No. 44.—Picot or Dot on Sorrento Bar.
No. 45.—d'Alençon Bars.—These bars are worked upon point de Bruxelles edging, and are only applied to the inner part of a pattern, never being used as ground-work bars. The thread is merely passed three times over and under the point de Bruxelles stitches, the length of these bars being regulated by the space to be filled; when the third bar is completed a tight point de Bruxelles stitch fastens off the bars, and the thread is passed through the next point de Bruxelles stitch.
No. 45.—d'Alençon Bars.
No. 46.—Plain Venetian Bars.
No. 46.—Plain Venetian Bars.—These bars are worked so as to form squares, triangles, etc., in button-hole stitch upon a straight thread.
The arrow in the illustration points to the direction for working the next stitch.
No. 47.—Dotted Point de Venise Bars.—These pretty bars are worked as follows: Stretch the thread from right to left; on this work 5 tight stitches of point de Bruxelles, then insert a pin in this last stitch to hold it open and loose, pass the needle under the loose stitch and over the thread, as clearly shown in the illustration, and in this loop work 3 tight point de Bruxelles stitches. Then work 5 more stitches and repeat to end of row.
No. 47.—Dotted Point de Venise Bars.
No. 48.—Third Method of Making Picots or Dots.
The making of the dots or purls before mentioned as picots, is an important feature in bar work. All three names are employed for the same class of stitch.
No. 48.—Third Method of Making Picots Or Dots.—This method has been fully described in connection with the making of Raleigh Bars at Nos. 31 and 32 (page 15), and requires no further description at this point. All dots and picots render work much more effective, and may be introduced at will by the worker.
In making modern lace, the various kinds require appropriate braids. There are three classes of these braids—those for Battenburg lace, those for plain Honiton and point, and those for the newest kind of lace, which is called the "Ideal Honiton." Each class of braids contains many designs and widths, and a large number of them, together with various cords, buttons and rings also used are illustrated on following pages.
The braids, cords, rings and buttons illustrated upon the following two pages are all used in modern lace-making. They are all made of pure linen thread, and according to the fancy, the lace including them may be heavy or light. Royal Battenburg lace, as originated, was heavy—in some cases massive; but at present many lighter varieties are made, as will be surmised upon an inspection of the braids for its manufacture which are represented on the pages mentioned. As shown by No. 1, these braids are about a third narrower than their actual width, and the picot edges numbered 16 and 17 are plain tatting made for the purpose, as the picot edges woven for lighter laces are not heavy enough for Battenburg lace. The numbers opposite the specimens are simply for convenience in ordering, if the order is sent the lady mentioned in another part of the book as the Pioneer of Lace-Making in America; but in ordering from other lace-makers or manufacturers of braids, these numbers will be of little use, as every lace-maker or manufacturer has his or her own individual identifications for materials. Almost any of the braids, or those very similar, may be found at large fancy stores, but in buying them at such stores, be careful to get linen braids, as cotton braids do not make pretty lace, neither do they wear or launder well. In ordering these braids from other lace-makers or from fancy stores, it will be necessary to forward the illustration of the kind wanted, as the braids cannot be described with sufficient accuracy to obtain the desired varieties. Some are sold by the yard, some by the dozen yards and others by the piece, according to the position to be occupied in the work.
The point, Honiton and Princess braids are represented full size, and are much daintier in texture than the Battenburg braids. Of this class of braids (see No. 2) are made the plain Honiton and point laces, and the braids for these two laces combined produce the Princess lace—a creation whose beauty fully entitles it to its royal name.
The braids seen at No. 3, page 21, are those which are used in making the new "Ideal Honiton" lace represented in another portion of the book. As illustrated, these braids are three-quarters of their proper widths, the top braid, No. 38, being just one inch wide in the fabric itself. The "Ideal Honiton" is one of the prettiest laces made, and is very appropriate for tidies, doilies, squares and scarfs. It is daintily secured to the finest of lawn in charming designs, and then the lawn is cut out from beneath it. (See doily, page 33).
The cords seen at No. 4 are used in making Battenburg laces, and greatly increase the beauty of the work in addition to forming a distinctive species of lace. After the ordinary Battenburg is worked with quite thick braid, the cord, in any size desired, is used to follow one edge of the design, as will be seen from illustrations upon other following pages.
