by knitting two stitches in one at the beginning of each row wntil you have 120 stitches on the pin, knit one yard plain. In the following rows decrease by knitting two together at the end of each row until you have thirty- six stitches. Cast off. LADIES' WINTER STOCKING. Materials : Eight balls cocoon wool, or 8 oz peacock fingering ; four pins No. 15 (Walker's gauge). Cast on 113 stitches ; that is, 38 on each of two pins, and 37 on the third. 1st Round : Purl one, knit two all round. 2nd Round : Purl one, knit two till you come to the nineteenth stitch ; knit this stitch instead of purling it to form the seam ; knit two and purl one to the end of the round. Continue these two rounds till you have 120 rounds. 121st Round : To form the calf, knit till within one stitch of the seam, continuing the rib; increase a stitch by knitting two in one ; knit one, purl the seam- stitch, knit one, increase one by knitting two in one, and continue the round as usual. 122nd Round : Same as the second round, with the exception of knitting the increased stitch on each side of the seam, which keeps the rib correct.

Page 78

THE YOUNG LADIES' JOURNAL 64 ^ 123rd Round : Same as the last, excepting that you purl the seam-stitch. 124th Round : Same as 122nd round. 125th Round : Same as 123rd round. 126th Round : Same as 122nd Round. 127th round : Increase in the same manner as 121st /ound, continue till the 132nd round without increase, always knitting the increased stitches. 133rd Round : Increase the same as the 121st round ; at this increase another rib is formed on each side of the seam. Work as before, increasing three times in the like manner — that is, working in each instance five rounds between each increase. 151st Round completes the sixth increase, and forms Jiiiother rib on each side of the seam stitch. Then work seven rounds without increase. 159th Round : Decrease by working as usual till within th?®e stitches of the seam ; knit two together, knit one, purl the seam stitch, knit one, knit two to- gether ; continue the remainder of the round as usual. Five rounds more without decrease. 165th Round : Decrease the same as 159th. Continue decreasing every sixth round till you have 101 stitches on the pins, then knit seventy rounds w ithout decrease. To commence the heel : Divide the stitches in half, beginning from each side of the seam stitch ; take another ball of wool, as the heel should be knitted with double wool. The stitches for the heel may be slipped on to one pin, and knitted with the loose pin. Forty rows should be knitted with these two pins, leaving the instep for the present. The rib in the heel must be kept by purling two and knitting one alternate rows ; the seam stitch all through the heel is knitted plain. 4-lst Row: Work as usual to six stitches beyond the seam ; turn back and knit to six beyond the seam on the other side ; turn back and work twelve stitches as usual. Decrease by taking the remaining stitch 9,nd the first stitch on the other pin together ; turn back and repeat the row, decreasing in the same way iintil only nineteen stitches remain, then break ofE one ball of wool. Pick up the stitches along the heel towards the in- step, and as you knit back pick up each between stitch and knit it, as it makes the sides firmer. The under part of the foot is knitted plain, and the rib continued along the front. Take two together at the beginning and end of the under part every row till you have decreased to the same number as across the instep. Continue without decrease till you have sixty- two rows, counting from the commencement of the plain knitting. Purl the first and last stitch of the front of the stocking every row to form a seam. Begin to decrease the front by purling one, knitting three, knitting two together, knit plain till within six of the other side, knit two together, knit three, purl one. The front part should be all on one pin. Knit three, knit two together, knit till within five of the other side, knit two together, knit three ; knit four rounds without decreasing, keeping the purl stitch as directed, then decrease as before ; work four rounds between the decrease three times, then three rounds twice, then two rounds once, then decrease every round till you hav» twelve stitches on each side. P^e the two pins together, and finish by taking a stitch from each pin and casting them off. When this is done fasten the end, and your stocking is complete. ESCALLOPS FOR QUILTS OR TOILET COVERS. These escallops are very convenient to knit, as they are knitted separately and joined by a needle and thread. Materials Required : Two knitting pins No. 15 (Walker's gauge) ; Strutts' knitting cotton No. 8. Cast on forty-one stitches. In all the rows slip the first stitch to make an even edge. 1st Row : Knit. 2nd Row: Knit three, take two together, knit thirty-one, take two together, knit three. 3rd Row : Knit. 4th Row : Like the second, with the exception that you knit twenty-nine stitches instead of thirty-one. 5th, 7th, 9th, and 11th Rows : Knit plain. 6th Row : Like fourth, with the exception that you knit twenty-seven stitches instead of twenty-nine. 8th Row: Knit three, knit two together, purl twenty-five, knit two together, knit three. 10th Row : Knit three, knit two together, purl twenty-three, kiiit two together, knit three. 12th Row: Knit three, knit two together, knit twenty-one, knit two together, knit three. 13th Row: Knit three, purl twenty-three, knit three. 14th Row : Knit three, knit two together, knit nineteen, knit two together, knit three. 15th Row : Knit three, purl twenty-one, knit three. 16th, 18th, and 20th Rows : Knit plain. 17th Row: Knit three, knit two together, purl seventeen, knit two together, knit three. 19th Row : Same as seventeenth, purling fifteen instead of seventeen. 21st Row: Knit three, knit two together, knit thirteen, knit two together, knit three. 22nd Row : Knit five, purl eleven, knit five. 23rd Row : Knit three, knit two together, knit eleven, knit two together, knit three. 24th Row : Knit three, purl thirteen, knit three. 25th Row : Knit three, knit two together, knit nine, knit two together, knit three. 26th Row : Knit three, knit two together, purl seven, knit two together, knit three. 27th Row : Plain knitting. 28th Row : Knit three, knit two together, purl five, knit two together, knit three. 29th Row : Plain knitting. 30th Row : Knit three, knit two together, knit three, knit two together, knit three. 31st Row : Knit three, purl five, knit three, 32nd Row : Knit three, knit two together, knit one. knit two together, knit three. 33rd Row : Plain knitting. 34th Row: Knit three, knit three together, knit three. 35th Row : Plain knitting. 36th Row : Knit two, knit three together, kwit two. 37th Row : Knit two together twice, knit one. 38th Row: Knit two together, knit one, pass cn<* stitch over the other.

Page 79

'HE^ OMfilTI mim T§ TIE WSIK-TAJiil POINT LACE. ga^VAT-KNU : FOrKT AJiX) EOKITON l,4,0Cl,

Page 80

66 THE YGUXG LADIES' JOURNAL POINT LACE. MODE OF TRACING AND SEWING ON BKAID. DESIGN ON PAGE 65. OiUr AT-END: POINT AND HONITON LACE. UUATERiALs FOR One Pair : 4-§ yards po nt braid, 4^ yards cord, 1| yard Honiton braid, 1| yard pearl edge, one skein of thread. — Price of materials in- cluding postage, Is. 3d. ; tracing on transparent linen, 6d. ; materials, tracing, and work begun, 2s. 9d. All materials for lace are supplied from the London Publishing Office of this Journal on receipt of P.O.O. for the amount. All Post-office Orders should be made payable at Ludgate Circus. 1 lace cord and pearl edge are also needed for some I patterns ; transparent tracing linen for copying the ': designs upon, and toile ciree for putting beneath the i linen to work upon. Some ladies, however, work so : lightly, that the toile cir6e is not needed. The best workers use ordinary sewing-needles. These should be chosen of a suitable size to the thread employed, so that it is not made rough and injured by being drawn through too small an eye. MATERIALS USED IN POINT LACE. Materials used in point lace are braids of various qualities, widths, and patterns suitable to the design for which they are required ; cotton for tacking on ^ braid, and thread for working the stitches : point- DIRECTIONS FOR TRACING. The design must be placed upon a drawing-board with the tracing-linen over it, and the two must be firmly fasten'fed to the board with drawing-pins. Then, with a good pen and Japan ink. trace the outline of the braids, also the twisted and buttonhole-bars, and the circles for the rosettes or spinning- wheek ; it ia unnecessary to trace the lace-stitches.

Page 81

COMPLETE GUIDE TO THE WORK-TABLE. WO. 15.

Page 82

68 THE Yomre^ ladies' joukj^ al NO 30. ^iSs^M- v^^ ? ? ^ BpSftflp ftHrul (TifvP II ^ 53- B XG. iiO. 3^.

Page 83

COMPLETE OuiUK TO THE WORK-TABLE ZJO. $o.

Page 84

THE YOUNG LADIES' JOURNAL SO. 62

Page 85

COMPLETE GUIDE TO THE WORK-TABLE. n DESCRIPTION OF THE VARIOUS STITCHES EMPLOYED IN WORKING POINT LACE. [Illustrations Nos. 1 to 64 show more plainly than ar^y^ written description the mode of working ,i great variety of stitches employed in point lace. These illustrations are considerably enlarged, and are ren- dered so clearly that it is scarcely possible not to see at a glance the correct i^iode of working them.] Nos. 1 TO 5.— COMMON BUTTONHOLE-STITCH : POINT DE BRUXELLES. This simple lace-stitch consists of buttonhole-stitch worked in lines forwards and backwards. No. 1 shows the mode of wording it. No. 2 repre- sents the common net pattern, rather open, whicli is given much closer in No. 3, and may be graduated from the most open net to the thickest parts. No. 4- gives an open pattern, which may be greatly varied for other patterns. No. 5 : Stretch a thread from right to left across the arabesque pattern, and work single buttonhole-stitches in this thread returning. Nos. 6 TO 11.— CORDED BUTTONHOLE-STITCH : POINT D'ANVERS, POINT DE MALINES. No. 6 gives a pattern in wliich, in returning, the thread is twisted through the buttonhole - stitch (corded), and is enclosed by the fresh buttonhole- stitches. This variation is a near approach to the point de Malines. No. 7 is a slight variety of the same stitch. The buttonhole-stitch is worked between the cording-stitch. Nos. 8 and 9 show leaves in point de Bruxelles and point d'Anvers, and are worked in but- tonhole-stitch, with and without the thread being drawn through ; and, in No. 9, filled up as shown, by a cross-stitch. Nos. 10 and 11 give the variations of these patterns, as seen in the large and small patterns of the Antwerp lace, and known to many ladies as the point d'Anvers. No. 10 belongs to the order of button- hole-stitches, all the patterns of which, being worked , by drawing the tliread through, may be classed amongst the Antwerp stitches (point d'Anvers). It need scarcely be mentioned that the long threads between the spaces are wound round with several stitches. Nos. 12 TO 18.— PATTERNS OF MORE BUTTON- HOLE-STITCHES : POINT DE SORRENTO. For this stitch, several buttonhole -stitches are worked close together, and in the next line, as belong- ing to each other, and are not separated by any stitch. No. 13 represents this stitch as worked for an edge ; this, as well as the single stitch (No. 12), makes a very firm edge ornament. No. 14- gives a single-dotted pattern of two buttonhole-stitches. Nos. 15 to 17 give more varied patterns. No. 18 gives this Sorrento pat- tern with buttonhole-stitches over the thread placed across, and from which many other effective stitches may be made. Noe. 19 TO 21.— LOOPED BUTTONHOLE-STITCH : POINT TURC. This stitch, although not diflBcult, requires a little practice to work it well and evenly. No. 19 represents it on one line, which would make a verj- pretty outer edge. No. 20 gives a pattern of it over threads placed across. No. 21 represents the dotted pattern, consist- ing of one plain and one looped buttonhole-stitch» which is a pretty variation of No. 18, and might b© also worked ever threads placed across. Nos. 22 TO 32.— BUTTONHOLE-STITCH BACK- WARDS : POINT DE VENISE. This effective buttonhole looping consists of, first, a common buttonhole-stitch, as a kind of footing, and then a second looped into it, as shown in No. 22. No, 23 gives this stitch worked forwards and backwards as a pattern, with a line of plain buttonhole-stitch, forming a stripe pattern. No. 24- shows, in large size, the mode of working very beautiful point de Venise, either for an outer edge or for patterns, by looping three or four stitches into the first large buttonhole' stitch, which makes a thick scallop. No. 25 gives the edging in the size it would generally appear ; No. 26, with the stitches farther apart ; consequently the pat- tern is more open. No. 27 is formed by joining the single buttonhole-stitch line in returning. No. 28 gives a pattern, with the same thick scallops worked forwards and backwards, and is very pretty as a gui- pure ground between thick arabesque patterns. By working downwards in the large buttonhole scallop, the pattern vepresentod in No. 29 is formed, which is equally pretty worked in single lines, for enclosing large patterns. The three patterns represented in Nos. 30 to 32 are very similar ; about two or three button- hole-stitches are worked close together, downwards, as shown in the design. These also serve for enclosing* patterns, or they may be arranged in the corded pav^ tern, as the point d'Anvers, for thick patterns. Ncs. 33 TO 39.— LOOSE AND TWISTED BARS ; POINT D'ALENCON. No. 33 is a fine herringbone-stitch. The single cross- stitch, in very narrow spaces, must be worked into the braid. No. 34- represents the double cross-stitch consisting of two lines lying over each other. No. 3^ gives the same stitch, fastened by a buttonhole-stitch made across it. In No. 36, the thread, which is carried plain across to the opposite side, is for the joining ; in returning it is twisted several times, according to the breadth, and these bars are repeated singly, or in groups of two or three and four in the large spaces. According to No. 37, these bars are worked, like tht^ cross-stitch, along both sides. No. 38 gives loose bard in bunches, worked in the buttonhole edge, which are also very effective arranged at greater distances. No. 39 represents the same bars twisted. This mode of joining is particularly desirable when the spaces sud- denly increa or decrease in distance. No. /^O.— FESTOON JOINING : POINT D'ESPRIT, Simple buttonhole-stitches are looped for festoons into each other, and where the braid opens wider, the spinning-stitch, wheels, &c., may be inserted.

Page 86

72 THE YOUNG LADIES' JOURNAL Nos. 41 AND 43.— BUTTONHOLE-STITCH BARS. Stretch a thread across, work it over, returning with a few buttonhole-stitches, and then wind the thread again through, according to No. 41. Where loose and firm bars are placed alternately — according to No. 43 — there are always at least three, if not five, threads stretched across, and worked over very closely with the buttonhole-stitch (point d'esprit) ; in working M^ese, the cross-bars branch off from the principal bars, and may be ornamented with picots. Nos. ^2 AND 44— PICOTS FOR THE BARS, These are called picots a la minute, and are worked as follows : — Put the needle through the last button- liole-stitch, loop, and twist the thread round three, four, or more times, according to the thickness of the picot, and fasten by putting the needle through. For the buttonhole-stitch picot represented in No. 44, take the loop-thread of a buttonhole-stitch, so as to make a long loop downwards, iix it with the help of another needle, and then with the working - thread, going backwards, cover this loop with buttonhole-stitch worked very closely, and then cany the thread back through the picot from the point to the bar, to con- tinue the buttonhole-stitch, 'Bo= 45=— BAR ROSETTE. 'Ihis rosette has a pretty effect in joining , it belongs to the class of rosettes or spun-stitches Nos 46 AND *7.— TWISTED LACE-STITCH WORKED AS A BUTTONHOLE'STITCH : POINT D'ESPAGNE. The single-stitch line in No. 46 shows how to work a buttonhole-stitch, and at the same time wind the thread round by putting the needle through several times. The twofold buttonhole-stitch shown in No. 47 is that peculiar stitch that encloses the work on the opposite side ; the needle, as shown, is alwp.ys put in underneath, and the thread is twisted once, twice, or more times round it before the needle and thread are drawn through, in the same manner as in the cord- ing-stitch before described. Nos. 48 TO 52.— POINT D'ESPAGNE, Leaf : Point d'Espagne. — Tliis leaf will be easily kvorked from No. 48. Nos. 49 to 52 give varieties of rilling-in in corded stitch, arranged at different inter- vals. No. 49 is a tw^ofold twist. No. 52 shows how the length of the stitch and the number of the twists may be increased to suit the fiUing-in of an irregular ^pace. ^©s, 53 TO 56 ROSETTE PATTERN POINT D'ANGLETERRE (ENGLISH-STITCH), 'There are several kinds of rosette patterns, which, according to the number of threads stretched across, require a looser or closer spinning-stitch for the wheels, The spaces must be most regularly and evenly ar- /•anged. For the rosettes in No. 53 the threads must be first of all stretched in one direction, then plaited through in the opposite direction ; they are then worked in lines, according to design. The rosettes in the double trellis pattern, No. 54, have at first only one of the diagonal threads stretched across ; the second slanting thread is placed in the working of the wheels, as shown in No. 54. Rosettes with loose thread-squares, represented in No. 56, are particularly intended for leaves. No. 55 shows the laying on of the threads. No. 56 represents the work farther advanced. The pattern is arranged over the first thread, stretched across, which forms a kind of vein through the leaf ; these rosettes may be used in their varieties for separate, middle, or joining patterns. Nog. 57 and 64,— SPINNING-WHEELS, These are very useful for filling the empty spaces in foundations or patterns. No. 57 gives a wheel in which the thread is twisted over six thread bars in a line (point de Venise). This wheel is repeated in the border in No, 64 Nos. 58 AND 59. — PYRAMID PATTERN- IRISH- STITCH, No. 58 represents a thick pyramid pattern. First work the horizontal threads^ and over these weave in the two diagonal threads, crossing each other, and forming regular slanting squares, which are filled up with darning-stitch (point de reprise), nccording to design. Commence each pyramid at the point, ana work from that in separate lines, from the top to the bottom, and carry the thread again through the finished lines upwards. For the open pyramids in No. 59, loose stitches are worked over the horizontal threads stretched across, which are corded (twisted), and the loose stitches are firmly placed in in regular order. No. 60.— LEAF ORNAMENTATION. A row of point d'Espagne, enclosed by a very thick stripe of point de Bruxelles always four buttonhole- stitches in one (point d'Espagne). A line of point do Venioe in thick scallops forms the inner edge. No. 61.— DOUBLE LEAF WITH VE1^^ These patterns make a beautiful variety, and may be placed in various wa5^s. The pattern of the leaf en the left is in point d'Espagne ; that on the right is in loose point de Bruxelles, and has a vein. Such pat- terns, without reference to the kind of stitcheS; are called point de Valenciennes. Nos, 62 and 63.— TREFOILS WITH SEVERAL PATTERNS, These are only guides to show how the separate divisions of large leaves may bo filled up with various lace-stitches, and joined together in the middle with a wheel, star, &c. Such stars or wheels may be worked in any of the various lace-stitches of the designs already explained. No. 64.— SIMPLE LACE BORDER Materials Required for a Yard ; Four yards braid, one skein of thread, 8d.; tracing, 4d.— Price of mate- rials, tracing, and work" begun, including postage, Is. 8d. The mode of tracing, also directions for tacking on the braid, are explained. In this border the wheel given in No. 57 is used ; it also gives the interwoven wheel. For this latter wheel, the twisted bars are worked with a common spinning-stitch, and then the threads drawn round are carried through the wind- ings of these bars, so that the wheel-winding is ex- tended, and the weaving appears light and pretty. The inner part of border is the same as that shovm in No. 24,

