Page images
PDF
EPUB

No. 350. LAWN COLLARETTE. Collarette of fine lawn, with narrow lace insertion and embroidered edges.

No. 351. LAMBREQUÍN FOR MARBLE MANTELPIECE.

This beautiful design has been studied with a view to harmonize with a mantelpiece of black and grey marble. The ground of the lambrequin is of brown cloth, with a central appliqué of black velvet. The antique, cameo-like profile is effected with an appliqué of grey velvet, which is painted on the wrong side with strong starch, and then pressed down and gummed on to white silk paper. When it is quite dry, draw the pattern on the velvet with a fine pencil and black Indian ink; cut it out carefully, and gum it to the black ground. The outlines of the centre piece and the rest of the figures which are appliqués of brown silk, are traced with gold cord, or overcast stitches of red purse-silk. The embroidery on the figures is worked in satin and overcast stitches and point russe, with silks of the same colour. The flowers are embroidered with pink silk, and the arabesques with fawn-coloured ; the stamens being worked in knoited stitch with yellow silk. The appliqué round the edge consists of brown taffetas and brown cloth, edged with gold cord. The raised spots of brown cloth are sewn on with gold cord in point russe, The cloth appliqué is edged on each side with écru-coloured soutache, which is finished off with light and dark brown silk cord.

No. 352. CHEST PROTECTOR IN KNITTING AND CROCHET.

Materials: White single Berlin wool and steel needles ; scarlet wool. The jacket is knitted plain, and edged with 2 rows of crochet. Cast on 96 stitches of white wool, and knit plain 149 rows. In the 85th row begin the opening for the front, by dividing the knitting in equal parts and knitting each separately. At the beginning of the 150th row cast off 11 stitches on the left side of the opening, and knit for the shoulder to the 236th row. For the neck, knit 2 or 3 stitches together in the beginning of the 184th, 186th, and 190th rows, and increase i in the 224th, 228th, 230th, 232nd, 234th, and 236th rows.

In the next row cast on 20 new stitches, and continue along the other shoulder, which has been knitted in the same way, to the 396th row, which completes the back. Cast off, and edge the neck and front with 2 rows of double crochet in red and white wool.

No. 353. KNITTED UNDER-STAYS. Steel needles and white single Berlin wool. Pattern: Alternately knit 2, purl 2, cast on 30 stitches, and begin from the upper edge.

Knit in the above given pattern, casting on 4 new stitches at the end of every row. In the 23rd row and 24th row cast on 28 new stitches, so that the whole work has 87 rows. Decrease 2 in the centre of the 29th row ; and in the 35th knit together 2 of the 4 centre stitches. Increase by 2 above the same place in the 41st and 47th rows, and in the 35th. In this latter row the 2 stitches are made at a distance of 23 ribs from the centre on each side to form the gusset, which is continued to the end of the work, by increasing i stitch on each side of the previous increase. At the end of the 35th, 36th, 40th, 41st, 50th, 51st, 55th, and 56th rows, decrease i stitch. At the end of the 85th, 86th, goth, 91st, 100th, 101st, 105th, and 106th rows, increase i stitch. After the 118th row knit on for 36 rows, casting off 30 stitches at the beginning of the 119th and 120th rows, and 4 stitches at the beginning of every following row. In the centre of the 128th and each following 6th row, decrease by 2 so as to form a pointed rib. Cast off and strengthen the side edges with buttonhole or overcast stitch. Nos. 354 & 355. WASTE-PAPER BASKET WITH

LAMBREQUIN. The frame which supports the basket is made of gilt Teeds, and in each upright stem is hung a gilt ring according

to Illustration. The basket itself has a lid, and is made of black lacquered wickerwork; it is ornamented with lambrequins, of which No. 355 is a full-sized pattern. The ground is of grey cloth, with an appliqué embroidered in satin and overcast stitch. The leaves of the poppies are cut in red cloth, and worked partly in overcast and partly in buttonhole stitch, with red silks of various shades. The cars of corn are worked in chain, and the corn-flowers in satin stitch —the former with yellow filoselle and purse-silk, and the latter with blue silk. The large leaves are in appliqué of dark green cloth, worked in overcast stitch with green silk. Light blue for the forget-me-nots, and yellow silk for the stamens, worked in knotted stitch; the veinings, stems, and leaves are worked in satin and overcast stitch, with green and brown purse-silks. Round the edge of the lambrequin is a border of grey taffetas, worked with grey silk in buttonhole stitch, and ornamented with gold cord. Nos. 356 & 357. JACKET FOR LITTLE GIRLS OF 5 TO 7