The rings and buttons illustrated, are made throughout of linen thread in layers of button-hole stitches, and are sold by the dozen or gross. Buttons arranged as grapes (see No. 50, page 21), add greatly to the sumptuous effect of a heavy lace, and may be purchased already arranged as illustrated, or they may be arranged by the purchaser of a quantity of them. The latter method is a good plan if spaces are to be filled with clusters which must be of a certain shape.
No. 2.—Braids used in Making Honiton, Point and Princess Lace.
No. 4.—Cords, Rings and Buttons used in Making Battenburg Lace.
Of necessity, most of the designs and specimens given on this and the following pages are smaller than the articles they represent, but they afford a correct idea of the method of making and the beauty of Modern Lace, and also its adaptability to dainty accessories of the toilet and the household. As before mentioned any design desired can be obtained from any lace-making establishment in any size, width or shape, according to the requirements of the article or lace to be made, and individual taste. Ingenious students will no doubt be able to adapt for themselves the designs offered, but it is not advisable for those who have no talent in the matter of drawing or designing to undertake an elaborate adaptation, though they may easily accomplish a simple one. Besides, a professional designer will furnish the design for a moderate sum, perfectly outlined upon tracing cloth, with ink, and with the proper filling-in stitches perfectly delineated; and if the student wishes it, will select the thread and braid appropriate for the design; or the student may select the braid she fancies, and the designer will then select the thread suitable for the braid.
This design is suitable for point lace braid, but is of course very much reduced in size, in order to show the effect and arrangement of a design ready for working, as sent out from the lace-maker's. By a reference to the various stitches illustrated on preceding pages, the stitches shown in one corner of the design may be readily identified. The following engraving shows how braid is applied to a design before the stitches are begun.
No. 1.—Design for a Lace Handkerchief.
This illustration shows the method of arranging braid upon designs for modern lace, and how, after the braid is basted along the pattern, the tracing cloth is basted to toile cirée or to smooth, light brown wrapping paper to provide sufficient firmness for working.
The following instructions apply particularly to engraving No. 2, but their principle should be observed and applied to any design decided upon, as good results in lace-making largely depend upon the arrangement of the braid.
Run on a straight line of braid for the lower edge, with fine stitches, working as shown, from left to right. Take another piece of braid, or the other end of the same piece, and begin to lay the braid by "running" stitches in its center, keeping it as smooth and even as possible. The outer edge presents no difficulty, but the inner edge will not lie evenly without being drawn in by a needle and thread, as follows: Fasten whipping thread securely, and insert the needle in and out of the edge of the braid, as if for fine gathering; this thread when drawn up will keep the braid in its place. Two or three fastening-off stitches should be worked when each circle, half circle, or rounded curve of a pattern is finished, as the drawing or gathering thread remains in the work, and forms an important, though unseen, part of its structure.
Before cutting off the braid run a few stitches across it to prevent it from widening. Joins should be avoided, but when a join is indispensable, stitch the braid together, open and turn back the ends, and stitch each portion down separately. When passing the thread from one part to another, run it along the center of the braid, allowing the stitches to show as little as possible. In commencing, make a few stitches, leaving the end of the thread on the wrong side and cutting it off afterwards. In fastening off, make a tight button-hole stitch, run in three stitches, bring the needle out at the back, and cut off.
No. 2.—Method of Placing Braid upon Designs.
The engraving on the opposite page represents the article above mentioned, and shows the effectiveness of this magnificent and durable lace. In actual size the scarf is about a yard and one-half long and one-half yard wide, and is made of a heavy Battenburg braid, having a fancy edge (See Nos. 5 or 7, on page 20) and cord, rings and buttons. The main part of the design is outlined with the braid, cord is used as a veining for the leaves, and the rings and buttons are introduced here and there over the surface, as seen in the picture. Raleigh bars with picots connect the border and center designs, while the palms along the border as well as other small spaces are filled in with point Turque and point de Grecque stitches. Sorrento bars are also used in some of the long leaf-like spaces, while in a few of the circular spaces point d'Angleterre rosettes are introduced. These rosettes are also frequently called "spiders," and are made, according to the space, large or small; and according to the requirements of the braid selected, heavy or light.
For convenience in giving the name of this lace, the full title is rarely used—"Battenburg Lace" being considered sufficient to identify the fabric from the other and lighter laces.
Battenburg lace is made both heavy and light, according to personal taste or the object for which the lace is intended, but it was originally designed for heavy work only.
No. 3.—Royal Battenburg Lace Bureau-scarf.