Page 87

^QMfllTI mim T§ Til W8«'TABM.. POINT LACE. ZMBROIDERED NET (SEE I iGE 8o),

Page 88

74 THE YOUNG LADIES' JOUEKAL LACE STITCHES FOR ORNAMENTING AND FILLING UP VARIOUS KINDS OF WORK-ROSETTES, SQUARES, OVALS, &c. Nos. 1 TO 6.— BUTTONHOLE-STITCH BARS. The principal part of a great number of laoe stitches consist of the common and the twisted buttonhole-stitch (point d'Espagne), in which more or less close, short, or long bars are worked, and round these one or more patterns are looped for a finish. The buttonliole-stitch bars of an open edge must be short and rather tightly twisted, that they may be worked round by any lace pattern. No. 1 shows the working of this edge ; No. 2 the cording; at the finish of this the thread must be tightly drawn and fastened. Upon this inner edge the lace work is again carried on ; in every case, how- ever, the thread is at last looped on to the first single bar, and is wound back to the edge, where it is fastened. No. 4- is a rosette with bars, with an open ring, and a buttonhole edge round the ring ; the buttonhole-stitch loops are drawn rather long, and the thread is wound several times through. No. 3 : Treble rosette (twisted buttonhole-stitch), with the ring filled up. Work two lines of the bars ascording to No. 5, and then work buttonhole-stitch round the middle edge. No. 6 shows No. 3 finished. Nos. 7 AND 8.~SPINNING-STITCH OR WHEELS. These are made by drawing the thread round through the lengthened middle point of the stretched threads. The mode of weaving in the thread is clearly shown in No. 7. No. 8 shows the finished wheel. Nos. 9 AND 10.— OPEN WREATH ROSETTE. The rosette is shown in a greatly increased size in No. 9, so that the mode of working the spinning- wheels over the foundation of corded buttonhole bars is very apparent, and will be found to be very easy to work. Nos. 11 TO 15.-~PYRAMID ROSETTES AND OVALS. The foundation for the rosettes is shown in No. 13. They are worked in point de reprise. Nos. 11 and 12 show finished pyramid rosettes ; Nos. 14 and 15 pyra- mid ovals. Nos. 16 TO 21.~0VALS IN POINT ALENCON. These ovals give varieties for filling in, and will be readily worked from the ovals in increased size, which, if carefully studied, will be found to be much easier than working from directions. Nos. 22 TO 24.— W^HEELS WITH THREAD BARS. A single thread is stretched across, and the work is carried on ov&r the opening, and by cording along the edge, No . ji^^shows the mode of stretching the threads across. After having stretched the thii d thread across, which gives six thread bars, carry the last thread only as far as the middle, and there bend out the cross threads, and draw them round once or twice more with the working-thread, in order to be able to work a firm open ring in point d'esprit, as shown in No. 23. The thread that is wanting is supplied at the last. No. 24- : The wheel with the thick round pattern in the centre has fourteen single-thread ba.vs, and the raiseci round in the centre may be either in chain-stitch or a litt' 3 woven wheel. In the middle of the space to be fiU jd work a stitch or a cross upon the plain under ground. These centres serve to stretch the loose thread loops. Nos. 25 AND 2d.— TREFOIL ROSETTE. No. 25 shows the foundation for trefoil and bow rosettes. By winding the thread round the bar of the last bow the middle is reached, where all three bows are firmly drawn together before the leaf is filled up with the common point de reprise. Nos. 27 TO 29.— CROSS ROSETTE. After the stretched thread bows, according to No. 27, are united by a thread ring, the helping cross in the middle must be taken away, and the rosette completed with darning and thick cross-stitches. No. 30.— ROSETTE SQUARE. For this, two bows are required, which are corded and then joined with close cross-stitches, in the form of a little square. No. 31.— ROSETTE WITH SQUARE, FASTENED WITH BUTTONHOLE-STITCH. The outline of the square is worked with four buttonhole-stitches in the open edge, and this is filled up in point d'Anvers, in which the square is again corded all round, and ornamented in the comers with little thick rounds. Nos. 32 TO 42.— VARIOUS DESIGNS FOR FILLING IN SQUARES. These patterns are only a repetition of all the stitclies before described placed together. We give for each separate one a design representing the work in detail, in rather large size. No. 32 may serve as a giiide for stretching the threads in an open treble 'ge in all the five squares. Nos. 33 AND 40.— SQUARE, WITH RINGS IN POINT D'ESPRIT, AND PATTERNS OF CROSS-STITCHES. The stretched thread must be fastened with the thread drawn through, without the first loop row

Page 89

COMPLETE GUIDE TO THE WORK-TABLE. 75 shown in No. 32 ; the second inner row is stretched across, and worked inside, with thick patterns of cross-stitches. At the outer edge are rings in point d'esprit, which join the working- thread. These rings extend from one to the other, forming a circle. Nos. 34 AND 35.~SQUARE, WITH PYRAMID SCAL- LOPS AND INTERWOVEN WHEELS. The threads are stretched across as before de- scribed, and the wheels are interwoven into the inner triangle (No. 34). - The outer edge consists of large and small pyramids -interwoven, as shown in design. Nos. 36 AND 37.— SQUARE, WITH PYRAMID SCAL- LOPS, POINT D'ESPRIT RINGS, AND PATTERNS OF CROSS-STITCHES. The threads are stretched across according to No. 32, then worked according to No. 36 ; with the same thread is worked a thick pattern of eight or twelve cross-stitches, lying over each other in each of the little middle triangles, as shown graduated in No. 36. The thread must be laid on afresh for the outer edge, and then a pyramid and a ring worked alteriiately. The finished square is shown in No. 37. Nos. 38 TO 40.-SQUARE, WITH PYRAMID S^^-Afi- LOPS AND POINT D'ESPRIT RINGS. For this, two single loop-lines, with the thread drawn once through for a firm edge, must be worked into each other, exactly according to No. 32, and then according to No. 36, the middle triangles are filled up with single, and the large corner openings with three pyramid scallops. In the four spaces of the outer edge between the corners, adjoining the corner pattern, the rings are worked in point d'esprit. For the mode of working these, see No. 40. Nos. 41 AND 42.— SQUARE, WITH RINGS IN POINT D'ESPRIT AND OPEN SCALLOPS. The stretching of the thread differs from No. 32 in the second row, in adding which the inner space is narrowed off to a ring, which is closely worked in point d'esprit, uniting eight radii, forming a star. As shown in design, the outer edge consists of alter- nately point d'Espagne scallops and rings in point d'esprit. These maybe easily worked from No. 42, and must be corded with the thread after they are looped on, so that the next ring may be joined on imme- diately. DIRECTIONS FOR OLD POINT. Old point differs from modern point in tliis respect : it consists entirely of work. Braid is not used in it. The materials used are coarse crochet cotton and Nunn's thread Nos. 1 and 2. A tracing of the outline of the pattern must be made on transparent linen. The tracing must then be tacked upon toile ciree. The work is begun by tack- ing on the cord, made by twisting the crochet cotton, as seen in Nos. 1 and 2. These threads are made firm by a stitch taken through the foundation, and then twisted between the thumb and first finger of the left hand, and basted on at short distances, following the tracing with single stitohes. The basting-thread is shown in black on all the single illustrations, so as to be distinguished from the other stitches. The cord is most conveniently twisted from the outside to inside, as seen in Nos. 1 and 7. No. 3 shows one of the sim- plest shapes : a single-flower petal from a petal circle of the lace shown on the first page of this Supplement ; the six petals, each resting on a transparent button- hole ground, are enclosed in a cord-curved edge. The thick edge with which some of the patterns are worked on the outside, and shown in No. 4, is of cord, and finished with open rows of buttonhole-stitch, standing apart, and w^orked backwards (with No. 2 thread). The thick raised edge (thread No. 2), which catches into the cord, must have in the first row of stitches the thread laid in, as in No. 6, marked out in black. In the row going back, this thread is left out, but for this reason every stitch must loop in this black thread. No. 7 shows one finished petal to one of the small flowers, and the others in different stages of execution. The five petals of this flower have a row of wide- worked lace-stitches. In order to make the lace-stitch edge stand out as a thick ring, the thread is wound round several times at first, and then worked closely w ith buttonhole-stitch. The leaf shown in No. 1 illustrates veining. Two or more threads are twisted together according to the thickness you desire the vein to be, and are held to the required length by the thumb and first finger of the right hand, twisted from left to right, and fas- tened with one stitch at the point. The open ground iig made afterwards with fine thread in buttonhole- stitch, as seen in illustration. For the thick filling up of the middle rib, which is made like the thick leaf- stalks. No. 1 is a safe guide. This shows the two rows of buttonhole-stitcli going backwards and for- wards with and without thread laid in, and the way these are joined to the second cord edge. The needle and thread are to be drawn through the cord before beginning the next stitch. The way of making the leaf- veins is exceedingly in- teresting. No. 2 shows one of the two leaves joining on to the middle flower with a thick edge like the petal (No. 5), and open veins. These are made in the simplest possible manner, by winding over the dif- ferent thread parts. The first thread of the large vein is stretched the whole length, and then slung into the point of the leaf wound over, going back as far as the first side vein ; again catching into the edge, and going down to the large vein, the work is continued further. The thread used for this purpose is No. 2. No. 8 shows another leaf with open vein part, which would make a pretty" variation. It only remains to explain the open arabesques. No. 4 shows the open-work parts as a straight border, with the small open edge on one side, which all the patterns must have, and on the other side an edging lx)rder worked in the same way, but formed to larger points by making a few buttonhole-stitches more. The way of making the arabesques is illustrated in No. 4. The buttenliole bars and fiUing-in lace-stitches are the same as those used in ordinaiy point lace. MATERIALS REQUIRED FOR OLD POINT LACE ON PAGE 7o. JMateeials Required fob One Yard : One skein cro- chet cotton, and four skeins of thread No. 2. — Price of materials, including postage, Is. 4d. ; tracing, from which any length may be worked. Is. ; mate- rials, tracing, and work begun, 3s. lOd. All materials for lace are supplied from the London Publishing 0£&ce of this Journal on receipt of P.O.O for the amount. All Post-office Orders should be mad©. payable at Ludgate Circus,

Page 90

76 THE YOUNG LADIES' JOURNAL Foiisra? Lj^ob. NO. 9, 0,8. NO. 13, J^O. 14, zro. 22* NO. 16. JfO, s?o.

Page 91

COMPLETE GUIDE TO THE WCBE-TABLE. 77 |fO. 40. m^ 4^«

Page 92

THE YOUNG LADIES' JOURNAL HO. a. NO. 1. NOS. I TO S.—ILLUSTP-AXiONS OF DETAIL OF OLD -PAriffTt.

Page 93

COMPLETE GUIDE TO THE WORK-TABLE. 79 M NO, r»— LIMOGES LACE. INSTRUCTIONS FOR WORKING LIMOGES POINT LACE. This lace was invented for and brought out in Thh Young Ladies' Journal. Since its publication and popularity other persons liave imitated it» and thought lit to give the name to lace made with point braid, which cannot be properly called Li- moges lace. The peculiarity of Limoges lace consists in its being made with plain braid, and the edge is all worked to it. The braid is shown very greatly increased in size in the diagrams 2, 3, and 4, which also show the proper mode of working the lace, and the braid in the pro- per width is shown in No. 1> In working Limoges lace it is very important that the braid be soft and well made, and that the thread be of the size and quality mentioned. To meet any difficulty which might be found in procuring the materials, we have made arrangements for a constant supply from Paris, and are always able and happy to send them to our subscribers on receipt of the amount in stamps. For six extra stamps a small specimen of the work will be added to the materials. With every design we publish the quantity required and the NO. 3.- price. In black (silk) mate- rials it is equally beautiful as in white, and better adap- ted for some purposes. Materials for One Yard OF Lace shown above: Two knots of braid No. 13 ; two skeins of thread. — Price of materials and pos- tage, 9d. In black silk, 8 yards of braid and 8 yards of silk. — Price of ma- terials and postage, 2s. Id. ; tracing on paper of one yard, 8d.; beginning, Is. extra. Trace the pattern upon blue paper, or cut out the design from the Number, and paste it upon thin calico. Tack the braid upon the paper, holding it rather loosely, as the semi- transparency thus secured adds much to the beauty of the lace. Then run a very fine cotton through the whole length of the braid, care- fully keeping it inside the curves, crossing from one edge of the braid to the other wherever the pattern demands it. The curves will then retain their exact shape when taken off the paper. When you come to a. corner where the braid folds over a few extra stitches will be required to make it neat and firm. Then commence the edge, which consists only of a loose butt^Bbole-stitch, with a tight one of the same

Page 94

80 THE YOUNG LADIES' JOURNAL kind in every loose one, so that the edge is entirely- finished in one row. When you are edging the braid nearest to that already done, the bars must be intro- duced to connect them. This edge, with the bars, is also done in one row, thus : — Having arrived at a spot where a bar is to be made, carry the thread from the stitch you have just finished, and pass the needle through the stitch you desire to connect with it ; then, in returning, twist the thread two, three, or more times round the bar till the two threads form a little cable, and continue the edge you are working until it becomes necessary to make another bar. "When the braids so nearly touch as to leave no room for a bar, they should be joined by a herringbone-stitch. When the space is so large that it must be filled up with a netwerk of bars, instead of passing the needle through an opposite stitch, pass it round the middle of a neighbouring bar, m^aking a tight buttonhole- stitch upon the perfect bar to secure the one in pro- gress in its proper place. Several bars may be made, when desired, by taking the single thread from bar to bar, or stitch to stitch, work the twisting round the already half- made bars as you return. To fasten off the thread, make half a stitch — that is, the loose buttonhole-stitch; and then run the thread through the braid for half an inch and cut it off, then bring your new needleful through the braid at tlie point where you left off, leaving the knot at the back of the braid, and finish the stitch. The extra edge is only the same stitch as the ordinary edge, worked with three tight stitches instead of one. The little spot introduced in several places is made thus : — Make one bar across the space, and complete the second one (which crosses it) as far as the centre, where the two bars touch each other; then darn round, under one thread and over another, until the spot is large enough, then finish the twisting round of the imperfect bar. THE STITCHES USED IN LIMOGES POINT. The illustrations of the mode of making the stitches wo think will render the work very simple for our readers. No. 2 shows the first loose buttonhole-stitch ; No. 3 the second or tight stitch, which makes the first secure ; and No. 4 the twisted bar. In working the tight stitch. No. 3, some beginners do not draw the stitch tight enough. This may be done without drag- ging the braid by placing the thumb of the left hand upon the knot while drawing tight, EMBROIDERED OR DARNED NET. The design shown on the cover illustrates the beauty of this work. A number of most ' effective patterns can be worked in it. Upon black, white, or coloured silk net, worked with fioss silk, they make a good imitation of blond. A tracing must be made on transparent linen or paper, and the net placed over it ; both tracing and net are next tacked upon toile ciree. The pattern is then worked in common darning-stitch. The insertions, if worked upon Brussels net with flossette, wash well, and are useful for placing over coloured ribbons as trimmings for dresses, fichus, &c. Some patterns are finished with pearl edges ; others are buttonholed ; occasionally lace stitclies are intro- duced, which can be copied from those given in these Supplements. Materials Required for One Yard of Embroidered Net shown on Page 73: 1 yard net, two skeins fiossette, 1| yard pearl edge.— Price of matorialSj including postage, Is. ; tracing on transparent linen, from which any length may be worked, 6-d. Mate- rials^ tracing, and work tegun, 2s. 6d. VENETIAN POINT. Venetian point is useful, strong," and suitable for many purposes, such as trimmings, collars, cravat- ends, &c. MATERIALS USED IN VENETIAN POINT. Venetian point should be worked upon Irish linen or embroidery muslin with nun's thread. Cotton a la croix is needed where there are raised patterns, to re- quire throwing up for effect, and fine crochet cot* on DIRECTIONS FOR WORKING The tracing upon linen is easily done by the use of cOpying-paper, which can be had of any stationer. Place the paper upon the linen, and the design over it, and mark over every part of the design witli a stiletto or some other rather blunt point ; the tracing will re- main upon the linen when the design is removed. When the tracing is ready, tack it upon a piece of paper or toile ciree, to prevent puckerings in working : run the outside edges with the crochet thread in small stitches, carefully observing the delicate turns of the pattern; work over this thread in neat buttonhole- stitches, making the point-lace dotted bars as you go on, taking pains not to catch the linen underneath. Where the linen is to be cut away inside the leaves, &c., a second buttonhole line must be worked towards the part to be cut away to make a neat edge to work the point-lace stitches upon, which are worked with Hnen thread Hke the buttonhole edge. Thick rounds must be first padded with soft em- broidery cotton to the necessary thickness, and then buttonholed. Take the \Aork off the paper, and cut away the linen from beneath the bars and from the inside of the leaves, pines, &c. ; then tack it on a fresh piece of paper, and work the point-lace stitches. TRniMING t VENETIAN POINT. Materials for a Yard : Two skeins cotton a la croix No. 10, one skein nun's thread No. 2. — Price of ma- terials, including postage, and pattern traced upon muslin ready for workinir, Is. ^d. Materials, tracing, -and work begun, including postage, 2s 9d. DIRECTIONS FOR WASHING LACE. Lace is easily spoiled, both in washing and getting up, if not cnrefully mannged. If the following rules are observed, it will look equal to now after it has been washed many times : — Put two quarts of rain^ water, 2 oz best yellow soap cut very thin, and 2 oz soda into a jar ; when quite dissolved, put in the work, and place the jar in a cool oven, and let it stand all night. Take out the lace, and put into clear water, and let it remain for a few hours ; tli-en take it out and pin out on a doth or board to dry. If the lace i?equires to be rather stiff, dissol\^ m tii& rinsing- water a lump or two of white sugar. Starcb should never be used:

Page 95

HE csMFiiTi mim » TIE TABW, IlTSTK.TJ0TI03AiNT :b{lowers, :b{oljage, mTC, A NEW COLOURED DESIGN, DAMASK ROSE AND FOLIAGE FOR PRACTICE.

Page 96

m THE YOUNG LADIES" JOURirAL CfmduJ!Xc^^(n^ diagraivj op coloured design for damask rose. DIRECTIONS FOR POONAH PAINTING ON VELVET, SATIN. SILK, &c. To make the directions for Poouab Painting as useful and practical as possible, we %ave prejjared 4 t'amask Rose aud Foliage in Colours, as being a simple design for a beginner to practise with. The diaerrams for formulas for the rose will also give a correct idea ot preparing a more complicated design, such as a group of flowers like our June. Roses, &c.

Page 97

COLOURED SUPPLEMENT To The YOUNG LADIES' JOURNAL. COMPLETE GUIDE TO THE Work Table. DAMASK ROSE. POONAH PAINTING.

Page 98

11

Page 99

COMPLETE GUIDE TO THE WORK-TABLE. 98 9l/^/ FORMULAS. The first thing is to prepare the formulas. For chis, lay tracing-paper over the picture, and with a tine pencil trace evenf linCy showing the shape of every leaf and stallv ; then number every space which represents a leaf or stalk, taking care that leaves with the same number upon them shall not be very close together. Choose a small part of two leaves nearly opposite each other, and mark them df for " Conducting Points." {See Diagram of Coloured Design.) When you have numbered every leaf, you will know how many Forms yau will require for the group, and you must provide as many sheets of cartridge-paper, which you will number 1, 2, 3, &c. Now UiV^ cartridge- sheet No. 1, and lay over it a piece of carbonized paper th© same size, and over both lay the trac- ing ; take an ivory stiletto, or other blunt-pointed instrument, and with it go over the outline of each leaf, &c., which is marked No. 1 on Dia- gram of Coloured Design. Repeat this proce.*" with each of th{\ succeeding Forms. The Cove- ducting Points must be put in ever;^ Form, aa they are the only guides for keeping each Form , in its right plact^ ; they do not show, as such, ic Diagram No. 1, V)ecau8e they are parts of thft leaves which are cut in that Form. See that you Imv© a sufficient niimber of Formsj that the part*

Page 100

84 THE YOUNG LADIES' JOURNAL ^ ^ cut out may be at a convenient distance from each other, that in using the colours they may not run into each other, and also that the Forms may not "be weakened by being cut too much in one part. Leaves and flowers of various colours may be cut in the same Form, provided the different^ colours \e far enough apart not to interfere with each other. Each green leaf (except very small ones) must be cut in two Forms— th^nt is, one side of it *a one Form and one in another, by which means the space is divided so as to get a line for the middle vein. A small and very sharp pair of scissors must be used for cutting the apertures in the Form&^ The instructions here given are abso- lutely carried out in the Diagram of Coloured Design, and in the Diagrams of Formulas Nos. 1 to 5.° When the diagrams have been traced and cut, they must be varnished twice over. TO MAKE THE VARNISH. 1 Gz. resin, 1 oz. shellac, 4 oz. methylated spirit. Break the resin and shellac up small, and put them with the spirit into a bottle; shake^ frequently, and the varnish will be ready for use in two days. This varnish will so strengthen the cartridge- pa'^r that the Forms will last for years, and, by wiping them after use with a damp sponge, you may remove the colour which ha» accumulated

Page 101

.-^xMrLETE GUIDE TO THE WORK-TABLE. 85 ^3 apon them during tbe process, so that in repro- ducing the group many variations may be made in the colours used. If the cartridge-paper is sufficiently sized by the maker, it will take the varnish. This should be tested previous to cutting the formulas. If insufficiently sized, it will be necessary to purchase some size. Iiilute it, and brush over both sides of the paper with it. MIXING COLOURS. lilix the powder colour and a little water to per- fect smoothness with a palette-knife. All shades of green for foliage may be produced by mixing Prussian blue and gamboge (gamboge cannot be powdered), with sometimes a little burnt sienna, and sometimes a little carmine, one or other of the colours predominating according to the shade of green wanted. Beautiful varieties of gray may be made by mixing infinitesimal quantities of many colours with plenty of Chinese white. In a general way, water alone is sufficient with which to mix the colours; bat when pure scfcrlet and Chinese white are used, they must be mHed with weak gum-water, or they are apt to rub after they are dry. Whenever pure scarlet is used as a grounding colour (as in scarlet geraniums, &c.), it should be shaded with carmine. For very dark red flowers, mix a little black u;Jitl? red for tbe intense shading.

Page 102

THE YOUNG LADIES' JOURNAL, '^) POONAH PAINTING ON VELVET. Place the Form upon the velvet, or other groundwork to be ornamented, using paper- weights, or anythino; small, heavy, and smooth, to keep it steady. The brush, which is made ex- pressly for this work, has no point, and is to be held perpendicularly, the colour being gently rubbed in by moving the brush round and round. The brush should be only just moistened equally all over with the colour, and then applied to the aperture in the Form, and the colour worked into the velvet, close up to the edges of the opening in the Form, so as to ensure the exact shape upon the velvet. A brush must be devoted to each colour. The two small apertures nearly opposite each other, which ocetir hi every Form, are called " Conducting Points," which, having been painted through Form No. 1, will show through the cor- responding apertures of Forms Nos. 2, 8, &e., and if these are made to fit exactly, all the other parts of the picture will fit too. When all the parts in one Form are finished, the succeeding Forms will cover up the parts done, and open new spaces to be painted. All stalks and touches which are too fine to be intro- duced into the Forms must be put in with a small sable brush. As the picture can only be produced upon the groundwork by successive shades of colour, let the iirst f*hade be always of the palest tint in the leaf ;

Page 103

COMPLETE GUIDE TO THE WOIIK-TABLE 87 ^ J" X With it fill the whole of the aperture, then the darker shades may he worked over it, one after the other, in their proper places, according to the copy. If painting on velvet, it is best to finish each leaf as you go on, because, after the first shade is washed in, the velvet will take the suc- ceeding shades better while still damjj. In leaves, more especially the larger sorts, with strongly-marked veins, the veins and shading are prod-uced by the aid of veining papers, which are made by cutting one edge of a piece of varnished paper to the shape of the vein, and laying it over the aperture in the place where the vein should be, after the Form is laid upon the velvet, begin- ning with a shade not much darker tlian the lio-htest, and this should be carried to the very t^ud of the vein, but not quite to the edge of the leaf, the darker shades receding more and more towards the darkest part of the leaf, then work, ing in the darker shade used for the vein upon the little veining paper, just letting one edge of the brush touch the velvet ; this will make the veir very quickly, and produce a soft and beautiful effe'ct ; more and more shade can be put on accord- ing to the colour of the leaf, always beginning to work the colour in at the darkest point. When we supply Forms, pieces of varnished paper for this purpose accompany each set requir- ing them. Though the Forms are numbered!, 2, 3, <Jcc. \i.\f not at all necessary to obsarve their

Page 104

88 THE YOUNG LADIES' JOUKNAL. order, so long as care is taken to paint the " Con- ducting Points'* first of all. The delicacy or xae veiTes may, in some in- stances, be considered a drawback, but this objec- tion may be successiully obviated. , Those accustomed to laying ferns upon white wood, and sprinkling in the shadow, will under- stand how very beautiful and more permanently useful these pictui'es may be made by that pro- cess after the velvet is soiled by wear. The process consists in mixing a good quantity of wlour, and after dipping in a tooth-brush, take )he brush thus charged with colour in the left Aand, and holding a knife in t'le right hand, draw the blade over the bristles of the brush away from the velvet, having previously covered the picture by a Form made on purpose. The «hade should be put on very sparingly next the lowers, and increased in depth towards the edge f the velvet. All the small spaces among the -eaves in the middle of the picture may be easily and quickly dotted in afterwards with the finish- ing sable. Black, indigo, or brown make excellent shading. The price of the Form and the colour (whichever is preferred) for shading, must be in accordance with the size of the group. POONAII PAINTING UPON PAPER. The process must be slightly varied ; the brush must be as nearly dry as possible when applied to the surface, and after each application the paper must be allowed to get quite dn/ before you touch the same spot again. If you are in any doubt about the proper dryness of the brush, it is a good plan to begin each application, after washing in the first shade, by dabbing the brush gently straight down upon the paper ; the result of this action will be a number of minute dots. If you, by ;his means, find the brush is in proper condition, you may then rub the colour in, or the picture nay be finished with the dotting process, which has a very pleasing effect, provided the dots be '^}e)'t/ small, and each succeeding shade very slightly larker than the last ; thus the shades may be made to blend as beautifully as if rubbed in. PREPARATIONS FOR POONAH PAINTING ON WOOD. In Poonah Painting upon wood it is necessary Jirst to cover every part which is to be painteH with Chinese white mixed with gum-water, and hiid on rather thickly; and upon this prepared white surface the colours will preserve their own proper hue, but unless this is done the tint of the •^^ood^. although it may be as near white as wood can naturally be, will spoil the effect of the (^oloura. The dotting process is particularly ap- plicable to wood-painting, because the rubbing is ant to disturb the grounding of Chinese white. Many useful and pretty articles are made in white wood for the purpose of being ornamented with floral designs, such as boxes, hand-screens, &c., and even a plain deal gipsy table, which any country carpenter can make, looks exceedingly well when painted, and it can be easily varnished with best copal varnish, which before being applied should be warmed, as well as the brush, and the saucer into which it is i)oured. Fill the brush with varnish, and beginning at the top, take a firm, straight, and rather quick stroke down- wards, tlie loay of the grain; begin every stroke at the top, and never take the brush off until it reaches the bottom. When you have gone over all the surface, let it remain for two days (out of the way of dust) to get dry, when it will require a second coat of varnish. DIRECTIONS FOR PAINTING UPON SILK OR SATIN OF LIGHT SHADES. When the colour of the ground to be painted upon does not accord with the colours of the flowers, the first wash of each colour must be mixed with a little Chinese white and gum- water, so as effectually to hide the ground ; the darker shades may afterwards be worked in with the pure colour. In some cases Chinese white is not required for the leaves, as on a pale blue ground ; they need only be made a little yellower, as blue is a part of green ; a yellow ground will take green in the same way, adding a little more blue. In this case all flowers but blue will require the first shade of colour to be mixed with Chinese white. Formulas and copies can be had of the follow- ing and other designs : Dahlia Group 12 by 11 inch. Tulip Group ]1 „ n ,, Summer Flowers 14 „ 14 „ Convolvulus 0 „ 6 „ Iris 6 „ 4 ,. Coial-Pink Geranium 8 „ 0 „ Wild Rose 5 „ 6 „ Azalea 7 „ G ^, Primula and Solanium . . 7 „ 7 „ Geranium Fuchsia \ Yellow Jasmine and I 7 „ 7 .. Yellow Rose J Simple Pink Rose 5 „ 5 ,„ Cross with Roses II „ 8 ,^ Spray of Damask Roses . , 8^ „ 4i |^>

Page 105

rillTI miM T§ TIE Tiiii, KNOTTING OR MACRAME. FRINGE IN TWO COLOL^HS. ZS-nrO^TTI^CS- OZS. ]VC.A.OI2,.^^nXE<

Page 106

90 THE YOL^NG LADIES' JOURNAL DESCRIPTION OF ILLUSTRATION ON PAGE 89. • FRIXGE OF TWO COLOURS. This fringe is worked with twenty-four str<ancls of one colour, and eight of the otlier. ' They are put f»ver a single leading bar, and l^notted as shown in No. 4. A sncond bar is then laid on close to the first, and the strands are worked closely over it (see No. 5, in progress and finished). The slanting bars are shown in progress in Nos. 7 and 8. They are ar- ranged to form a square at the top, and two bars v/orked closely with spaces, alternating for six times, then the second square. The work must be continued row by row. After beginning with the square of bars of the dark colour work a line of six Solomon knots with the light colour, then a second square of bars with the dark, continue for the length of the cushion. For the second and following lines work the bars "Wer the" first and secMid outer strands of tlie light colour, and then five 8olomon knots witli the light colour. In this row the light, colour is worked once between the bars. After this explanation we think it will be easier to work from the design than from description. The raised circular balls, forming the diamond in the centre of the bar diamond, are worked \v'ith four Solomon knots, after finishing which, take the two centre strands, pass them together between the second and third strands at the top of the knot, and draw them down at the back, and work one Solomon knot ; when the heading is worked the threads must be strongly tied together at the bottom, to form a loop in which to pass the tassel strands through, whicli are afterwards bound round with a needle and thread; tlie thread is wound evenly round five or six times, and the needle is passptl from the top to the bottom to fasten it.

