Reprinted from The Ladies' Work-Book, 

by Unknown, Printed sometime in 

the 19th century

KNITTING.

There is not one art practised by ladies which is more deservedly
popular than Knitting. It is so easy, requires so little eyesight, and
is susceptible of so much ornament, that it merits the attention of
every lady; and in giving instructions for acquiring it, we add, also,
such admirable diagrams of the various processes, we are sure that no difficulty will be felt in executing any pattern.

CASTING ON WITH ONE NEEDLE

The first process in knitting is known by the term CASTING ON. There are two ways of doing this: with one needle, and with two. Our first diagram represents the former process. Take the thread between the second and third fingers of the left hand, leaving an end of about a yard for every hundred stitches; pass it round the thumb of that hand, giving it a twist, so as to form a loop. Take a knitting-needle in the right hand, insert the point in the loop, and pass the thread from the ball round the needle; then bend the point of the needle through the loop, which tighten, and one stitch will be complete.
Continue to make loops over the thumb, with the end of thread, and knit them with that from the ball until the proper number is cast on.

TO CAST ON WITH TWO NEEDLES (generally called the Spanish method), begin by making a loop on the end of the thread, into which slip the point of one needle, holding it in the left hand. Take the other needle in the right hand, and slip its point into the same loop, bring the thread round the point of this needle, and bend the needle towards you, so that the thread forms a loop on it. Slip that also on the left needle, without withdrawing it from the right. Put the thread round the right again, and repeat the process.

TO CAST ON WITH TWO NEEDLES.

PLAIN KNITTING.—After all the stitches are cast on, hold the
needle containing them in the left hand. Pass the thread round the little finger of the right hand, under the second and
third, and above the point of the first. Then take the other needle in the right hand, slip the point in the first stitch, and put the thread round it; bring forward the point of the right-hand needle, so that the thread forms a loop on it. Slip the end of the left-hand needle out of the stitch, and a new stitch is knitted.

GERMAN MANNER.—The thread, instead of being held by the
fingers of the right hand, is passed over and under those of the left. The process otherwise is exactly the same.

PURLING.—Begin by bringing the thread in front of the
right-hand needle, which slip into a stitch pointing towards you; that is in the reverse of the usual mode (see diagram). Put the thread round the point of the needle, still bringing it towards you, bend the
needle backwards to form a loop, and withdraw the stitch from the
point of the left-hand needle.

PLAIN KNITTING.

When knitted and purled stitches occur in the same row, the thread
must be brought forward before a purled stitch, and taken back before a knitted one.

THE GERMAN MANNER.

TO MAKE A STITCH. Bring the thread in front, as if for a purled
stitch, so that when you knit one the thread will pass over the
needle, and will make a hole in the following row. This diagram shows the manner of making three stitches, and any other number could be made, by putting the thread round a proportionate number of times. In the engraving it will be seen that the thread is put twice entirely round the needle; and then brought forward, so that the next knitted stitch will take it over a third time. In doing the next row, knit one, purl one, knit one of these stitches; however many are made, they must be alternately knitted and purled in the next
row. When the stitch allowing the made stitches is to be purled, the
thread must be entirely passed round the needle, once for every stitch to be made, and brought forward also.

PURLING.

TO MAKE A STITCH.

SLIP STITCH.—Pass a stitch from the left needle to the right,
without knitting it. There are two ways of decreasing: first, by knitting two, three, or more stitches as one, marked in knitting, as k 2 t, k3 t, etc. Secondly, in the following way: slip one stitch, knit-one, pass the slip stitch over: this decreases one stitch. To decrease two; slip one, knit two together, pass the slip stitch over.

TO TAKE UP STITCHES.

A reverse stitch is taken off the left-hand needle, in the reverse way
to knitting and purling. In both these, the right-hand needle is
inserted in the middle of the stitch, and the point brought out
towards you or otherwise. But to make a reverse stitch, you insert the point of the needle in the stitch at the back of the work,
and bring it forward through the opening in which it generally is inserted. The thread is to be placed round it, as for a purled stitch.