This dainty doily may be made of the point lace braids illustrated at Nos. 30 and 31, together with the picot edging No. 36, seen on page 20. In filling in the spaces, thread suitable for the braid is used, and the stitches are point de Valenciennes, point d'Espagne, Sorrento bars, point de Bruxelles, open rings and "spiders." As all of these stitches, with many others are illustrated in that section of this book devoted to stitches, it will be unnecessary to repeat the details for making, as they are fully given in the department mentioned. It will also be understood that most of the articles illustrated are not of full size, but in some instances are nearly so. The doily just described is illustrated about three-quarters of its actual size; but by using a fine braid a doily of fairy-like texture, and just the size of the engraving may be produced. Any one accustomed to drawing may enlarge this or any of the designs given, but only clever fingers should try this experiment.
No. 4.—Point Lace Doily for a Toilet Cushion.
This is a very elegant looking lace, though simply made after the regular Battenburg method. A plain braid (No. 10, page 20) is chosen to form the outlines, and after the stitches are filled in, cord of a suitable size is carried around the petals and foliage of the design, and rows of it are also used to indicate the vine, though the latter may be outlined with the tape and then with the cord. The petals of the blossoms are filled in in point de Bruxelles and point de Venise stitches, while point d'Espagne and point Brabançon are used for the foliage and vine. Point Grecque and d'Alençon bars are also used at the very heart of the blossom, and Raleigh net-work bars connect the design to the edge and are dotted here and there with "spiders."
No. 5.—Battenburg Lace, with Cord.
This insertion matches the edging or lace above described, and is, therefore, made in exactly the same way, except that the design is double. Both the edging and insertion may be made of any width desired; and the design will be found very pretty for fancy-edge or plain braids without the cord. Buttons or rings may be used in place of the "spiders" seen in the engravings if preferred.
No. 6.—Battenburg Insertion, with Cord.
The design illustrated is, of necessity, much smaller than the cap it is intended for; but the clever student may easily enlarge it to, or design one for herself of the size required. Lace-makers will duplicate designs in any size desired for a moderate sum, thus saving the amateur much work and at the same time putting her to little expense.
The design here illustrated might also be used for handkerchief corners, scarf-ends, etc., etc.; and any of the stitches illustrated on preceding pages may be selected for filling-in purposes.
No. 7.—Design for a Honiton Lace Cap.
According to the article to be decorated, this design will be found appropriate for either of the braids used for the laces above mentioned.
For table scarfs, tidies, heavy borders, etc., etc., the Battenburg braids should be selected; but for handkerchiefs or doilies, the point or Honiton braids are the proper ones to choose for this design.
Raleigh bars, Brussels point and any other stitches preferred, may be used in filling in the spaces. When a design is procured from a lace-maker a portion of it is always marked with the stitches to be used; but this is not an arbitrary matter, since the one who is to make the lace, may desire to and may insert other stitches in preference to those indicated.
No. 8.—Design for a Corner in Battenburg, Point, or Honiton Lace.
One of the prettiest and the very newest of the modern laces is here illustrated. It is made of two of the many varieties of Honiton braids, wash-silk floss and linen lawn. The braid is basted smoothly upon a square of lawn in the design illustrated (though individual taste will no doubt suggest many other equally pretty designs), after which the inner edges of the braid are permanently secured by a "short and long stitch." This is merely a short and long button-hole stitch reversed so that the cross loops are on the edge of the braid, while the stitches them selves extend beyond the braid, into the lawn, as seen in the engraving. Two short stitches alternate with single long ones throughout this part of the work. The outer edges are then fastened to the square by tiny button-hole scollops. Then the lawn is cut from under the squares formed by the braid, and the openings are button-holed through the lawn and braid so that the edges of the lawn will not fray. When this is done the spaces are filled in with fancy stitches, and when they are completed the lawn is cut away from the edge-scollops with a pair of fine sharp, scissors. In the doily illustrated "spiders" and point de Venise stitches are used for filling in the spaces. The floss used may be white or tinted, the latter washing as well as the white; but as a rule, white or yellow flosses are selected in preference to other colors. "Ideal Honiton" scarfs, tidies, doilies, pillow shams, tray cloths, etc., etc., may be purchased with the braid already basted on in a pretty design and with the necessary threads or floss, or they may be designed at home, and by either method will result in a beautiful variety of modern lace.
No. 9.—Doily of "Ideal Honiton" Lace and Linen Lawn.
