Ladies S Work For PL 00 Hero

CHICAGO:
THE HOHE MANUAL COHPANY,

334 DRARBORN STREET.
LRDIES'
WOQK
FOR
PLERSURE
AND
PROFIT.
Folly Illustrated.
DAINTY SERIES.
Issued Quarterly. By
. Subscription, $2.00 per
year. Vol. I. No. 1.
May, 1894. Entered at i
Chicago Post-OtJice as
second-class mail mat- !
V.
t«r. i
CHICAGO:
HOME MANUAL CO.

MRS. POTTER PALMER
To Whom This Book Is Respectfully Dedicated By Special Permission
LADIES' WORK
ROR . .
PLEASURE AND PROFIT

COMPILED AND WRITTEN
BY
ADDIE E. HERON
EDITOR OF " HOME ART," A JOURNAL DEVOTED TO INTERIOR DECORATION
QlA- AND AUTHOR OF
"Decorative Art," "Practical Lessons on Shading," "Needlework Souvenir," Series on "Art Embroidery,"
"Blossom Cloverly," A Temperance Story, " Won, but Not Wooed," " How 1 Furnished My
Parlor," "The Cheltenham Girls," "The Little Trespasser," "Outwitting the Boys,"
"Storming the Castle," "Daisy, Dot and Dimple," and other stories.
SECOND EDITION
REVISED BY THE AUTHOR.
THE HOME MANUAL COMPANY, PUBLISHERS

334 DEARBORN STREET
CHICAGO
Entered according to Act of Congress, in the year 1894, by
BANKS & CO.,
In the Office of the Librarian of Congress, at Washington.

/y ^
TO
MRS. POTTER PALMER,

PRESIDENT BOARD OF LADY MANAGERS
OF THE
"WOLRD's COLUMBIAN EXPOSITION"
IHIS BOOK IS RESPECTFULLY DEDICATED BY SPECIAL PERMISSION,
PREFACE.
The publishers of " Dainty Work for Pleasure and Profit, " in issuing a
work of such importance to women have considered it only just that the
book should be dedicated to the most representative American woman of
the day. That woman is unquestionably the President of the Board ol
Lady Managers of the World's Columbian Exposition, Mrs. Potter Palmer
— a woman of the highest social distinction, possessed of all the gracious
attributes of true womanhood, honored by the nation and beloved by all
who know her. The dedication is made by special permission.

—
T^BLE OF CONTENTS.
CHAPTER I.
Introduction — Harmony of Interior Decorations — Beautiful Surround-

ings — Economy in Decorating — Dainty Linen — Appropriate Ornamenta-
tion—Use of Homely Materials in Decorative Work 6
CHAPTER II.
Materials for Decorative Purposes — Linen Crash Bleached Linens —

— —
Domestic Linen Bolton Sheeting Colored Art Linen Huck-a-buck —
— — —
Art Satin Butcher's Linen Scrim Morris Cloth Frieze Concordia — —
— — —
Canvas Egyptian Cloth Turkish Crepe Satin Damask Gobelin Cloth —
— —
Hollywood Drapery Russian Crash Devonshire Art Cloth Bargarren —
— — —
Art Cloth Bolting Silk Silks Velvets and Plushes Felt Satin Banner — — —
Silk —Sateen — Russian Tapestry Mail —
Cloth India Silk Double — —
Faced Sateen 9
CHAPTER III.
Implements and Embroidery Threads Embroidery Frames — —

— —
Embroidery Hoops Needles— Scissors Stilletto Embroidery Apron —
—
Preparing Material for Embroidery Placing Material in Hoops or Frames
— —
Crewels Tapestry — —
Wool Arrasene Chenilles Smyrnasene Ribbo- — —
— —
sene Featherasene Embroidery Silk Embroidery Linen — 12
CHAPTER IV
Transferring and — Tracing Paper— How to use
Stamping Designs
Perforated Stamping Pattern— How to make — How to use — Care of Patterns
— How to Clean —Stamping Liquids— How to make — How to use — Panta-
graph for Enlarging or Reducing Designs — Conventional Designs 21
CHAPTER V.
— Stem or Outline Stitches — Kensington Stitch

Embroidery Stitches
Short and Long — Satin Stitch — Buttonhole Stitch — Spot Stitch
Stitch
Antique Stitch — Persian Stitch — French Knot — Couching Stitches — Hem-
stitching — Spanish Laid Work — Plush Stitch — Frilling Stitches— Honey-
comb Stitch — Brick Stitch — Novelty Stitches — Daisy — Star — Darning
Crowsfeet — Group —Janina — Double Basket — Single Basket — Close Basket
— D'Alencon Bar— Spider Wheel — Point d'Reprise — Rosette 27
—
2 tABLE OF CONTENTS.
CHAPTER VI.
—
Application of Stitches Darning Stitch for Background Dado ot —
—
Frieze Conventional Design Worked with Filling Stitch Couching and —
Satin Stitch Combined — Infant's Trosseaux — French Embroidery— Ken-
sington and Darning Combined— Combination of Spot and Single Daisy
Loop — Leaf —
Border Grape Vine Border — Application of Kensington
Stitch — —
Short and Long Stitch Shading Conventional Designs 49
CHAPTER VII.
— —
Shading System of Shading Selecting Shades of Embroidery
—
Threads Table of Colors — How to Purchase How to Use Proper — —
—
Method Shading Specifically Applied Natural Shading Conventional —
—
Shading Shading of Stalks, Leaves, Stems and Petals Where to Put —
— —
High Lights Where to Place Shadows How to Blend Different Shades.
59
CHAPTER VIH.
—
Art or Flat Embroidery Classification of Embroideries Roman —
— —
Embroidery Applique Embroidery Outline Wash Fabrics Embroi- —
— — —
dered Table Cloths Lunch Sets Side Board Scarfs Doyleys Carving — —
—
Cloths Vegetable Mats Tray — —
Cloths Pillow Shams Scarfs Bed- — —
— —
spreads Bureau and Commode Scarfs Splashers Tidies Toilet Sets — —
— —
Stitches to be Used Materials to be Employed Suitable Designs Arti- —
cles for Use in Sleeping Room — —
Pansy Lunch Set Scroll Border for Cen-
ter Cloth — — —
Round Cushion Table Cover Curtains and Portieres— Screens
— Embroideries for Ladies Dresses, Sacques, Collars, Handkerchiefs, Fans,
Parasols, Ruffles, Etc. — Embroideries for Children's Wardrobe 67
CHAPTER IX.
—
Church and Bullion Embroideries Materials for — Stitches Used in
Ecclesiastical —
Embroideries Couching Stitches — Diamond Drapery
Plain Shell — Spider —Vandyke —Wheel — Wavy — Manner of Working
Colors to be used Ecclesiastical Embroideries — Designs for Gold and
in
Silver Work — Cardboard Foundations 115
CHAPTER X.
Berlin Embroidery —Uses of Stitches for — Materials for Berlin Work
Designs —Colors — Blending of Shades— Combination of Stitches 139
CHAPTER XI.
Raised Embroidery — Ribbon Work — Louis XVI Designs — Smgle Rib-
bon Roses — Double Ribbon Roses — Calla Lily — Tiger and Japan Lilies
——
TABLE OF CONTENTS. 3
Water Lilies'— Golden Rod— Cattail— Coxcomb — Sumac —Thistles— Snow

— Pansies— Raised Fruit— Cherries — Oranges — Strawberries— Grapes
Balls
—Cotton Plant — Designs and Instructions I49
CHAPTER XII.
Dainty Trifles — How to Make —What to Use— Economic Decoration

