Practical Skills in Bobbin Lace E-Book

Bridget M. Cook

• Herausgeber: Batsford
• Kategorie: Lebensstil
• Sprache: Englisch

Seitenzahl: 325

Veröffentlichungsjahr: 2014

Beschreibung

The comprehensive guide provides the lacemaker with step-by-step instructions and illustrations on the techniques which make up this type of lacemaking. Divided into ten easy-to-follow sections, alternative methods of construction are closely examined and explained.  Bridget M. Cook begins with starts and edges, describing the techniques of replacing threads and adding pairs, joinings, sewings, connections and crossings. Additional information is provided on picots, tallikes and venetian cords, plaits and braids. Other sections look at carrying pairs, raised work, corners, curves and holes, endings, moving work under construction and the mounting of completed lace. Practical Skills in Bobbin Lace will help all lacemakers to increase their repertoire of techniques. 

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First published in the United Kingdom in 1987 

Reprinted 1988, 1990, 1992, 1995

Reissued 1997 by

Batsford

Old West London Magistrates’ Court

10 Southcombe Street

London

W14 0RA@Batsford_Books

An imprint of Anova Books Company Ltd

© Bridget M. Cook 1987

The moral right of the author has been asserted.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the copyright owner.

First eBook publication 2014

eBook ISBN: 978 1 84994 174 7

Also available in paperback

Paperback ISBN: 978 0 7134 5926 3

To discover more Batsford books, visit our website www.batsford.com

CONTENTS

GLOSSARY

INTRODUCTION TO EQUIPMENT

SECTION I

Starts and edges

SECTION II

Knots, replacing threads and adding pairs

SECTION III

Joining and sewings

SECTION IV

Connections and crossings

SECTION V

Picots, tallies, Venetian cords, plaits and braids

SECTION VI

Carrying pairs, raised work, fillings

SECTION VII

Indentation, corners, curves and holes

SECTION VIII

Cordonnet, gimps and beads

SECTION IX

Completions, endings and finishings

SECTION X

Moving up and mounting

INDEX

GLOSSARY

Arrow Markings

On diagrams these indicate the hanging on of new pairs (fig. 1).

1

Cross

Cross left-hand thread over right-hand thread (fig. 2).

2

Footside

This term usually indicates a straight edge.

Halfstitch

Figures on diagram refer to positions of threads only and not to the bobbins. They must therefore be recounted before each move. Cross 2 over 3, twist 2 over 1 and 4 over 3 (fig. 3).

3

Headside

Usually a curved edge on the opposite side of a footside.

Leaf

Woven in a way resembling a leaf (fig. 4).

4

Numbering

When the threads are numbered, start counting on the left-hand side and count to the right-hand side. The threads need to be renumbered after each movement of the bobbins (fig. 5).

5

Passive

Inactive pairs through which the worker passes.

Picot

There are several types of picot, but, basically, these are twisted loops.

Pin

Illustrated in this book as a black spot or alternatively drawn or pictured (fig. 6).

6

Sewing

Joining one section to another, by use of a hook or needlepin to pull a loop through the pin hole of the worked side, and then threading the bobbin of the worker through this loop (fig. 7).

7

Tallies

Woven shapes.

Thread

Drawn in this book either as two parallel lines, or, as a single black line (fig. 8).

8

Twist

Twist right-hand thread over left-hand thread (fig. 9).

9

Whole stitch

Figures on the diagram refer to the position only and not to the bobbins. Cross 2 over 3, then twist 2 over 1 and 4 over 3, then cross 2 over 3 (fig. 10)

10

Windmill

Whole stitch, carried out with two threads at all times but treated as one (fig. 11).

11

Worker

The active pair, also called weavers or travellers by some lacemakers.

INTRODUCTION TO EQUIPMENT

EQUIPMENT PILLOWS

Lace is constructed on a pillow, and these pillows can be of various shapes and sizes. Essentially they must be firm enough to hold the lace well, yet at the same time allowing pins to be inserted without too much difficulty and be capable of standing firmly in the cushion to hold the work. Nowadays, with many lace suppliers, these pillows can be easily purchased and the advanced lacemaker will possess pillows of several designs (see fig. 1).

1

COVER CLOTHS

These cloths are normally firm, dark pieces of material used for covering the lace and for placing beneath the bobbins. The cloths can be frequently laundered in order to keep the lace clean during the progress of the work.

