The Project Gutenberg eBook of Madame Goubaud's pillow lace patterns, and instructions in Honiton lace making
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this ebook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.
Title: Madame Goubaud's pillow lace patterns, and instructions in Honiton lace making
Author: Madame Adolphe Goubaud
Release date: December 28, 2023 [eBook #72526]
Language: English
Original publication: London: Ward, Lock, and Tyler, 1871
Credits: Bob Taylor, Charlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK MADAME GOUBAUD'S PILLOW LACE PATTERNS, AND INSTRUCTIONS IN HONITON LACE MAKING ***
Transcriber’s Note
Italic text displayed as: _italic_
Bold text displayed as: =bold=
MADAME GOUBAUD’S
NEEDLEWORK BOOKS.
[Illustration: Decoration]
Price 1s., postage 1d.
FASHIONABLE AND USEFUL NEEDLEWORK.
Madame Goubaud’s Tatting Patterns.
Madame Goubaud’s Embroidery Patterns.
Madame Goubaud’s Crochet Patterns.
Madame Goubaud’s Knitting and Netting Patterns.
Madame Goubaud’s Monograms, Initials, &c.
Madame Goubaud’s Point Lace Patterns.
Madame Goubaud’s Guipure d’Art.
_LARGER SIZE_
Madame Goubaud’s Guipure Work. 2s.
Madame Goubaud’s Pillow Lace. 3s. 6d.
Sold wholesale by all the Newgate-street Houses, and many Warehousemen
in London and the Provinces, and to be had of all Berlin and Fancy
Shops.
Price 6d., postage 1d. For Young Ladies at School & Home.
NEEDLEWORK INSTRUCTION BOOKS.
Madame Goubaud’s Berlin Work Instructions.
Madame Goubaud’s Embroidery Instructions.
Madame Goubaud’s Crochet Instructions.
_Madame Goubaud’s TRIMMED PAPER PATTERNS of all the NEWEST MODES of
Costumes, Robes, Jackets, Mantles, Sleeves, Underclothing, and Baby
Linen are accompanied by a Flat Paper Pattern to cut out from, and are
sent to Ladies by return post on receiving orders and remittances.—30,
Henrietta-street, Covent-garden, W.C._
Price 7s. 6d. each, postage 6d.
THE BEST BOOKS OF THEIR KIND IN THE WORLD.
BEETON’S HOUSEHOLD BOOKS.
MRS. BEETON’S HOUSEHOLD MANAGEMENT.
BEETON’S BOOK OF NEEDLEWORK.
BEETON’S BOOK OF GARDEN MANAGEMENT.
BEETON’S BOOK. OF HOME PETS.
BEETON’S LAW BOOK. (Next Month.)
Ward, Lock, & Tyler, Warwick House, Paternoster Row.
WEDDING OUTFITS
AND
BABY LINEN.
[Illustration: French Wove
CORSETS,
10s. 6d.]
[Illustration: GIRLS’ HATS,
from 8s. 6d.]
[Illustration: BERCEAUNETTE in Pretty Rose-bud Chintz, 30s.
Muslin and Lace, like Drawing, 50s. Fully fitted, £3 10s.]
Outfits to India,
Outfits to China,
Outfits to Japan,
Outfits to Australia,
For £20, £40, £60, & £100.
An ILLUSTRATED PRICE LIST, containing much information respecting
Wedding Trousseaux, Indian and Colonial Outfits, Baby Linen, with
various Designs in Nightdresses, Morning Wrappers, Petticoats,
Corsets, Crinolines, &c., gratis and post free. CAUTION.—Entered at
Stationers’ Hall.
ADDLEY BOURNE,
37, PICCADILLY, W.
“Nowhere beats the heart more kindly
Than underneath the Tartan Plaid.”
MACDOUGALL & CO.,
OF INVERNESS,
Manufacturers to Her Majesty,
And their Royal Highnesses the Prince & Princess of Wales,
and the Courts of France, Russia, Prussia, and Spain,
Respectfully solicit attention to their large and most
varied assortment of real
SCOTCH & HIGHLAND MANUFACTURES.
THE HIGHLAND COSTUME,
And the COSTUMES of CALEDONIA, complete and correct, as supplied
to Royalty and Nobility. The famous HIGHLAND CLOAK, an exclusive
speciality.
TWEEDS for Country and Town Wear of the most varied texture and
Patterns for Gentlemen’s wear.
