Free Vintage Lace Pattern:

All care has been given to present this pattern in the original form. KnitHeaven is not responsible for errors.

DEEP POINT LACE EDGING.

MATERIALS..—Brooks' Great Exhibition Prize Goat's-head Mecklenburgh Threads, No. 1, 7, 100, and 120.

Draw the pattern from the engraving, a section of it being given the full size. The paper must then be lined with alpaca. Should a short piece only be required, the pattern should at once be made of the full length; if not, several may be drawn. From the closeness of the work it is impossible to work twice over the same paper.

The border of each pattern is formed of seven small scallops. It is worked in braiding-stitch, that is, four threads are laid on, parellel with each other, and formed into a braid by darning them backwards, and forwards, putting the needle always under two together. As it is not desirable to have any break in the outline, it will be advisable to take, for each of the four outline threads a needleful sufficiently long to answer for the whole piece of lace.

DEEP POINT LACE EDGING.

When the whole length of the paper is done, the ends may be twisted round a card, and wrapped in paper to keep them clean while that section of the work is in progress.

Each pattern contains one spray of flowers and small leaves, the stem of which is braided like the edge only that it is generally wider at the end.

All the outlines are made in No. 1, and the braiding done in No. 7. The flowers consist of six petals three of which are worked in foundation stitch, that is close button-hole stitch over a thread, and the others in spots formed by making two close button-hole stitches, and then allowing the space of two before working the next. In the succeeding row, the two close stitches come on the bar of thread formed between one spot and the next. The centre of the flower is an open circle, covered with close button-hole stitch, with Raleigh dots.

The leaves, which are very small, are entirely in foundation stitch. In each section of the large scallop is a wheel formed by working a circular Raleigh bar, on a foundation of three threads. The ground is in Raleigh bars worked very irregularly.

The straight edge of the lace is a line of button-hole stitch on two thread.

Three rows of Sorrento edge, worked one upon another, complete the lace. This edge and the flowers are done in Mecklenburgh 120. The remaining parts in No. 100.

COLLAR IN SPANISH ROSE POINT.

COLLAR IN SPANISH ROSE POINT.

MATERIALS..—Brooks' Great Exhibition Prize Goat's-head Valenciennes Threads.

This is distinguished by close heavy work, and solid Spanish stitch edged with loops. The ground of the collar is guipured in the richest style, partly with plain Raleigh bars partly with those having semi-circular loops, dotted in the same manner. Sometimes two bars have a Mecklin wheel at the cross.

The section given of the collar is the full size, and has only to be repeated and reversed for the length.

HANDKERCHIEF BORDER, IN ANTIQUE POINT LACE.

HANDKERCHIEF BORDER, IN ANTIQUE POINT LACE.

MATERIALS..—Brooks' Great Exhibition Prize Goat's-head Point Lace Cottons, and No. 1 Valenciennes Thread.

We give the section of the handkerchief of the full size, that workers may draw their own pattern from it. It may be made of any dimensions required. The perfect pattern occupies the entire side, reckoning from the open flower at the corner. Were this entirely repeated for the quarter, it would make the handkerchief rather too large for general taste; about one half the pattern, in addition to the piece given (or the open flower, and the two next to it on the inner side) would be found sufficient for the quarter. One-fourth of the handkerchief being drawn on tracing-paper, all the design can be marked from it, on red, blue, or green; but it is preferable to draw a little more than a quarter only, instead of the whole handkerchief, which is cumbersome to hold. When a quarter is done, it may be removed from the paper, which can be used a second time by a careful worker.

No braid whatever is used for this handkerchief, which is similar in the mode of working to some of the most valuable specimens of antique point. The scroll and flowers are close and heavy, the inner ground is guipured, in Raleigh bars, and the space between the scroll and the outer edge is filled with fine and close English lace.

The stem, and the closest part of the flowers (which may be distinguished in the engraving), are done in foundation stitch, with No. 90, point-lace cotton. The veinings of the petals, where they occur in this stitch, are made by taking the foundation thread at double the distance from the last one, and working over it a row of Brussels stitches at the usual distance from each other, instead of close, as in foundation stitch. The calyx of the flower is done in Antwerp lace. The very finest point-lace cotton should be used for all this stitch.

All the flowers, done as we have just described, have a centre worked in Venetian lace; No. 70 cotton must be used.

The open flowers, and the button-hole rounds, are done with Valenciennes thread, No. 120. The English lace, with No. 100 cotton. The Raleigh bars, with Valenciennes, No. 100.

The edge of the handkerchief border is finished with close button-hole stitch, on which Raleigh dots are worked at regular intervals. This edge is worked after all the rest of each quarter is finished.

If it be thought troublesome to outline the whole pattern with thread, No. 5 white cotton French braid may be used. The effect is, however, greatly inferior to that of the thread.

To make up the handkerchief, cut a square of cambric the exact size to fit the lace, allowing for a very narrow hem. When the hem is made, lay the inner line of the lace over it, tack them together, and work a row of close Brussels edge over the two, to connect them.

APRON IN BRODERIE EN LACET.

MATERIALS..—Three-quarters of a yard of wide black silk of satin, two knots of Russia silk braid, of any colour that may be approved, and a dozen skeins of sewing silk to match.

The term broderie en lacet is applied to a new and very pretty style of embroidery, in which the outlines are made with silk braid, and filled in with point-lace stitches. The pattern must be enlarged, and one-half drawn on a large sheet of paper: the outlines marked with a needle, and the silk pounced from it, one side of the paper marking one-half, and the reverse side the other.

For running on the braid, use the threads of the silk of which it is composed, in preference to the ordinary sewing silk. Cut off a piece of the braid three-quarters of a yard long before you begin, and draw the threads out of it for the braiding. When joins occur, the ends are to be drawn through the silk with a long needle, and fastened off on the wrong side.

The sections of the flowers are filled with English or Venetian lace, and for the leaves, Brussels lace, English bars, or point d'Alençon may be used. The last named is worked between the two lines of braid, to fill in the stems and scallops.

APRON IN BRODERIE EN LACET.

The bottom of the apron may either have a hem below the embroidery, or be scalloped in button-hole stitch, and the edges cut out.

The colours which look best for this style of work are—cerise, crimson, blue, orange, and for mourning, a soft gray. The fancy stitches are to be done exactly like those for point lace, but they need not be so close and fine, the silk filling in without much work.

PINCUSHION COVER IN POINT LACE.

MATERIALS..—Brooks' Great Exhibition Prize Goat's-head Valenciennes Cottons, and No. 7, French Braid. Also some satin of any bright colour, satin ribbon 2 inches wide to match, and materials for a pincushion.

PINCUSHION (1)

This pincushion is intended to be made up in the French style—that is, merely laid over the top of a satin cushion, with three handsome bows of ribbon to match, placed at equal distances.

The outlines are in French braid. The scallops are filled alternately with English lace, worked with Valenciennes, No. 240, and rows of Venetian and Brussels alternately, done in No. 200 of the same. The Sorrento edge is done with No. 100. One flower has a double Mecklin wheel in the centre, and is merely edged with Venetian lace (in No. 160), the other has two petals filled with foundation stitch (in No. 240), and two with English lace.

The ground is Brussels net, worked with Brooks' Great Exhibition Prize Goat's-head Valenciennes, No. 200.

PINCUSHION (2).

The Venetian and English bars are worked with No. 180.

If the centre is left plain and open, a small glass for flowers is inserted. Of course, the pincushion has an open centre to correspond. If filled, the cushion has a flat top, and the lace is merely laid on, and fastened with satin bows.