BOBBINS

The type of bobbin in common use today in the U.K. is a slim, straight bobbin with a head to hold the thread and a ring of spangled beads to weight the shaft. They are normally wood or bone, but plastic is also in fairly common use for the cheaper bobbin. For Honiton Lace the bobbin normally has no double head and is a simple shaft, tapered towards the bottom end with no spangled beads. Other than these two types of bobbins there are an infinite variety of others used throughout the world, with which local lacemakers will be familiar. (See fig. 2 for a selection of varieties.)

THREADS

Any type of thread is currently used in lacemaking. Normally one would expect to find natural fibre threads such as cotton, linen or silk. For exotic work silver or gold thread can be used and nowadays a mixture with man-made fibres is in frequent use. It is important that the threads should not be capable of stretching as, after the lace has been made, the tension will affect the stability of the lace.

2

PINS

Place pins are made of brass. Other kinds would rust in the pillow – and cause iron mould on the lace being constructed, if left for some time. The pins should be suitable in size for the lace being worked.

PATTERNS

Patterns are normally drawn or photocopied on pricking card, which should be fairly stiff and in a muted colour so that the work, when in position, can be easily seen and is restful to the eyes.

BOBBIN WINDER

There are numerous varieties of bobbin winders on the market to assist the lacemaker in winding the thread on to the bobbin. Many lacemakers still prefer to wind by hand.

PRICKER

This tool is used for pricking the pattern and needs to be no taller than the pin. Perhaps a steel needle held in a pin vice, and of similar thickness but firmer, is ideal.

SEWING TOOLS

A fine crochet hook, wig maker’s needle or needle pin – which is a fine needle with a handle – will be necessary in order to make the sewings in lace. A needle pin is a very fine needle with the eye inserted in a handle and the tip then used in the same manner as a hook.

SECTION I

STARTS AND EDGES

1 Winding the bobbin.

Hold an end of the thread against the neck of the bobbin. Wind the thread in a clockwise direction around the bobbin neck, securing the loose end (see fig. 1a). The neck should be completely (but not over) filled and a single half-hitch is tied to secure it.

Make a loop in the thread (see fig. 1b) and slip the head of the bobbin into this loop and pull tight (see fig. 1c). As bobbins are usually wound in pairs, wind off sufficient thread from the supply to fill equally another bobbin in the same manner, leaving about 15cm of thread between the two bobbins thus wound (see fig. 1d).

1a

1b

1c

1d

2 Alternatively, for a firmer method of securing the thread, wind the bobbin in the same manner as before and secure its end (see fig. 2a).

When the bobbin is full, make a double half-hitch and slip the head of the bobbin through these two loops (see fig. 2b). This double knot is firmer and certainly prevents the thread from slipping, especially when using coarser threads (see fig. 2c).

2a

2b

2c

3 Hanging the bobbins.

Occasionally bobbins can be hung – not wound in pairs – but just knotted around a pin. Make a simple slip knot with the pin within the loop and place the pin in the pillow (see fig. 3a). Two or more pairs may be added in this method on the second pin (see fig. 3b).

3a

3b

4 A straight start.

First hang a pair on a pin, then a second pair on the same pin, placing this second pair to the left of the first pair (see fig. 4a). Work a whole stitch. It will be noted that in this method these pairs will be neatly whole stitched through each other (see fig. 4b).

New pairs can be hung to the right of the worker and the new pairs can be whole stitched with the worker in turn (see fig. 4c and d).

4a

4b

4c

4d

5 Another way of starting is to place two pairs on two pins close together. These pairs will then whole stitch through each other (see fig. 5a).

New pairs can then be hung to the right of the worker and the work whole stitched through them in turn. It will be noted that there are small loops at the end of the row still left at the top where the pairs were hung around the pin (see fig. 5b).

Occasionally these loops are not required and they can be removed by working two rows, then pulling out the pin. Place the pin under the first whole stitched row and then pull each pair evenly to eliminate the loops (see fig. 5c).

5a

5b

5c

6 Alternatively, in order to remove the loops, whole stitch the first two pairs together.

Hang a new pair to the right of the worker and place the right thread of the worker over the pin and down between the new pair (see fig. 6a). By this action the first stage of the whole stitch has been worked – bobbin 2 over 3, or a cross, has been made. Complete the whole stitch (see fig. 6b). Another pair may be hung on the right and the process repeated (see fig. 6c).