Although this design is intended for Battenburg lace, and may be made up of any of the braids used for that kind of lace, it will also be found suitable for the finer point or Honiton braids for handkerchiefs, doilies, mats, etc., etc. As illustrated it would be suitable for a handkerchief. Enlarged and followed in Battenburg braid it would make a very handsome border for a table-scarf, curtains or draperies, or a substantial decoration for a gown of wash fabric or other goods. Raleigh bars, "spiders" and point de Bruxelles stitches are used for filling in, and a dainty picot edge is sewed to the outer line of the braid. Plain or fancy braid may be used for this design. If fancy loop-edge braid is selected, the picot edge will not be needed, the loops taking its place.
No. 10.—Design for a Corner in Battenburg Lace.
The edging here illustrated is represented about one-third less than its actual width, but the design is so distinctly brought out that its beauty in any width may be readily conceived. It is formed of fancy Battenburg braid, but may be made from a plain variety if preferred. The design is known as the fern leaf and is easy to follow. Sorrento bars are used to connect the work, and "spiders" are made here and there to add variety to the work. Point de Bruxelles stitches are used to fill in the spaces at the sides of the leaves, and, with the fancy braid, produce a very dainty, delicate effect.
No. 11.—Battenburg Edging.
This insertion is made to match the edging seen above it, but is much wider than the edging, though formed of the same braid. Either design could be varied so as to result in an edging and insertion of equal width, or the edging could be arranged for an insertion, and the insertion illustrated changed into an edging.
No. 12.—Battenburg Insertion.
Princess lace, (also known as Duchesse lace) as elsewhere mentioned, results from combining Honiton and point lace braids in one design; and a charming specimen of this lovely lace is here illustrated.
The doily is pictured only a trifle smaller than its actual size, and even in its full size is a very dainty affair. After the braids are basted along the design, they are then connected by twisted bars that are an adaptation from the point d'Alençon bars with the twisted stitch; and the spaces are filled in in small d'Angleterre rosettes or "spiders." As few bars as possible are employed for the spiders, in order to produce a very delicate effect. The lawn center is added last.
No. 13.—Finger-Bowl Doily of Princess Lace and Linen Lawn.
As suggested by the title, the design here presented may be used for insertion, or for a center to a table cloth or scarf, or a handsome spread. As represented it is intended for a center-piece, and the lace from which the engraving was made is about half-a-yard long and one-fourth of a yard wide. The ground-work is formed of Raleigh bars made with picots, and the loops of braid are filled in with twisted point d'Alençon bars.
This center-piece is very pretty made of ribbon with silk thread for the bars, and in this event it may be made of any color desired, and added to a spread or scarf of Surah silk or fine cloth, for which a border to match may be made.
No. 14.—Design for Insertion, or a Center-piece, in Battenburg Lace.
This pretty cloth is intended for a Queen Anne tray, and its lace edges curve upward and just over the rim of the tray when it is laid upon it. The center is of fine table-linen, while the edge is formed of Battenburg braid, buttons and fancy stitches. As will be seen, the corner spaces are filled in with point d'Angleterre rosettes or "spiders," the large border spaces and corresponding corner ones are filled in with picot bars, while the very fine work seen in the triangles and square spaces are point de Venise stitches, and half-spiders are made in the other triangles. The narrow, straight inner border is composed of bars and tiny buttons arranged as represented. The cloth is hem-stitched before the braid is laid on, and the corners are cut out from underneath after the work is otherwise completed.
No. 15.—Queen Anne Tray-Cloth of Battenburg Lace and Linen.
Butterflies for the corners of handkerchiefs, scarf-ends and the points of caps or coiffures are favorite designs in point and Honiton laces. The one illustrated is very dainty and exceedingly simple to execute. The upper portion of each wing has a point de reprise ground-work, but the solid sections are tiny spiders instead of point de reprise triangles. The outer tips of the wings are filled in with Raleigh bars, while similar bars, point de Bruxelles stitches and a point d'Angleterre rosette complete the lower wings. Any of the fine point or Honiton braids may be chosen for the outlining of the butterfly, and a fine over-and-over stitch or fine cord may be used to mark the lines extending from the head.
No. 16.—Design for a Butterfly in Point Lace. (Full Size).
This design, as illustrated, is of course too small for either a doily or handkerchief, but an expert lace-maker can enlarge it to any size desired; and the clever amateur will find no difficulty in doing the same thing, as the outlines are not at all intricate, and may be easily followed. In sending for the braid for this, or similar designs, it is advisable to permit the lace-maker addressed to select them, and of course, the thread, since her long experience enables her at once to correctly judge what materials are appropriate for the articles you wish to make, especially if she knows the size the article is desired to be. The stitches, as here indicated, are point d'Angleterre rosettes, and point de fillet, with small "spiders" on the latter. A dainty picot-braid edges the design.