TO KNIT TWO PIECES TOGETHER.

To reverse two, three, or more stitches together, insert the needle in them all at once, from the last to the first.

TO TAKE UP STITCHES.—Insert the needle in the loop, pass the thread round, and knit it in the usual manner. Do not draw out any loop more than can be avoided, while knitting it.

TO KNIT TWO PIECES TOGETHER.—To do this there must be an equal number of stitches on both.

TO FORM A ROUND.

Hold the needles together in the right hand, and knit as usual,
inserting the left-hand needle in a loop of each at the same time, and treating the two as one.

TO CAST OFF.

TO FORM A ROUND:

This diagram represents the French manner of performing this process by casting the whole number of stitches on one needle, and then distributing them on three, or perhaps four.
But the English mode is to divide the number of stitches, and cast so many on each needle, not withdrawing the last stitch of each needle from the point of the next needle. When all are cast on, the round is made by knitting the two first stitches on to the
last needle. Four needles are employed for stockings, five for doyleys and other round articles.

To cast off:— knit two stitches, insert the point of the left
hand needle in the first stitch, and draw it on the other. Knit another stitch, and treat these two in the same way.

CROCHET.

The stitches used in crochet are, chain, slip, single, double, treble, and long treble crochet.

TO MAKE A CHAIN, form a loop on the thread, insert the hook in it, and draw the thread in another loop through this. Continue this to form a succession of stitches.

SLIP-STITCH is made by drawing a thread at once through any given stitch and the loop which is on the needle.

SINGLE CROCHET (written s.c.)—Having a loop on the needle, insert the hook in a stitch, and draw the thread through in a loop. You then have two on the hook; draw the thread through both at once.

DOUBLE CROCHET (d.c.)—Twist the thread round the hook before inserting it in the stitch, through which you draw the thread in a loop. Three loops being then on the needle, draw the thread through two, and then through the one just formed and the remaining one.

TREBLE CROCHET (t.c.) and LONG TREBLE (long t.c.) are worked in the same manner; in the former the thread is put twice, in the latter three times, round the hook, before inserting it into the stitch.

TO JOIN LEAVES.—When one part of a leaf, flower, etc., is to be joined to another, drop the loop from your hook, which insert in the place to be joined; draw the loop through and continue working.

TO PASS FROM ONE ROUND TO ANOTHER WITHOUT BREAKING THE THREAD.—In working mats and many similar articles this is very desirable. Having finished one round, see whether a s.c., d.c., or t.c. stitch begins the next; for s.c. make one chain, for d.c. three, for t.c. four; slip the needle out, and twist the chain, then continue working. This twisted chain will have all the appearance of a d.c. or t.c. stitch. Should the round not begin exactly in the same place, slip-stitch to the part where it commences, as it will seldom be more than a few stitches in advance.

SQUARE CROCHET is a term often used, and generally understood, as the engraved patterns are mostly in it. Lest, however, any of our readers should not be familiar with the name, we will explain it. The squares are either open or close. An open square consists of one d.c., two ch.—missing two on the line beneath, before making the next stitch. A close square has three successive d.c. Thus, any given number of close squares, followed by an open, will have so many times three d.c., and one over; and any foundation made for a pattern to be worked in square crochet will have a number of chains divisible by three, leaving one over.

TO CONTRACT AN EDGE.—In forming leaves and many other things, this is very useful. It can be done in d.c., t.c., or long t.c. Having twisted the thread round the needle as often as the stitch may require, insert it in the work, and half-do a stitch. Instead of completing it, again twist the thread round, until the same number of loops are on, and work a stitch completely. Thus, for two stitches taken in the work, there is only one head. This being successively repeated materially contracts an edge.

TO JOIN ON A THREAD.—Avoid joins in open work as much as possible. In close work, whether d.c. or s.c., they will not be perceived. Finish the stitch by drawing the new thread through, allowing a couple of inches for both ends, which you hold in.