Page 107

COMPLETE GUIDE TO THE WORK-TABLE. 91 KNOTTING OR MACRAME. Kivottlng or macrame work has recently revived in interest, therefore we repeat our elementary directions which were produced some years since, but have long been out of print. To those directions we add very considerably, in order to make the working of the various designs as simple to our readers as they can be made. The origin of knotting is very remote. A book of designs was printed in Venice as" long ago as 1530 ; it was then known as punto a gruppOy or gruppino. In Italy it was used for trimming priests' vestments. The name macrame was given to the work by the Genoese, who employed it for trimming bridal-dresses. The word macrame comes from an Arabian word which signifies a large serviette or cloth, which had a fringed border. Our English name knotting is the more correct one, as the worlv is formed entirely by knots in varied groupings. TOOLS REQUIRED. Tiie lead cushion is the first thing. Our design shows a German cushion for the purpose ; we, how- ever, prefer to use one without a handle. The cushion may be fitted into a box. The box should be 15 inches long and 4 inches in height, and 5 inches in width ; it should hp;ve a lead weight running the entire length not less than | fnch in thickness. The box can be covered with Berlin work or an embroidered band. The lead must be enclosed by a cushion filled with bran, and covered with a piece of satin or velvet, or even better, a piece of good, finely-striped ticking. The covering should be a fast colour, so that the dye does not come off to soil the work. The cushion should be fully 2 inches above the wooden box, in order tliat the leaders may be easily fixed to it. If it is not easy to get lead for the cusliion to fill it with sand is the Bext best tiling. CLASS-HEADED PIXS. Two sizes of these pins may be procured for knot- ting. They are very convenient to use, as the large heads prevent the loops from shpping. STEEL CROCHET HOOKS. The crochet hook is often very convenient for draw- ing the knots through ; these must be chosen of a size to suit the material to be worked with. A sharp pair of scissors will be found needful for cutting the lengths evenl}' . iMATERIALS. Macrame cords arc now to be had in several sizes both in plain and mixed colours. Crochet cotton, linen thread, silk twist or cord, and gold and silver thread, are all suitable materials for knotting, and make more or less elegant fringes, laces, insertions, and headings for trimming articles of dress, furniture, and fancy-work. Knotting can be worked into linen, &c., by drawing the threads intended to be made into lace or fringe through the material, and looping once ; the material can then be fixed to the lead cushion, and the threads knotted. Java canvas and crash, or strong Irish linen or huckaback, may be ornamented with knotting by drawing the threads one way out, and leaving the others to be knotted. GENERAL HINTS. The great beauty of knotting rests in the evenness of the work, and as no tracing or outline of any kind can be used, clever manipulation is needed and cor- rect distances must be fe^ept: these can onlv be mea-

Page 108

9^ THE '5?OTNG LADIES'^ JOURNAL S9» t3i

Page 109

COMPLETE GUIDE TO THE WORK-TABL\ 93 NO. 17 NO. 19* NO. 31^

Page 110

9^ THE YOUNG LADIES' JOURNAL sured by the eye, added to which you must be quite certain to keep the threads in the order they are at tirst looped on so as not to twist or turn them. Be- ginners must before tryino- patterns practise the varied knots whicii form them, and be sure that they can tie them firmly and evenly. Try a pattern pre- vious to working it, measure the length of the strands needed to form it, and cut your strands into the lengths required before beginning the work. No. 1.— FKINGE. After learning the mode of laying on the heading, working the macrame knot and slanting ribs, this fringe may be attempted as it is but a simple pattern ; threads about a yard long will bo needed for it, and the entire mode of working each detail is clearly given in :Nos. 4- to 9. We abstain from further description, knowing that with the assistance of continued refe- rence to the diagrams the work is more likely to be correctly done than it could be from description. No. 2.— FKINGE. The heading is like that shown finished at the end of No. 5. The slanting ribs are the same as those shown in Nos. 6 to 8, but are worked with eight instead of four strands ; the double Solomon knots are worked in the same way as shown in No. 10, but with four instead of eight Solomon knots- No. 3.— LEAD CUSHION FOR KNOTTING. The mode of making the cushion is described under tools used for knotting. We now call attention to the mode of laying on the threads or bar used for the foundation. The work on the cushion is No. 1 Fringe in progress. Observe the mode of placing the pins and of winding the strands into loops for continuation of heading bar, when the length on the cushion is finished. The foundation lines are also known as cross bars and leaders. No. 4.— LEADING-BAR ^VITH THREADS LAID ON AND MACRAME KNOT. No. 4- shows the manner of fastening on the threads, which should be done with a crochet-hook. Take tlie loop in the middle and hold it before the bar, pass tlie two ends upwards behind the bar, bring them down over it, and under the loop draw up tightly (see 4-rt). The two loops— which, one after the othei-, are knotted with the threads on the right; round the thread on the left hand only — must bo worked with the first loop knot for the beginning (see 4-i, and for the finished knot see 4c). No. 5.— BAR WITH KNOTS. No. 5 shows tlie knots in progress, also finished heading and the mode of laying on and working over a second leader-line or cross-bar. ba and 5.^ show knots worked over the under cross-threads, which are now laid on, and knots on knots, as descrit)ed in No. 4, pkced in a line complete the heading of the trim- ming, as shown in No 5c. No. 6.— HEADING WITH SL ANTES G RIBS. The knots in No. 6 follow closely upon each other, forming slanting ribs, which are turned in two opposite directions, and are worked to form double and treble slanting ribs. The separate looping of the ribs of knots resemble each other exactly. In working from the right to- wards the left the knotting tln-ead is looped from underneath round the thread laid on ; whilst in goin^ from the left towards tlie right, the loop is formed by placing the knotting tliread over the thread laid on. To make the rib, always make a complete double knot round the outermost of the threads laid on with each of the remaining threads. Great care must always be taken to hold the thread that is laid on firmly with the left hand, whilst the right makes the loops round it. No. 6 also shows the cross-knot which completes the slanting rib (see 2-2). No. 7. -SLANTING RIB IN PROGRESS FROM LEFT TO RIGHT. No. 7 shows the number of threads, their position and gradual workino^ Follow 7a for the working of first slanting rib. Tb shows the changed position of the threads after working the first knot of rib; 76- shows the first slanting rib finished, and the position of threads after the first knot of second rib. No. 8. — SLANTING RIB IN PROGRESS FROM RIGHT TO LEFT. Now the worker must give attention to Ba, whicli shows the first looping and position of threads after it ; 8b shows the first looping and making of the first knot ; 86' a finished rib ; 8d second rib in progress. No amount of directions that we can give could by any possibility be so clear to the reader as tliese num- bered positions of the threads. It is generally considered that it is easier to leurn to make the knotted ribs from the right towards tiie left, as it is the more natural way of working. No. 9. — HEADING - RIBS A^'D DIAMONDS FINISHED AND IN PROGRESS. This diagram will materially assist the worker in executmg fringe No. 1, ns it is here shown in an in- creased size with the scallops in progress. Observe the length of threads left to form diamonds between the slanting ribs, also the knots finishing the diamonds before beginning two other slanting ribs. No. IG.-RIBS WITH EIGHT STRANDS kHiD DIA- MOND CENTRE, WITH TRIANGLE SIDE FORMED OF SOLOMON KNOTS. Nos. 11, 12, 13, Ax\D 14.— SPHERICAL KNOT. The spherical knot placed singly or in triangles, and diamonds between slanting ribs, gives a rich heading to a fringe. It is.begun with a flat Solomon knot, fdr which four strands are needed, the two centre strands hang straight, the right-hand thread is crossed hori- zontally over the two centre strands and under the left-hand strand. The left thread is crossed under tlie two centre strands and over the right-hand strand. The two centre strands are now drawn through to form the centre of spherical knot, and a pin is passed through the knot into the cushion (see No. 11). To complete the knot (see No. 12) pass the left-hand

Page 111

COMPLETE GUIDE TO THE WOIIK-TABLK. 95 tlireitd over tiio two ceiiiie strands and under the right strand, and the right-hand strand under the two centre strands and over the left-hand strand; draw up. No. 13 shows a spherical knot with two Solomon knots worked under; No. 1* shows it with but one above and below. The irregular placing of the diagrams is unavoid- able because we are obliged to keep our Work-table Guide Supplements to one size on account of binding them. Nos. 15, 16, AND 24.-RICH KNOT WORKED WITH EIGHT STRANDS. This knot is composed of a Solomon knot at the top and bottom of two single chain together, worked with six strands. No. 17.— CROSS KNOT FOR OPEN DIAMONDS. This knot will only show well in coarse materials. Begin with two Solomon knots, as shown on the i-ight - hand side ; the centre and left strands show two finished cross knots, and the figures the mode of dividing tlie strands to form open dia- monds. After working the two Solomon knots cross the right-hand thread under the two cen- tre threads. The left-hand thread over the three strands, then pass it at the back through to the front between the top of the first and second strands, and work the riglit-hand thread in the same way through the top of third and fourth strands. Now cross the outer strands, slanting over the front of the knot, and pass them through the loop below the knot on each side. Begin again as shown in lower part of diagram. No. 18.— SPIRAL CORD. This cord can be made with any required number of centre strands, and is always worked with the two aken from each side alternately. This heading may be made of whatever depth you please. No. 20.— WAVED BAR. This bar is formed of four strands ; five singles are knotted over two strands in succession with the left- hand thread, then five singles with the right-hand thread alternately. No. 21.— FRINGE FOR JAVA CANVAS. Take eight threads, work two slanting ribs of six knots each ; cross all the threads with a Solomon knot worked with two threads of the canvas. Be careful to observe the correct distances, and work tk "^ second line of pattern alternating the threads. Nos. 22 AND 23.— PlCOr HEADING. The first diagram shows the mode of pinning on strands to form a picot heading. Two strands are fas- tened by a pin to the cushion ; two or more Solomon- knots are worked according to the height of the heading. No. 23 shows picot heading with the lead- ing bar laid on, and the threads of the picots knotted round it. No. 24.— See No. 15. No. 25.— WAVED LOOP. Tlie loop is composed of four strands, and three macrame knots worked with three strands ; the right- hand strand is left hanging until the third knot is worked, when it is used with tlie other three strands to form the Solomon knot closing the groups. No. 26.— SIMPLE CHAIN. Begin with a Solomon knot with the two centre threads ; work with the right-hand thread a single chain over the left, then with the left-hand thread a a single chain over the right. This is sometimes used in fringes. No. 27.— LEADING BAR WORKED OVER WITH SOLOMON KNOTS. Two strands of the length for the work must bo pinned through the middle for the bar, two working threads are required which must be three times the length of bar, with these cover the bar with Solomon knots, then draw strands througli eacli of two loops, pass over two and repeat, work each group with four Solomon knots. Nos. 28 AND 30.— KNOTTED HEADING OF FRINGED THREADS. This is useful for serviette, dinner-waggon cloths, kc. Separate the threads in six strands, pass the second right-hand strand round the left and draw it out between the two. The second tie is like the first part of a Solomon's knot, tie the third and fourth strand as described for the first and second, alternate the strands and tie in the same way in the second and following rows. No. 29.— FRINGE FOR KNITTED COUNTER- PANES, &c. The edge of the countei-pane is shown, through this the loops to work the strands into, must be drawn, passing over two stitches of the knitting draw up a single knot and leave the loop the length shown in the design, draw through every loop witli double strands fastened as described in No. 4. In every fourth loop draw through a double strand without knotting it (see design). Observe, two strands of this group are left unworked ; work a row of two Solomon knots together with two alternate strands from each cluster. In the next row two clusters of two Solomon knots, and in the third one Solomon knot to finish the scallop, twenty strands are knotted together once fo'' the fringe. No. 30.— See No. 28.

Page 112

THE YOUNG LADIES' JOURNAL

Page 113

TATTING, •P-A.TTPIIWCS'

Page 114

THE YOUNG LADIES' JOURNAL DESCRIPTION OF ILLUSTRATIONS ON PAGE 97. WORK-BASKET ORNAMENTED WITH TATTING. The basket is of gilded wicker and is square in phape ; it is lined with peacock-blue satin, which is flrawn up to form a bag-like top ; each side is orna- mented with a deep-pointed drapery composed of tatted rosettes, one of which is shown in the second illustration of cover in the full size. The foun- dation for the rosette is a small steel ring mea- suring half an inch in width ; with peacock - blue Berlin wool crochet twenty-four trebles under the ring, join round, and fasten off. Fill a tatting shuttle "with the wool, Work four double knots, five picots •separated by one double knot, four double knots close, draw the wool through the top of one of the trebles, and repeat ; work twelve closed eyes, passing over one of the trebles each time, join to the preceding closed eyes by drawing the wool through the fjrst picot after working the fourth double knot. The tuft in the centre is made with Berlin wool and gold thread, as follows : Take a piece of mounting-wire, place one half upon a pencil, turn two lengths of wool and one of gold thread twice over it, cross the wire to fix the loop, repeat until you have made a piece eight inches in length, sew it to the centre of rosette with a needle and wool, as shown in the illustration. The drapery for each side is composed of three rosettes at the top rows, two in the second, and one at the point ; the drape is sewn to the basket with a needle and wool ; the corners and handles are orna- mented with clusters of woollen balls, directions for making which were given on page 14-. The largo balls are made over circles of card the size of a five- shilling piece, the smaller ones over card the size of a florin.

Page 115

COMPLETE GUIDE TO THE WORK-TABLE. GQ TATTING. INTRODUCTION. There are indications that this pretty and elegant work is Hkely to be revived in some forms; even \/ere it not so, our " Work-table Guide " would not be complete without full directions for it. The Work Basket design on the cover of this Supplement is one that we have just received as a novelty from Berlin, from which city comes many of our most beautiful fancy-work designs. The introduction of tatting as fashionable fancy work in England was due to Mademoiselle Riego as far back as 1850. She began to publish books on it, and to her we are indebted for many improvements in the mode of working it. We published her instruc- tions for tatting in our Journal in 1864. Until tatting was superseded by point laee, about 1870, it was very fashionable and favourite work (and it deserved to be so) as pretty trimmings for dresses or mantles, insertions or trimmings for underlinen, and for cuffs and collars, doilys, cushion-covers, anti- macassars, and designs for ornamenting work or paper baskets, &c., can be made in it. Tatting is rather puzzling tc learn at first ; but when the stitch has once been acquired the work is of the simplest cha- racter It is well suited for drawing-room occupa- tion, as it needs few tools, and it can be taken up and laid down without injury to the work, and one can always tell exactly where one is in a pattern, as it is not mysterious in progress like knitting, nor does one stitch depend in any way upon another. Tatting is strong work ; indeed, when once done it is difficult to undo. The old-fashioned mode of tatting, called English tatting, consisted of a series of knots without purls or picots ; these were worked with one thread only, the helping thread not having been introduced. The helping thread strengthens the work very con- siderably, and assists in forming many variations of pattern. The Josephine knot is also a great improve- ment to many patterns. ^ IMPLEMENTS. Nos. 1 AND 2.— SHUTTLE. The tatting-shuttle is of the first importance ; tTi» may be had in ivoiy, pearl, bone, vulcanite, and to^' toise-shell ; for fine cotton or silk the latter is prefe** able to all others on account of its smoothness and lightness. The size of the shuttle must be regulated by the size of the material you work with. Attention should be paid to the shuttle being well made, so that the brass pins which fasten one part to the oth^** should not protrude and render the shuttle difficult ta draw through. To thread the shuttle, you will find there is a hole pierced through the centre piece ; pas§ the cotton through this hole, and tie a knot only jus"., sufficiently large to prevent the thread from slipping"^ then wind your shuttle full; but not too full, so astQ expand the ends over-much. THE RING AND PIN. This little implement is preferred by some workers to a pin or crochet-hook for drawing the material through the picots ; it is kept by some workers on tlv> thumb to have it in readiness and to save taking \jl the pin or hook. We think it is rather a hindrance than a help to the beginner. The rings are made ii> two or three sizes. MATERIALS. Silk, fine gold or silver twist, thin cotton, and th,. finer kinds of wool, such as Andalusian or singR Berlin wool, are the materials generally used for tatting Coarse materials fill the shuttle too soon to render it convenient to work with them. Nos. 3 TO 10.— STITCHES, AND HOW TO W^mF. THEM. The single and double knots are the only difficult parts to learn in tatting ; if you try for some time and fail, as is the case with some persons, it should not discourage you. as the stitch is really simple if pei»

Page 116

THE YOUNG LADIES'" JOUUNAL KO. 4

Page 117

COMPLETE GUIDE TO THE WORK-TABLE. 101 KO. J&. fiai4* NO, J$.