Linsey Woolseys of the Newest Shades & Patterns.
SCOTCH SERGES, TWEEDS, and SCOTCH POPLINS for Ladies’ Dresses.
An unrivalled selection of
=SHAWLS=, =PLAIDS=, =CLOAKS=, =JACKETS=, =&c.=
Their famous “FLORA MACDONALD” CLOAKS; also the new “CALEDONIA” & “LADY
OF THE LAKE” CLOAKS. The “TROSSACHS PLAID,” so favourably received.
Tartan Stockings for Ladies and Children to match all the Clans, in
all sizes.
SCOTCH YARNS OF EVERY DESCRIPTION FOR KNITTING.
_Prices on the same moderate scale as our Inverness House. Patterns
and Designs forwarded, post free, by applying to_ MACDOUGALL & CO.
THE ROYAL TARTAN & TWEED WAREHOUSE,
42, SACKVILLE ST.
(THREE DOORS OFF), PICCADILLY, W.
MADAME GOUBAUD’S
PILLOW LACE BOOK.
[Illustration: DEVONSHIRE LACE-WORKER.]
MADAME GOUBAUD’S
PILLOW LACE PATTERNS,
AND
INSTRUCTIONS
IN
HONITON LACE MAKING.
NUMEROUS ILLUSTRATIONS.
LONDON:
WARD, LOCK, AND TYLER,
WARWICK HOUSE, PATERNOSTER ROW
PREFACE.
In offering this little work upon Honiton Pillow Lace Making, Madame
Goubaud tenders her sincere thanks for the reception accorded to her
volume upon Point Lace.
The great demand for Pillow Lace Instruction and Designs has induced
Madame Goubaud to begin this, the first of a series upon Pillow Lace
Making. Valenciennes, Bedford, and Maltese laces will follow in due
course.
CONTENTS.
PAGE.
APPLIQUÉ, HONITON 52
BABY CUE 21
BEADING OR CHAIN 44
BRAID WORK 11
BUTTERFLY 35
CROSS COTTONS, TO 32
CUE 21
DEVONSHIRE TURN 19
DIAMOND FILLINGS, TO JOIN 42
DOUBLE STITCH, A 36
FERN SPRIG 47
HALF STITCH 18
HONITON GUIPURE LACE 51
HONITON LACE STITCH 20
LACE PILLOWS 9
LAPPET, LACE 49
LERD WORKS OR FILLINGS 38
” DIAMONDS 40
” SQUARE 42
MALTESE CROSS 17
MATERIALS REQUIRED FOR LACE WORKING 9
OLD VIOLET SPRIG 31
ONE ROSE BORDER 25
PASSEMENTS 11, 13, 15
PURL EDGE 28
PURL PIN 28
PURL PIN FOR GROUNDWORK 30
RAISED WORK 36
ROSE BORDER 23
ROSE SPRIG 33
ROSE, SHAMROCK, AND THISTLE SPRIG 43
SEWINGS 24
SMALL ONE ROSE SPRIG 37
SNATCH PIN 26
SPADE BORDER 41
SPRIGS, MAKING UP THE 48
STEM WORK 34
STEM WORK AND LEAVES 17
THE TULIP SPRIG 29
THROWING AND TYING 24
TO FORM A PATTERN 22
TO JOIN 38
TREFOIL PATTERN 45
TURKEY TAIL 27
WHOLE STITCH 16
PILLOW LACE.
The materials required for Honiton Pillow Lace work are neither
numerous nor expensive. A pillow, two dozen bobbins, some lace thread,
a needle-pin, a pair of _blunt_ scissors, and a few pricked patterns or
_passements_, and lace pins are all the requisites for this useful and
beautiful work.
The pillows are made and sold at moderate prices by Mrs. Mitchell, a
Devonshire lace worker, at Long Dean-street room in the Soho Bazaar,
Oxford-street. Mrs. Mitchell supplies bobbins, thread, passements, and
all requisites, as well as gives lessons in pillow-lace making. The
pillows can be obtained with plain or handsome covers and cloths, and
with wooden, ivory, or ornamental bobbins. Learners will find it useful
to have their _leading_ bobbins ornamented, in distinction to the
plain, until they have acquired the art of working Honiton lace.
For braid-work Mecklenburg thread is used; No. 8 is a useful size to
begin with for Honiton lace, No. 8 and 12 or 14 for very fine work; No.
8 is quite fine enough for beginners to manage.