TO WORK WITH SEVERAL COLOURS.—Hold the threads not in use along the edge of the work, and work them in. When the colour is to be changed, begin the stitch with the old colour, and complete it with the new, which continue to work with, holding the other in. If only one stitch of a colour is to be used, you finish one stitch, and begin the next with it; then change. Colours are seldom intermixed, except in solid work, such as the ends of purses, mats worked over cord, and the like.

TO WORK OVER CORD.—Hold it in the left hand, with the work, and work round it, as you would if it were merely an end of thread. The stitches must, however, be sufficiently close to cover it entirely.

TO WORK WITH BEADS.—Beads must be first threaded on the silk, or other material, and then dropped, according to the pattern, on what is usually thought the wrong side of the work. This side presents a more even appearance than the other. It follows that when bead purses are worked from an engraving, they are worked the reverse of the usual way—namely, from right to left.

THE MARKS USED IN CROCHET RECEIPTS.—These are very simple when understood. They are printers' marks—asterisks, crosses, daggers, and sometimes one or two others. They are used to mark repetitions, and save space. The principal thing to observe is, that in every row or round, if one of any kind is used, a second, similar one, is sure to be found; and that the repetition occurs between the two, however far distant apart. Suppose a row of a pattern to be written thus:—X 2 d.c., 4 ch., miss 4, * 5 d.c., 1 ch., miss 1, * three times, 5 d.c., X, * twice; it would, at full length, be—2 d.c., 4 ch., miss 4, 5 d.c., 1 ch., miss 1, 5 d.c., 1 ch., miss 1, 5 d.c., 1 ch., miss 1, 5 d.c., 2 d.c., 4 ch., miss 4, 5 d.c., 1 ch., miss 1, 5 d.c., 1 ch., miss 1, 5 d.c., 1 ch., miss 1, 5 d.c. It will be seen that one repetition often occurs within another, as in the stitches between the asterisks. Another mode of shortening receipts can be used only where a row has a centre both sides of which correspond; the latter being the same as the former, worked backwards. Then the letters b, a, are used, to mark that in the latter part of the row you reverse the instructions. b, 7 d.c., 3 ch., miss 2, 1 d.c., 2 ch., miss 1, a, 1 d.c. (the centre stitch), would be, 7 d.c., 3 ch., miss 2, 1 d.c., 2 ch., miss 1, 1 d.c., miss 1, 2 ch., 1 d.c., miss 2, 3 ch., 7 d.c. These letters and the printers' marks are equally used in knitting. It is easy to see how much space is gained by the use of these abbreviations, a knowledge of which is easily acquired. Probably many of our friends are already familiar with the substance of this preliminary lesson; but as daily experience convinces us that many are still ignorant of the principles of crochet, we trust the good-nature of the adepts will lead them to excuse this occupation of a page, in consideration of the benefit it will be to their less fortunate friends.

One word on the implement termed a crochet-hook. It should not be sharp or pointed, either in the point or barb, but smooth, and quite free from any angularity that can catch the silk. Cheap and common crochet-hooks are in the end the dearest, as they break cotton, ravel silk, wear out the patience, and prick the finger. They should be of the best steel, highly polished, and firmly fixed in ivory handles. Those we use have been made at our recommendation, and have the size engraved on every handle. This saves the tiresome and uncertain reference to a gauge. These hooks are termed "tapered, indented" crochet-hooks.

CROCHET EDGINGS AND INSERTIONS.

The whole of these edgings and insertions are intended to be worked either with or without beads. If to be worked with beads, 1 chain stitch must be reckoned in the foundation, for every square, and the ground must be perfectly solid, with the pattern in beads. If to be worked in square crochet, 3 chains must be allowed for every square. In the scallops the ends of the thread must be neatly run in after they are done. Reckoning from that part where the actual scallop begins, each must be done distinctly from the others.

INSERTIONS.

To be worked in square crochet. The materials, any number of Brooks' Great Exhibition Prize Goat's-head Crochet Cotton that will be suitable for the purpose. All these square crochet patterns may be done in beads, if desirable.