Articles for Church Fairs and Bazaar Sales — Memorandum Case — Bouquet
Holder — Writing Board for Invalids — Foot Stool — Paper Stand — Shoe Box
Sunflower Cushion —Work Basket — Hair Pin Holder— Toilet Cushion
Chair Back and Seat — Lamp Shade —Wall Pocket — Bolster and Pillow
Handkerchief Holder— Photograph Case — Calendar — Night Dress Sachet-
Pansy Sachet — Puff Cushion for Head Rest — Decorated Egg Shell— Mend-
ing Bag — Holders — Paper Holder— Handkerchief Sachet — Fancy Table
Penwipe — Sofa Cushion — Fancy Work Basket — Foot Rest — Ottoman
Cushion — Shaving Paper Case — Laundry Bag — Pumpkin Cushion — Photo-
graph Frame — Photograph Envelope — Pin Trays — Glass Handkerchief Box
Eiffel Tower Scrap Bag — Star Quilt— Handy Bag — Toilet Cushion— Emery
Cushion — Butterflies — Music Stand — Scissors Case — Crawling Rugs — For
the Drawing Room — Doyleys — Mats — Center Cloths — Table Runners — Shoe
Box — Burnt Match Holder —Toilet Cushion — Footstool— Child's Chair
Catch-all — Head Rest — Hanging Pin Cushion — Fancy Pin Cushions
Infant's Crib Coverlet — Table Cover in Cross Stitch — Chicken Penwipe
Branch of Fruit — Dust Cap — Sachet Bags — Tobacco Pouches — Leaf Pen-
wipes—Traveling Case— Child's Chair— Mat for Water Pitcher— Needle
Case — Cover for Cushion — Nasturtiums — Cushion — Infant's Toilet Case
Importance of a Scrap Bag 175
CHAPTER XIII.
— — —
Drawn Work Materials for Stitches for Frames for Uses of —
— — — —
Designs for Corners Borders Set Patterns Wheels Scrolls Squares — —
— — —
Preparing the Work Foundation Stitches Drawing Threads Basket —
Insertion— — —
Lunch Cloth Center Cloth with Border Antique Corner and
—
Border Combination of Drawn Work and Embroidery 241
CHAPTER XIV.
Brush and Palette — Designs for Painting — Painting in Oils on Fabrics

— Materials for Painting — To Make Blues — To Make Browns, Buffs and
—
Yellows To Make Greys— To Paint Daisies, Honeysuckle, Apple, Peach
Blossoms, Tea Roses, F'eathery Clematis, Violets, White and Purple Lilacs,
— Palettes for— Morning Glories — Sky Effects — Back Grounds
Pansies, etc.
Special Palettes — Strawberry Spray — Butterflies — Grapes on Black Velvet
—
—
4 TABLE OF CONTENTS.
— Pansies — Purple Thistles — Pond Lilies — Purple Clematis— Oxhart Cher-
ries— Leaves and Berries of Virginia Creeper— Peacocks — Golden Rod —
Asters — Panel of Hollyhocks — Washable Painting — Medium— How to Use
—Water Color Painting — Roses — White Flowers — The Primrose — }31ue
Flowers — The Convolvulus— Figures Water Colors — Fabric Tinting
in
Paris Tinting — Painting on Celluloid or Ivorine — Lilacs Oil on Celluloid in
— Lilacs Water
in Colors on Celluloid — Luster Painting — Materials for
Brushes for — Medium for — Colors for — Method of Using — Kensington
Painting — Parrots— Crayon Painting — Portraits — Painting on Birch Bark
Scorch Painting — Tapestry Painting— Canvas for — Dyes — Brushes — Mixing
Colors — Flesh Colors — Flesh Painting —-Palette for Sky — Colors for Drap-
eries — Hair and Drapery — Decorative Painting for Profit 257
CHAPTER XV.
— —
Point Lace Honiton Lace Novelty Lace Point Lace Braid Lace — —
— — —
Thread Lace Stitches Tracing Cloth Foundation Cloth or Leather —
—
Designs for Lace Work Outlining Design with Braid Method Working —
— — —
Laying Braid Stitches Proper or Point Finishing Edge Connecting —
— — — —
Bars Wheels Rosettes Ground Stitches Brussels Point Venice Point —
— Little Venice Point — —
Spanish Point Grecian Point Valenciennes Stitch —
— — —
Point d'Alencon Turkish Point Net Groundwork Stitch Mechlin —
—
Lace Stitch—Venetian Bars Dotted Venice Point — Raleigh Bars Point —
— — —
Lace Handkerchief Fischu Border Cushion —
Cover Handkerchief — —
Centers and Borders 3Q9
CHAPTER XVL
—
Knitting and Crocheting Terms Used in Crocheting Explanation of —
— — —
Abbreviations Used Child's Dress Purse Infant's Sacque Baby's Shirt —
— — —
Lady's Vest Ladies' Basket Pattern Vest Baby's Hood Fancy Bag —
— — —
Fringe Pine Apple Edge Insertion Border Crochet Trimming Crochet —
— —
Design for Bed Spread Wheels for Toilet Set Edging Diamond Edge — —
— — —
Fern Edge Crochet Trimming Narrow Edging Broad Edging —
— —
Coral Edging Reticella Crochet Table Cover Child's Petticoat Cro — —
— —
chet Towel Daisy Crochet Lace Crocheted Guimpure Lace Crocheted —
— —
Table Cover Skirt Edge, Crochet and Braid Infant's Knitted Jacket
— — —
Moss Edge Fern Edge French Edge Serpentine Edge Crochet and —
— —
Fancy Braid— Shell Edge Palm Edge Knitted Hood for Child Cro- —
—
cheted Hood for Child Crocheted Pillow Shams Table Mats Border to — —
— — —
Mat Crocheted Doll Torchon Lace Comfort for Lounge Porcupine —
—
TABLE OF CONTENTS. •
5
Stitch— Wheels— Petticoat For Child— Border and Corners for Table
Cover— Crocheted Skirt— Infant's Vest— Crocheted Mop Duster— Cro-
cheted Novelties 325
CHAPTER XVII.
Dainty Work —Work for the Stay-at-homes —The First Start
for Profit
— Commenced Samples — Cost of — Materials for — Designs for Order
Work — How to Solicit — Orders for Embroidery —The Days' Work
first
Teaching Embroidery— What to Charge — How to Collect — How to Open

an Art Bazaar or Fancy Goods Store — How to Conduct — Selection of
Location — Store Fittings — How to divide Store — The Work Room — The
Show Window — How to Dress — What Stock to Carry — How to Buy — Art
Fabrics — Sample and Display Work — List of Desirable Samples — Materials
for Made-up Samples — Cost of Commenced Samples — Window Display
Stock — Cost of — Quantity Necessary— How to Buy and Sell Novelties
Description of Articles for Stock — Toilet Set — Glasseine Handkerchief
Sachet — Glass Panel Screen — Tobacco Pouch — Glasseine Toilet Set
Parasol Catch-all — Traveling Roll — Duster Case — Calendar 400
CHAPTER XVIII.
—
Description of Full Page Illustrations — Cushions Head Rests- -Roman
— — — —
Embroidery Star Quilt Drapes Doyleys Carafe Mat Table Covers —
Easel — — —
Drapes Portieres Mantel Drapes Window Drape Magnolia —
— —
Doyley Maple Leaf Doyley Dresden Plate Doyley Draped Beds —
— — — —
Colored Plates Fleur de lis Poppies Oranges Oak Leaves Sumac —
Golden Rod 426
CHAPTER XIX.
— —
Doyley Designs Five o'clock Tea Cloths Screens Butterfly Center —
— —
Cloth Louis XIV Design Violet Center Cloth Bed Spreads Rose — —
— —
Center Cloths Flower Doyleys Violet Basket Center Cloth Sponge —
— — —
Bags Traveling Cases Picture Frames Handkerchief Bag Glove and —
— —
Veil Case Infant's Flannel Robe Hammock Cushion Ideal Honiton —
—
Lace Work Dresden Crib Cover and Pillow 435-458
DAlTNTg WOKK.
CHAPTER I.
INTRODUCTION.
E HAVE tried in the following pages to inculcate a

love for home beautifying; to show how every home
in this broad land can be rendered beautiful, accord-
ing to surrounding circumstances and the financial
ability of the owners; to teach economy, appropri-
ateness and harmony in interior decorations; how to
make use of the homely, every-day articles, trans-
forming them from unsightly objects into things
beautiful to behold. In a word, we have tried to give
instructions in all things pertaining to the home

beautiful so clear and simple that no household,
however humble, need be without the refining influ-
ences of dainty environments.