At the end of the row the workers will be twisted right-over-left around the turning pin (see fig. 6d). Similarly, when working from right to left, the bobbins are hung in the same manner with the first pair on the right and the second pair on the left (see figs 6d and 6e, with the whole row shown at 6f).

6a

6b

6c

6d

6e

6f

7 A Selvege.

To make a selvege (a hem) at the beginning of a piece of lace, hang as many bobbins as are required to work the lace in a straight row. Work four rows in whole stitch across all these pairs, making a footside on each side. Twist all pairs once and work another four rows in whole stitch, keeping the footside edge.

Twist all passives once and repeat again, working four rows and twisting the passives once. The pattern can then be worked as designed. When the lace is completed this selvege start can be folded like a hem on itself on the twisted rows and sewn along the final edge to produce a firm selvege (see fig. 7a).

7a

8 To start many pairs when massed together – as in a tape or heading.

Support a slightly longer pin between two upright pins and hang the pairs needed on to the longer pin. At the end of the work, if this is to be joined, it is quite easy slowly to slip loop by loop off this pin as the join progresses; the bobbins will remain in the correct order (see fig. 8a).

8a

9 Starting diagonally in net.

When starting on the diagonal the footside and the passives are worked first. Then each new pair can be hung diagonally above where it is required on a pin. These pins can then either be left in and the loops formed around them be used for joining the end of the work, or, if preferred, these pins can be treated as temporary and, after working a row, be removed and the threads gently pulled down to provide a diagonally straight start (see fig. 9a).

9a

10 Starting a straight net ground.

The footside and the passives are started first. Temporary pins are placed above the work and the first row of the lace is worked. The temporary pins will be removed and the threads gently pulled to give a straight start (see fig. 10a).

10a

11. Starting at a point.

Insert two temporary pins with two pairs on either side above the work. Whole stitch the centre two pairs and place a pin supporting this whole stitch (fig. 11a). Whole stitch these two pairs again. Twist the two left hand pairs of bobbins and whole stitch these together. Support on a pin and twist them both. The right-hand bobbin is now the worker.

Pairs can be added on to the worker as it travels across the work (see fig. 11b). Complete the footside on the right-hand side and work back, adding pairs as required (see fig. 11c).

11a

11b

11c

12 Starting at a point without a footside.

Hang two pairs around the pin and twist them twice – (see fig. 12a).

Whole stitch these two pairs together – (see fig. 12b). Hang two pairs on the first pin on the right-hand side and twist these twice.

With the right-hand bobbin from the first pair, whole stitch through these two pairs and twist the worker (see fig. 12c). The two pairs just worked should then be whole stitched through each other and left. Add two new pairs on the first pin on the left-hand side; the worker from the top pair whole stitches through them (see fig. 12d). The third pair from the right now whole stitches through the last two pairs just added. These two pairs are then whole stitched through each other and the right-hand pair becomes the worker and progresses to the right (see fig. 12e).

Add pairs in the same way until the desired width of the piece is reached (see fig. 12f).

12a

12b

12c

12d

12e

12f

13 Starting at a point but adding pairs on the inside of the passive trail.

Hang two pairs on two temporary pins above the work. Whole stitch the centre two pairs together and pin (see fig. 13a). Whole stitch them again. Hang two more pairs to the right on a temporary pin above the edge, twist the right-hand pair at the top and whole stitch this pair through the left-hand pair of those hung on the temporary pin. Place a pin between them at the edge.

Repeat on the left-hand side (see fig. 13b). Take the right-hand pair from the centre pairs and whole stitch these to the right, through two pairs. This is the first passive.

Take the second pair on the left and whole stitch it through three pairs to the right. This creates a second passive. To complete the second passive on the left, whole stitch the third pair on the left through two pairs, whole stitch the centre two pairs, then pin and whole stitch again (see fig. 13c). Remove all temporary pins.

These two centre pairs are now the workers for either side. Work each in turn out towards the outer edge. Make up the outer edge. Take the worker back to the centre. To add one or more pairs place these new pairs between the worker and the passive pairs on the pin, before working the whole stitch around the pin through the new pair(s) and back to the footside (see fig. 13d).