YEARS OLD. VICTORIA CROCHET. Materials: White and black single Berlin wool, white silk buttons. When the pattern has been cut out and the fronts and back sewn together, begin from the lower edge, on a chain of 80 stitches to crochet the back and fronts separately. The Victoria or Tunisian crochet is worked in the ordinary way, and the increasing and decreasing is effected by means of inserted rows. For each inserted row on the right side of the work, the requisite number of stitches must be taken up from the last pattern row, and crocheted off. On the left side take up all the stitches of the previous pattern row, but only cast off those wanted for the inserted row, leaving the rest unnoticed. Then take up i stitch out of the cast-off stitches, and cast off the whole number for the next pattern row. When the decreasing takes place in the middle of the work, crochet 2 or 3 stitches together as required, and increase by taking up the horizontal part between 2 stitches. When the halves of the jacket have been crocheted separately up to the place marked on the back, join them together, letting the left half wrap over a little in the centre of the back. To do this, take up only I stitch out of the 4 stitches before the end of the ist pattern row in the right half, and the 4 stitches at the beginning of the ist pattern row of the left half, leaving the other three stitches on each half unnoticed. The armholes, back and front pieces, are then crocheted separately to the neck, and the shoulder-pieces crocheted together on the wrong side. The sleeves are begun from the wrist in two halves. The collar is then crocheted, beginning from the lower edge, and joined to the neck by a row of double crochet. The pocket-flaps are begun from the upper edge, by taking up the vertical part of the stitches along the line marked for the pocket. The border of black wool begins with i double (rather loosely worked) in every stitch. 2nd row (with white wool), i double in the upper horizontal part of every stitch ; 3rd row (black wool), i double crochet, * 1 chain, wind the wool round the needle, and draw it through the back vertical part of the double stitch ; then i double in the next stitch, drawing up both loops on the needle together. Repeat from * This border is continued round the neck, sleeves, and pocket-flaps. Trim with the buttons according to the Illustration. The intervals between the double stitches in the ist row of the border will serve for button holes.

No. 358. LADIES' UNDER-JACKET IN KNITTING.

This pattern is knitted with steel needles and fine pink wool in the round as far as the armholes. Begin at the lower edge with 168 stitches; the wool should be doubled in this row for the sake of durability. Knit 28 rounds, knit 2, purl 2. From the next round the jacket is knitted plain, forming a seam in the centre and on each side. The centre seam is formed by purling 2 stitches in every 3rd and 4th row ; the side seams by purling i stitch at the same distance. After the 130th round, each side is knitted separately, the left side

[graphic][graphic][graphic][merged small][merged small][merged small][graphic][merged small][merged small]
[graphic][graphic][graphic][merged small][merged small][merged small][graphic][ocr errors][ocr errors][ocr errors][ocr errors][merged small]

No. 362. GYMNASTIC COSTUME FOR GIRLS OF 9 TO

II YEARS OLD. Trousers, petticoat, and blouse of striped Oxford cloth, trimmed with white washing-braid.

being purled, the right knitted. To shape the back, increase I stitch at the distance of i stitch from the side seam, beginning in the 36th round, and repeating this increase II times at intervals of 7 rounds. In the front, the increasing for the breast gussets begins in the 115th round, by taking up one stitch out of the 27th and 30th, and 84th and 87th stitches, reckoning from the seam on the right side. Then knit 7 rows, and repeat the increase 4 times in the same direction. After the 130th round, the 7 stitches on each side the seam which will form the armhole are left unnoticed, and 14 more rows are knitted (147 to 161). Then leaving unnoticed the centre stitches of the front, knit 4 for the shoulder to the 203rd row. Along the 64 stitches of the back, knit 40 rows, increasing i at each end of every 4th row at a distance of 3 stitches from the end. Then join the back and fronts together on the shoulders.

Take up all the stitches and knit round the neck in the round, 2 rounds purl, then cotton forward ; knit 3, knit 2 together, then a round plain ; 2 purled rounds follow, and the stitches are cast off. For the sleeves, take up the stitches of the armhole (86) and knit in the round, continuing the side seam of the jacket in the sleeve. Decrease i on each side the seam, 5 rounds plain, 15 rounds alternately knit 2, purl 2. Cast off. A narrow ribbon is threaded through the holes of the neck.

Nos. 363 & 364. SLEEVELESS JACKET.

(BACK AND FRONT.) Confectionné of black lace intended to be worn over high silk dresses.

No. 365. LACE FOR MANTLES, DRESSES, ETC. Net transfer, with beads and spangles. The pattern is worked with black silk in satin, buttonhole, and overcast stitch. The leaves and flowers are filled up according to Illustration, with fine black silk, and the lace ornamented with spangles and black beads.

No. 366. TULLE CAP. Cap for an elderly lady ; it is of white mull muslin, with lace insertion and lace edging, and is trimmed with scarlet and white ribbon.

No. 359. SQUARE FOR ANTIMACASSARS, ETC. Mignardise, Crochet, Russian Braid, and Lace Stitch. Arrange the braid in a square measuring 5 inches in diameter. Along the inner side crochet as follows : * 26 times alternately i double in the next loop, 3 chain; then join to the ist loop of the next margin, crochet 3 chain, and repeat 3 times from *; close with i slipstitch. Outside the braid crochet 31 times alternately i treble, 3 chain ; then i treble in the next loop ; 3 chain ; i treble where the last treble was crocheted;

; 3 chain ; repeat from * 3 times, and close with a slipstitch. Then fasten the square on to Brussels net placed over the tracing-paper, and go over the outlines with braid and mignardise. Work the wheels, the Venetian bars, and lace stitches with fine thread, as shown in annexed Illustration.