No. 17.—Design for a Doily or Handkerchief of Point or Honiton Lace. (Half Size.)
This engraving represents a modern adaptation of an ancient lace which may be made of fancy Battenburg braid and plain Raleigh bars. The design is not especially definite in its outlines, and may be imitated with any variations which may seem pleasing to the copyist. The picots are made after the method directed at the illustration of point de Venise bars in the department devoted to stitches. "Cardinal's point" of genuine make is of Italian origin, and in the earlier eras, was largely used for the decoration of church vestments and draperies.
No. 18.—"Cardinal's Point" Lace.
These two engravings show a very pretty design for Battenburg lace made with a cord finish. The application of the cord has been fully described elsewhere, where a different design of the same kind of work is given. In the present instance the spaces are filled in with twisted bars, "spiders" and rosettes in point d'Angleterre. The specimens from which the engravings were made are a trifle wider than seen in the pictures; but the width is a matter of individual taste, and also a result of the braid selected. A professional lace-maker will enlarge or adapt the design to accord with personal requirements.
No. 19.—Battenburg Edging, with Cord.
No. 20.—Battenburg Insertion, with Cord.
The design here illustrated was found in the old church of Santa Margherita, in Italy. It was drawn on parchment, and was undoubtedly intended as a design for altar lace. It was mentioned in a book of accounts for the year 1592, found in the archives of the church designated and is therefore of antique origin; but it may be easily adapted to modern methods of lace-making, and could be appropriately filled in with either Italian or Genoa lace stitches or with a combination of both, and twisted bars. Done with fancy Battenburg braid, it would be quite similar in effect to the "Cardinal's Point" illustrated on another page.
No. 21.—Tape-Guipure Design, found in an Old Church.
The engraving opposite illustrates a magnificent specimen of Modern Church Lace made of Battenburg braid with a limited introduction of Honiton braid. The specimen itself is considerably wider than represented, but as the width is a matter of individual taste, the engraving will serve as a design for a narrow church lace.
Sorrento bars are used to connect the braids and to form foundations for the spiders or rosettes here and there inserted, and the lace is delicately bordered with a dainty picot-braid. The fancy stitches in the main portions of the cross are point de Valenciennes, while those in the minor sections are point de Bruxelles.
Point de fillet is used for the central portion of the large T-shaped symbol, while the stitch forming the other symbol is one never used except for church lace, and consists of two or three sets of fine stitches so interlaced as to seem to form one solid stitch.
In making church lace any insignia desired can be introduced by a professional designer—an accomplishment that is usually beyond the inventive powers of the novice in lace-making.
No. 22.—Battenburg Church Lace.
This is a very handsome design combining the lily and the rose. The foundation work is made with unbleached linen braid having an ornamental edge, and the filling-in is done with fine and coarse linen thread in various stitches. Raleigh bars with picots define the upper edge of the edging, and Sorrento bars on which buttons are worked form the ground work.
Point de Grecque, point d'Angleterre, d'Alençon bars plain and twisted, point de Bruxelles and "spiders" are also used in making this lace, as will be seen from a close inspection of the engraving.
This specimen of lace is very handsome when developed in black silk braids and silk thread, for black costumes.
No. 23.—English Needle Point.
As represented this doily is about three-fourths of its actual size. It is made of fine linen lawn, and a set generally comprises a dozen. Fine point lace braid is used to outline the design, and then rosettes in point d'Angleterre, and "spiders" or small rosettes are made in the openings as represented. The alternate outer scallops are filled in with point de Bruxelles stitches, and a dainty picot-braid is added to the edge by the usual over-and-over stitch.
No. 24.—Punch-Glass Doily of Point Lace and Lawn.
A very handsome point lace set is here illustrated, and may be easily followed by an expert lace-maker; but it will be wiser for the novice to obtain a pattern or design of the shape and size desired, from a professional lace-maker. Point de Grecque, point de Bruxelles, point de Venise, Sorrento bars, and rosettes and rings are all employed in carrying out this design. As elsewhere mentioned, any fine stitch preferred may be used for filling-in purposes when those suggested or marked out upon a design are not admired.
No. 25.—Point Lace Collar and Cuff.
