NeedleLace

by Caryl de Trecesson

(copyright 2002-2003, Carol Hanson;

"Needle lace" is exactly what it says: a lace made with needle and thread. The two techniques most used for early needle lace are "reticella" (or more strictly "punto reticello"), made on a fabric base, and "punto in aria" ("stitches in the air"), a true lace made from thread alone. Both are Italian terms, but the styles were known across Europe.

Where reticella separates from cutwork ("punto tagliato" or "point coupe") and drawn thread work ("punto sfilato") is debatable since the techniques and times overlap. Some reticella pieces, especially earlier ones, are built on cross threads from the fabric and have a geometric structure very like drawn thread work; others have only the edges started on fabric and the center takes shape freely. The term was known by the late 15th c. in Italy and the style is believed to have developed even earlier in Greece, or in the islands between Greece and Italy. "Punto in aria" was developed by the mid 16th c. in Italy. Since it is not based on a woven fabric, it can take any design laid out in thread.

The techniques used for both styles are (1) laying foundation threads to build the pattern, (2) buttonhole stitch over major pattern lines, (3) overcast stitch on "brides" (minor linking and strengthening threads), (4) various detached and open buttonhole stitches for fillings, (5) needle-weaving (or Genoa, basket-stitch, or darning-stitch), often used over fabric threads in reticella, and (6) picots. All are fairly easy to learn, and a nice advantage to needlelace is that it's very portable. Some claim the result is sturdy enough for machine washing if made with cotton or linen threads.

Materials

  1. Types of Bases

Parchment: used in period; inked with the pattern and basted to layers of cloth by the holding threads, which were cut at the end by slicing between the layers of cloth

Tracing Linen ("architect's linen"): this is a transparent glazed linen used for archival diagrams and not the same as the nylon "tracing cloth" sold for sewing; the only on-line source found so far is "The Crewel Gobelin" in Australia ( for AUD 53.70/meter (approx. $30 USD); as with parchment, this should be basted to cloth layers for support

Card Stock: manila file folders, cereal boxes, whatever works; the pattern is inked, or photo-copied & taped onto the card; this could be basted to cloth layers for a more period working appearance

Other possibilities: leather or fake leather; grosgrain ribbon (for long edgings); any type of paper covered with clear adhesive plastic

  1. Needles

Sharp needle: for pricking holes and laying the holding threads

Tapestry needle (blunt end): preferred for the lacework, but some people use sharps; use the smallest needle possible to make it easier to pull the ends of the thread under existing stitches

  1. Types of Thread

Cotton: for practice, for non-period articles, for hidden foundation threads

pearl cottons in size #3, #5, #8, #12 (from heavy to fine)

crochet cottons in higher sizes (DMC Cordonnet goes from 10 to 100) for detailed work

Linen:for edgings and insertions, especially household furnishings; used in period; the first number is the size of each ply and the second is the number of plies

size 16/2 (Rainbow Gallery Linen) is close to a pearl #8

size 18/3 (Londonderry) and 18/2 (Belgian) are a little finer

sizes as fine as 140/2 (a fine sewing thread) are available

Silk:for edgings and insertions; used in period

pearl size #5 (Rainbow Gallery "Grandeur"), #8 ("Elegance"), #12 ("Subtlety")

many other types are also available

Metal:for edgings; possible period use in needlelace, or perhaps only used in bobbin lace; if real metal, use a fine "passing" or filament thread, not a purl or bullion

various threads, fine braids, and cords (Kreinik, Rainbow Gallery, DMC, Anchor, etc.)

Projects

  1. Decide the Purpose

Is this just for practice or completely period? Is it part of a larger piece (a handkerchief, clothing, a tablecloth), or could it be used that way later? How much time do you have to finish it?

  1. Pick Appropriate Pattern/Style

If it's an insertion, does a reticella or punto-in-aria pattern make more sense? working reticella in the middle of a large tablecloth is difficult, inserting a separate punto-in-aria piece is much easier. If it's for clothing, you'll want a pattern that matches the place and period. If it's for practice, you'll want a pattern that emphasizes what you're trying to learn.

  1. Select the Materials

For practice on the basics, the larger cottons and linens are easiest. For a delicate edging or a very complicated pattern, the finer linens and silks will look better and have more definition. Tightly twisted threads will work up better than soft flosses. Decide if you'll use a thicker thread for the foundations, or multiple strands of the lace thread. Period lace was usually white or metallic, and, rarely, black or red.