We have always recognized that the first requi-
LiuimjjjMiiUuKiia
site of a true home is order and cleanliness, for
without these there can be no beauty, no true refinement, even though
mother and daughters be able to paint like a Raphael and embroider
like aQueen Matilda; without the first, the last accomplishment is worse
than useless as a means of home decoration. It is better to be a good
cook than a poor painter, better to be a deft and handy garment-maker
than an indifferent embroideress, better to have order and system than a
small knowledge of china painting, but given the former, the latter are beau-
tiful and useful accomplishments for wife, mother, sisters and daughters.
6 DAINTY WORK FOR PLEASURE AND PROFIT.
It is certainly the first duty of a wife and mother to make home the
pleasantest and happiest spot on earth for the members of her family, and
to do this requires more than order, system, immaculate cleanliness, more
than the purchase of expensive carpets and pieces of heavy furniture. It
requires the home-making, home-beautifying talent. It needs the exercise

of an ingenious mind and nimble fingers in fashioning dainty accessories in
the shape of mantel drapes, screens, wall-pockets, toilet sets, dainty table
linen, cushions, photograph holders, and all the numberless odds and ends
that go to make up the pretty home comfort of a room.
Taste, more than money, is needed in the decorating of American
homes; oftentimes the simplest and least expensive efforts are those which
give the most homelike, pleasing and restful effects. And now, dear reader,
right here let me say a few words directly and individually to you. Do not
wait to build a fine residence before you begin to make a home, in the only
sense in which the word should ever be used. Do not let your children
grow up amid uncouth and unlovely surroundings, while you are waiting for
the dollars to grow. Remember, the young will seek for beauty elsewhere,
if it is denied them at home. The old house maybe too square or too long,
too low or too high, too old fashioned, aye, even "tumble-down" may be
the only word to fully express its appearance, yet it can be made a lovely
ho?ne, if only the spirit of home beautifying abides in the heart of its
mistress. Now, do not say you cannot afford it; you can afford it, because
it is one of the necessities and not a luxury of life. With the facilities offered
in these pages for learning the different kinds of needle-work, and the
making up of an almost innumerable amount of fancy and pretty articles, and
the present low prices of materials, there is no excuse for bare, cheerless
looking rooms in any part of our country. And beside, decorative effort of
some kind is home culture. We say effort advisedly, as
a necessary part of
the result ismuch the thing to be considered as that the spirit, wish cr
not so
desire to make our homes not only orderly places of abode, but beautiful as
well, should exist. And we repeat, this effort at home decoration may be
costly or simple, according to individual means; but there is no home so poor
that some attempt at beautifying cannot be made. An attempt with
crudest results is better than none at all. If one lives in few rooms, and
curtains and carpets have so far been unattainable, the first effort at
INTRODUCTION. 7
decoration will naturally be to drape the curtainless windows and cover the
bare floors. The curtains may be of cheese cloth, and covering the floors
may mean to simply stain them, and, later on, to lay rugs of home manu-
facture; but what a change this effort to beautify will have made. Having
begun the work of beautifying, how simple it seems to go a step further,
and add a few pots of healthy plants to the curtained windows. Expen-
sively embroidered cushions, table spreads, lambrequins, etc., would here be
out of place, and so far from adding to the effect would be inharmonious.
The embroidered spread would laugh at the homemade rugs, and the
expensive cushion turn up its nose at the homely lounge.
We hear some dissenting voice cry out: "You would have the mistress
home cease her efforts at
of this primitive home beautifying ere she has
fairly By no means! We simply wish to say that articles of mere
begun?"
luxury should give way to those of necessity, and that the decorations
should be harmonious with the general surroundings. If the household
means will allow it, we would have the mistress thereof purchase a good
supply of nice firm table linen, a good supply of bedding and towels, and
embroider the family initial or monogram on each piece. The constant use
of dainty linen, the constant sight of a well-appointed table, are factors in the
home education of every child; we hold, therefore, that embroidered house-
hold linen is a decorative necessity and within the reach of the very poor.
The trouble with those who exclaim most loudly at the expense attached
to fancy work, lies in the fact that articles of mere ornament are begun with
only the vaguest idea on the part of the worker as to the ultimate cost;
hence, discredit is brought upon the very name of fancy work. All this
might be obviated if as much thought were given to the subject and the
same rules governed the purchase of art materials as is given to the ordi-
nary purchases of the household.
When women cease to make Si 5 to S20 lambrequins for a room whose
entire furnishings did not cost three times that amount, and ^10 table
spreads when the income would not warrant an outlay of more than one-
third as much; when they learn that a few dollars' worth of embroidery silks
disposed over several articles in keeping with all the surroundings is far
more effective than one elaborate piece whose very richness renders shabby
what before was passable, then will "Home Decoration" occupy its rightful
S DAINTY WORK FOR PLEASURE AND PROFIT.
position as a necessary and useful art. And now a last word before we
enter upon the subject of this work. If anything must be dispensed with in
your furnishings let it You can do quitp well in procuring a

be the carpet.
pretty effect with a few home-made rugs and an oiled floor. Ingenuity, taste
and skill are to you worth dollars. If you cannot afford silk bolting at
$3.50 per yard for your doyleys and dressing case covers, use scrim at 15
cents per yard. If you cannot afford a Persian rug, or even a very good
imitation of one, buy a Ross rug hook, take a piece of coffee sacking,
ravel pieces of old carpet for the necessary yarn, and make one; it will cost
about $1.50, and perhaps less; if neatly done, it will look almost as well as
one that sells at $15 to $25. And remember, first, last and all the time, that
"Refined ornamentation in every room in the- house, especially those of the
boys and the help, and a union of effort in this kind of work, particularly in
the parlor and all other family apartments, will have a wonderful effect in
developing character and preserving harmony in the household."
CHAPTER II.
MATERIALS.
&K.^.
:N THIS day of progressive ideas almost every
kind of textile fabric is used as a background
for decorative neeedle-work, from the coarse,
unbleached linen crash to the finest silks and
velvets, and each and every kind is appropriate,
according to the use for which it is designed.
We will here give the names and a brief description of the different fabrics
more generally used for decorative purposes.
Linen Crash, such as is used for kitchen towels, is a fabric that