The scarf-end from which this design was copied is about ten inches deep, and it is about fourteen or fifteen inches wide. It will be seen from these dimensions, that it is impossible to produce a full-size design of it on these pages, but one of any size desired may be obtained at any lace-makers; or, a clever student of lace-making may enlarge the design to suit her own requirements. According to the size of the scarf-end, wide or narrow braid must be selected, with thread to correspond. The stitches used in filling in are point de fillet, point de Bruxelles and point d'Angleterre, and Raleigh, Sorrento and d'Alençon bars, and rosettes and "spiders."
No. 26.—Design for a Table Scarf in Battenburg Lace.
This design is for the corner of a scarf, spread, tidy or pillow-sham and is very popular, as it is effective though simply made. The fine stitches are point de Bruxelles, while the others are Raleigh, Sorrento and point Grecque bars. Plain or fancy braid, or a combination of both may be used in this design with a charming effect.
No. 27.—Apple Design for a Corner in Battenburg Lace.
Doilies of this description are generally made about four inches square. The engraving opposite pictures the doily mentioned as somewhat smaller, but the design is sufficiently large to enable the student to make her doilies as large as she desires them to be, as it is easy to follow. The corner spaces are filled in with twisted bars and rings worked at the same time; but rosettes or spiders may be worked in place of the rings if preferred. The corner spaces are filled in in point Brabançon, and for those at each side point de Bruxelles is used. The doily is edged with a fine picot-braid that finishes it daintily, and very sheer linen lawn is used for the center.
No. 28.—Roman Punch-Glass Doily in Point Lace.
The design illustrated may be followed in Battenburg braid or plain lace tape, and any of the fancy stitches mentioned and described among the rosettes, bars and picots may be employed for filling-in purposes. Cream white or unbleached braids or tapes are prettier for Russian lace than pure white. Russian lace is a very durable as well as effective trimming for household draperies, and also for gowns of wash fabrics or those of cotton fabrics which will not need renovating.
No. 29.—Modern Russian Lace.
This engraving represents a specimen of genuine Russian lace made of fine braid, and wrought with bars similar to Raleigh bars, except that they have no picots. The Russians have always been noted for their exquisite needle-work, but as a nation they have never had any established lace manufactory. The workers of the small amount of lace produced are scattered about at their own houses, and many of them are poor ladies of gentle birth. Most of the laces, however, are made by the peasantry, who bring them to St. Petersburg where sale for them is found.
No. 30.—Russian Lace.
This fashionable design may be developed in various widths and braids as an insertion, or as an appliqué on lawn. The ground-work may be formed of Raleigh bars, or of twisted bars made like the net-work for Raleigh bars. The loops of the bows may be filled in with point de Bruxelles or any fine stitch preferred. The design is pretty for bordering table scarfs, tidies, valances and curtains when heavy braids are selected. The finer braids render the design appropriate for handkerchiefs and dainty trimming laces.
No. 31.—Bow-Knot Design for Modern Lace.
The design here illustrated may be enlarged or simplified to please individual taste, and it may be made of Honiton braid as well as point. The connecting stitches may be point de Bruxelles, Raleigh and Sorrento bars, "spiders" or any of the fine stitches described and illustrated in the department devoted to stitches. A dainty picot braid follows the outer edge of the doily. This design, enlarged sufficiently, would form an elegant pattern for a lace handkerchief.
No. 32.—Princess Lace Doily Design.
This very elegant specimen of altar lace is, in reality, about nine or ten inches deep; but, for want of space the engraving represents it as only about half as wide. The design, however, is perfect in detail, and the illustration fully displays its effectiveness, and discloses the variety of connecting and filling-in stitches used. A delicate Battenburg braid is chosen for the foundation, and in addition to regular lace stitches, those from drawn work are here and there interspersed. The cross is filled in in point de Venise, (or side stitch as it is sometimes called), and the same stitch is seen in the central design at each side of the cross. Drawn-work effects are seen also in these central figures and along the borders. Sorrento bars are here made and knotted at the center like drawn strands, or are connected by rosettes or "spiders" made in drawn-work style. At the center of the cross is a large drawn-work wheel, while small Maltese crosses and half-crosses are made elsewhere in the work by the drawn-work method, Sorrento bars taking the place of the usual strands. The central section of the border at the right of the cross is done in point de Bruxelles which is afterward button-holed as in bar-work, and a button-hole picot edge follows the lower outlines of the pattern. Raleigh bars with picots form the connecting ground-work throughout the work. This beautiful specimen shows two distinct methods of filling in the sections between the crosses. Either may be used alone, or the two may be used alternately with the crosses.