Page 118

102 THE YOUNa LADIES' JOUEKAL severed in. Our illustrations render it as clear as any explanation can do. Hold the shuttle between the thumb and forefinger of the right hand lightly, hcJd the thread between the tsnumb and forefinger of the left hand, leaving the end aboutl six inches long; pass the end downwards towards the palm, and the loop round the second and third fingers (see No. 3), hold the threads tightly, keeping the right hand lower than the left. No. 4 shows the passing of the shuttle to form the first knot ^1 and 2 in diagram). No. 4 also shows the thread held between the forefinger and thumb of the left hand ; 3 and 4- of this diagram show the angle at which the thread is held over the third and fourth fingers of the left hand, the dotted line showing the way the shuttle is moved under the thread held out by the second and third fingers of the lefit hand ; pass the shuttle towards the back of the left hand, and downwards to the front, between the thread held over the left hand-fingers and the loop formed by the thread held over the right-hand fingers, indicated by the V. The mode of working the second half of the stitch is clearly shown in No. 5. The shuttle is passed over the thread from the back to the front, and brought out;between the thread on the fingers of the left hand and the shuttle thread ; the loop above 2 shows the first half of the knot worked. The position of fingers, shuttle, and thread is clearly shown in Nos. 6 and 7. No. 7 shows the raising of the finger to draw up the knot, which must slip easily. No. 8 shows the movement of the fingers in drawing up the knot. No. 9 shows knots with picots previoijsly to drawing up for a closed eye. No. 10 shows the closing of an eye without picots. TO MAKE A PICOT. Leave a loop of thread between the double kn^ts, the length of which you must regulate according to the design you are working to. No. 11.— JOSEPHINE KNOT. This is a pretty knot for filling up bars and patterns that would look rather poor with the straight thread only. The Josephine knot is formed by working four or five loops of the first stitch of a double knot succes- sively and drawing up. The space between the Josephine knots being regulated according to design. No. 22 illustrates the use of the Josephine knot. No. 12.— SIMPLE EDGING. Work three double knots, five picots separated by two double knots, three double knots close. Leave the loop the length shown in No. 12, and repeat the pattern, working through the first picot of each pat- tern ; this is done by drawing the thread that is over the first finger with a pin or crochet hook through the r '^^ot, and passing the shuttle through the loop drawn iurough, when you continue to work as usual. The pulling through of the loop is shown plainly in our illustration. Kos. 13 TO IB.— MODE OF TATTING WITH TWO SHUTTLES. In order to form eyes close or open, only one shuttle is required; but when a half-circle, &c., is to be added to the eyes, o, second thread will be necessary, and must be used in the following manner*. Lay a separate thread as a loop round the left hand, and work the knots with the shuttle thread. If the pattern require the knots to be worked with the threadi alternately, both threads must be wound upon shuttles. It must be remembered that in working a half-circle with two threads, the shuttle thread (the thread with which the knots are made) must lie between the two threads of the loop, so that the end of the thread laid round the hand hangs down free in front, only held by the thumb of the left hand. By this means an a pen plain line of knots is formed. No. 13 shows closed eyes and half-circles worked with a second colour. No. 14- shows the same design and the mode of work- ing the closed eye in progress with one thread only. The second thread being taken up after the eye is closed to continue the half-circles. iTi working with two threads, it must always be remembered that the scallops just finished should turn downwards. No. 15 shows another mode of work- ing with two threads. In this case, the helping thread laid round the left hand must have its two ends firmly held through the shuttle thread ; and the latter must lie in front of the two ends of tli^ loop (the thread round the left hand). The firmly held ends, before the loop of the shuttle thread is drawn together, must be drawn through the loop from the upper part down- wards, so that th& threads look twisted. No. 16.— TATTED EDGIJ^G WITH BEADS. Beads are tatted upon silk, or silver or gold thread ; the beads must first be threaded upon the silk, and the silk wound on to a piece of card ; tie the end of the silk with the beads to the end of shuttle thread, work three double knots, pull up a bead, put the thread with the beads to the back of the work, one double knot, put the bead thread to the front of the work, work another double knot, four more beads separated by two double knots, three double knots, close. The closed eyes worked alternately on each side will form a pretty trimming. No. 17.— TATTED ROSETTE IN PROGRESS. Work a closed eye for the centre of eight picots separated by two double knots ; without cutting off the thread commence the outer row. Draw the thread through the first picot, leave about a quarter of an inch of thread, work four double knots, five picots separated by two double knots, four double knots, close, draw the thread in a loop through the nex4 picot, pass the shuttle through the loop, draw up tightly, and repeat, working eight closed eyes to com- plete the rosette ; to join the closed eyes draw through the last picot of last closed eye after working the fourth double knot of next closed eye. No. 18.— INSERTION: TATTING, MIGNARDISE, AND LACE STITCHES. Material Requiked : Cotton No. 20. Work five double knots, one picot, six double knots, one pioot, five double knots, draw through a picot of mignardise, then close, pass the cotton through the picot at the side of closed eye. Before working the next closed eye, which is worked the sane as the last, pass the cotton through the side picot, work ten double knots, one picot, ten double knots close ; leave

Page 119

COMPLETE GUIDE TO THE WORK-TABLE. 103 half an inch of cotton before commencing the next eye. Work five^ouble knots, draw the cotton through the picot of second eye, six double knots, one picot, four double knots close ; leave about half an inch of cotton before commencing the next eye. Work five double knots, draw the cotton over the half inch left before commencing the eye, six double knots, one picot, five double knots, pass over four picots of mi- gnardise, draw through the next, and close the eye. Take another length of mignardise, work a row upon it like the last, with this exception, that instead of working the third closed eye you draw the cotton through the centre picot of closed eye of last row (see design), and continue as described. The spun- stitch in the centre is worked with a needle and cot- ton as in lace work. No. 19.— TATTED EDGING. No. 19 is worked with two threads. For the large scal- lops, work four double knots, one picot, eight double knots, one picot, four double knots. After finishing each scallop, place the thread from the separate reel round the hand, and work from that with the shuttle thread four double knots, one picot, four double knots round the thread of the shuttle. In the picots of the joining scallops, crochet one single in each picot, then five chain for the edge. No. 20.— EDGING WITH TWO THREADS. For the closed eyes work twelve double knots, one picot, twelve double knots, close, work another closed eye close to this last, leave rather more than half an inch of cotton, and repeat for length required. 2ad Row; Pass the helping thread through the picot of first closed eye, fasten it, * three double knots, five picots separated by two double knots, three double knots, draw through two picots of closed eyes together. Repeat from *. No. 21.— TATTED SQUARE. Begin the square in the centre, and work the four leaves, each consisting of ten double knots, one picot, ten double knots. Fasten the thread, and loop it again on to the picot of a leaf, and work the eye, consisting of seven double knots, five picots separated by three double knots, seven double knots ; draw them toge- ther, fasten the thread again to the picot at the start- ing-point; then work the large scallop lying to the left ; eight double knots, ^-ve picots separated by three double knots, eight double knots- Leave the scallops sufficiently open, so that after the thread is fastened to the next leaf of the middle group the thread lying across may be tight without dragging. Repeat. No. 22.— DESIGN FOR SQUARE DOILYS, PIN- CUSHION, &c. 1st Row: Work one Josephine knot (of six first stitches), three double knots, three picots separated by two double knots and three double knots, close, one Josephine knot. Repeat for the length required. 2nd Row : Work as for first row, but join the top picot by passing it through the thread be^^ween two Josepliine knots. 3rd Row : Work one Josephine knot, one closed eye as described for first row, ten double knots, one picoi, ten double knots, close, one Josephine knot, draw the thread of Josephine knot through the picot at the top of last worked closed eye, pass the shuttle through the loop to make it firm, work the second closed eye as last described ; continue the row by working three small closed eyes, each separated by two Josephine knots. 4th Row : One Josephine knot, two large closed eyes as described in last row, join to the thread between the two large closed eyes of previous row, one Jose- phine knot, two small closed eyes separated by two Josephine knots. Repeat for length requii:ed, thei? repeat from first row, joining according to illustra* tion. No. 23.— TATTED ROSETTE. Begin this rosette from the middle with a ring of eight picots separated by two double knots. Fasten the thread, and, without cutting it off, begin the second row, viz., the little eyes joining the picots of the ring, including the joining scallops, which must have a picot in the middle to fasten them to the outer row. Now work with two threads. Each of the eyes worked with the shuttle alone contain twelve double knots, and are joined to a picot of the ring between the sixth and seventh double knots. For the joining seal . lops, place the second thread as a loop round the left hand, and work six double knots, one picot, six double knots. At the end of the row tie the beginning and end threads together, and begin the third row likewise with two threads, one of which must be looped on to the joining scallop. With the other thread alone work the eye lying above, containing six double knots, one picot, six double knots. Now lay the thread from this eye as a loop round the left hand, and work \yith the half of the tied-on thread the joining scallop, con- sisting of five double knots and three picots separated by three double knots, then five double knots. Fasten the thread running through the finished line of knots again on to the picot of the next joining scallop of the preceding row, working the eye with the other thread, and so on. At the end of the row fasten off the thread securely and carefully. Nos. ?A AND 25.— INSERTION AND TRIMMING IN TATTING AND CROCHET. With the first shuttle work a scallop of four double knots, one picot, four double knots, one picot, four double knots, one picot, four double knots. Then lay the second thread (from a separate reel) as a loop round the hand, and work close to the finished scallop with the first shuttle, four double knots, one picot, and again four double knots, which are tied with the loose thread round the thread coming from the shuttle. Re- peat. The first picot of each scallop must, however, be joined in the usual manner to the last picot of the preceding scallop. At the second line the middle picot of each scallop must be joined to the middle picot of a scallop of the preceding line. For the insertion shown in No. 24- crochet in each outer edge of the tatted trimming as follows :— 1st Row : One single, four chain in the nearest picot, one single in the second of these, so as to form a little scallop, one chain. Repeat. •^ 2nd Row: One double in the middle stitcn of each scallop of the preceding row, four chain. Repeat., ^^

Page 120

104 THE YOUNG LADIES* JOURNAL. KO, i8. NO* 20, aio;i9. KO. 31. NO. 22. tuo. H* TO WASH TATTTNCr. Sme tatting needs care in washing and must not be rubbed. The best plan is to sew a p'*«ce of flannel of two or three thicknesses over a bottle, tack the tatting- upon it, make a lather of curd soap and water, and lift the bottle up and down in it, working the lather well into the tatting with the hand ; then, when it appears clean, boil it in a saucepan of curd soap and water, with a dash of blue in it, for about twenty minutes ; rinse in clear water several times, remove %h% tatting from th*^ bottle, rinse in water with a f lump of sugar in it, and pin it out to diy, putting a I pin into every picot if you are very careful about rt ; if not, pull it well into shape, and put the right side of the tatting towards the blanket with a piece of fine rag over it a little damp, and iron, after- wards pull out the picots with a pin. Coarse tatting, such as antimacassars, should be laid in a lather of cold soap and water for a few hours, then squeezed out and put it into another cold clean lather in a sauce- pan and let it come to the boil, then rinse it and lay i| in some blue water ; when nearly dry pull into shapfi^ and iron as described for fine tatting.

Page 121

mmnm mmi « TIE W8IK-TiBi£ DRAWN THREAD WORK, &C. BOEDE? : DKAWN THREAD AND BSTICELLA-WOP.K.

Page 122

f.06 THE YOUNG LADIES' JOURNAL DESCRIPTION OF ILLUSTRATION ON PAGE 105. BORPER : DRAWN THREADS AND RETICELLA WORK. The design is suitable for ornamenting sideboard and dinner - waggon cloths. It is more effective worked on rather coarse Irish linen, which should be of good quality to ensure an even make. The pattern should be traced upon the linen, the threads for the open parts cut entirely away (see the right- hand side lower part of design where the reticella comes in). For these stitches only ordinary sewing over and buttonhole - stitches are employed. The crosses in centre of circles are formed by stretching bars of thread across and sewing over. For the drawn-thread work, the straight lines next the border are worked at a slight angle over four or more threads, according to the quality of the linen. The mode of working the next line of pattern is ordi- nary Italian-stitch, or a square formed by four back- stitches. In this design the threads must not be cut away too much in the centre because it is necessary to sew over some of them to strengthen the work. The bars are worked over six threads. Very sharp scissors must be used to ensure an even edge. Nun's thread (No. 1) will be the best for working both the reticella and drawn-thread work.

Page 123

COMPLETE GUIDE TO THE WOR^-TABLE. 107 DRA^WN THREAD WORK or POINT COUPE INTRODUCTION. This work dates very far back; it is among the earliest attempts at ornamental work known. Seme beautiful and very old specimens have been shown in both English and foreign museums. Irish linen, linen thread, a sharp pair of scissors, and a needle with a good eye, such as Walker's elliptic, will be needed for the work. The old work is frequently found in white linen, worked with gold, yellow, scarlet, or blue silk. Patterns more or less elaborate may be found in it, and it is very frequently accompanied by borders of reticella or Greek lace, which have for their founda- tions drawn threads. Very fine specimens of drawn work, having the effect of Honiton sprays on a net foundation, can be made ; but the work is of a character so undesirable, on account of injury to the sight, and requires, besides, so much time and patience, that we consider it unsuited to the age we live in, and do not therefore illustrate it. It is always well in fancy work to get a knowledge of detail before beginning elaborate pat- terns ; if this is not observed, the work is sure to bo unsatisfactory, and is often thrown aside in con- quence. Nos. 1 TO 5.— SIMPLE DESIGN IN DRAWN- THREAD WORK. Make a cc-reful inspection of the way in which No. 1 is traced, running out with fine cotton ; next observe tlie mode of drawing the threads and cutting them. See to the sharp and clear cutting of the threads, as that is one of the most important things to attend to in beginning. The square openings are formed by drawing four threads each way. Nos. 2 to 5 show the stitches in progress. Two stitches being needed on each of the bars, and a cross-stitch at each corner, one straight stitch is first worked, then one half of a cross-stitch (see No. 1) ; the second straight stitch is formed when placing tlie needle for the second half of a cross-stitch, and the needle is left in place for the downward bar of square (see Nos. 3 and 4-). No. 5 shows the mode of continuing the sewing over. Care should be taken not to draw the thread too tightly and to keep the work even. No. 6.— CANE PATTERN. This pattern is used for a groundwork ; Java can- vas is the most effective material for it ; two threads only are drawn crosswise and four lengthwise. In working over, tlie threads are somewhat di-awn toge- ther ; thread, silk, or crewel may be used for 'TV'orking the pattern ; all the upright stitches should first be worked, then the cross threads are worked. The arrows indicate the way the needle should be put in. Nos. 7 AND 8.— INSERTION OR STRIPE FOR ENDS OF TOWELS, &c. No. 8 shows the design of circles and bars, and No. 7 the mode of executing the two patterns employed in the design. Three double strands of Java canvas are drawn each way ; the dark parts of the design are worked in the same way as illustrations No. 2 to 5 ; the light parts are worked in point de reprise or darn- ing-stitch with a second colour. The mode of working is very clearly shown in No. 7. No. 9.— BORDER : INTERLACED WORK. This border has a Java canvas foundation, but is equally suited to finer materials. Three-quarters of an inch of threads must be drawn one way. The warp threads are the best to draw, as the selvedge is strengthening to the work to leave on, and hem down or sew to the material to be ornamented. None of the weft threads are drawn, they are counted and evenly divided by working over in divisions of four ; a slanting stitch is sewn into the undrawn edge, tho needle is then put round the threads, as shown in No. 12 ; twelve of these stitches are worked for the short bars ; the mode of interlacing is shown in No. 12. The thread is then carried on and twisted round the threads that form the first half of the centre pattern ; fasten with one buttonhole-stitch exactly half way down, twist the thread round the same bar of threads to get it into place to work the lower twelve stitches of the same bar, four of these bars form the inter- lacing ; work one slanting stitch into the edge, and continue the interlaced stitches in the way shown in No. 12, working your pattern from No. 9. The little dots on the plain part of the material are worked in satin-stitch. Nos. 10, 12, 13, AND 15.— BORDERS. The finished border is shown in No. 15. The mode of working the two edges is shown in an increased size in No. 12. These edges will be more easy to work from No. 12 than from description. The principle of working over the foundation threads, after they are drawn for the centre pattern, is shown in detail in an increased size in No. 10. The appearance of the de- sign would at first give an idea that it is formed of guipure netting. The centre stars are shown in every detail of the work in No. 13 ; they are worked in twisted bars and darning-stitches; the twisted bars forming the foundation of the work are distinctly

Page 124

THE TOtrKG LADrKjs^ JOtiR^At. HQ, ^1 ^^9 H ^ ^Sm PS ^ 1 iifMii iiifiR jj Mrfl j^jm i^i ^ IHli ^fl ^ ff^ ^m ^^ ^M ^^ ffi| 1 ^n M 3 ^^B B ^^^ NO. 4,