POINT LACE INSTRUCTIONS.

The outlines of any design in Point Lace are made in braid of various sorts, in thread, or sometimes in linen. The braid used is either French linen or cotton braid, or that now known as Italian braid. French braid is a simple plait, more or less wide; Italian braid is, in fact, a pillow lace insertion, somewhat resembling a tape, but with edges like those seen in all other pillow lace. It enters very much into the composition of Venetian and other valuable Italian lace, whence the name Italian braid has been given to it. Point lace used formerly to be worked on parchment, this, however, being very hard and stiff, is not so pleasant a material to work on as coloured paper, which may be lined with calico or alpaca, according to the word*work intended to be done.

French braid, whether made of linen or of cotton, is laid on the pattern with stitches taken across it, from one edge to the other. This mode of putting on braid prevents it from stretching, as, from the nature of the plait, it would otherwise do. In forming angles, each edge should be sewn down to the paper, and then the braid turned over. Circles are made by laying the braid on the design, and forming it into the proper shape with the fingers, before tacking it down.

We give a diagram showing the manner in which lines of braid cross and intersect each other, to form the pattern; and we would observe, en passant, that each line is done with a separate piece of braid, that from A to B being one piece, and from C to D another.

Italian braid, being so much wider, requires to be tacked down at both edges; and in forming circles and scrolls, one edge has, not unfrequently, to be gathered in slightly. When thread is used as an outline, a second, and much finer thread is used to tack it down. The coarse thread is laid on the outlines, and the needle is brought up on one side of it, and down, in the same hole, on the other. The stitches are taken at the rate of five or six to an inch, one being always placed at the point of each angle, so as to keep the outlines as accurate as possible. To fasten on a thread, run the needle along the braid a little way, taking a button-hole stitch to secure it. Fasten off in the same manner. If the outlines are in thread, you can twist the needle round it two or three times, and then take a tight button-hole stitch.

The chief stitch in all Point Lace is that known as the common button-hole or overcast stitch. This stitch, worked as closely as possible, or at regular intervals, drawn tightly, or the reverse, forms almost all the stitches, or more properly laces, used. We will begin by describing the simplest of all, which is known as

BRUSSELS EDGE

BRUSSELS EDGE (No. 1). This is a continuous line of button-hole stitches, not drawn tightly, and taken at equal distances of about the fourteenth part of an inch. When worked on braid, care should be taken that the needle is inserted at a little distance from the edge of the braid, which would otherwise be apt to fray.

LITTLE VENETIAN EDGING (No. 2). In working this stitch, do one Brussels, and in the loop of that work a tight stitch.

VENETIAN EDGING (No. 3). Do four stitches instead of one in the loop of the Brussels stitch.

SORRENTO EDGING (No. 4). Do a stitch exactly like little Venetian, the eighth of an inch long, and then one-half that length in the same manner. Continue to work these alternately.

VENETIAN BARS (No. 6). Take the needle across the space to be barred, once, twice, or oftener, according to the thickness of the bar, and then cover these threads quite closely with button-hole stitch.

The veinings of leaves are often worked in Venetian bars, over a ground of Brussels lace. As this is to be done without breaking off a thread, it requires some little management. Begin by making the foundation thread of the vein running from the base of the leaf to the point, taking one, two, or three threads, but always beginning at the point to cover it with button-hole stitch. Do enough to come to the first veinings branching from it; slip the needle across to the braid, in the proper direction, taking a close button-hole stitch to fasten it: cover it with button-hole up to the centre vein; then do the companion one in the same manner, and continue to work each pair as you come to it on the principal veining.

EDGED VENETIAN BARS (No. 5). This is a Venetian bar, like the last, edged with Brussels or Venetian edging. This, with various other bars, frequently forms the groundwork of the guipured lace.