offers a particularly pleasing ground for embroidery done in crewels,
tapestry wools or linen embroidery threads, and can be purchased in various
widths, from sixteen to thirty inches, and for lo to 25 cents per yard.
Bleached Linen, of a fineness suitable for shirt fronts, is suited for
doyleys, center cloths, pillow shams, toilet sets, sideboard sets and guest
towels, when something very nice is desired. This kind of linen can be had
in widths from twenty-four to thirty-six inches, and for various prices,
according to quality, from 60 cents to ;î.oo per yard being the usual price.
Domestic Linen is a firm fabric with a very light twill, and is made
in widths from sixteen to eighty inches. Domestic linen is used for all the
purposes for which the finer qualities are employed, and is especially suited
for bedspreads, pillow shams, dresser scarfs and toilet sets that are to be
embroidered with either silk or linen threads. Price per yard, from 20
cents to ^1.50.
Bolton Sheeting" is a coarse, heavily twilled cotton fabric, two
yards wide. It derives its name from the English town where it was first
manufactured. It is sometimes called workhouse sheeting, from the fact
that it is used for sheets and pillow slips in English workhouses. It is very
effective when embroidered in colors with either silk or linen threads, and
is much used for fancy bedspreads and dresser sets, beside portieres and
sofa covers. It is cheap, costing but 50 cents a yard for the best quality,
and it is full two yards wide.
Colored Art Linen. This fabric is a recent weave, and from the
beauty and durability of the colors is destined to enter largely into the
field of decorative work. Art linen is fifty inches wide, and is made in all
the beautiful art shades, such as dead-leaf brown, old rose, gray b,lue,
golden brown, leaf green, ecru, nasturtium, orange and gray. It is used for
covering furniture, portieres, curtains, cushion covers and table spreads, and
lends itself to the lights and shades of embroidery silks with beautiful
effect. Price per yard, $1.50.
Huck-a-buck, commonly called huck toweling, is a linen material
in pure white and cream white, having threads slightly raised on the surface
forming a honeycomb mesh. The mesh is large or small, close together or
far apart, according to the fine or coarse quality of the huck. This fabric is
usually decorated with outline in stem stitch, and background darned with
silk or linen threads. The widths vary from sixteen to forty inches, and
the price from 25 cents to $1.25 per yard.

Linen Bolton Sheeting" is a heavy linen fabric woven in imita-
tion of the cotton article of that name. It is nearly as heavy as duck or

canvas, which it closely resembles. It is used for the same articles as the
cotton bolton; it is, of course, more expensive, costing about $1.30 per
yard. It is two yards wide.
Art Satin is a cotton fabric, in white only, having a satin finished
surface. It is very pretty made into table squares, tidies, center pieces,
dresser scarfs and toilet sets, as the soft finish makes a good background
for silk embroidery. It is forty inches wide, and can be had for 75
cents per yard.
Butciiers' Linen is a very coarse linen, partly bleached, full
bleached or unbleached. It is made in various widths, though the forty-
inch weave is the one more commonly employed, as it cuts to better
advantage in making up articles. It can be use.d for decorative needle-
work, though it is not so nice as the domestic linen. The forty-inch width
usually sells for 30 cents per yard.
1
MATERIALS. 1
Scrim is a very useful and pretty material with which to furnish a

bedroom; spread, pillow scarf, dresser drape, curtains, tidies, etc., should be
eti suite, decorated throughout in a harmonious design. This material takes
outline effectively. It is made in various widths, and costs from 15 cents
to ;$i.oo per yard.
Morris Cloth is a beautiful, soft diagonal twill goods, two yards

wide. It comes in all the art tones, among which may be mentioned silver
green, sage green, apple green and apple red. It can be trimmed with
bands of harmonizing or contrasting shades of the same, and decorated
with embroidered designs in couching and rope silks. This fabric is sold
for $3.00 per yard.
Frieze is a beautiful English-looking material, very rough as to

surface and thick as to texture; it is used for floor cloths, table cloths, some
kinds of upholstering and rugs. It should be decorated with large, bold
design worked out with linen threads in rope, couching and art cord sizes,
and if the piece is small, or expense is no object, silk can be introduced

with beautiful effect. Price per yard, $2.50.
Concordia Canvas is a thick and heavy cotton material in cream
white, with a honeycombed surface; it can be purchased in lengths for chair
backs and is designed for darning; the pattern being darned in under the
honeycomb with rope silk, the effect is that of filmy lace thrown over the
colored design. Price per yard, 50 cents.
Egyptian Clotil is a white, wash cotton goods, quite fine and sheer,
somewhat resembling cheese cloth, but very much handsomer. It is used
for summer drapery, bedroom sets and sash curtains. It is a lovely material
for outlining or painting. Price per yard, 50 cents.
Turi<:isll Crepe, a white, wâsh goods, particularly suitable for
picture and easel drapes, curtains and bed draperies. It is soft and creamy,
with a fine crepe effect, which is retained after washing. Price per yard,
50 cents.
Satin Damask is a beautiful heavy linen, with smooth, satin-
finished surface. It is made in pure white, in various widths, from sixteen
to seventy-two inches, and costs from 60 cents to $3.00 per yard. It is

used for nice table linen, lunch sets, fruit sets, doyleys napkins, center cloth,
tray cloth and table mats.
Gobelin Cloth is a pure white cotton fabric, eighteen inches wide.
It has a decided twill, amounting almost to a rib, crosswise of the material.
Price per yard, 50 cents. This is a popular fabric for toilet sets, cushion
covers, table mats and centers for table covers.

Russian Crash is a fine woven linen fabric, about eighteen inches
wide, in natural linen color — a pure gray. It is a beautiful background for
outlined embroidery or Roman cut work. Price per yard, 50 cents.
Hollywood Drapery is a cotton fabric, made in cream, white and

colors. Cream, white and some colors are made two yards wide, while a
few colors come only fifty-four inches wide. The price varies from Si. 25
to $i.7S V^^ yard, according to width and color. The weave is very close
and firm, and the surface presents an almost invisible basket effect. It is a
very desirable material for table covers, plain spreads, portieres, bed
spreads, toilet sets and cushion covers. It is beautiful embroidered with
linen thread in conventional style, and as it needs no lining is an econom.

ical material for portieres especially.
Devonshire Art Cloth is a beautiful

linen fabric made of the natural flax, that is, not
dyed, but comes in the beautiful flax color. It
%.^ is made in squares or checks of different sizes,
one of which we show here. It is a firm, closely

woven fabric, and will be found very artistic for
centers to cushions, table covers, wall panels,

DEVONSHIRE CLOTH. FIG. I. chair covcrs or sideboard scarfs. It is two
yards wide and costs ;^3.00 per yard.
Bargarren Art Cloth is a fabric designed especially for "Darned"

embroidery. It ismade in four styles, each one having a mesh of different
size and shape. The surface is honeycombed by means of the thread which
is raised to form the mesh. This thread is very heavy and the weave firm, so
that the largest sized embroidery linen threads can easily be darned under
it. The fabric is made in pure white, cream white and colors, and is first
woven eighty-eight inches wide and then shrunken to seventy-two inches,
so there is no trouble with shrinkage after an article is made up. For bed-
spreads, dresser scarfs, toilet sets, portieres and table covers there is no
MATERIALS. 13
material that offers such possibilities for economical embroideries, as large

surfaces can be covered with darned and outline work at little expense.
The price varies from ;î.25 to $1.60 per yard.
Bolting" Silk is a fine, transparent, gauze-like material, made of
finest white silk and very strong. Millers use it for bolting a certain brand
of flour, hence its name. It is made in different widths, from eighteen to
forty inches wide, and is a popular fabric for dainty articles for the toilet
table, for doyleys, drapes, shams, curtains, and tea cloths lined with silk.
It can be washed, and is beautiful embroidered in either pure white or

colors. Prices range from 75 cents to S3. 00 per yard.
Silks, plain and ribbed, are used as a background for decorative
needlework, and for articles that are not exposed to much usage and conse-
quently that will not need frequent cleaning. They will be found both
serviceable and elegant. Width, from eighteen to thirty-two inches. Price,
from 75 cents to Si. 75.
Velvets and Plushes are both much used for handsome pieces of
embroidery, and cost, according to quality, from 75 cents to S2.25 per yard.
Width, eighteen to thirty-two inches.
Felt is a heavy cloth without any weave, and with a perfectly smooth
surface, alike on both sides. It is full two yards wide, and comes in all
colors. Price per yard, Si. 00.