The pillows are always sent out fitted up, but to change one design for
another proceed as follows:—
Unpin the cloths, remove the passement; firmly pin down the new
passement with plain, not lace, pins; replace the cloths, attach
the bobbins to a pin about three-quarters of an inch from the place
intended to begin at, divide the bobbins into three parts, and loosely
plait down to the first pinhole, insert a pin and work on as before.
_Nos. 1, 2, 3.—Braid Works and Passement._
No. 1 shows a pretty braid for point lace work; this braid consists of
whole stitch and pearl.
No. 2 is the passement or pricking for a shamrock spray.
No. 3 is a simple braid in whole stitch.
[Illustration: No. 1.—Braid-work.]
[Illustration: No. 2.—Shamrock Passement.]
[Illustration: No. 3.—Braid-work.]
The first lesson usually given in pillow lace making is the braid work;
the learner is at first puzzled by the number of fine bobbins, but if
it is remembered that only four are used together, and that the plain
or whole stitch is only weaving or plaiting across and back again, the
difficulty vanishes.
_Braid Work._
Mecklenburg linen thread, No. 8, six pairs of bobbins. For braid work
three pairs of leaders are required. One pair of leaders remains on
each side separated by a pin; work across and back again with the third
pair thus:—Work across, twist, make a stitch, twist _twice_, pin, work
back, twist twice, make stitch, twist twice, pin, and repeat as before.
The lace pins are made expressly for the lace-workers in Devonshire,
and are sold in the old-fashioned paper rows.
_Nos. 4 and 5.—Passements._
No. 4 is the passement or pricked design for a spade.
No. 5 is the passement of an old-fashioned sprig formerly much in vogue
among Honiton lace workers, now seldom seen.
[Illustration: No. 4.—Spade Passement.]
[Illustration: No. 5.—Old Sprig Passement.]
The passements are pieces of brown parchment, having the exact glazed
pattern pricked out on them as shown on pages 11, 13, and 15.
Ladies can easily prick them from the illustration. To prick from lace
itself it is necessary to keep the lace in proper position and to place
a pin in every pinhole along the outlines, to mark any crossed threads
by a pinhole, and to show where lerd or lead-works occur by the same
means.
Great accuracy is necessary for this work, as all the beauty of the
lace depends on the correctness of the prickings.
_Position in Working Pillow Lace._
Devonshire workers usually sit on low chairs with their feet on the
back rail of another chair, resting their pillow against the back of
the chair. Ladies will find that they can work most comfortably seated
on an ordinary chair with their feet on a footstool, and resting the
pillow against a table.
_Nos. 6 and 7.—Passements._
These are the passements for two useful lace sprays.
[Illustration: No. 6.—Old Sprig Passement.]
[Illustration: No. 7.—Turkey Tail Passement.]
_Whole or Plain Pillow Lace Stitch._
Four bobbins. No. 8 Mecklenburg thread. In order to explain this stitch
we must have recourse to numbers, and mark the bobbins No. 1, 2, 3, 4,
No. 1 being the left-hand bobbin.
Pass No. 3 between Nos. 1 and 2; pass No. 1 over No. 3; pass No. 2 over
No. 4, and pass No. 4 between Nos. 3 and 1.
Nos. 1 and 2 are the _leaders_, so called because they lead across and
back, weaving the _whole_ or plain stitch across, and in the pairs of
leaders which form the edge in lace braid and lace patterns. When one
stitch is completed, the two left-hand bobbins are dropped and two
bobbins taken from the right hand to make with the two leaders the
four bobbins necessary for each stitch. Care must be taken that the
bobbins are not twisted, but that they lie each in its proper place. In
beginning work across from left to right of the pillow and back again.
_Nos. 8 and 9.—Maltese Cross and Stem Work._
No. 8 is a Maltese cross entirely executed in whole or plain pillow
lace stitch. This is a modern Honiton design.
No. 9 is an enlarged illustration of stem work and leaves.
[Illustration: No. 8.—Maltese Cross.]
[Illustration: No. 9.—Stem Work and Leaves.]
_Half Stitch._
Mark the bobbins 1, 2, 3, 4, as for whole stitch. Pass No. 3 between
Nos. 1 and 2, pass No. 1 over No. 3, pass No. 2 over No. 4, leaving
No. 4 alone, and continue with the next bobbins as in learning whole
stitch. It will be observed that half stitch is worked like whole
stitch _except_ the last movement of passing No. 4 between Nos. 3 and
1; to this omission the stitch owes its name. Half stitch is used
largely for the lighter parts of Honiton lace, and is shown mixed in
the rose, page 43.