ENGLISH BARS (No. 7). These are frequently worked between two lines of Brussels or Venetian edging to connect them. They are made by passing the needle backwards and forwards through two opposite stitches, always tacking the under side of each, so that the threads be across the space smoothly and evenly. About four times each way will be sufficient. They are usually done across between two stitches, and then one at each edge is missed before the next bar is made. Sometimes these bars are radiated, a single stitch of the edge being missed on one side, and two at the other.

SORRENTO BARS (No. 8). These are bars which occur most frequently in Italian lace. They are simply twisted threads, so closely entwined that they only appear as one. They also are frequently radiated, and crossed; the effect produced will be seen in the accompanying diagram.

DOTTED VENETIAN BARS (No. 9). A bar of threads is made, as for a common Venetian bar. Do on it six stitches, and instead of drawing the seventh tight, hold the top by sticking a needle through it and the paper, about the tenth of an inch, and work on the threads of the loop three button-hole stitches. Do six more on the bar, and repeat.

VENETIAN EDGING, VENETIAN BARS, EDGED VENETIAN BARS, SORRENTO BARS.

RALEIGH BARS (No. 10). Make a bar of threads, as for Venetian bars, and work on it about eight stitches. At the ninth, instead of bringing up the needle through the loop to form another button-hole, slip it under the bar, and bring it up on the right-hand side, leaving a loop of thread about two inches long, which you will hold down with your thumb, to keep it in its place. Now twist your needle six times under the right hand thread of this loop; draw it up, when it will make a knot, and slip the needle through it, above the bar, to continue the process. It may be observed that when this bar forms a part of the foundation of a piece of point, only two of these dots are generally seen on it, and they are placed near each other, almost in the centre of the bar.

POINT D'ALENÇON (No. 11). This is only common herring-bone stitch, with the needle twisted once or oftener under the thread of each stitch, according as the space to be filled is narrow or wide.

SPANISH POINT (No. 12). This is the raised stitch which gives the peculiarly rich appearance to all the Spanish lace. A certain thickness of soft cotton is tacked down on the lace, in the form desired, and this is covered closely with button-hole stitch, edged with Raleigh dots, or with small loops. It is to be noticed that this is not attached to the lace by the button-hole stitches, but only by the thread which tacks down the soft cotton, so that it can be picked off without injury. The button-hole stitches must be worked very smoothly, and quite close together.

ROSETTE (No. 13). This is exactly like a spider's web, worked on three, four, or more threads, according to the shape of the space intended to be filled. Begin by making a Sorrento bar across the space, from one point to the opposite; then a second one, slipping the needle under the first in going, and over it in twisting back; then do a third, or fourth, if necessary; but when you have twisted back to the centre of the last, make the rosette, leaving the half bar single. The rosette is done by passing the needle under two threads, then continuing to slip it under two, the first of which is always the last of the previous two, until you have made the spot a sufficient size, when you finish the last bar, by twisting down to the braid, and fastening off. The size of the space must be the guide for that of the rosette; but from six to ten times round a centre is an average.

STITCHES.

BRUSSELS LACE (No. 14). Consecutive rows of Brussels edging, worked alternately from left to right, and from right to left.

VENETIAN LACE (No. 15). Rows of Venetian edging. As this stitch can only be worked from left to right, a line of Brussels is usually placed between every two rows, and being worked from right to left, saves the trouble of running the needle along the braid.

SORRENTO LACE (No. 16). Successive rows of the Sorrento edging.

ENGLISH LACE (No. 17). This is to be worked with the finest thread that is made. Do a number of Sorrento bars (closely twisted threads), at equal distances, in one direction throughout the space: then take one thread under all these, in exactly the opposite direction; take a stitch on the braid to secure it, and twist to the first cross. Pass the needle under the single thread and over the twisted one, till it has gone four times round, when the spot will be sufficiently large. Twist on the single thread to the next cross, and repeat. Do this until the whole space is filled, as seen in the engraving, where the distance between the threads is sufficiently accurately represented. This lace always looks best, however, when the lines are diagonal. English lace is often radiated; that is, the lines are more distant from each other at one edge than at the other, and the spots proportionably larger, presenting the appearance of a fan.