Satin offers a beautiful background for all kinds of silk embroidery.
Price per yard, from 60 cents to Si. 25, according to quality. Width,
eighteen to twenty-seven inches.
Banner Silk js a twilled silk, made in two widths, namely, forty-
four and seventy-two inches. It is designed especially for society banners,
but is also used for door and window draperies when expense is no object.
Price per yard, S8.00 and Sio.oo.
Upholsterers' Plush and Satin. These materials closely
resemble the ordinary fabrics of the same name, but are usually a heavier
quality. Widths, fifty-four and seventy-two inches. Price, Sio.oo, S12.00
and Si 5.00 per yard, for best qualities.
Sateen is a satin-faced material with a wool back. It comes fifty-four
inches wide and costs S2.50 per yard. It is used for table scarfs and covers,
portieres and panels.
Russian Tapestry is a very heavy, all-siik material, woven with a
broken twill crosswise of the fabric, and presents a crepy effect which lights
up wonderfully, showing several different shades of its own color. It is

woven fifty inches wide, and is very beautiful for portieres, cushions, table
and bed covers and piano covers. Price per yard, ^5.50.
Basket Silk is a silk-faced material, fifty inches wide. It comes in
white, ecru, old rose and gray. It is woven with basket effect on the right
surface; the mesh is about as pronounced as that on medium coarse huck
toweling. Basket silk is fifty inches wide, and can be had for $3.00 per yard.
Mail Ciotil is a very heavy silk-faced fabric, fifty inches wide. It has
a small bird's-eye weave on the right surface and requires no lining. It
comes in all the art shades, such as Indian red, maize yellow, sage green,^
dead-leaf brown, old blue, ecru and cream. It is a beautiful background for
heavy embroidery with rope silk, couching silk and art cord. Price per
yard, $3.00.
India Silk is a thin, plain woven silk, much used for draperies, puffs,
linings and trimmings for fancy articles. It is from twenty-seven to thirty-
six inches wide, and can be had for from 60 to 75 cents per yard. It is very
dainty embroidered in outline stitch only.
Double-faced Sateen is a very heavy goods, plain satin surface
on both sides. As its name indicates, it is reversible; thus, one side will be
a deep old blue, while the reverse side will be a pale old blue overcast with
a silvery sheen, but both blues will be of the same line of color. Where
handsome portieres or table covers are desired there could be no more
beautiful fabric. No linings are ever used with this sateen. It is fifty
inches wide, and can be had for $3.50 per yard.

The above list contains most of the fabrics commonly used for embroi-
dery work, but it is by no means a complete list, as there are the canvases
used in cross-stitch, the lawns, muslins, merinos and flannel used for articles
of wearing apparel, the serges, velours and brocaded silks of infinite variety
that are used for furniture covers, that need no description here as they are
familiar to all.
CHAPTER III.
IMPLEMENTS AND EMBROIDERY THREADS.
HIS IS a subject of vital importance to the needle-

worker, and deserves a chapter to itself. No good
work can be accomplished without the proper imple-
ments to do it with, hence we will discuss them in
the order of their importance. First, then, the embroi-

derer who expects to do a variety of work must have
a frame and a pair of hoops. Now, there are embroi-
dery frames in the inarket by the score, and at prices
ranging from $2. 50 to S7.50 each. We give here an

illustration of one of the popular frames on a standard.
It is very convenient for large pieces of work, and
allows the worker the free use of both hands. This
style of frame has adjustable screws and can be
lowered or raised at will, and
tipped to any angle desired by
the worker; but these frames are
expensive and would hardly be
purchased by the lady who does
embroidery only semi- occasion-
ally, and so we show, in figure 3,
the frame we have used in all our

own work during the last ten
years. It will cost fifty cents if a
carpenter makes it, and nothing
at all if one is fortunate enough
to possess a husband or a big
brother who can be pressed into embroidery frame, fig. 2.
I6 DAINTY WORK FOR PLEASURE AND PROFIT.
service. simple in the extreme, consisting of four pieces and as many

It is
wooden pins; holes, large enough to hold the pins, are made at regular
distances apart on the two side pieces, and one hole in each
end of the two
end pieces, after the fashion of quilt frames. This allows the work to be
rolled out of the way as fast as finished.
The end pieces of the frame need not

be more than i8 inches long, and
those for the sides 20 or 24 inches long,
for convenience in handling. The top
and bottom pieces of the frame should
have fastened to them a double piece
of bed-ticking, about two inches wide.
This can be fastened to the frame by
EMBROIDERY FRAME
means of tacks driven quite close to-
gether in order to hold the ticking firmly in place. In putting work in the
frame, sew to the ends of material a strong piece of cotton factory or tape,
which then sewn with strong thread to the ticking on the frame. It
is
should be as tight and firm as possible, the strain being increased gradu-
ally, the sides of the material to be embroidered should then be braced to
the side pieces of the frame by means of a heavy twine threaded in a coarse
needle. Begin at the upper right corner by drawing the thread through
the tape or cotton, and securely tie the end; the twine must then be sewn
over the side piece of frame and into the side of material until the lower
corner is reached, then knotted securely and cut off. The other side must
be done in same manner. When the material is larger than the frame, it
must be sewn on to the bars and rolled round one of them, putting tissue
paper and wadding between to prevent the fabric from becoming creased.
When the part in the frame is finished, it is then rolled around the opposite
bar, and so on until the work is completed.
In embroidering in a frame both hands should be employed. The right
hand should be used to put the needle down and the left hand to return it
to the surface again. This is slow work at first, but if persevered in will
amply repay the time spent in the increased speed acquired.
There are certain fabrics and kinds of embroidery that can be done over
IMPLEMENTS AND EMBROIDERY THREADS. 17
hoops Figure 4 shows a pair of these hoops. The work is placed smoothly
over the smaller hoop, and the larger is then drawn over the whole. If
the hoops do not hold the work firmly and

smoothly, wind the upper hoop evenly with
clean cotton cut into strips about an inch
wide. It is convenient to have about three
pairs of hoops of different sizes; one about
four inches in diameter, for working initials,
hat crowns, doyleys and other small articles;

another, about six inches in diameter, for embroidery hoops, fig. a
larger work, and still another size, eight inches in diameter, for still largev
work, which is also a good size for doing drawn work.