_Devonshire Turn or Wheel_
To wind the threads on the bobbins a turn or wheel is used. No. 10
shows a Devonshire turn. The thread or cotton is always wound from
right to left, and a loop is made to prevent the bobbin from unwinding.
On gentle pressure the thread unwinds, but will hang in place perfectly
if the loop is made properly. All the bobbins should be kept at the
same length from the pillow to which they are attached.
[Illustration: No. 10.—Devonshire Turn.]
_Honiton Lace Stitch._
Honiton lace thread, No. 8 or No. 12 (No. 8 for beginners), nine pairs
of bobbins, one pair bobbins of Mecklenburg thread No. 12, three
pairs of leaders, one Mecklenburg thread bobbin next each of the side
leaders. Work the third pair of leaders across, twist three times
plain stitch (the plain stitch is worked with the leaders at each side
left and right), twist three times, insert pin, work back, twist three
times, one plain stitch, twist three times, pin.
This stitch is used for most of the Honiton patterns, and the learner
will observe that it is the same as braid work, p. 12, only the
leaders twist three times instead of twice. No notice is taken of the
Mecklenburg thread bobbins: the leaders work over and under these as
with the ordinary bobbins.
_Nos. 11 and 12.—Cue Borders._
No. 11.—The cue border is worked from stem to stem, with 7 pair.
Take up a sewing with pins on either side. 8 or 9 bobbins are used,
according to if cottons are worked or not.
No. 12.—Baby cue is worked in the same manner.
[Illustration: No. 11.-Cue Pattern.]
[Illustration: No. 12.—“Baby-Cue” Pattern.]
_To Form a Pattern._
When the whole art and mystery of whole and half stitch are acquired
so as to be executed with mechanical ease, the learner is naturally
anxious to make some use of her work, and to form a pattern. The
trefoil design, No. 8, is excellent to begin with, as it is less
intricate than many others.
In forming a pattern it will be observed that the outer edge of the
design has more pinholes than are in the inner ring of the same design.
The mode of decreasing the number of pinholes is as follows:—* After
making the stitch, working across to the out rim and returning, take
out the last pin of the inner circle and use it for the next pinhole
stitch, thus making one pinhole and pin serve for two stitches. After
this variation in the work, work backwards and forwards in the usual
way before repeating from *.
_No. 13.—Rose Border._
No. 13 shows a rose border, worked with 7 pairs without cottons, 8 pair
with, commencing at the stem.
[Illustration: No. 13.—Rose Border.]
_To Take Up a Sewing._
To perform this delicate operation a needle-pin is required; this
needle-pin is a fine long needle placed in a wooden handle. The
real Devonshire needle-pin is said to be a No. 8 needle stuck in a
lucifer-match.
With the needle-pin draw the thread through the edge of the lace, pass
the nearest bobbin through the loop thus formed, tie, and work on as
before.
_Throwing and Tying._
These terms are used to express the mode of finishing off any part of
a sprig or design. To effect this:—Take up two leaders and tie them in
a plain knot, lay them out right and left, throw all the bobbins in
between them again, tie in a plain knot, and either cut off the bobbins
or work on as directed.
_No. 14.—One Rose Border._
No. 14. one-rose border, is a succession of rose sprigs worked with
seven pairs of bobbins without cotton, is begun at the stem. For
one-rose sprig, see No. 20.
[Illustration: No. 14. Small “One Rose” Border.]
_Snatch Pin._
Snatch pin is used for joining the sprigs, and is worked by the yard,
and sewn on the sprigs as required in common Honiton lace, but in best
Honiton the sprays are joined with snatch pin on the pillow.
Take four or five pairs of bobbins, according to the width required,
and work across, then twist six times, insert a pin under one pair
only, work back to the left again, at the end twist six times as
before, and repeat.
* * * * *
_No. 15.—Turkey Tail._
Commence first leaf with 9 pairs, including cotton, at the end of leaf
cut out 2 pairs with cotton, working up the stem with 7 pairs of pins,
set up on left side for the inside ring 8 pairs with cottons, tie the
ends; take up a sewing, throw 8, tie, for the next row of 8 pair as
before, taking up a sewing at each centre pinhole for the next item
round 7 pair, taking up a sewing at every centre pin as before for the
loops round 9 pairs including cotton; likewise 9 pair for leaves to
finish, throwing and tying at end of every leaf.