OPEN ENGLISH LACE.

BRABANT EDGING.

OPEN ENGLISH LACE (No. 18). This is a variety of the previous lace, being worked in the same way, but on four lines of threads, instead of two, namely, one diagonal from left to right, one from right to left, one horizontal, and one perpendicular. The spots are worked on the last line made. The distance of the lines is seen in the engraving.

LYONS POINT.

BRUSSELS LACE.

The accompanying diagram gives another variety of open English lace. The straight bars are formed of single threads, while the diagonal ones are twisted; and at every cross a tight button-hole stitch is worked, to keep the threads together. Observe, that in working bars, a tight stitch should always be taken on the braid, at the beginning and end of every one.

MECKLIN WHEELS (No. 19). Work Venetian bars on a single thread, in one direction, at equal distances. Then take a thread in the opposite direction, and cover it also with button-hole stitch a little beyond the first cross. Take another needle and thread and work a few stitches, in the form of a circle, round each cross, so that by slipping the first needle through every stitch, a foundation may be formed for the button-hole work with which the wheel is made, a single Raleigh dot being added between every two threads. The stitches taken with the extra needle should form a sort of railroad for holding the thread in its place. This mode of working wheels will be found very superior to the old one of pinning down the circle of thread. When all the wheels are worked, the stitches made with the extra needle should be cut away at the back.

HENRIQUEZ LACE (No. 20). This stitch, and the one that follows it, are invariably worked with the finest thread manufactured. Like English lace, it has a better effect done on diagonal bars, than on those which are taken straight up and down, or across a space. Make one twisted bar across the space, then take a single thread nearly close to it. Twist it twice round, then darn a spot on the two threads; twist five or six times round, darn another, and repeat to the end. Do all the lines in one direction first, making the spots fall one beneath the other. Then begin the lines in the opposite direction, taking the thread under in one way, and over in returning, whilst, in order to keep the close bars apart, the thread must be twisted between them. Care must be taken that the bars in one direction, fall between the spots in the other.

CORDOVAN LACE (No. 21). Worked like the preceding; but with three bars in each line instead of two.

VALENCIENNES LACE (No. 22). This stitch also is done with the finest threads made. It is simple darning, of the closest and finest description, done with so much regularity that it resembles cambric.

BRABANT EDGING is a name sometimes given to a union of the Brussels with the Venetian edging. A row of Brussels is first worked, and on it a row of Venetian. The diagram gives the effect of this arrangement.

Another variety of edging is produced by two or three rows of Brussels being worked on one another. This is frequently seen in old lace; and, with Venetian on the outer edge of the braid, is often termed Lyons Point.

When spaces similar to those in the accompanying diagram are to be filled with Brussels lace, the best way is to work each side to the centre, and then run the needle up the middle, catching up alternately a stitch on each side. Sometimes the centre is not closed up at all.

The diagram below gives a specimen of a modification of the Little Venetian Lace. The first stitch is taken as usual, but is followed by three others, worked as closely as possible. A space equal to that of four stitches is left between every four. In the second row, the four stitches are worked on the loop. The engraving also shows how the stitches are adapted to the different spaces in a pattern.

FOUNDATION STITCH (No. 23). This is ordinary button-hole stitch, worked over a thread, and as closely as possible. The thread is taken across the space, from right to left, to form a bar, which is then covered with close Brussels, worked from left to right. Each stitch of a row is worked between two of the previous rows.

ESCALIER STITCH (No. 24). Work nine button hole stitches as close to each other as possible. Miss the space of two, and repeat. In the second row, work one after each of the first seven, miss the space of the last two, work two on the loop, and seven more on the next nine, miss the last two of the nine; repeat in every successive row, passing over the last two of nine stitches, and doing two on the vacant space.

CADIZ LACE (No. 25). Do six close Brussels stitches. Miss the space of two, do two more, and again miss the space of two, repeat from the six stitches.

