Title: Madame Goubaud's pillow lace patterns, and instructions in Honiton lace making
Author: Goubaud, Mme.
Language: English
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  MADAME GOUBAUD’S
  NEEDLEWORK BOOKS.

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  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.




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