[Illustration: No. 15—Turkey Tail Sprig.]
_Purl Pin._
Purl pin or purling is used for connecting points of the design and for
joining sprigs.
Take five or six pairs of bobbins, or four pairs for very fine work.
Work across, twist the last two pairs three times, work a stitch, twist
each pair three times, place the purl pin—that is, take up the last
thread on the pin by putting the pin under it—towards the worker, and
then in the pinhole, and lay the bobbin at the right hand, cross the
other leader over it the same way, twist three times, work a stitch
three times each pair, and work away as before, repeating the purl pin
on the opposite side.
_Purl Edge_
is worked exactly in the same manner as purl pin, the pins being set up
on one side only, the other worked as in Honiton lace stitch, page 20.
If the purl pin looks too loose, work a second whole stitch with the
last pairs on the opposite side.
* * * * *
_No. 16.—Tulip Sprig._
No. 16 shows the very pretty tulip pattern, which is a useful sprig
worked in whole stitch and beading, see page 16.
[Illustration: No. 16.—Tulip Sprig.]
_Purl Pin for Filling in Groundwork._
Work across plainly from the left, cross the leaders three times before
coming to the last pair, stitch, cross three times each, put a pin
under the last bobbin, under and towards you, the other crossed over
the same way, cross three times, stitch, cross three times each, and
work as before.
* * * * *
_No. 17.—Old Violet Sprig._
No. 17, old violet sprig, is exceedingly easy to work, being composed
of whole stitch. The only difficulty in this sprig is the square
filling in the centre, but careful attention to the directions given on
page 42 will ensure neat work.
[Illustration: No. 17.—Old Violet Sprig.]
_To Cross Cottons._
The rose on page 33 clearly shows the effect of this crossing, which
adds much to the effect of the work.
Take up all the centre pairs, omitting the two pair leaders on each
side, cross the Mecklenburg thread bobbins from right to left, insert a
pin in the pinhole under where they are crossed, lay the centre pairs
down again, and work away as before.
* * * * *
No. 18.—_Rose Sprig._
This beautiful sprig is worked in whole stitch, half stitch, and with
diamond fillings or lerd works. Begin in the centre, and work the inner
ring, then work the outer ring in whole or half stitch alternately,
working a plaid edging on the outer side of the ring, and taking up
sewings on the inner side. Fill in lerd work as directed on page 39.
[Illustration: No. 18.—Rose Sprig.]
_Stem Work_
requires two pairs of leaders, in all six pairs of bobbins and No. 8
thread, or seven pairs of bobbins with No. 12 thread.
Work across from left to right. * Twist three times, work a stitch,
pin, twist three times after inserting the pin, work across plainly,
and again repeat from *. It will be observed that the pinhole is used
on one side only, on the other a double stitch alone is made without
twistings or pin.
* * * * *
No. 19.—_Butterfly._
This butterfly belongs to modern Honiton designs, and is worked in
whole stitch, stem work, and raised work, with diamond filling. For
raised work see page 36.
[Illustration: No. 19.—Butterfly (Modern Honiton).]
_A Double Stitch_
is a term used for the last stitch of one row and the first of the next
when no pin is inserted and no twisting used, as at the end of ordinary
rows.
_Raised Work._
For a raised leaf work up the stem with seven pairs of bobbins, turn
the pillow round and work back with nine or ten pairs according to the
width of leaf, pins set up on one side, sewings taken up on the stem.
Examples:—
_Fern Leaf._—Work up the stem with plain stem-work, turn the pillow
round, come down again with pins and sewings, then plait each as far
as the point of the other leaf, sewing, throw and tie and come back as
before. Each raised veining to be done in the same way till you get to
the bottom of the fern.
_Butterfly._—Chain, work one pin each side, crossing the two leaders
from one side to the other, and work as before.
* * * * *
No. 20.—_Small One Rose Sprig._
This easy sprig is worked in stem work, whole stitch, beading, and
diamond fillings.
[Illustration: No. 20.—Small “One Rose” Sprig.]
_To Join._
Take a pair from each lerd mesh, make a stitch, put up a pin, make a
stitch, cross three times in readiness for the next lerd work and work
on with two pins as before. Sewings are taken up at each side of the
space to be filled. These lerd works are worked in rows.