13a

13b

13c

13d

14 Hanging pairs on the inside of a piece of lace which widens in shape.

Construct the top of the frame. Hang two pairs on the top pin, twist and then whole stitch them through each other. These two pairs become the twisted edge-pairs. Add two more pairs, either side (as in fig. 14a), making a second passive on either side by whole stitching them through each other. Whole stitch the centre two pairs together, pin and whole stitch again; these two then become a worker for either side. Work to the outside edge, twist and turn.

Insert a pin and hang a new pair between the worker and the passives. Whole stitch the worker through the new pair and work to the outer edge, and return to the centre where another pair can be added if required.

If more pairs are required at any pin hole these may be added at each pin, but for the best results four pairs should be the maximum or there is the danger of a lump being formed. (Fig. 14b shows two pairs added on the right-hand side.)

14a

14b

15 Hanging pairs on the inside of a piece of lace which widens in shape in a different manner.

Work frame as for Method 14. To add the pairs, simply slip the new pair over the worker before the worker returns after having worked the inner pin (see fig. 15a).

It will be noted that adding pairs in this way will take up less room. Therefore, if more pairs are needed at a pin hole, either two, three or four can be introduced and will lie flat when the work is completed (see fig. 15b).

15a

15b

16 Starting at a sharp point.

To start a sharp point several pairs must be hung on to the top pin at the same time. These can be hung in the form of a horseshoe, starting with the first pair being hung on the pin and the second pair flanking it on either side. Continue adding pairs until the required number are achieved, usually an average of about six pairs (see fig. 16a).

Starting on the left, twist each pair of threads twice. It will be noted that these are not the original pairs but the threads adjacent to each other. Then, with the extreme left-hand pair of bobbins, work across to the right-hand side. These can be either treated as a footside or can go around the pin (see fig. 16b). As the work progresses, pairs may be added into the work to widen it – either by adding at the side or, alternatively, in the centre of the work (see fig. 16c).

An alternative method of hanging the bobbins is as follows. The first pair is split so that the left-hand thread hangs down and the right-hand thread is placed at right angles to the pin on the right. The next pair is placed with one thread on the outside of the left-hand thread and inside the right-hand thread (see fig. 16d). This forms a tight loop at the top which is often needed if the piece of work is to be joined, as a single loop assists this joining process.

16a

16b

16c

16d

17 Starting at a sharp point but adding a gimp cordonnet.

Place a pin in the top hole of the pattern. Pairs are hung on the pin in sequence (as in fig. 16d). To add in the gimp, set aside two pairs of workers on one side and one pair on the other.

Slide the gimp pair up under all the centre bobbins and put over the work and to the back of the pillow (see fig. 17a). If there are fewer pin holes on one side than on the other, set aside the two pairs of workers on that side ready to commence work. Work across to the other side and make up the edge (see fig. 17b). Lay down the gimp thread and work across, using this gimp thread as the outside thread on either side (see fig. 17c).

17a

17b

17c

18 Starting a straight piece of work with a footside at the top as well as the edges.

Hang two pairs on each of two temporary pins above the work and whole stitch the centre two pairs. Place a pin between them (fig. 18a). Twist these pairs and leave. Twist the right-hand pair and hang the two new pairs on a temporary pin above them.

Whole stitch the twisted pair and the nearest new pair to it. Place a pin supporting this whole stitch and twist both pairs. Remove the temporary centre pin and pull gently (see fig. 18b).

Continue adding pairs across the work and removing the temporary pins until the desired width is achieved. A temporary pin can be placed supporting the outside bobbins at the apex of the corners to give a sharper corner (see fig. 18c).

Take the second pair from the left as workers. Work across the work and make up the edge. It will be noted that the straight start has been achieved (see fig. 18d).

18a

18b

18c

18d

19 Starting a straight piece with a slightly raised ridge effect

Hang two pairs on each of two temporary pins above the work – whole stitch the centre two pairs and place a pin between them at the inner junction of the corner. A cordonnet and a spare pair are whole stitched through the two centre pairs (see fig. 19a). The two centre pairs are then whole stitched through each other and the pair which now lies on the right is whole stitched through the cordonnet and thread.