2nd row: Do two over the loop of every space, and miss all the stitches, whether six or two. Repeat these two rows alternately, to form the lace.

BARCELONA LACE (No. 26). The first row of this lace is exactly like Sorrento edging.

2nd row: Do four close stitches on the long stitch, and miss the short one, taking care not to draw the thread too tightly.

3rd: A row of Sorento edging, the long stitch coming over the four stitches of the last row, and both the button-holes being worked on the loop, so that the short stitches come over the short of the first row. These two rows, worked alternately, make the lace.

FAN LACE (No. 27), 1st row: Six close Brussels, miss the space of six. Repeat.

2nd: Six stitches over every six, miss the same space.

3rd: Six close Brussels on every loop, missing the space between.

4th: Six over every six, and six on every loop.

5th: Six close over the six on the long loop, miss the other six. Repeat these last three rows as often as may be required to fill up the space.

LITTLE VENETIAN LACE.

SPOTTED LACE (No. 28). This very light and pretty lace is done thus:—

1st: X two close button-hole stitches, miss the space of four, X repeat to the end, without drawing the thread too tightly.

Begin the next row, and all following, at a little distance from the one preceding, and do two close stitches on every loop of thread.

VENETIAN SPOTTED LACE (No. 29). This lace consists of a series diamonds, formed by Venetian bars crossing each other diagonally, in each of the sections of which, four spots of English lace are to be worked. The foundation threads of the Venetian bars are first laid; then the English lace spots are worked, and the button-hole stitch of the Venetian bars is done the last. This lace is well suited to fill up large spaces.

OPEN ANTWERP LACE (No. 30). For this lace a new stitch is required, called the double Brussels. Instead of a simple button-hole stitch, the needle is twisted once in the loop, so that when drawn up, it has a longer appearance than the ordinary Brussels. The stitches are to be worked quite close to each other.

1st row: X eight close double stitches, miss the space of six, X repeat, without drawing the thread very tightly across the missing space.

2nd: X five double over the eight, two double on the loop of thread, X repeat.

3rd: X two double on the five, five over the two, X when five stitches are worked over two, one goes between the two, and two on each side of it.

4th: X eight double over five and miss the space over the two, leaving the loop rather loose, X. Repeat from the second row throughout the space.

OPEN DIAMOND (No. 31). 1st row: Five close Brussels, miss the space of two, X eight close, miss the space of two, X to the end of the row.

2nd: Two close, X miss two, two on the loop, miss two, work along the line after all the remainder of the eight, do two on the loop, and on six of the next eight (thirteen altogether), repeat to the end.

3rd: X miss two, two on the loop, miss two, do two on the loop, miss two, do one on every one of the line of stitches but the last two, X repeat.

4th: Two on the loop, miss two, two on the loop, X miss two, two on the loop, one on every stitch, and two on the next loop (thirteen altogether), miss two, two on a loop, X repeat. The next diamond of holes must be so managed as to fall immediately between two of the first row. By repeating the first line, the place will be indicated. In all these stitches, it is assumed that squares are to be filled in. Where the shape varies from that, extra stitches must be added, at the beginning, or taken away, as the case may be, the worker referring to the engraving for the appearance intended to be produced.

CLOSE DIAMOND (No. 32). The first row is plain button-hole stitch.

2nd row: Five stitches, X leave the space of two, fourteen stitches, X repeat.

3rd: Two stitches, X miss two, do two on the loop, miss two, work on all the rest of the fourteen, except the last two, X repeat. In the fourth row, the holes fall over those of the first. The fifth row is all in close stitches. In the sixth, begin to make fresh lines of diamonds, coming exactly between the last set.

ANTWERP LACE (No. 33). 1st row: X eight close, miss the space of two, X repeat

2nd: X five close over eight close, and two close on the loop, X.

3rd: X two close over five, and five over two, X.

4th: X five close over two, and two over five, X.

5th: X eight close over every five, X repeat.

The above are the principal stitches found in Old Point Lace.

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