  1. Plan Your Steps

Draft the pattern. Look at how the foundation threads run and where the brides are connected. Where will your thread end when you finish a line? Can you hide the end or go somewhere else from there? You can run a thread back through buttonholing to hide the end, but it's much harder through a narrow overcast bride. Plan to do the larger buttonholed and needlewoven elements first so you have more options for attachments and ending threads. And cheer up -- it's not quite as bad as reversible blackwork.

  1. Start to Finish

Copy, draw, or attach the pattern to the base. Holding or couching threads will be needed at every junction, curve, and change in direction. Prick holes about 1/8 inch apart on either side of the pattern for the holding threads, then lay the holding threads with heavy sewing thread or thin silk/linen. Or, couch the foundation threads as you're laying them. Lay the main foundation lines using a thick thread or multiple strands of thinner thread. Buttonhole the outside edge first, then move to the inside pattern.

As you work, remember to interlock the threads of the lace itself at intersections. Don't rely only on the holding threads, or your lace will separate into pieces when the holding threads are cut.

Try to keep your stitches even and not too tight (especially the buttonholing). Start thread by running it under existing stitches or under the holding threads in yet-to-be-worked areas. Finish ends the same way. When done, snip the holding threads from the back and pull the lace gently away from the base. If any holding threads are caught in the lace, trim them carefully and pull the bits out with tweezers.

Some On-line Suppliers (most also have toll-free phone numbers)

Hedgehog Handworks (California, USA: many threads (incl. real metal) and useful books; very nice and helpful staff (SCA connected!); catalog available

Lacis (California, USA; lots of stuff, often pricey; carries "pattern stock" cardstock, wide variety of linen threads, useful and sometimes obscure books; catalog available

Needlepoint Joint (Utah, USA; good selection of threads and books; catalog available

Nordic Needle (North Dakota, USA; variety of threads and accessories; catalog available

Threadneedle Street (Washington state, USA; some books, many types of threads including real-metal; excellent on-line descriptions of products and use

On-Line Information, Instructions, and Patterns

The Lace Fairy (lace.lacefairy.com/ID/Identify.html): several useful articles, most of which are accessible from the given overview of lace types

Mistress Meadhbh ni Dhubhthaigh (Charla Henney): Needlelace ( the article was originally in Tournaments Illuminated #138, April 2001; this is the source of the bookmark project

Kay Montclare at Needlearts:

Basic Reticella ( actually punto in aria

Picots ( instructions for various types

Vinciolo, Federico ( on-line 1606 edition (3rd printing of a 1587 book) that's published by Dover as Renaissance Patterns for Lace and Embroidery

Some Other Information

The Needleworker magazine (back issues from Interweave, has "Lessons in Reticello" by Diane Clements; the later articles refer to steps from the earlier ones.

June/July, 1999: Pincushion (first project): all the basics, including picots

Aug/Sept, 1999: Trivet (second project): elaborations

Oct/Nov, 1999: Tea Cloth (third project): punto in aria, different fillings

Ambuter, Carolyn. The Open Canvas: An Instructional Encyclopedia of Openwork Techniques. Workman Publishing: New York, 1982. ISBN: 0894801716. The best modern introduction to all openwork; it's set up as a series of instructional sampler projects.

Cave, Oenone. Cut-Work Embroidery and How to Do It. Dover Publications, Inc.: New York, 1982. Rev. ed. of Linen Cut-Work, Vista Books: London, 1963. ISBN: 0486242676. Very good.

De Dillmont, Therese. The Complete Encyclopedia of Needlework. Running Press, 1996. 3rd ed. Orig. pub. by Dollfus-Mieg Company: France, 1884. ISBN: 1561387029. Also called DMC Encyclopedia. Excellent; this is also a good source for finding explanations of obscure needlework terms.

Kliot, Jules and Kaethe. The Needle-Made Lace of Reticella. Lacis Publications: Berkeley, CA, 1994. ISBN: 0916896579. Reprinted selections from various sources, orig. 1881-1926, including a large section from Therese De Dillmont's Needle-Made Laces, c. 1910.

Preston, Doris Campbell. Needle-Made Laces and Net Embroideries. Dover: New York, 1984. Orig. pub. by Woman's Magazine Office: London, 1938. ISBN: 0486247082. Not as useful as Cave or De Dillmont.