_Lerd Works or Fillings._
Lead or lerd works or fillings are the names given by Devonshire
workers to the fine delicate work which composes or fills up the centre
of the flowers. These fillings are of two kinds, diamond and square
fillings.
The diamond filling is the easiest of the two kinds, only good workers
being able to work square fillings properly.
* * * * *
No. 21.—_Violet Sprig._
This violet differs from the old violet sprig, and is often preferred
on account of the speed with which it can be worked. Work the leaf
first, then the close stem work, and finally the flower, taking up
sewings at all parts joining each other.
[Illustration: No. 21—Violet Sprig.]
_Diamond Fillings._
Begin with 4 bobbins, as in learning the whole stitch, and number as
before—1, 2, 3, 4.
Take up No. 2, hold it loosely, but do not let it go, in the left hand,
No. 4 over the thread, No. 3 up over it, No. 1 out, forming a plait—IN,
UP, OUT. Moving the No. 2 as you go, leaving the others lying in place
on the cushion except when actually moving them as directed, draw up on
the two outside threads, Nos. 1 and 4, and work on until you come to
the pinhole. Twist twice, put in a pin, twist both pairs twice, work a
stitch, twist twice. As many two pairs of bobbins must be used as the
space requires to fill properly; the fillings are worked in rows, each
two pair working separately.
* * * * *
No. 22.—_Spade Border._
An easy border worked in whole stitch, pearl edge, and stem work.
[Illustration: No. 22.—Spade Border.]
_To Join the Diamond Fillings._
Twist each pair twice and work plainly across; twist each pair twice
and lay out the pairs again as on beginning.
_Square Fillings._
Two pairs of bobbins; increase as required according to the size of
space to be filled; one pair of bobbins. Take up a sewing, pass the
bobbin through, take a second pair of bobbins; * work 12 stitches as
shown in diamond fillings. Take up a sewing and pass through as before.
Leave the right-hand pair until the next lerd work is done; repeat from
* with the next two pairs.
* * * * *
No. 23.—_Rose, Shamrock, and Thistle._
This group is of modern Honiton design, and is worked in whole stitch,
half stitch, raised work, square, stem work, fillings, in short,
combines all Honiton lace stitches.
[Illustration: No. 23.—Rose, Shamrock, and Thistle Sprig.
(Modern Honiton.)]
No. 24.—_Beading or Chain._
Beading is chiefly used as a band or finish for lace. It is placed
round the neck of collars, and serves as a band by which they are
tacked to the chemisette or to the dress itself. It is used as
insertion for ribbon velvet to thread over and under in cheap made-up
sets of Honiton lace.
Use 8 or 10 pairs of bobbins, according to the size of the cotton
employed.
Divide the pairs of bobbins *, and lay one-half quite away for the sake
of clearness. These bobbins will be called No. 2, and those about to be
used No. 1. Work across with No. 1 and back in the usual way until 2
pins are set up, as in stem-work, lay No. 1 bobbins aside.
Take up No. 2, and work backwards and forwards as before until 2
pins are set up on No. 2’s side. Then work across twice as in plain
braiding, so as to connect the two sets of bobbins; repeat from *.
* * * * *
No. 25.—_Trefoil Pattern._
This simple pattern is so easy that beginners readily master it in one
lesson. It is whole stitch alone without a pearl edge.
[Illustration: No. 24.—Beading.]
[Illustration: No. 25.—Trefoil Pattern.]
No. 26.—_Fern Pattern._
Work up the stem with plain stem work, turn the pillow round, work down
again leaf by leaf with pins and sewings, plait up to the point of the
leaf, taking up sewings, throw and tie and come back as before, each
raised sewing to be worked in this way throughout the whole leaf.
Leaves of any tree or plant may be copied in Honiton lace, by taking a
careful outline, marking the sewings, &c., working the shadowed portion
of the leaf in whole stitch, the lighter in half, and the veinings in
raised work.
[Illustration: No. 26.—Fern Pattern (Modern Honiton).]
_Making up the Sprigs._
Honiton lace is made up or joined in three different ways—by purling,
by _réseau_ ground, and by application on net. For all these modes a
paper shape is cut and the sprigs are arranged with great care right
side downwards. The purling is _sewn_, as we have already stated, on
inferior Honiton lace; in all superior pieces it is joined on the
pillow. _Réseau_ ground is in imitation of Brussels net worked by hand,
as shown in No. 27. It is worked stitch by stitch.