Page 125

COMPLETE GUIDE TO THE WORK-TABLE. 101 NO. 6. NO. $

Page 126

110 fflE YOUNG LADIES' JOURNAL. HO. 14* KO, I5» NO. l8. NO. I7«

Page 127

COMPLETE GUIDE TO THE WORK-TABLE. Ill shown in No. 10, with the way they are fastened round the drawn threads to form the groundwork of the squares. ^ No. 11. — BORDER IN PYRAMID, CROSS, AND ARMENIAN STITCHES. This border is shown on Java canvas, and consists of drawings half an inch in depth, and of two threads between four threads twice, leave eight threads, and draw an inch and a quarter for the broad pai-t of the design. The interlaced stitches are worked as shown in No. 12 ; the cross-stitches are worked in the ordi- nary manner over four threads each way. The lines of slanting-stitches leave a tying or buttonhole stitch over six threads. The mode ot forming this stitch is clearly shown in the top line of 10. The Armenian stitches are described in Nos. 21 to 25. Nos. 12 AND 13.— See No. 10. No. U.— HERRINGBONE - PATTERN GROUND: DRAWN THREADS. Draw two threads, leaving three between each way ; work in a slanting direction over all the drawn open- ings (see lower part of No. 12). Herringbone-stitch is worked over every row of the pattern straight across (see upper part of design). No. 15.— See No. 10. Nos. 16 AND 17.— FEATHER OR CORAL STITCH. There are several varieties of these stitches, but the principle of working the patterns is apparent when one of them is learnt ; of this No. 16 is the most simple form. Draw the cotton through the material and hold the cotton under the left thumb (see position of needle and stitch in progress in No. 16, also the white dot in which the needle is to be placed for the second stitch) ; the loop has to be held down for each stitch in the same manner. No. 17 is worked in the same way, but two stitches are worked alternately on each side. The white dots correspond with the tops of the two stitches of one side, showing where the needle is to be put in. Nos. 18 AND 19.— RETICELLA LACE. This lace is so frequently used as an edging or ac- companiment to drawn-thread work that we think a specimen of it, and the mode of working it, will be useful here. As will be seen in No. 18, a tracing on paper or transparent linen is needed ; if the tracing is on paper, toile ciree must be placed under it. Tho stitches used in reticella lace will all tte found in paget S7 to 70 and 76 to 78. No. 20.— BORDER OR INSERTION : DRAWN THREADS AND SPUN-STITCHES. Draw all the threads of the material out one way to (!^e depth of three inches and a half; divide the rtrands into sixes by working over the edges of each jtrand with a slanting loop, for the entire length, fjien crossing this line of stitches with a second one ("see top of design) ; next work the straight bars seven- eighths of an inch from the edge top and bottom, and one line straight across the centre for the entire length of your work ; these are foundation threads to work your pattern to. The knots and loops forming the oval are the next part to work, and the spun-stitches are made by interlacing these loops. . The arrow indi- cates the mode of forming the stitches. Nos. 21 TO 25.— TRIMMINGS : ARMENIAN LACE. The laces shown in N©s. 21 and 22 are for trimming coarse materials, such as Java canvas or linen. They may be made of fine twine, such as is prepared for macra-me work, of strong thread, cotton, or silk twist ; they can be made either with or without a heading. Nos. 23 and 25 give the details of working No. 22. No. 23 shows the beginning of the stitch which forms the work ; a heading of cord with picots is here shown to work' into. Mignardise answers very well for a heading : if the picots of the mignardise are too close, work it into alternate picots. The next thing to ob- serve in No. 23 is that three strands of the working material are laid evenly together and worked over. The difficulty with beginners will be in the loops being kept even in depth. The stitch is perfectly simple. To begin, tie the end of the thread into a picot of mi- gnardise, put your needle into the picot to be worked into, lay the loop of thread round as indicated at a ; the needle is brought up at the back of this loop ; put the needle over the cotton and through the loop from the front to the back, and draw up the loop to the length shown in design ; continue for the length re- quired. To make the X pattern tie the thread to top of first worked loop; the first part of the X is formed by knotting into a stitch of previous row, and working one long loop as shown by the * ; carry the thread down to next loop of first row, and work a knot into it ; carry it up and work the knot immediately under the star, then work down into next loop and make the centre knot forming the third part of the X (see dot in No. 23), work the fourth from it up to Z*, which completes the pattern, and begin again. Into this row tlie Vandyke pattern is next worked, as shown in No. 25. The three first rows are worked exactly like the first row of No. 23, with the exception of omitting the three strands of tliread. For the three following rows, which are worked one stitch shorter each time, to enable you to work always from I'ight to left, you lay the working thread across from left to right, work three loops, lay the thread across, work two loops, again lay the thread across and work one loop, carry the thread down the left side of this vandyke to begin the next one; the edge is worked when all the Vandykes are com- pleted. To work No. 21, the stitch shown in No. 25 is employed. To begin : The heading is made by working a row over a straight line of thread, the thread is laid across from left to right, and worked over while working into the previous rows, as described in working the Vandykes shown in No. 25. 3rd Row : Long loops are worked throughout, pass- ing over two loops of previous row. ?th Row : Five loops are worked into each long loop of third row. 5th Row : One loop into each loop of fourth row. 6th Row: Work loops into three centre stitches of scallop, pass over two, leave a long loop (see design No. 21). Repeat. 7th Row : Work into two loops of last row, leave a long loop. Repeat. 8th Row : Work into short loop of last row, leave a long loop, and repeat. The mode of working No. 24 is a repetition of the X pattern illustrated in No. 23. When the requisite depth of these stitches has been worked they are crossed with straight lines, first worked lengthwise and then across (see No. 24). The edge is worked in open buttonhole, and twisted stitches are then worked through the open parts.

Page 128

112 THE YOUNG LADIES' JOURNAL aI^.-^^JC \.^%%M.M^^.^ S. %,M^ ^ O ^J ; *w^^^CJ^^^y X rr* .gra ■rrv I r ^rxsmx 11 Df^

Page 129

BERLIN WORK.

Page 130

m THE YOUNG LADIES' JOURNAL DESCRIPTION OF DESIGN ON PAGE 113. SOFA-CUSHION. The quarter of design is shown on cover ; and com- plete design made up, with plush border and rosettes, is illustrated on this page. The design is worked en- tirely in cross-stitch, with silk or wool as preferred. The canvas should not be more than twelve stitches to the inch ; fourteen or sixteen stitches to the inch, being finer, will produce a better effect. We will take the blocks showing the colours in the order they ap- pear beneath the design. No. 1, dark blue; No. 2, lighter blue ; No. 3, moss-green ; No. 4, lighter moss- ■yreen ; No. 5, Pompeian red ; No. 6, maize-colour. The cushion is made up with bright brown plush, with rosettes of the same at the corners, and cord is put round the euge. DESCRIPTION OF COLOURED SUPPLEMENT. 1st design.— LEVIATHAN AND CROSS STITCH. The leviathan-stitch shown in the maize-colour is worked like a cross-stitch over four stitches, or eight threads of canvas from corner to corner. Next a »titch is worked from top to bottom in the centre of the square, and a fourth stitch crosses in the centre }Yom left to right, completing the stitch. The green * uuares are of four complete cross-stitches each way. 2n-d DESIGN.— SATIN-STITCH. ' This stitch is worked in various lengths, generally in diagonal lines across the canvas. This pattern is begun over two threads or one stitch of the canvas, and is increased to form squares equally on each side, one stitcli each time. 3rd DESIGN.— PLAIT: CROSS AND LONG-CROSS STITCHES. The mode of workiT*^ plait- stitch is illustrated in No. 11. Another mode of working is like herring- bone-stitch over two stitches in breadth and one in height. The cross-stitch is worked m the ordinarv manner, and the long cross-stitch is worked over eight threads or four stitches in length, and over two threads or one stitch in width. 4th DESIGN.— VANDYKE AND BACK STITCHES. The vandyke-stitch is worked in the same way as satin-stitch, of which it is a variety. In the Vandyke stitch the wool is carried in straight lines, first over one stiteh or two threads, next over two stitches or four threads of canvas ; and so on, until the pattern is the required size. The increase is always worked on one side only. In the open line of holes between the patterns back-stitches are worked over four threads at a time*

Page 131

SUPPLEMENT GKATIS to the Subscribers to The YOUNG LADIES' JOURNAL. BERLIN DESIGNS AND ILLUSTRATIONS OF VARIOUS STITCHES. Kindly introduce the Young Ladies^ Journal to a Friend by the Gift of this SUPPLEMENT.

Page 132

Page 133

COMPLETE GUIDE TO THE WORK-TABLE. llC' BERLIN "WORK. INTRODUCTION. Under the head of Berlin work are varieties of stitches, worked generally upon canvas with double or single Berlin wool or filoselle silk, or the two combined. The principal stitch now employed is the ordinary cross- stitch, worked over two threads of canvas each way. The introduction of the point patterns in Berlin at tiie beginning of this century gave the work the name of Berlin worlc. The plan of working previously to the introduction of these patterns was to have the design painted on canvas and work over it. Tent-stitch was quite as much employed for the work as cross-stitch ; but it is not used much at the present time, as it is very slow work, tiying to the sight, from its requiring very fine canvas. The illustrations which follow give dl the more difficult stitches at present in use and directions for working tliem. Nos. 1 TO 6.-~FRAMED CROSS-STITCH. This pattern is intended for coarse canvas ; it has no wrong side if properly worked, therefore is suitable to articles that are not to be lined. No. 1 shows the mode of beginning the stitch ; this is to make the wool firm, and the work neat on each side, and is in fact a diagonal darn of three threads. No. 2 shows the first stitch finished and the needle placed for the first frame-side of a square. (Workers must observe that each stitch covers three threads of the canvas each way.) No. 3 shows the position of the needle for the second side of frame. No. 4 the mode of working the second half of cross-stitch, and the third side of square on the wrong side, and is continued for the whole length of the pattern. No. 5 shows the pattern repeated on the right side, and No. 6 its appearance on the wrong side if correctly worked. perpendicularly. The light work surrounding th> squares is in cross and back stitches. No. 7.-FRAMED STAR. This stitch makes a pretty variety for a grounding. The mode of working it will be found quite easy after working the framed cross-stitch previously described. Nos. 8 AND 18.~DESIGN IN SATIN, CROSS, AND BACK STITCHES. No. 8 shows in an enlarged size the mode of working the squares in No. 18 ; they are worked over nine threads of canvas, one square horizontally and one Nos. 9 TO 11.— VARIETIES OF PLAIT-STITCHES. No. 9 is worked with four strands of wool or silk over six threads of canvas in depth and three in width; it is worked in single stripes, taking the needle down three stitches lower each time. No. 10 shows the same pattern worked over four threads in depth and two in width; it is worked two threads lower each time. No. 11 is worked over one stitch of Java canvas in depth and two in width. No. 12.— DIAPER PATTERN FOR aROUNDING. The wool is drawn in straight lines for the required length, first perpendicularly and afterwards hori- zontally ; it is then caught down with a tent-stitch in a different colour at each corner of a square (sea arrow). No. 13.— POINT REPRISE ON JAVA CANVAS. This is pretty for v/orking a border, as it may hb quickly and effectively worked in Vandykes; each stitch is worked over five and under one— the one stitch ahvays coming in straight lines. Nos. 14 AND 15.— GOBELIN-STITCHES. The wool for each of these designs must be laid horizontally over the entire width to be worked be- tween each thread of canvas. No. 14 is then v/orked over two strands of wool and over two threads o*' canvas in straight rows across ; and No. 15 over two threads in a slanting direction. No. 16.— POINT DE FANTASIE. This is very effective work ; but should not be used where strength is required. Trace the design on can- vas, and work the design in the necessary shades of wool in horizontal lines. When all the horizontal lines of flower or pattern are worked, work with the samo colour in straight lines in tent-stitch, leaving three threads of canvas between each line ; outhne with the same colour in cording-stitch over four threads in. length and two in width, taking the needle back two threads for each stitch. The ground is worked in on» colour.

Page 134

THE YOUNG LADIES' JOURNAL ^v. 13. ^'0. 14.

Page 135

COMPLETE GUIDE TO THE WORK-TABLE. 117 NO. 19. NO. 18.

Page 136

THE YOUNG LAmSg' JOURNAL •^0. 85.

Page 137

COMPLE!tfi CTIDE TO TfiE WORK-TABLE. 179,^ iro. iit miH

Page 138

M THE YOUNG- 1.ACTES' JOURJ^Ati. No. 17.-.DESIGN ON JAVA CANVAS OF LONG, CROSS, AND SATIN STITCHES. The satin-stitches forming the diamonds are of dif- ferent lengths, showing the canvas between ; the long cross-stitxjhes are worked over four stitches in depth and two in width. No. 18.— See No. 8. No. 19.— FRINGE OF WOOL THROUGH CANVAS. Six strands of wool are drawn under two stitches of canvas, which can be afterwards worked over with cross-stitch, taking through a stitch of canvas and strand of wool together. Nos. 20 AND 21.— RAISED BERLIN WORK. This work is suitable for rugs or mats made with six or eight thread fleecy. The Illustration No. 20 shows the mode of working No. 21— a simple pat- tern with one colour only cut, the remainder allowed p remain in loops. Take a mesh or strip of card, lay in A straight line on your work, draw the wool through above the mesh, put it round the mesh, and work a cross-stitch to the right. If more than one shade or colour has to be used in a row, do not cut off the last, but pass it to the back of the work, to be used again when required. No. 22.— RAISED WORK WITH DOUBLE WOOL. This stitch, if worked over a wide mesh, forms a pretty fringe for Berlin work, mats &c. Put the wool round the mesh and through two threads of canvas in a straight line to the left; put the needle through the loop on the mesh, and straight through the two next threads to the right (see arrow), repeat. This may be worked in shades, and afterwards cut with a sharp pair of scissors. . Nos. 23 AND 24.— FRINGE. This fringe may be made any depth, according to the size of the mesh. Have the wool wound in six balls ; take the six lengths together, turn them over a mesh ; take a needle threaded with very coarse cotton or thread, pass it round the six strands on the mesh and through the thread as for a buttonhole-stitch (see Design No. 23). Repeat. For cutting, see No. 24. No. 25.— STAR PATTERN : RAISED BERLIN WORK OR PLUSH-STITCH. Our design shows a star pattern and shaded stripe. Before beginning a pattern tha worker must practice the stitch, which is suitable for footstools, cushions, ii;c. ; it is worked with Berlin ^\»ool over strips of card- board. ^ The stars are worked "with one colour only ; the easiest plan is to mark " thiem out on the canvas either with needle and wool or with pen and ink ; commence in the narrowest pjurt. Work three cross- stitches each over two ondinairy stitches of canvas perpendicularly (see upper pairt Of desigli), place a strip of card a quartdr of an inch in width and an inch and a half in length over the stitches, fill into the shape of star, working over the card. The stars are separated by stripes of five shades- of wool worked horizontally over eighteen stitches of canvas in the longest part and twelve in the shortest. Work the stripe from the point of one star to the point of the next after working the stars. For the shaded stripe, begin with the darkest shade and work the row of cross-stitches and first row of plush-stitch with it. After working the cross-stitch, take a strip of card, place it over the row of cross- stitches, work over it for the plush-stitches as shown in the upper part of the design (25) in exactly the same way as you would work nerringbone-stitch, working through two threads of canvas in a straight Hne each time. Work the second shade over the first, working into the next row of canvas threads (see de- sign No. 25) ; continue working each shade over tlie last until the stripe is the width required. Count the stitches for the next stripe, commence in the centre, and work the second stripe as described for the first. When all the rows are worked, take a pair of sharp scissors, insert them under the stitches just above the cardboard in the centre of stripe, and cut through the wool. Great care must be taken in cutting the shape of the star, as the cutting may much improve it. When the cutting is finished (and there is great art in this to make the work look really well) hold over the steam of boiling water, and af tei«i wards hold by the four corners and paint the back .Nos. 28 AND 27.— DESIGN: BROCART-DE-BOUR- GOYNE. The foundation, which must«not be too firm a mate- rial, must be fixed tightly into a frame after the out- line has been traced upon it. The outline is worked with fine chenille in tambour-stitch, which is the same as chain-stitch in crochet ; the ball of chenille must be kept at the back of the work and each loop pulled through to the front. The loop-stitches are worked in gold or silver thread over a knitting-pin ; make a knot in the thread and put it through to the front of the work below the pin, round the pin from back to front, and through the loop made with the thread (see de- sign). r Nos. 28 TO 31.— FANCY STITCHES IN BERLIN WOOL AND SILK. These stitches are for working on foundations of cloth, satin, or velvet ; in No. 28 the pattern must be traced on the material, and wool is put over from edge to edge of the tracing : this is crossed at regular in- tervals with back-stitches and outlined with chain- stitches in silk. No. 29 shows a simple and effective way of working leaves. No. 30 shows the detail of No. 31, which for outline and filling consists of wool put the entire length of the design and worked over as shown in No. 30, which gives the effect of cording- stitch. No. 32.— CHENILLE WORK. This diagram shows the mode of working chenille without waste of this material, which is costly ; it is :?utlined with cording stitch in silk.

Page 139

CiMFILETI mim W TIE W§IK-TA1ILI FANCY NETTING. KOSE-yETTTKG WITH DARKED STRIPE.

Page 140

122 THE YOUNO LAMES' JODBNAb DESCRIPTION OF DESIGN ON PAGE 121. EOSE-NETTING. This design is suitable for curtains, antimacassars, shawls, &c. It consists of stripes of rose -netting warked according to the directions given for No. 8. Four patterns of rose-netting are alternated with six rows of plain netting. Vie plain stripes are darned (se'» design). M

Page 141

COMPLETE GUIDE TO THE WORK-TABLiS. 123 FANCY NETTING. INTRODUCTION. Netting has been practised for so many years that the date of its invention is unknown. Specimens of netting are still to be seen among Egyptian relics in some of the Continental museums, together with the tools that made them, and are said to be 3,000 years old. Mentions of it are made in the Bible. In tht thirteenth century it appears to have been introduced into Eng- land, and has been known under the different names of caul-work, net-work, lacis, and Keseau, &c. ^ That it can be, and is, put to many useful purposes is well known. Fishermen's nets are generally of their own make; and the more industrious of the craft spend many of their leisure hours in both making and mend- ing their nets. Netted articles of attire were made of rich silk and gold thread; and about fifty years ago netted window-curtains were quite a fashion. It is quite probable that a turn in the wheel of fashion will bring back into special favour work that has for some years past been very little practised ; although it is never entirely put aside, as the guipure netting, which is of a much more elaborate description, has been much used for window-curtains, antimacassars, drapes, trimming, &c. For the tools employed in net- ting, and the description of the stitches, we refer our readers to our Guipure iietting. No. 1.— COMMON NETTING. This is the most ordinary and simple form of net- ting, and only differs from the mode of square netting in this respect : the work is begun by netting the number of stitches needed for the whole length of the work, and netting into them in the following rows. The stitch is precisely the same as described for square netting, page 20. No. 1 is worked with one thread for all but the lower row, where two threads are introduced to form the edge. 1^0. 2.--M0DE OF WORKING A NETTED FOUNDA- TION WITH HOLES FOR EMBROIDERING TRE- FOILS IN. The ground may be worked in ordinary slanting netting, or in the round netting shown in No. 3. The pattern is formed by leaving off and turning round in the middle of the rows. This pattern consists of three little holes which are afterwards worked round with flossette to form a trefoil pattern. No. 2 shows this in an increased size in order to show more clearly the mode of working the pattern. Work a plain row for the required length. 1st Row: Net five stitches, draw the needle out, turn the work, and then go back as far as the begin- ning of the row, making one knot in each stitch ; then, returning, having arrived at the last of the five stitches, loop the thread for a long stitch on the next stitch of the upper plain row. Then work on for five more stitches in the same way as for the first five stitches, work back, then loop the working thread round the large stitch lying on the left, as shown in No. 2, in this manner forming the first line of holes. All the returning stitches are indi- cated in No. 2 by dots, so that the course of the work may be easily followed ; therefore the next plain row and the succeeding row forming the two holes for thf> trefoil need no explanation ; there are four rows be tween each pattern row. No. 3.— ROUND-NETTING. This netting only differs from the common netting in the mode of placing the needle into the stitches of the preceeding line. For this, put the needle through the loop without changing the place of the finger or loop, turn the needle round and put it into the stitch of the preceeding line from above downwards, as shown by the arrow in No. 3, the working thread must remain on the right hand of the needle, and the stitch is then firmly drawn up in the usual manner. By this means the stitches in the preceeding row are a little twisted, and a round-looking stitch is formed. No. 4.— LOOP-NETflNG. Work two rows of ordinary netting on a knitting- pin. No. 12 (Walkers' Bell Gauge). In the third row work two stitches into one, twist the thread twice round the pin. Repeat for the required length. 4-th Row : Work two loops into the long-stitches of last row, twist the thread twice round. Repeat to the end of the row, and continue working only the fourth row. No. 5.- DIAMOND PATTERN IN ROUND NETTING. The number of stitches for this pattern is five, and one over. . , - j 1st Row : Work four stitches as described for round netting (No. 3) . Work one long stitch by twisting the thread twice round the pin. Repeat for the length required. , ..^ , 2nd Row : Two long stitches, * three round stitches, one long stitch into the centre of first long stitch, one long stitch into next round stitch. Repeat from *. 3rd Row : One long stitch, * two round stitches, one long stitch into next long stitch, one round stitch into next long stitch, one long stitch into next round stitch. Repeat from *. 4th Row: two round stitches, one long stitch, one round stitch, one long stitch. Repeat from beginning of row. , .^ , 5th Row : One round stitch, * two long stitches, three round stitches. Repeat. 6th Row: Three round, * one long, four round. Repeat from *. . , -, 7th Row: Oie round, * two long, three round. Repeat from ^ 8th Row : Two round, * one long, one round, one long, two round. Repeat from *. 9th R^W : One long, two round, one long, one round- Repeat from the beginning of the row. 10th Row : Two long, three round. Repeat. Now continiie workiner from the first row.