Hang a new pair on this whole stitch pair and make up the edge with the outside right-hand pair from the start (see fig. 19b). Whole stitch the spare pair and the edge-pair through the cordonnet and thread. Whole stitch these together. Whole stitch the pair sitting inside the cordonnet and single thread through the two pairs just whole stitched, and through the cordonnet and single thread. Add a new pair on to this pair and make up the edge with it (see fig. 19c). Continue, adding and making up the edge along the top, until the desired width is obtained. Then work as normal (see fig. 19d). This forms a raised bar under the cordonnet.

19a

19b

19c

19d

20 Starting at the corner going both ways, such as at the corner of a collar or a frame.

Hang two pairs on one pin and whole stitch them through each other at the outside point on the corner. Twist them the appropriate number of times as required to form the footside. Add pairs along the top of the line as required, twisting in between each pair as for a footside. All these pairs now worked need twisting before the other side can be started.

Turn the pillow and add pairs down the work. Proceed to work each of these pairs across the work in turn, twisting as for a footside in between each stitch until they are all worked. Twist all the side pairs, as for a footside, before whole stitching them through those pairs hanging from the top. To obtain the other two workers, add two pairs on the inside of the apex of the corner and work one pair in each direction. Make up edge on either side and work each as desired (see fig. 20a).

20a

21 Shape one: curve developing from a straight edge.

Hang two pairs on each of two temporary pins above the work, whole stitch the centre two pairs and place a pin between them (as fig. 18a). Twist these pairs and leave.

Twist the right-hand pair and hang two more pairs on a temporary pin above them. Whole stitch the twisted pair and the nearest new pair to it. Place a pin supporting this whole stitch and twist both pairs. Remove the temporary centre pin and pull gently (as fig. 18b).

Continue adding pairs across the work, removing the temporary pins until the desired width of the top of the curve is achieved.

Starting at the left, take the second pair and whole stitch through all the pairs to the right. Leave this pair as a passive when it has worked across the work. As the curve bends, two new pairs need to be added. Add in the same manner as before.

Whole stitch the left-hand pair from these. This whole stitches the left-hand pair through the pair that was the worker but now has been left as a passive. Both pairs now remain as passives. Take the right-hand pair from the edge; this is the worker which works to the left and makes up the edge. The other edge-pair is then worked across to within the last pair and is left as a passive. Add two more pairs on the edge. The first left-hand pair whole stitches through two pairs and is left as a passive. The right-hand pair works across the work and exchanges for a footside. Continue in this way until the desired shape is achieved. When this is reached, work the footside as normal on both sides (see fig. 21a).

21a

22 Shape two: D End ‘curve’.

This can be worked with a footside or a twisted footside, as in this instruction. From four pins in a row across the top, hang eight pairs – two from each. With another two pairs starting at the left-hand side, work the right-hand threads across the eight pairs, twisting in between each whole stitch, then leave.

On the left-hand side add two pairs on a pin and work the right-hand pair through the twisted footside and leave. Take the left-hand pair and work this straight across the work to within the twisted footside pair.

Two more pairs may be added on the right. The first left-hand pair whole stitches through the twisted footside and through the pair that has just worked across the work. These two pairs are now left as passives. The right-hand pair then works across the work to within the twisted footside on the left-hand side. Two more pairs are added. The right-hand pair of the newly added pairs is whole stitched through the twisted footside and the pair just worked across, and left. The left-hand pair of those newly added is then taken as the worker across the work. The worker can then be used to make the twisted footside and can be worked back, unless more pairs need to be added, in which case add as described above (see fig. 22a).

If the shape is to resemble a ‘crescent’ the work can be carried through as for fig. 22a, but adding only on one side. If the inner curve is very tight, pin holes may be used twice to achieve this effect (see fig. 22b). A tighter curve can also be achieved by adding pairs at every pin hole on one side and using every pin hole on the inner curve twice (see fig. 22c).

An alternative method of adding pairs in the shape of a curve can be obtained by adding pairs within the actual work, by whole stitching through the new pairs and letting them into the work (see fig. 22d).

22a

22b

22c

22d

23 Starting with picots.

A false picot is achieved by hanging two pairs on a pin and twisting these several times. Then whole stitch them through each other (see fig. 23a). To start a straight piece of work with picots it is necessary to make false picots along the top line. Two pairs are then needed to become the footside pairs.