* * * * *
No. 27.—_Lappet in Honiton._
This lappet is an illustration of the mode of making up the sprigs.
The one-rose sprigs are first tacked on blue paper of the exact shape
required, the butterfly is placed in position, the fern sprig added,
and the little stem work sprig shown above and at the side of the
butterfly. The whole is then joined and filled in by a _réseau_ ground
in Brussels lace stitch.
[Illustration: No. 27.—Lappet in Honiton Lace.]
No. 28.—_Honiton Guipure Lace._
No. 28 shows a beautiful specimen of Honiton guipure lace, designed
and worked by Mrs. Treadwin, of Exeter, who has done more to win a
taste for artistic, natural forms than any other English lace designer.
The lace exhibited by Mrs. Treadwin in 1862 fully sustained the
reputation of Honiton lace, and bore comparison with the most beautiful
productions of France and Belgium.
The specimen of guipure lace No. 28 is composed of various sprigs of
natural flowers and leaves joined on the pillow with purling. Common
Honiton guipure is joined with purling worked by the yard and sewn on,
instead of being worked in on the pillow, as in this specimen.
[Illustration: No. 28.—Honiton Guipure Lace.]
_No. 29.—Honiton Appliqué._
_Appliqué_ is the term given to this mode of joining Honiton sprigs.
The ground is composed of Brussels net laid over the pattern prepared
as above stated. Every outline of the lace is carefully sewn to the
Brussels net; the net is afterwards cut away as shown in illustration
No. 29.
It is advisable that ladies should receive one or two lessons in
lace-making of Mrs. Mitchell, who is a quick and clever teacher, and
whose charges are extremely moderate. Some ladies very soon master
every class of lace work, but a lesson will frequently prevent much
loss of time and patience.
[Illustration: No. 29.—Honiton Appliqué.]
THE ONLY HOUSE IN ENGLAND
FOR THE EXCLUSIVE SALE OF
[Illustration: GENUINE IRISH POPLINS
INCLIS & TINCKLER 167, REGENT S^T. W. ]
PATTERNS POST FREE.—DRESSES CARRIAGE FREE.
MANUFACTORY—7 & 8, EUSTACE ST., DUBLIN.
THE BEST HOUSE IN THE KINGDOM
FOR
CHOICE NEEDLEWORK MATERIALS.
MESDAMES LE BOUTILLIER,
125, OXFORD ST., LONDON, W.
This establishment is perhaps the only one in London where ladies may
rely upon obtaining _les plus hautes nouveautés_ in every kind of
Needlework, and meeting with as prompt attention by correspondence as
by a personal visit.
LESSONS GIVEN
On the following essential Branches of Needlework:—
LACE MAKING IN EVERY STYLE.
POINT LACE. CLUNY LACE.
BRÉTON WORK. BORDERIE AU PASSÉ.
CROCHET. KNITTING.
And every other kind of Needlework.
PILLOWS FOR HONITON OR PILLOW LACE,
5s., 7s. 6d., 10s. 6d. each.
PATTERNS OF FLOWERINGS
Specially designed and prepared for working.
As the SILKWORM says—“The house of Mesdames Le Boutillier is full of
delightful objects for the work-table, and for the easy decorations of
drawing-room and boudoir.”—_Englishwoman’s Domestic Magazine._
MRS. SAMUEL JAY,
LADIES’ OUTFITTER,
259, REGENT CIRCUS, OXFORD ST., 259.
SPECIALITIES FOR THE SPRING MONTHS.
TOILETTES DU MATIN.
These graceful Morning Dresses are composed of finest Print, elegantly
trimmed with contrasting Colours, beautifully made in the latest style.
Price 13s. 6d. each Dress.
OPINIONS OF THE PRESS.
“Although the _spécialité_ of this house is _first-class_
underclothing, Mrs. Jay keeps a nice assortment of plain goods, all
hand-sewn, made of the best materials, in good style, but untrimmed,
or very plainly trimmed. Ladies may confidently order their sets of
under-linen, feeling sure that the needlework could not be neater
or stronger even if made at home under their immediate care and
supervision.”
“For graceful but useful _toilettes du matin_ Mrs. S. Jay is without a
rival.”
PIQUÉ COSTUMES,
Long and Short, elegantly Trimmed with Black & all Colours, 31s. 6d.
NEW ÉCRU PETTICOATS
For Spring Costumes.
INFANTS’ LAYETTES. MARRIAGE TROUSSEAUX.