Page 142

THE YOUNG LADIES* JOURNAL vo,a. iro.s* NO. 4. m.$ NO. 6. WO. 7. HO. 8. NO. 9*

Page 143

COMPLE*Ri GUIDE TO THE WORK-TABLE. NO. 22^

Page 144

126 THE YOUNG LADIES' JOURNAL. No. e.—SQUARE PATTERN. For this pattern : — 1st Row : Work one plain row. 2nd Row : One ordinary stitch, and twist the thread twice round for the large square. Repeat to the end of the row. The first and second rows are repeated alternately. Arrange the stitches so that a long stitch always comes under a short stitch. Nos. 7 AND lO.-CROSS-NETTING. 1st Row : Plain netting. 2nd Row : Net alternately one long and one common fjtitch. .^ - , . , 3rd Row: Work entirely in short stitches, which naturally draw unevenly. -, u 4. 4th Row consists alternately of long and short Stitches ; but instead of working them m the usual way, draw a stitch of last row through the long loops of the second row and net it, draw the following stitch through the same loop and net it ; continue to work a long and short stitch alternately in this way through the row. Repeat the third and fourth rows alter- nately. Nos. 8, 11, AND 21.-R0SE-NETTING IN PLAIN AND STRIPED VARIETIES. No. 8 shows the detail of the work. No. 11, rose- netting ; and No. 21, rose-netting, with ribbon velvet run in at each fifth pattern, and the rose-netting is darned with silk or wool of a contrasting colour to the netting. This pattern would make very pretty shawls netted with white Andalusianwool, darned with pink, maize, or blue silk, and narrow black ribbon velvet run in. Another variety of this design is illustrated on the cover of this Supplement. 1st Row : Net quite plain over a mesh about a third of an inch in width. 2nd Row : Net over a knitting pin (No. 12), thus : First draw the first long loop through the second and net it, then draw the second long loop through the first and net it. Repeat throughout the row. No. 8 clearly illustrates the mode of working this row. The first loop is shown drawn through the second ready for netting, at the lower middle of illustration, and the arrow represents the needle inserted ready for work- ing the second loop. The first and second rows are repeated alternately for the required length, looping the stitches so that the pattern is reversed. Nos, 9 AND 12.~STAR-NETTING. Cross and star netting very much resemble each other ; after working the cross, little difficulty will be found in working the star-netting. 1st Row : One double and one plain stitch alter- nately with knitting pin No. 12. .... 2nd Row : Net plain with a mesh a third of an inch wide. , ., n 3rd Row : Draw one stitch of second row through long loop of first row, net it with a short stitch, draw the next loop through the same long loop of first, and net it with a long stitch (z-e., cotton twice round the mesh). Repeat the second and third rows for length required. No. 10.— See No. 7. No. 11.— See No. 8. N'©. 12.— See No. 9. No. 13.— STRIPE-NETTING. This requires an even number of stitches. 1st Row : Net a plain row. 2nd Row : Miss the first stitch, net the second, the'O the first, and so on till the end of the row. These two rows form the pattern. No. 14.— HONEYCOMB-NETTING. An even number of stitches are needed for this pat- tern. 1st Row : Plain netting. 2nd Row : Net the second stitch, then tlio first, next the fourth, then the third ; work thus to the end of the row. 3rd Row: Plain. . .. t. 4th Row : Net a plain stitch ; begin the pattern by netting the third stitch, then the second, next the fifth, then the fourth ; end with a plain stitch, and continue to the end of the row. Repeat from first row. No. IS.-DIAGONAL-NETTING. The looping of the stitches is clearly shown in the design ; work with one size mesh throughout. Work a plain row. 1st Row : Work two loops into each stitch of the row. 2nd Row : Draw the second loop through the first in the direction of the arrow ; the a is drawn througli h (see right of illustration). The first stitch is worked in the loop marked a; the second in the one marked h. To mark the pattern and make it easier, the stitches drawn through might be drawn a little longer than the others. Of the two following stitches still hanging free, that marked a is the one through which the first stitch is to be made; besides the letters the point of the arrow shows the course of the stitches. The second row is repeated throughout. To keep the stitches in the right direction, cross them by drawing them through from left to right in each alternate row. No. 16.— BORDER : PLAIN, HONEYCOMB, AND ROSE NETTING. 1st Row : Plain netting with small mesh. 2nd Row : Work four plain stitclies ; work four loops into the fifth stitch. Repeat to the end of the row. 3rd Row : Work three plain : work the clusters of two loops together. Repeat from the beginning of row. 4th and 5th Rows : Plain. 6th Row: Like second row, beginning with two plain stitches to alternate the position of the clusters. 7th Row : Like third row, working the clusters in their proper places. 8th and 9th Rows : Plain. Five rows of honeycomb pattern like No. 14 -are now worked ; the rows are alternately of fine and coarse material, or of silk and wool to give effect to the pat- tern. Work three rows plain netting. Two patterns of rose netting ; and for the edge one row with a larger mesh and the two strands of the working material. The scallop design is worked with a needle with silk two or three times thick. ^o, 17.— INSERTION : ROSE AND PLAIN NETTING EDGED WITH CROCHET. Work four rows of plain netting with a small mesh. One pattern rose-netting as described in No. 8. Four plain rows. , For the edges work two double crochet stitches into each stitch of the netting.

Page 145

COMPLETE GUIDE TO THE WORK-TABLE. tZf Nos. 18 AND 19.— NETTING FOUNDATION INTER- LACED WITH A NEEDLE AND THREAD. The foundation consists of plain rows of netting worked with a contrasting colour or material from end to end ; the mode of working is too clearly illus- trated to need description. The pattern is varied by each row being worked in No. 18, and alternate rows being worked in No. 19. Nos. 20 AND 22.— TRIMMINGS. or No. 20 work five rows plain netting over a knit- ting-pin (No. 12). Work two patterns of star-netting as described in Nos. 9 and 12. Work two plain rows. Work one row with a mesh half an inch wide, passing over one stitch of last row. For the last row work over the large mesh into every stitch. A row of darning-stitch is worked in scallops at each edge of the star patterns. No. 22 shows a variation of the same pattern, working more rows over the small mesh, and omitting the edge row described for No. 20. No. 21.~See No. 8. No. 22.— See No. 20. No. 23.--TRIMMING; NETTING. With thread of two sizes work four rows plain over a ]mitting-pin (No. 14). 5th Row : With coarse thread and a half-inch mesh work into every alternate stitch of the row. 6th Row : With fine thread and small mesh work two stitches into each stitch of previous row (see design). 7th to 9th Rows : Plain netting. 10th Row: Like fifth row. 11th Row : Like sixth row. 12th to 14th Rows : Plain. 15th Row : Same as fifth row. Nos. 24, 26, AND 27.--DOILY : NETTING. No. 24 shows the mode of beginning a circular piece of netting, the first row of which is worked over a thread as shown in No. 26. When t\ie row has the re- quired number of stitches the thread must be tied as sliown in the centre of No. 24. Meshes of graduated sizes are used, as shown in No. 24 and in the centre of No. 27, where seven rows of graduated sizes are worked. In the eighth row of doily a fan pattern is made by working six stitches into one of the previous row over the largest mesh. Eleven plain rows are next worked over the second, and each qS two larger sizes of pins used as the meshes for the centre of doily in order to make the work flat. Next work three pat- terns of rose netting over meshes of three sizes. A plain row with the smallest mesh, working two stitcjies into one of the previous row, finishes this doily. The leaf pattern over the fan pattern is darned in. Nos. 25 AND 28.— MODE OF BEGINNING A CIRCLE. Make a loop, net one stitch into it, remove the mesh, net one stitch into the last, continue working rows of single stitches until you have the number required (you will find that the piece worked has the appear- ance of two rows of loops), pass a piece of cotton through tlie loops at one side, then tie the cotton, work into the loops at the other side in a circle. ' The increase for the circle shown in No. 25 is made by netting two stitches into each alternate stitch of the first round ; in the next and following rounds always net two into the made stitch of the previous round, this keeps the increase rows even and forms a kind of star. The clusters are worked like those described in No. 16. Nos. 26 AND 27.— See No. 24. No. 28.— See No. 25. No. 29.— FOUNDATION WITH NEEDLEWORK PATTERN. This design consists of rows of ordinary netting with crosses worked with a needle and thread into each alternate square ; the mode of working the cross will be easily seen in the design ; the thread is carried from square to square by twisting it round the right- hand foundation thread. No. 30.— OPEN-WORK AND DARNED STRIPE. Work seven plain rows over a small mesh. 8th Row : With a mesh a size larger work one stitch into each stitch of previous row. 9th Row : With the same mesh net two stitches to- gether throughout. 10th Row: Net two stitches into one throughout. Repeat from the beginning of the pattern. The darning is worked with wool or silk of a con- trasting colour (see design). No. 31.— TRIMMING, WITH THICK LOOPS AND FAN EDGE. Work two rows plain netting. 3rd Row : Work three stitches into one of previous row, one stitch into each of two successive stitches. Repeat throughout the row. 4th Row: Plain working through the clusters of three stitches together as one stitch. 5th Row : Plain. 6th Row : Like third row, working the clusters of three stitches between those of the third row. 7th Row : Like fourth row. 8th Row : Work into two stitches together below the clusters of sixth row, work one into all the other stitches. 9th Row : Work over a mesh rather more than half an inch in width four stitches into one stitch of last row, pass over three stitches, and repeat. 10th Row : With the mesh first used work one stitch into each of the four worked into one stitch, take the next loop, pass it through the centre of the three stitches passed over in the previous row, work one stitch into it. Repeat from the beginning of the row. The mode of passing the long loop through the centre of the three stitches is clearly shown by the thin line in the design. No. 32.— LOOSE LOOP PATTERN. 1st and 2nd Rows : Plain netting. 3rd Row : Two plain loops, place the working thread as usual over the mesh, and pass the needle close over the nearest knot of the last row but one from under- neath perpendicularly, put the thread round the mesh again, and let the needle go again through the same stitch from underneath upwards, and then work a common stitch in the next stitch of the last row so that the thread is put three times round the mesh n^ shown in the lower right hand corner of illustration. Repeat from the beginning of the row. 4th and 5th Rows : Plain. 6th Row : Like third row, working so that the clusters of loops come between the clusters of third row.

Page 146

i28 THE YOUNG LADIES^ JOURNAL. NO. 31.

Page 147

"-¥-^.-1^-6 CSMfilll mim « Til WilK-TMM. FANCY NETTING. ^«. 33 J^«B 3».^XAl»rTO«,

Page 148

THE YOUNG LADIES' JOUKNAL DESCRIPTION OF DESIGNS ON PAGE 129. LAPPET FOR CAPS, &c. "No. 33. — This lappet is composed of one stripe of the open worlc tt Row; Over the larger mesh work one stitch into a loop, six stitches into the next loop, and repeat. Over the small mesh work one stitch into each stitch of last row. No. 34. — This is in sheaf pattern, with bunches of loops. The sheaf pattern is described in No, o9 of this Supplement. Make a foundation of as many loops as you require for the length of lappet. 1st Row : Plain over a mesh the eighth of ati inch in width. 2nd Row : Sheaf netting, leaving one of the long loops without tying into a sheaf; for the end on one of these commence the 3rd Row ; Work over the small mesh, ten stitches into it, one stitch into each of the stitches worked with double cotton. Now work the 4-th Row all round plain. 5th Row: In the loop netting described for the stripe of No. 1. 6th Row: Plain. 7th Row : Bunches of loops described in No. 4 of this Supplement. 8th Row : Plain.

Page 149

COMPLETE GUIDE TO THE WORK-TABLE. 131 FANCY NETTING {ContinixecL). No. 35.— SCALLOP. These scallops make a pretty edge for curtains, anti- /nacassars, &c. ; they are worked separately and sewn to the curtain, or whatever they are intended to orna- ment, with a needle and thread. 1st Row : Over a mesh three-quarters of an inch wide work twenty-seven stitches. 2nd Row : Work with double thread and knitting- pin No. 12 for a mesh, one stitch into each stitch of last row. 3rd to 5th Rows : Like second row, but with single instead of double cotton. 6th Row : Rose nettin^^, with coarser cotton, direc- tions and illustrations for which will be found in Nos. 8 and 11, (page 124). 8th to 10th Rows': Like third to fifth rows. 9th Row : With double thread over the large mesh, one stitch into each stitch of last row. 10th Row : One stitch into two loops together. Re- peat to the end of the row. Draw up the first row of loops with a needle and thread (see design). For the crochet heading, one double into last loop of tenth row, seven chain, one double treble into rose netting, seven chain, one double treble into fourth row, seven chain, one double treble into long loops, three chain, one quadruple treble into the centre of cluster of loops, three chain, one double treble into long loop, seven chain, one double treble into fourth row, seven chain, one double treble^ into rose netting, seven chain, one double treble into tenth POW. No. 3o.-B0RDER WITH DOUBLE LOOSE LOOPS. This will form a pretty border for neckerchiefs worked in Ice silk. After the foundation, which ma;^ be in plain netting, work with double silk over a meeh one-eighth inch in width. 1st and 2nd Rows : Plain. 3rd Row : Five plain, one loose loop (loose loops were described in No. 32, page 127), five plain. Now you must begin each row from tlie same side. 4-th Row : One plain, one loose loop, six plain. ^ 5th Row : Three plain, one loose loop, one plain, one loose loop, three plain. 6th Row : Plain. 7th Row : Two plain, one loose loop, three plain, one loose loop, two plain, repeat. 8th Row : Plain. 9th Row: One plain, one loose loop, two plain, one loose loop, two plain, one loose loop. 10th Row : Plain. 11th Row : One loose loop, seven plain, repeat. 12th Row: Take a half-inch mesh, work three stitches in each loop of last row. 13th Row : Take a knitting-pin No. 14. Work one stitch in each stitch of last row. 14th Row : Like thirteenth over the thick mesh. 15th Row ; Over the thick mesh net six loops toge- ther each timfr* No. 37.— FAN NETTING. This kind of netting is used for edgings, stripes, &c. 1st and 2nd Rows : Plain netting over a quarter- inch me.6"h. 3rd Row : Cotton twice over the mesh for each loop. 4th Row : Plain netting. 5th Row : Five stitches into one stitch of previous row, cotton twice over the mesh, pass over one stitch, and repeat. 6th Row : One stitch into each of four loops worke't- into one loop, pass over the long loop, and repeat. 7th Row : One stitch into each of the three loops ok last row, cotton twice over the mesh, pass over tha next loop, and repeat. 8th Row : One stitch into each of the two loops ot last row, cotton twice over the m'^sh, pass over tha long loop, and repeat to the end of the row. No.^B.-BORDER WITH BUNCHES OF LOOPS. This forms a pretty border for shawls, curtains, &c. It is worked throughout with double cotton or double Andalusian wool, and a half-inch mesh. 1st Row : Plain netting. 2nd Row : Two plain, one bunch of loops. Each bunch of loops is worked in the following way: After a common stitch, which must be rather long, put the thread again loosely round the mesh and push the needle through without making a knot, then make another stitch-knot so that two loops remain in tho same stitch. As shown in the lower right corner, tlie loop bunch is fastened here, for which the needle is carried'from behind round the bunch and pushed m front from underneath through the loop, and is drawn up tightly ; now work one plain, one bunch of loops. 3rd°Row: One plain, three bunches of loops sepi^, rated by one plain stitch. 4th Row : Like second row. 5th Row : Like third row. 6th Row : Like second row. 7th and 3f.h Rows : Plain. 9-th Row : Tnree plain, one bunch. 10th Row : Like second row. 11th Row : Like third row. 12th Row : Bunches of loops throughout. 13th Row : One stitch into each plain stitch of last No. 39.— EDGING : DOUBLE FAN OR SHEAF. This forms a pretty edging for doilys, night nets, &c. 1st to 3rd Rows: Plain netting over a quarter-mch mesh. -, -, 1.1 4th Row : With a mesh an inch wide, and double cotton, work one stitch into each loop. 5th Row : With the small mesh one stitch into each loop. The long-stitches are caught together in clusters of three by a needle and cotton ; each stitch must be firmly fastened at back and cut off. The heading is worked in crochet ; one double into a stitch, thraa ^ cs^jain, and repeat to the end of the row.