Vecellio, Cesare. Pattern Book of Renaissance Lace: A Reprint of the 1617 Edition of the 'Corona delli Nobili e Virtuose Dame'. Dover: New York, 1988. ISBN: 0486258289. Also published as Pizzi Antichi nei disegni di Cesare Vecellio by SugarCo: Milan, 1980. A wider variety of patterns than Vinciolo, including some very simple ones.

Vinciolo, Federic. Renaissance Patterns for Lace and Embroidery; An Unabridged Facsimile of the 'Singuliers Et Nouveaux Pourtraicts' of 1587. Dover Publications, Inc.: New York, 2000. ISBN: 0486224384. Most of the complete patterns are complicated, but sections of them can be used on their own; includes filet lace (lacis) counted-square patterns.
Sample Motif:

1. 2. 3.

  1. Lay 2 rows of outside threads starting from the middle of one side (at arrow). When you get to the middle of the third side, run center threads across the middle and back. When you get back to where you started, again run center threads across the middle and back. You should now have a square of double threads with a cross of double threads inside it.
  1. Buttonhole the outer edge with the knots to the outside, again starting from the middle of one side (at arrow). When you get back to the start, needle-weave the double threads across the middle of the square and end the thread under the buttonhole stitches on the far side.
  1. Start a new thread next to the other set of middle threads and needleweave across the square. Run the thread back through the needleweaving to the ring. Lay two rows of foundation threads around the ring.

4. 5. 6.

  1. Buttonhole the ring with the knots to the outside. As you buttonhole, when you come to the far end of one of the thin diagonal lines run a single line along it to the other side of the ring. Lock the end of the bride into the ring stitching and overcast the bride back. Lock the bride into the center as you go.
  1. Start the first triangle filling by doing a buttonhole stitch into the stitches on the outside of the ring. Decrease the number of stitches every row or two to make the triangle. When you reach the corner, lock the thread into the outside edge and pass the thread up one side of the triangle back to the ring to start the next filling. Continue for all four fillings.
  1. When you've locked the point of the last filling, go around the outside edges of the triangles with buttonhole stitch. When you're finished, end the thread in the outside edge of the square. Cut the holding threads and remove your lace.

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______= buttonhole stitch over 2 threads

...... = overcast stitch over 1 thread (bride)

======overcast stitch over 2 threads

grey areas= buttonhole filling

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See the URLs for complete instructions on how to

work the Bookmark and the Basic Reticella patterns.

Buttonhole Stitch

Buttonhole Filling

Overcast Stitch

Needleweaving

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Pearl Cotton / Anchor / cotton pearl / #8 / white
(2)
Pearl Cotton / DMC / cotton pearl / #5 / white
Pearl Cotton / DMC / cotton pearl / #3 / white
Linen / Londonderry / line linen / 100/3 / ivory
(100-95)
Linen / Londonderry / line linen / 80/3 / jonquil
(80-01)
Linen / Ginnie Thompson / linen / 20/2 / white
Linen / Belgian / linen / 18/2 / white
Linen / Londonderry / line linen / 18/3 / white
(1890)
Rainbow Linen / Rainbow
Gallery / linen / 16/2 / white
(R402)
Subtlety / Rainbow
Gallery / silk pearl / #12 / white
(Y800)
Elegance / Rainbow
Gallery / silk pearl / #8 / white
(E800)
Grandeur / Rainbow
Gallery / silk pearl / #5 / white
(G800)
Buttonhole Twist / Belding
Corticelli / silk twist / "D" / white
Soie 100/3 / Au Ver A Soie / spun silk thread / white
(blanc)
Soie Perlee / Au Ver A Soie / filament silk twist / #8 ? / white
(blanc)
Trebizond / Access Commodities / silk twist / #5 ? / white
(125)
Soie de Paris / Au Ver A Soie / filament silk twist / 6-ply separable / white
(blanc)
Metallic Thread / DMC / poly/rayon / lt. silver
(283)
Cable / Kreinik / polyester / 3-ply separable / silver
(001P)
Fine Braid / Kreinik / polyester / #8 / silver
(001)
Tapestry Braid / Kreinik / polyester / #12 / silver
(001)
Medium Braid / Kreinik / polyester / #16 / silver
(001)

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