GOOD MATERIALS—TASTEFUL TRIMMINGS—DAINTY STITCHES.
MRS. SAMUEL JAY.
MRS. MITCHELL,
SOHO BAZAAR,
GIVES LESSONS IN
PILLOW LACE MAKING
OF EVERY DESCRIPTION.
_s._ _d._
Lessons, each 5 0
Pillow 5 6
Bobbins (filled) per dozen 2 0
Bobbins, per dozen 1 0
Thread, per skein 2d. and 0 3
Turns 10 6
Pillows and Materials for Working, entirely fitted, with Instructions
and Patterns, 10s. 6d.; sent to any part.
All kinds of Lace Cleaned, Transferred, and Repaired.
[Illustration: WINDOW-STAND MADE FROM VIRGIN CORK.]
_Virgin Cork sold by
the London & Lisbon Cork-wood
Co (Limited) 28 Upper Thames St
London_
[Illustration: THREE PIECES OF VIRGIN CORK AS TAKEN FROM THE TREE.]
LONDON & LISBON CORK COMPANY, 28, UPPER THAMES ST., LONDON.
[Illustration: BRACKET AND FLOWER-POT MADE FROM VIRGIN CORK.]
It is easily fastened with nails or wire to Framework or Boxes, and,
if desired, can be varnished with oak varnish; small pieces, to cover
crevices or for little ornaments, can be secured with sticks of
gutta-percha, melted in the flame of a candle or gas.
It can be made into rustic Picture Frames for Hunting Scenes, &c.
CRYSTAL PALACE.—A “Grotto,” with Ferns, a “Swiss Scene,” and a “Picture
Frame” can be seen in the South Transept of the Crystal Palace,
adjoining the Industrial Court.
From the “Englishwoman’s Domestic Magazine.”
“The Virgin Cork supplied by the London and Lisbon Cork-wood Company
is taken from the Company’s forests in Portugal, and is a delightful
substitute for the old tree-roots and logs of wood ordinarily used in
making a fernery. It presents exactly the appearance required, as it
looks like moss-grown wood; it is light, and easily carried by ladies,
as easily held in position by a nail; it is porous, and not only
absorbs, but retains moisture—a quality invaluable to fern-growers.”
From the “Floral World and Garden Guide.”
“It is sold by the Company at a remarkably cheap rate, and is
unsurpassed for forming an inside lining to summer-houses and
grottoes; indeed, for this purpose it is impossible to say too much in
its praise. It is light, clean, and durable; indeed, the common bark
used for this purpose bears no comparison with it.”
From the “Villa Gardener.”
“For balconies, where lightness of material is always a desideratum,
this Cork is invaluable, and it can be had in designs as varied as can
be conceived. We can have it manufactured into bridges, flower-stands,
rustic houses in glass, brackets for standing plants upon and for
window-boxes.”
From the “Best of Everything.”
“There are few prettier ornaments for a sitting-room than stands
made from the first bark stripped from the Cork tree. This has been
recently introduced into this country for garden purposes, for which
it has proved to be admirably adapted, more particularly for growing
ferns, orchids, and other plants of a similar nature. In appearance it
resembles moss-grown wood, and no doubt will supersede those stands in
imitation of bark made of terra-cotta now so much used for fern-cases,
flower-stands, &c.”
LONDON AND LISBON CORK COMPANY, 28, UPPER THAMES STREET, LONDON.
*** END OF THE PROJECT GUTENBERG EBOOK MADAME GOUBAUD'S PILLOW LACE PATTERNS, AND INSTRUCTIONS IN HONITON LACE MAKING ***
Updated editions will replace the previous one—the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg™ electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg™ License when
you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg™ License must appear
prominently whenever any copy of a Project Gutenberg™ work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this eBook or online
at www.gutenberg.org. If you
are not located in the United States, you will have to check the laws
of the country where you are located before using this eBook.
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works
posted with the permission of the copyright holder found at the
beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg™ electronic works
provided that:
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the method
you already use to calculate your applicable taxes. The fee is owed
to the owner of the Project Gutenberg™ trademark, but he has
agreed to donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or are
legally required to prepare) your periodic tax returns. Royalty
payments should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address specified in
Section 4, “Information about donations to the Project Gutenberg
Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and discontinue
all use of and all access to other copies of Project Gutenberg™
works.
• You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.
Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our website which has the main PG search
facility: www.gutenberg.org.
This website includes information about Project Gutenberg™,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