Page 150

THE YOUNG LAMES* JOURNAL *ro. 35 mo. 4ifi,

Page 151

COMPLETE GUIDE TO THE WOBK-TABLE, ]33 NO- 4^. NO. 47.

Page 152

134 THE YOUNG LADIES' JOURNAL No. 40.— BORDER WITH ROUND-LOOP HEADING. This design will make a pretty shawl or neckerchief , netted with Ice silk and Andalusian wool, and two round meshes one half the size of the other ; the plain netting with the silk and round loops in wool. The three rows would be repeated any number of times to form the foundation. 1st Row : Work with double wool and the large mesh, one stitch into each stitch..of foundation, in the same way as described for round netting, No. 3, (page 123). 2nd and 3rd Rows : Plain netting with a small mesh. 4th Row : Like first row. 5th and 6th Rows : Like second and third rows. 7th Row: With double wool, and a mesh three- quarter inch wide, work threo stitches into a loop, pass over one loop, and repeat. 8th and 9th Rows : With the small mesh and single silk plain netting. 10th Row : With the largest mesh and double wool one stitch into a loop, one through tho next loop and that already worked into together (see arrow), and one stitch into the second stitch, pass over one stitch, and repeat to the end of row. 11th Row : With the small mesh and single silk, one stitch into each loop of last row. No. 41.— DIAMOND PATTERN. This design is suitable for foundations of shawls or stripes for clouds, antimacassars, &c. 1st Row: Plain. 2nd Row : Work two loops into a stitch, draw the next loop rather longer, and repeat to end of the row. 3rd Row : One stitch into each loop of last row. J 4th Row : Work a stitch through two loops together under the two loops worked into a stitch in second row. Repeat to the end of the row. Repeat from the first row. The double loops are worked across with a needle and cotton, as shown in the upper part of illustration. No. 42.— DESIGN WITH TWISTED LOOPS, This design is worked in wool, and is suitable for shawls, antimacassars, &c. 1st and 2nd Rows : Plain over a mesh one-third of an inch in width. 3rd Row : Plain over a mesh one inch in width. 4th Row : Twist a loop twice and work through the lower part (as indicated by the arrow), one stitch into each loop over the small mesh. 5th and 6th Rows : Like first and second rows. 7th Row : With wool of two colours one stitch into a loop over the small mesh, turn the wool twice over the mesh, pass over one loop and repeat. The work is to be taken from the foundation, the knots picked out, and a row like the sixth worked into the first row. No. 43.— STRIPE FOR SHAWLS, &c. This design is worked with wool. 1st and 2nd Rows : Plain over a small mesh. 3rd Row : With a mesh double the size and double wool, one stitch into each stitch of last row. 4th Row: With the small mesh and single wool, plain netting. 5th Row : Like third row. 6th and 7th Rows : Like first and second rows. No. 44.— BORDER : ROSE AND SHEAF PATTERN 1st to 3rd Rows : With a knitting pin No. 11 for a mesh work in plain netting :— 4th and 5th Rows : Rose netting (see page 128). 6th and 7th Rows : Plain. 8th Row : With treble cotton and a mesh rather more than an inch in width work one stttch into each loop. 9th to 11th Rows : With the small mesh and single cotton work one stitch into each loop. I2th Row : In round netting (for which see mua* oration 3, page 124) work with double cotton ona stitch into a loop, cotton twice over the mesh, paaa over one stitch, and repeat. The sneats are caugnt togetner T^y crochet. Work one double over three triple loops, seven chain, repeat. A double length of cotton is darned in a straight lino above and below the two rows of rose pattern. No. 45.— BORDER WITH TUFTS AND SCALLOPED EDGE. This border is suitable for woollen shawls ; it may be worked with Berlin wool of two colours. 1st Row : Plain netting with the dark shade over a quarter-inch mesh. 2nd Row : With the light shade over a half-inch mesh work three stitches into one loop, draw the next loop very tightly, and repeat to the end of the row. 3rd Row : One stitch through the three loops toge- ther over the small mesh. Repeat to the end of the row. 4th Row : Like second row. 5th Row : Like third row. 6th Row : One stitch into each loop of last row. 7th Row : Over the large mesh and with the light shade eight stitches into one loop, wool twice over the mesh, pass over three loops, and repeat to the end of the row. 8th Row : With the dark shade and the small mesh one stitch over the long loop of last row into the second of the three stitches passed over, one stitch into each of the other loops. 9th Row : One stitch into each loop of last row. Take the work from the foundation, pick out the knots, work with the dark wool and the large mesh one stitch into each loop. Xo. 46.— DESIGN: LONG AND CROSSED LOOPS. This design is worked with knitting silk and Anda- lusian wool. For the 1st and 2nd Rows : work in plain netting with silk and a mesh measuring a quarter of an inch in breadth. 3rd Row : With double wool and a half-inch mesh work two stitches into ono loop, one stitch into each of the two next loops. Repeat from the beginning of the row. 4th Row: Take the long loop at the left of a short loop, pass it through the short loop, and net it with silk and the smaller mesh ; take the next long loop and pass it through the same shorty loop and net it. Repeat to the end of the row. 5th Row : One stitch into each loop of last row. 6th Row : With double wool and the large mesh one slitch into each loop of last row. 7th and 8th Rows : With silk and the smaU mesh/ like fifth row. 9th and 10th Rows : Like third and fourth rows- 11th Row : Like fif^ 'Vw,

Page 153

COMPLETE GUIDE TO THE WORK-TABLK 135 Is'o. 47.— BORDER: CROSS NETTING AND TWISTED LOOPS. 1st and 2nd Rows : With a quarter-inch mesh one stitch into each loop. 3rd and 4th Rows : Twisted loops as described for the third and fourth rows of No. 8. 5th Row : One stitch into each loop. 6th and 7th Bows: Gross netting. Cross iaei»aiig was described in Nos. 7 and 10, page 124. 8th and 9th Rows : One stitch into each loop. 10th and 11th Rows : Like third and fourth rowi. No. 48.— NECKERCHIEF. Materials Required : If oz black silk, a knitting-pin No. 12 (Walker's gauge), and a half-inch ivory mesh. Begin the neckerchief in the centre from point to point upon a foundation of 112 stitches, working over the smaller mesh two plain rows, but do not work the last stitch of each row. 3rd Row : Work over the large mesh with double silk one stitch into each loop except the last ; do not work that. 4th Row: With the smaU mesh and single sil^ work one stitch into each long loop, twisting the loops as described in No. 42, v&se 133 ; continue to repeat from the second row until you have worked eight repeats of the pattern ; take the work from the foundation, pink out the knots, run a thread through the second row, and work upon tlie first row ; for the second half as described for the first, commencing with the row of long twisted loops. For the border : — 1st Round : Over the small mesh net one stitch into each stitch of foundation, except in the stitch at each end of the first row ; in these work two stitches. 2nd Round : Like first round, 3rd Round : Over the large mesh work four stitches into one stitch of previous round, pass over one stitch. Repeat all round. 4th and 5th Rounds : Over the small mesh, one stitch into each stitch of last round. 6th Round: Like third round. 7th Round : With double silk one stitch into each Btitcn of last round. No. 49.— FRINGE. This fringe may either be worked with wool or cotton. 1st Row : For the foundation, plain with a small mesh. 2nd Row : Over a three-quarter inch mesh, with double cotton or wool, one stitch into each loop. 3rd Row : Over a knitting-pin No. 13 net one stitch into the second loop, pass the first loop at the back of the second, and net it. Repeat, crossing the loops in this way throughout the row. 3rd Row : Like second row, 4th Row : Net one loop into the first, pass over the second, net into the third, pass the second at the back of third and net it, continue to cross the loops to the end of the row. Netting the first stitch plain in alter- nate rows causes the crossed loops to come between the upper row of crossed loops. 5th Row : Over a quarter-inch mesh net one into each loop ef last row. Cut lengths of cotton or wool, and knot eight strands into each loop of last row. No. 50.— DESIGN FOR ANTIMACASSARS, FICHUS, &C.: DARNED NETTING. The foundation is netted plain over a knitting pin No. 14 ; any number of rows may be worked. For the border : — 1st Row : 'W'ork two stitches in each loop of foun- dation over a quarter-inch mesh 2nd Row: Over the small mesh work one stitch through the second stitch worked into one loop of last row, and into the next loop together, so that the dou- ble loop always slants to the right. 3rd Row : Plain. 4th Row : One stitch over the large mesh into a stitch of last row, pass over one stitch, six stitches into the next, pass over one stitch and repeat. 5th Row : One stitch over the large mesh into each stitch of last row. 6th Row : With the small mesh work into each looj of last row, twisting the long loops as described foi No. 42, (page 134). The pattern is darned in the foun- dation with soft knitting cotton. No. 51.— TASSEL FRINGE. Make a foundation with Berlin woOi over a knitting* pin No. 10 (Walker's gauge). Work six plain rows. 7th Row : Net one into each stitch with double wool over a mesh two inches in width, cut all the loops in the centre, take two strands from each of two loops, bind them once round with silk of the same colour aa the wool, take three strands of wool two and a half inches in length, bind them in with the strands of the loop, fasten the silk securely, and cut off. Now bind the tassel round aboat a quarter of an inch below the last binding, comb out the v/ool, and cut the edges even for the tassel. NETTED MITTEN. Six or seven skeins of fine netting silk or black twist are needed for a pair of mittens ; and for the mesh use knitting pins Nos. 13 and 14 (Walker's bell gauge), and a small steel netting needle. Work twelve rows of diagonal netting (shown in No. 15, page 126). Net fifty rows plain netting on the smaller mesh ; then work two patterns of honeycomb netting (No. 14, page 126). This completes the arm, which join up ; and net round one plain row. 2nd Round : Increase by netting two stitches in one in twelfth and fourteenth stitches to begin the thumb, the rest of the round is plain netting. Increase two loops to form the thumb in each of the two loops already mentioned in each alternate round for eigh- teen rounds. To finish the thumb, net round about ten rounds on the stitches of the thumb, and finish with a little fan pattern made by netting six stitches into one loop of previous round, pass over one loop, one stitch into the next, pass over one loop, and repeat. This round should be worked over a quarter-inch mesh. In the follow- ing round work one stitch into each loop of preceding round, using the small mesh. Now continue to work upon the hand until it is as long as you desire, and finish with the fan pattern given for the top of the thumb. Both hands are worked alike, as there is no right or wrong side until you darn a pattern on the back of the hand, which may be of stripes, diamonds, or any design you please. NETTED NIGHT-NET. This night-net is particularly recommended to per- sons who suffer from headache, as it keeps the hair closely together without any pressure on the head. , Materials Required : Crochet cotton No. 4, netting- needle, and mesh about quarter-inch wide.

Page 154

THE YOUNG LADifiS' JOURNAL, KO. 5^ »o. ^o . Commence with twenty-two stitches, and net back- wards and forwards fifteen rows, and then take out the foundation thread, draw it through the middle of the oblong. Now work round and make one knot in each stitch of the preceding row ; there must be eighteen rows netted round, or more if not large enough ; then follows the broad row for the ribbon to pass through. For this take a half-inch mesh, or put the cotton twice round the small mesh at every stitch. After this broad row work two rows over the first mesh, then follows the narrow lace for the outer eds:e <^ for this, net one row over the broad mesh, making always five knots in one stitch, passing over the next stitch. Now take again the small mesh, and pass over again in each row the same stitches that were passed over in the first row, whilst in the rest one stitch must be made in each stiteh of preceding row until there is only one stitch to work, and the next to pass over alternately. This ends the lace. Draw a ribbon through t'se broad row of netting, and tie it at the back, and sew on the bow at the top. NETTED CURTAINS. Netted curtains are generally preferred made of square netting. To begin, you must work as for the square and oblong netting described in Nos. 10 and 13, in page 22. The size of cotton will of course rule the size of the mesh and the quantity of cotton re- quired. Evans' (Boar's Head cotton), about 0000, will make a nice curtain, worked quite plainly, and edged with a fancy border in netting or a row of ball fringe. For a coarser curtain, Strutt's knitting cotton No. 10, mesh, knitting-pin No. 10 (Walker's boll gauge). A curtain about throe yards and a-half long would require 350 stitches. This could be worked with rows of plain netting, and any of tlie fancy stripes which we have illustrated and described in our Fancy Net- ting SupT:)lpments. The rosp nnd plain r^ttern shown on page 121 will make very beautiful curtains worked *in Strutt's crochet cotton No. 12, with a mesh knitr ting-pin No. 12 (Walker's bell gauge). [rWE END.]

Page 155

ADVERTISEMENTS. ^flNG^VoSrg riNGERINGS 3 TRADE PETTICOAT, MARK. BEEIN SAXONY, FLEECY, &C. £my Skein bears the Makers' Guarantee Label and Shade Number, as above. Sold Everywhere. UQIES MAY RELY UPON HAVIHC AMY SHADE IN THE WYVERM QUAUTIES Matched through- all Haberdashers and Wool Dealers- Manufacturera s— T. W. RUST & Co.. Idland Spinntog Ms, By whom SAMPLES and PATTERN CARD wiU be sent POST FREE ON APPLICATION. " The Wvvfrn Wools are strong, t.e Dyes are fast, and they can be obtained ia an 'immense vadety of attractive Solours. The Fingering is made of unshrinkable tJ!oo^^o sta^d wa'sh>ng. The" Wyvern Saxony is specially strong and elasttc, made to stand bard wear and washing."— Extract from a Fashionable Fubhcation. Ladies who knit Socks, Stockings, or Underclothing for Children are recommended to send for samples of the Wyvern Wools.

Page 156

ADVERTISEMENTS. A WONDERFUL MEDICINE. BEECHAI'S FILLS. BEECHAM'S BEEGHAM'S BEECHAM'S BEEGHAM'S BEEGHAM'S BEEGHAM'S BEEGHAM'S BEEGHAM'S BEEGHAM'S BEEGHAMS BEEGHAM'S BEEGHAM'S PILLS PILLS PILLS PILLS PILLS PILLS PILLS PILLS PILLS PILLS PILLS PILLS Are universally admitted to be WORTH A GUINEA A BOX for Bilious and Nervous Disorders, such as Wind and Pain in the Stomach, Sick Headache, Giddiness, Fulness and Swelling- after Meals, Dizziness and Drowsiness, Cold Chills, Flushings of Heat, Loss of Appetite, Shortness of Breath, Cos- tiveness, Scurvy, Blotches on the Skin, Disturbed Sleep, Frightful Dreams, and all Nervous and Trembling Sensations, &c. The first dose will give relief in Twenty Minutes. This is no fiction, for they have done it in countless cases. Every sufferer is earnestly invited to try one Box of these Pills, and they will be acknowledged to be WORTH A GUINEA A BOX. For Females of all ages, these Pills are invaluable, as a few doses of them bring about all that is required. No Female should be without them. There is no Medicine to be found to equal BEECHAM'S PILLS for removing any Obstruction or Irregularity of the System. If taken according to the Directions given with each Box, they will soon restore Females of all ages to sound and robuat health. For a Weak Stomach, Impaired Digestion, and all Disorders of the Liver, they act like " Magic," and a few doses will be found to work wonders upon the most important organs in the human machine. They strengthen the whole Muscular System, restore the long-lost Complexion, bring back the keen edge of Appetite, and arouse into action, with the Rosebud of Health, the whole physical energy of the human frame. These are FACTS testified to con- tinually by members of all classes of Society ; and one of the best guarantees to the Nervous and Debilitated is, BEECHAM'S PILLS have the LARGEST SALE OF ANY PATENT MEDICINE IN THE WORLD. Full Directions given with each Box. Prepared only by Thomas Bkecham, St. Helens, Lancashire, and Sold by all Drug- gists and Patent Medicine Dealers, in Boxes, at 1/1| and 2/9 each. >/

Page 157

Page 158

Page 159

p-

Page 160

r i