The hoops and frames secured, the next item to claim attention is the
matter of needles, and be sure this is a very important item in the embroi-
derer's outfit, as upon the use of proper needles depends much of the
beauty of the work. A needle too coarse or too fine will be sure to prove
a source of constant annoyance. There should be at hand a supply of
needles of various sizes, both round eyed and long eyed. The kind of
needle known as arrasene needles are best for carrying chenille, arrasene,
ribbosene, rope silk, art silk, Bargarren linen and rope linen. They can
De had in packages containing assorted sizes. The needle for working with
Bargarren linen should be two sizes larger than that for carrying rope
linen, and the needle for carrying wool arrasene should have a larger eye
than the one employed in carrying silk arrasene or rope silk. It is better
to have a needle too large than too small for such threads as Bargarren
arrasene and chenille. For embroidering with etching silk, filo floss, wash
twist, linen floss and embroidery cotton a round-eyed needle should be
used — Millward's No. 9 for filo floss and linen floss, and No. 8 for the other
threads mentioned. A long, slender needle with sharp point is better

than a short, blunt needle.
A piercer and stilletto should be found in every work basket. The
stilletto is used to make the holes through which the cord edging has to be
taken in embroidering a pattern and for eyelet holes.
The piercer is invaluable for laying the threads in gold and silver embroi-
dery, and in raising the work in either crewel or silk embroidery. In church
DAINTY WORK FOR PLEASURE AND PROFIT.
embroidery it is used for working silk over cardboard. This little instru
ment is made of steel, which is round and pointed at one end, resembling a
stilletto, and flat at the other.
A pair of sharp-pointed scissors is an abso-
lute necessity. Do not depend upon the
family scissors or shears, if it is possible to
have a pair exclusively for embroidery. The
slender, sharp-pointed kind are the only ones
EMBROIDERY SCISSORS. FIG. 5. guitcd to Cutting out iu Roman embroidery
and applique work and for cutting ends of threads.
A pair of white sleeves to draw on over the dress sleeves and a linen apron
to cover the skirt are necessary adjuncts to the
toilet of the embroideress when at work, as
without them the dust that naturally adheres
to the dress will soil the work. For those
ladies who are troubled with rough hands, a
piece of fine sandpaper or pumice stone should
be kept in the work basket and the fingers
rubbed with it occasionally. If the hands be-
come troublesome through perspiration, bathe
them in strong alum water. We show here a
model for a convenient work apron. The apron
should be long enough to nearly, if not quite,
cover the skirt, and the hem should be turned
up on the right side to a depth of twelve
inches and caught down at regular intervals
from the ends, to form pockets for threads,

small embroidery hoops, piercer, stilletto, and
^^^"^ ''^^^^- ^^^- ^^
the smaller articles one uses most frequently
in embroidering. The apron can be made as ornamental as one chooses or
as plain, but it is better to make it of linen, as dust will not adhere to it so
readily.
So much for the implements used in embroidering. We will now con-

sider the materials with which to embroider, and they are almost as varied
as the materials to be embroidered upon. The following are in use:
IMPLEMENTS AND EMBROIDERY THREADS. ^9
Crewels. The crewel is a strong twisted woolen yarn, not at all like
zephyr, but finer and firmer. The English crewels come in lovely soft
shades, which blend beautifully.
Zephyr is a soft twisted woolen yarn used on canvas worked in cross-
stitch.
Tapestry Wool is an English thread, larger than the crewel, but

with the same firm twist; it is used on heavy linens, tapestry cloths and
friezes. It comes in dull art tones, and is much affected by the Art Societies.
Arrasenes, both silk and wool, have been very popular and are still
employed in some kinds of embroidery. It resembles a very narrow piece

of silk which has been ravelled out on both sides, having one thread left in
the center.
Chenille is a velvety-looking round thread, made in two sizes, large
and small.
Smyrnasene is a coarse, round thread, resembling chenille, but
having a rough, fuzzy surface; used sometimes to work thistle leaves and
begonia foliage.
Ribbosene is a narrow, crinkled ribbon, used in the needle in the
same manner as arrasene. No blending of shades is possible with this mate-
rial. We will speak further of the method of using ribbosene under the
heading of ribbon work.
Feathersene is a thread much resembling arrasene, except tnat the
silk has been ravelled only on one edge, and the remaining threads have
been left on the opposite edge instead of in the center. It is designed
to sew around the outline of designs, and is not used in the needle. It is
very perishable, and should not be employed upon articles that are for use
rather than ornament.
Embroidery Cotton is used for French embroidery upon linens
and cottons, and for initials. It comes in various colors, but red and white
are the only ones recommended.
Embroidery Wash Silks, made in four sizes, as follows: Etch-
ing Silk, very fine, with a firm twist. Wash Twist, larger than etching silk,
but with the same twist. Filo Floss, a soft, untwisted, fine silk. Royal
Floss, a soft silk resembling filo floss, but about twice as large. Rope Silk,
the largest size of silk to be used in the needle, has a slight twist.
Couching" Silk is a large, cord-like silk, but with a soft, loose twist;
it is used for couching around outlines, etc.
Art Cord is a small silk cord; can be used for fancy filling stitches
of certain kinds, for lacing, etc.
Real Scotch Linen Threads, made in four sizes, as follows:

Bargarren Linen, the largest size made. Rope Linen, corresponding to
rope silk, and the size next smaller than the Bargarren linen. Flourishing
Thread No. 4, which is finer than the rope, comes next. Flourishing Thread
No. 8, which is the finest of all, and corresponds to filo floss in silk, comes
last.
Tyrol Cord is a twisted linen, and to be used in the same manner as
couching silk.
German Cord, not art cord, is a white linen cord used for button*
holing over in Roman embroidery.

CHAPTER IV.
TRANSFERRING AND STAMPING DESIGNS.
O THE woman who cannot draw, the question of

securing designs for embroidery is often a serious
one; indeed, to some, proving an insurmountable
barrier to the doing of decorative needlework.
A good design is of the utmost importance,
for if the pattern be inartistic and clumsy, no
amount of excellent needlework can cover the
defect, and the whole will be spoiled. Perforated
stamping patterns here come to our aid, and so important and remuner-
ative has this industry become that the best artists are employed to furnish
designs for both painting and embroidery. These designs are now furnished
so cheap that the expense of patterns for embroidery has come to be a
secondary consideration, and it is much better, where possible to do so, to
purchase the design wanted perforated ready for stamping. However, it
often happens that one wishes to use a design from a book or magazine, or
even wall paper, and then it will be necessary to transfer the design to the
fabric, which is done as follows:
Place over the design a sheet of tracing paper, and trace over the lines
very carefully. After the design is transferred to the tracing paper, place
on the table a sheet of bond paper, over this place a sheet of transfer paper,
either blue or black, and over this again place the tracing paper on which
you have previously traced the design, as before directed. Now, with an
ivory style or a piece of wood pointed bluntly for the purpose, go over
every line of the design, bearing on the lines gently and firmly. Remove
the tracing and transfer papers and the design will be found transferred to
the bond paper. You will now proceed to make a perforated pattern of if
î DAINTY WORK FOR PLEASURE AND PROFIT.
by simply pricking holes along all the lines, very close together, with a fine
cambric needle. Ladies possessing a sewing machine can make this part
of the process less tedious by setting into the machine the finest needle
and sewing, without thread, through all the outlines of design; when finished,
the result will be a perforated pattern as good as could have been purchased
i'rom a regular pattern house.
The material required for transferring is: A sheet of tracing paper,

costing either five or ten cents, according to size; one sheet of transfer
paper, fifteen cents; these can be obtained from any art store. The transfer
paper can be used any number of times until torn, when, of course, it is
useless. New tracing and bond paper will be needed for each new design.
After obtaining the perforated pattern, the next thing is to stamp it
upon the material to be embroidered. And here is the rock upon which
many a promising attempt has been wrecked; for if the pattern has been
blurred, or unevenly joined, in case of a repeatiiig design, then the embroi-
deress will have need of patience, a correct eye for form and distance, and
some knowledge of drawing, to enable her to remedy the defect of the
stamping. Remember that a good pattern, cleanly and clearly stamped, is
half the battle.
The foregoing instruction in stamping is all the knowledge at command
of any dealer in fancy art supplies who advertises to do stamping; she
knows no more than is here told, because there is no more to tell. Some
dealers, in fact we might almost say all dealers, in art supplies make a great
mystery about stamping, refusing to do it before a customer, and keeping
as a profound secret the material used. This is a short-sighted policy at
best, for the more women know about art embroidery, and the easier it is
made for them, the more they will do, and as a natural consequence the
more supplies in that line will be sold, and instead of a dealer having less
trade she will probably have a hundred per cent more.

