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

PLAIN POINT STITCHES.

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

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

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

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

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

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

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

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

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

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

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

Third row.—Same as first.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WHEELS AND ROSETTES.

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

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

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

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

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

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

BARS AND PICOTS.

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

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

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

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

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

Third Method.—Work 4 tight point de Bruxelles stitches; 1 loose, through which pass the needle point, wind the thread three or four times round the point (see No. 48, page 18), press the thumb tightly on this, and draw the needle and thread through the twists. This is a quick mode of making the picot, and imitates most closely the real Spanish lace.

Illustration No. 48 shows how this stitch may also be applied as a regular ground-work, but the beauty of old point ground-work bars consists of variety in form.

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

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

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

Third row.—Repeat first row.

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

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

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

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

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

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

No. 41.—Bars of Point d'Angleterre.—These bars may be worked singly or to fill up a space, as in the illustration. Work rosettes as in point d'Angleterre; when each rosette is finished twist the thread up the foundation thread to the top, fasten with one stitch, then pass it under the parallel line running through the center and over into the opposite braid; repeat on each side of each rosette, inserting the threads as seen in the illustration.

No. 42.—Point de Venise Bars (Edged).—Begin at the right hand and stretch a line of thread to the left side of the braid, fastening it with one tight stitch of point de Bruxelles. Upon this line work a succession of tight point de Bruxelles stitches. Then in every third stitch work one point de Venise stitch.

No. 43.—d'AlenÇon and Sorrento Bars.—At Nos. 35 and 36 (page 16), a description of the method of making Sorrento bars is given, while at No. 19 (page 12), is a description of plain and fancy d'AlenÇon stitches. The two methods are combined in the work seen at No. 43 where the process is so clearly illustrated that a mere novice in lace-work could not fail to produce it perfectly. The combined stitch is used in filling in spaces, etc., etc.No. 44.—Picot Or Dot on Sorrento Bar.—This dot is worked between rows of point de Bruxelles, 3 twisted stitches being worked into the loop left by the twisted thread; this forms a picot resembling satin stitch in appearance.

No. 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. 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.

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.