No. 367. CAP OF WHITE BLONDE, with white Mechlin lace. Bows and ends of pale blue grosgrain ribbon, and white roses.

No. 368. DRESS CAP. Lace and grosgrain cap of white lace with ends of blue grosgrain ribbon. At the side is a bow of the same colour.

[merged small][merged small][merged small][graphic]

DRAMATIC AND MUSICAL NOTES.

НЕ

and foreign singers and instrumentalists are at their busiest, and we might easily fill many columns by a mere enumeration of the concerts and other musical performances which have followed one another in rapid succession since we last wrote. But it is our object in these pages not to give our readers a mere enumeration of the musical events which have occurred during the month, but rather to pick out for especial notice such as from any reason may seem worthy of particular mention. Of these the production of Herr Wagner's “Lohengrin " at Covent Garden claims an unquestionable priority. Seldom has any performance excited so much interest. It is not so long ago since the production of an opera by Herr Wagner-who, mainly of his own aggressive combativeness, had made himself such a host of enemies, that, in Paris, his" Tannhauser" was performed in dumb showupon the stage of an English Opera House, would have been looked upon as about the most unlikely event to happen. But, whatever may be the faults of the English musical public, they are certainly not illiberal or exclu. sive; an early work of the eccentric maestro, "The Flying Dutchman," was received with marked favour during Mr. Wood's enterprising season at Drury Lane, The efforts of the Wagner society and of individual admirers of the so-called music of the future,” familiarized us with more characteristic specimens of his work, and it had now become a necessity to admit his “ Lohengrin” to the recognized repertoire of the English Opera Houses, It had already appeared in the prospectuses issued both by Mr. Mapleson and Mr. Gye; but the promise so often repeated was not fulfilled till the 8th of May, when Mr. Gye had the credit of being the first to place before his patrons the long-talked-of opera. The house was crammed from floor to ceiling, and the utmost interest prevailed, especially in the upper portions of the house, where the composer's countrymen were largely and enthusiastically predominant. The libretto of the opera, for which, as well as the music, Herr Wagner is responsible, is simple and intelligible, and is grounded upon a poetical German legend of the delivery of the heiress of Brabant (Elsa) from the false accusations of her rivals (Frederic and his wife Otruda) by the knight of the White Swan (Lohengrin). He consents to be her champion on condition that she will not ask his name or origin, but she is bewitched by Ortruda, who is a sorceress, and asks the fatal question. Lohengrin is compelled to avow that he is a Knight of the Holy Grail, to which he is compelled to return, which he does, but not before he has liberated Elsa's brother, Gottfried, of whose murder she had been accused, but who had been changed

by the witch Ortruda into a swan. The beauty and simplicity of the story are obvious, and the musical setting is in many parts singularly tasteful and appropriate, but it is difficult to imagine that an English audience will, for some time to come, be completely satisfied with a work from which anything in the shape of aria or cavatina is, by the very fundamental rules by which Herr Wagner works, rigorously excluded, or will accept the brilliant effects of orchestra in combination, and some occasional passages of singular beauty, as a compensation for what they have been wont to expect. For ourselves, we do not believe that very much importance is to be attached to the enthusiastic applause which greeted the first performance of “Lohengrin." The greater portion of the applause came too obviously from a certain section of the audience, and as far as we are able to judge, the prestige of Mozart, and Beethoven, and Rossini, and Meyerbeer, is not likely to suffer from any opera that Herr Wagner has written, or may write in the future. The performance was only tolerably satisfactory. Madame Albani's Elsa was by far the most meritorious feature of the whole: she sang the music charmingly, and as far as acting and appearance went, was a most perfect realization of the ideal of the heroine. Signor Nicolini was a fairly good Lohengrin, but the unfortunate vibrato in which he always indulges is enough to spoil the effect of any performance. M. Mauret's Frederic, and Mdlle. d'Angeri’s Ortruda, were thoroughly up to the mark, and, as specimens of acting occasionally much above the average. Herr Seidemann, one of Mr. Gye's new bassi, was overweighted in every respect with the part of the king; and Signor Capponi, though sufficiently sonorous for any amount of heraldic proclamations, showed an unfortunate tendency at times to sing out of tune. The chorus was a little distressing at times, but the orchestra, all things considered, was wonderfully good. We may notice also that the mise en scène was simply superb: such a gorgeous pageant has seldom, if ever, been seen upon any stage. “Lohengrin” was repeated on the following Monday, and on the next evening Madame Patti made her rentrée in “ Dinorah.” The queen of the lyric drama has come back to us in better voice, if possible, than ever. Her lower notes are fuller and richer, while the upper register has lost none of its incomparable sweetness. The famous “ Shadow Song" had to be repeated as a matter of course, and there was the usual flight of bouquets. We shall hope, in our next month's summary, to give some notice of the favourite prima donna's appearance as Caterina in the “ Crown Diamonds," and as Juliet in M. Gounod's version of Shakespeare's incomparable romance.

At Drury Lane there has been little occurring that

« PreviousContinue »