Hang two pairs on a pin and work the right-hand threads through all the picot pairs to the right. The second pair from the left can then be worked through the footside pair to the outside edge. Make a picot and work back across the work to make another picot on the other side (see fig. 23b).

23a

23b

24 Working out from the centre of a frame in both directions.

Lay as many pairs across the work as are needed for the passives. There must be an even number. Lay two more pairs at the top of the work and support these with a pin, and work the right-hand pair through all the passive pairs (see fig. 24a). These can then be turned around the pin and worked out again towards the outer edge, so producing a worker in either direction (see fig. 24b).

The lacemaker may find it easier to attach one side of each bobbin with a slip knot around the pin to secure one side whilst starting, especially if half stitch is to be used, as this secures the work in place (see fig. 24c). If a footside is required, four pairs must be laid down above the passive pairs. These are whole stitched through each other and twisted. Support on a pin before the inner pair of the right-hand two pairs is worked through the work (see fig. 24d).

The pair from the inner side that has just worked across the passives can be twisted on a pin and worked out again. Twist before making up the edge. It will be seen that the footside pairs are working in either direction (see fig. 24e).

24a

24b

24c

24d

24e

25 Picot starts.

With some lace it is necessary to start with a single picot. This is achieved by placing two pairs around the pin, twisting and whole stitching these through each other (see fig. 25a).

Alternatively, it is sometimes necessary to start with four pairs but one picot. In this case, four pairs are laid around the pin and twisted. Whole stitch the right-hand pairs through the two left-hand pairs (see fig. 25b).

A knotted picot is sometimes needed. This is created by a simple slip knot over the pin (see fig. 25c).

25a

25b

25c

26 Starting at a point or circle with picots.

At the top point, make a false picot and then a second on one side, and a third on the other. Whole stitch the left-hand pair from the top picot through both pairs of the false picots on the left. This pair will become the outside passive pair. Then repeat on the right-hand side.

Whole stitch the two centre pairs together. These now become the second passives, one pair going to the right and one to the left. Work the left side first. Whole stitch the second passive through the second pair from the false picot. This pair can now be used in the pattern.

Make another false picot on its left and whole stitch the right-hand pair through the two passives. This pair can be used in the pattern. Then whole stitch the left-hand pair through the two passives and exchange with the inner passive at this stage. The pair that was the inner passive now works out to the outer edge and makes a picot. This is worked back to be used in the pattern (see fig. 26a).

This method of making one false picot from which one pair enters the work and the other exchanges with the inner passive – before that pair works out to the outer edge – makes a picot and then works back in to make the pattern. Pairs are added alternatively along the outer edge, until the required number is achieved. This is repeated on the right-hand side (see fig. 26b).

26a

26b

27 A picot start as a point or a circular motif.

This method produces a more even appearance to the passives and edge. This alternative start is where only one false picot is made.

At the centre of the top make a false picot. Then, on a temporary pin, lay two pairs across the work inside the split pairs from the false picot. These pairs laid on the temporary pin – one each from the false picot and one pair from the two pairs – are the two pairs of passives on either side. Lay another two pairs under the temporary pin and – working the left-hand side first – whole stitch that new pair out through the two passive pairs to the outer edge. Then make a picot and work back.

This pair will then be ready to work the pattern, but before using it in the pattern it is necessary to loop over a new pair, which will then be worked out towards the outer edge. Here it will make a picot and then again work back through the passives before it is taken into the pattern.

The next new pair is hung on it in the same manner, ready to work out for the next picot (see fig. 27a).

This method is useful not only to provide an even symmetrical shape but for uneven shapes where two pairs have to be added at the same place. This presents no difficulty. It is merely a case of sliding two pairs up the pair to be worked in the pattern, instead of just one. Firmness and evenness is achieved by this method of adding pairs and usually also matches the casting off at the end.

27a

27b

28 Starting an angled branch to an existing braid.

This is started by hanging three pairs at the top pin hole of the braid with a sewing and taking the outside pair as the worker. Work this pair through the other two pairs and at the next pin hole join with a sewing. Work back to the top outside edge pin – add two or more pairs at the pin hole where the sewing was made and then, from the outside edge, whole stitch through all the pairs. Make a sewing at the next pin hole down the braid.