The amateur cannot expect, however, at the first or second trial to
succeed In getting as good results from her efforts at stamping as a person
who has made a business of it for years. There must be a certain amount
of practice to make perfect.
Many beautiful designs are frequently given in miniature, in books and
magazines, that one wishes to use; but as they are too small to be practical
TRANSFERRING AND STAMPING DESIGNS. 23
we are obliged to pass them by. There is a small instrument called a pan-
tagraph, which costs from $1.00 to $4.00, according to quality, by means

of which any design can be reduced or enlarged to any given size. It is
very simple, and not at all difficult to operate. We show here a very good
PANTAGRAPH. FIG. 7.
illustration of one set ready for working. If the design to be copied is
2x5 inches, and it is desired to make it 8x20, the pantagraph will be set to
that size. In copying any design, the pattern to be copied will be placed
at a given point under one pencil and a clean piece of paper under the
other pencil of the pantagraph. Then, with the right hand, the pencil over
the design will be moved firmly around its outlines. The corresponding
pencil over the clean paper will move in unison, only on a larger or smaller
scale, according as the instrument has been- set. Full directions for setting
and using accompany each pantagraph. These convenient aids to drawing
can be purchased at any store where artists' supplies are kept. After the
design has been enlarged, as directed above, the perforated pattern can be
made according to instructions previously given. In the pages of this book
we shall frequently give designs for different purposes, and as space forbids
having them produced full working size, a pantagraph will be useful in
enlarging them. Generally speaking, the designs so given will require to
be enlarged five times to bring them up to working size.
MATERIALS FOR STAMPING.

The materials used for stamping are many and varied, but we have
never found anything more satisfactory for general use than artists' oil
paints put up in tubes — white for colored fabrics, and white with a little
burnt umber mixed for white materials. There are several liquids on the
market designed for the same purpose, but the great objection to them is
their cost. The manufacture of stamping liquids is considered a trade

secret, hence they cannot be made at home; and as liquids cannot be sent
by mail, the cost of expressage, added to the original price, has put their
use out of question with the majority of women. Liquids are more espe-
cially designed for use in stamping on white cotton or linen fabrics, and, as
they dry instantly, there is no waiting for several hours before the work of
embroidering can be commenced. Another advantage they possess over

paint is the fact that the patterns need no after cleaning. Powders for
stamping are now seldom used, as they will rub off before the work is half
finished; yet for stamping on silk bolting, where the design is to be painted
in water colors, there is nothing else that will take their place. For large
designs that are to be stamped on satin, powder is best, as the oil in the
paint and liquids is apt to separate and spread beyond the outlines, though
in the case of paint this danger can be obviated by first placing the paint
on blotting paper to absorb the oil. In case the powder is used, the design
should be lightly traced over with a fine-pointed lead pencil. A good
powder is made by mixing ivory black, gum demar, gum copal and gum
sandarac in equal parts; pulverize fine and keep in a cool place.
A good liquid suitable for any white fabric is made by placing a tea-
spoonful of black or blue printer's ink in a four ounce bottle and filling the
bottle with kerosene. Be careful to wipe off both sides of the pattern after
each impression when using the liquid. This liquid is cheap, as any printer
will cheerfully give the small amount of ink needed, and kerosene is pretty
sure to be at hand, and it does beautiful stamping. A pounce for either
powder or liquid is made by tying a piece of felt or flannel over a small
ball of cotton wool.
DIRECTIONS FOR STAMPING.
Place the article to be stamped smoothly on the table. Next lay the
design, smooth side up, on the material, being careful to adjust it exactly
in the desired position before you attempt to apply the paint. Now secure
the two upper corners firmly by weights — flat-irons will do nicely. Squeeze
out some of the paint on a piece of glass. You are now ready to apply the
paint to the pattern, which you do by means of a knife blade. Take a small
amount of paint on the blade and begin at the top; rub the paint on the
pattern smoothly and gently, always remembering to rub toward you and
TRANSFERRING AND STAMPING DESIGNS. 25
from the weights; always move the knife in the same direction, never rub
it back and forth, as that is liable to move the pattern and cause the stamp-
ing to look blurred. Never raise the pattern entirely from the material to
see how it looks, but carefully raise one corner clear from the table and
look under; let fall into place again and proceed with the stamping until
every detail of the pattern is transferred to the material. When all is
finished,remove the pattern; have ready an old paper, place the design
upon it, and pour a small quantity of benzine on a rag and rub the pattern
thoroughly, then wipe with a dry cloth. Repeat the operation on the other
side, and then hold the pattern to the light and observe if the perforations
are all open and free from paint. If any should be still closed, add more
benzine and rub until perfectly clean. Never allow a pattern to get dry
before cleaning, as that would ruin it. Clean at once. With proper care a
pattern ought to be capable of impressions.
sure it pays to take
fifty Be
care of your designs. These directions are to be followed when using
liquid, except that the pattern will not need cleaning. To stamp with
powder, place the pattern on the material, rough side up, dip the pounce
into the powder, shaking off the loose particles that may adhere, and rub
the pounce lightly over the perforations. When the design is perfectly
transferred, remove the pattern and on the stamping place a piece of tissue
paper; over this press lightly a medium hot iron; this sets the powder and
to a great degree prevents its rubbing off. Do not rub the iron back and
forth, but lift it when removing to another part of the design. Rubbing is
apt to cause the powder to run and blur.
CONVENTIONAL DESIGNS.
The words "conventional design" will frequently be used throughout
the different chapters of this work, and so it will perhaps be better to
explain their meaning here. To conventionalize a flower or plant means
to draw the geometrical or general form of the leaf with the main details
and accidental markings omitted, thus converting the natural form into a
form suitable for ornament only. The designer of ornamental work is not
bound to be faithful to the minute particulars of botanic life, because he
and his work are superior to the mere imitation of plant forms.
Beautiful conventional designs can be obtained from artistic wall paper,

and designs thus obtained will possess the advantage of not having become
common by much use. As a general thing the designs on paper bordering
lend themselves to embroidery better than those on the wall paper proper,
though beautiful patterns can be obtained here, also. The border pattern
should be used on curtains or other large articles, where the treatment is
intended to be bold and broad. Many of these designs are also suitable
for smaller articles when reduced by means of the pantagraph. To pro-

cure the design it will be necessary to purchase so much of the paper as
will show a complete section of the design, which must be perforated and
then repeated as many times in the stamping as will be necessary to fill the
space to be decorated. Many magazines and old prints will also furnish
suitable designs, as previously stated.
CHAPTER V.
EMBROIDERY STITCHES.
SUBJECT that occupies the attention of the beginner

in embroidery, almost to the exclusion of every other
idea in connection with the work, is that of stitches.
This should not be the case. Supplied with the req-
uisite materials, the first idea should be, not how to
make this or that stitch, but how to combine this or that

shade with some other, to produce certain artistic
effects, which are clearly enough defined in the inner consciousness of the
worker. So long as we are hampered with the idea of stitches, just so long
will our work appear stiff and awkward. A piece of embroidery should
grow and grow, without mental effort, until it has reached its final state of
complete finish. The work should be but the expression of an artistic idea
or conception. However, one must begin somewhere in learning needle-
work as well as in learning to read; and as with the latter we begin with the
alphabet, learning first the letters then the combination of letters, so with
the former we begin with certain fundamental stitches, which are to embroi-
dery what the letters of the alphabet are to the reader. We use them, but
we never think of them as a thing apart from the work complete, any more
than we think of the letters which compose a word.
STEM OR OUTLINE STITCH.