Work back around the next pin on the next new branch. Add more pairs on to the pin hole into which the worker was last sewn and work down through all the pairs. Work around the pin on the lower side of the branch. The branch is now joined and work can proceed in accordance with the pattern (see fig. 28a). If footsides are required, it only needs one extra pair to be added at the first and last pin holes of the first braid.

28a

29 Starting on a frame, a bar for wall hanging, picture frame or bar in a buckle.

This is a loop start and is quite simple. Take a pair of bobbins. With the hook, pull a loop through under the bar (see fig. 29a). Put both bobbins through its own loop (see fig. 29b). Pull tight (see fig. 29c).

As many pairs of bobbins can be added in this way across the bar as are required for the work. If it is to be a belt, then tight work is needed in order to hold the shape when worn.

29a

29b

29c

30 Centre starting to make four braids, each in an outward direction as in a cross.

Secure the required number of passives on two sides and, in the correct sequence, whole stitch these through each other. The centre is thus made. Then, in order to add the workers for each braid – and the footside pairs – start at the right-hand corner of the centre already created.

Place two pairs above a pin and two further pairs below the same pin. Whole stitch the under and upper pairs together on either side of the pin.

Take the inner pairs and work one across the top braid and the other across the side braid, after first twisting the workers for each braid. Repeat in the diagonal corner. Place two pairs across the corner not yet used and take one pair – making up a footside with the right-hand pair – and work this across the top braid, where there will be a footside pair waiting. Then repeat with the side braid. Again, repeat the process from the point where the two pairs were added in the unused corner.

The work is now ready for the four braids to work outwards, each with a footside on either side of each braid (see fig. 30a).

30a

31 To make a small centre for a flower.

Place four pins in a square. If the centre is to be large then six or eight pins in a circle would be needed. Take a pair of bobbins and, holding one bobbin, wrap the other end about three times around the four pins in a clockwise direction (see fig. 31a).

Take a hook under the wrapped around thread (see fig. 31b). Make a sewing with the two threads (see fig. 31c). This merely holds the threads together. This pair now becomes the worker and other threads, as required for working, are placed in a straight line beside the centre (see fig. 31d). The worker can then be worked after making up the edge and worked back again to the centre – a sewing made into the large hole made by the wrapped-around thread.

Many sewings can be made into this hole as the pairs can be squashed close together forming a neat, smooth centre of any circle (see fig. 31e).

31a

31b

31c

31d

31e

32 Centre ring start as for a flower.

Commence with two pairs and plait around the inner circumference of the ring, placing the pins in the plait in order to hold its shape (see fig. 32a). When the circle is completed a sewing is made to join it together. One pair, which created the sewing (see fig. 32b) becomes the worker pair, and the other pair becomes the first pair of the passives of the flower.

Add pairs and work towards the outer edge, making up the footside edge. Work back and make a sewing each time over the plait. As many sewings as are required can be made into the ring of the plait, as each of the sewings can be pushed up to lie close to each other.

32a

32b

33 The starting of a central cobweb filling.

Place a pin and a loop of the first pair in the centre of the pillow. Wrap the next pair around the first pair. Leave the first pair out in the same way as a spoke of a wheel. Wrap a new pair around the second pair.

Leave that pair pointing out from the centre, the second spoke, and keep adding pairs as required. The last pair will then pass both its bobbins through the loop held by the pin at the commencement, so that each pair now lies looped into its neighbour and faces out in the same way as wheel spokes (see fig. 33a). The lacemaker may find that everything seems just a little loose and wobbly, so pins can be left in each loop until the next stage is worked, in order to firm the work up.

The second stage of working the cobweb is started by taking a pair and bending it around a pin. This pair becomes the worker. Add sufficient twists to reach the next pair which has been left out. With the worker, make a sewing around that pair and twist the workers again and repeat – making a sewing at each pair in turn (see fig. 33b). On completion of the circle, make a sewing into the bend. This pair is now left out in order to be joined to the place where it is making the filling at the braid edge (see fig. 33c). If a fuller filling is required, the worker can go around the spokes as many times as are required before being sewn out.

33a

33b

33c

34 Scroll start.

Place two pairs of bobbins over the first pin to the right of the centre pin. Whole stitch them together. Then around those pairs and the pin, place another two pairs (see fig. 34a