Outline, or stem stitch, is the simplest and oldest of all the embroidery
stitches, and it is also one of the most important. It is this stitch which
was used on the old Bayeaux tapestry, and hundreds of years ago, in th^
days of the Pharoahs, it was employed in Egyptian embroidery. There is
hardly any limit to the usefulness of this simple stitch, and by its use beau-
tiful effects are easily obtained, at little expense of time and material.
There are several varieties of stem or outline stitch, and we will men-
tion them here, as this seems the proper order in which to classify them.
:>8 DAINTY WORK FOR PLEASURE AND PROFIT.
First, then, in the list is simple outline stitch, shown in figure 8, then in
figure 9 we have cording outline, close outline and twisted outline. Fig. lo
shows fancy chain outline, and figure 1 1 double chain
outline. In working outline stitch, if an even line
is required, insert the needle in a straight line with

the preceding stitch. See center illustration in
figure g. For the outline of leaves, where a sloping

effect is desired, insert the needle at a slight angle
with the preceding stitch. [See fi^re 8.] If a close
outline, resembling a heavy cord, is desired, work

the stitch over a th»ead; take each stitch at a slight
angle, and insert needle so that its point will come
to the surface about midway down the preceding

stitch and close to it. The first illustration in
STEM STITCH. FIG. 8.
figure 9 will make this idea plain enough to be
easily followed. Twisted outline is made by taking the first stitch so that
the thread lies to the right of the needle; in the next stitch the needle is
inserted from the opposite direction. This is repeated, alternating each

time a stitch is taken; the third illustration in figure g shows method of
working twisted outline.
Chain outline is often used to finish
outlines of applique work, and for stems of

foliage and stalks of flowers. Sometimes two
rows are used in stalks, one a light and the
other a darker shade of the same color. Single
chain is made by forming a loop upon the right
surface of material, through which the needle
is passed upward, securing the loop. The
needle is then passed down very near where it
is drawn up, the left thumb holding the thread
so that it cannot be drawn wholly back.
Another stitch is then taken towards you, FIG. 9.
inserting point of needle in preceding looped stitch; and each time a

stitch is made leave loop of thread around the needle, as in taking a
button hole stitch; this forms a link in the chain stitch. Double
EMBROIDERY STITCHES. 29
" " "'

c
even. Do not have all ot the stitches of regular lengths, but havc
some of them long, and some short, with odd
lengths to fill unexpected spaces. Figure 13
shows portion of flower worked; the direction of
stitches and mode of blending shades are here
clearly indicated. Kensington effects are intro-
duced in most of the conventional art needle-
work, though less solid embroidery in natural

shadings in the above stitch is now done than at
any time since it first became popular.

Floral designs of natural shape and size look
better when worked in either solid Kensington or
long and short
Fig. 12.
stitch, which is
but a modification of the former. All

flowers having large petals and leaves
are especially effective wrought in solid
Kensington stitch. In a design having a
number of small leaves satin stitch can be
happily combined with the Kensing-
ton. In this case the small leaves only
would be worked in the satin stitch.
Solid Kensington is not so well adapted

^^" ^^'
for working out large conventional scrolls,
but should rather be confined to natural floral designs in which natural

shading is desired, as indicated above.
SHORT AND LONG STITCH.

Short and long stitch is another mode of working that is largely used,
and consists of the same stitch taken three times side by side, but in dif-
ferent lengths, keeping the outline firm and even. It is a modification of
Kensington, and called by some the half-Kensington stitch. There is this
difference, however, it is taken through the material, like a satin stitch,
leaving as much silk on the wrong side as is shown on the right. The
length of the longest stitch depends upon the size of leaf or petal you are
working; if a wild rose
petal is in process of con-
struction the entire petal
should not be worked with
stitches longer than one-
quarter of its entire depth.
Begin in center of top edge
of petal, take a regular

over stitch to the depth
desired, take another back"
to top edge, but a little
shorter than the first; the

third is shorter still; then
the three stitches are
repeated, and so on. Work
from center top edge of
petal to the right, then
go back to center and work short and long stitch, fig. 14.
to the left. This gives a better effect than where the work is begun at one
side of petal and carried to the opposite side. The irregularity of the
stitches must be made at inner part of petal or leaf; the outside edge must
be kept even and smooth.
The above stitch is specially suited to thin fabrics and where a light and
dainty effect is to be secured, but it is used on both light and heavy mate-
rials with good effect. With the outline stitches and the Kensington and
half-Kensington stitches thoroughly mastered an almost unlimited amount
and variety of decorative needlework is within your reach. In fart the
greater amount of embroidery shown at the rooms of Decorative Art Soci-
eties in this country and England is wrought with the above-mentioned

stitches alone.
SATIN STITCH.
Satin stitch is that used in all the old French embroidery on silk and
flannel. It is also sometimes effectively combined with the Kensington
stitch, especially in the case of small leaves
and flowers. It is also used alone and in

combination with outline and dotted stitch
for initials. Satin stitch is made by passing
a thread from one outline of design to the
other, back and forth, as shown in Figure 15,
leaving as much material on the wrong as on
the right side of the work. The pattern
should be first run with filling stitches, to give
the work, when finished, a slightly raised and

rounded effect. In working a leaf that has a
strongly veined center, work from one outside
edge of leaf to center of leaf at an
angle, then from the opposite outside
edge to the center again. This method
makes the veining sufficiently plain.
Figure 15 is designed to show

the manner of
taking the stitch
rather than how
it is to look
when finished.
The surface of
the satin stitch
should present
^^^* smooth, com-
* a
pact and even appearance. Figures 16 and 17 give a

fig. 17.
better idea of satin stitch when finished.
BUTTONHOLE STITCH.
This stitch is used in working scallops in French embroidery on silk,
flannel and cotton fabrics, and also to finish outlines on Roman and applique
embroidery.
In using buttonhole stitch to work scalloped edges, the point or seal,
lop must first be carefully stamped or traced upon the material, after which
two rows of stitches should be lun in to define both upper and under edge
SSf^fSiSi^Mi^âSi of scallop. It is well to then fill in be-
it tween these two rows of stitches with
another row or rows, according to depth
of scallop, of long loose stitches of cotton.
This will give the scallop a heavy, rich
FIG. 18.
and raised effect, besides adding to the
durability of the edge. Figure 18 will show method of defining edge of
scallop, also method of filling in between.
Figure ig shows method of working button-
hole stitch as a simple outline. It will be seen that ^|i|iil|[
the needle should pass through the material just at
the edge of the top thread, coming out under the iMllitti^J^^^'^ '& -
lower line, while the thread is held by the left l^^^^^^ft^pSfe

"*"'
thumb, a little to the right of where the needle is fig. ig.
'
to come through, so that as the needle is drawn up a loop is formed which

fastens itself. In working buttonhole outline for Roman embroidery the
stitch is usually worked over a German cord; and in articles where the
material is to be cut away from the edge the buttonhole short and long
stitch is effectively used. This has the same effect as the short and long
stitch previously shown, except that the edge is buttonhole stitch. Figure
19 shows this stitch and method of working.
SPOT STITCH.
Spot stitch, like buttonhole and satin stitch, is used in French embroi-
dery, and is made by working over and over, with regular satin stitch,
^ the stamped circle or spot. It is better to
begin in the middle of one edge of spot,
and work one-half the circle, then return
to the center and work the remaining por-
tion of the circle. If the spot is to be
slightly raised it will be necessary to work
FIG. 20. it over twice, in reverse directions. The
unfinished spot in figure 20 will give the correct idea for working
ANTIQUE EMBROIDERY.
This illustration gives a stitch used in heavy embroidery and, unlike
1 satin stitch, the veins of the leaves are
outlined while working the stitch. The
cut shows very clearly the manner of
forming the stitch, which is worked upon
an outline of stem stitches, the vein also
being defined in the same way. This
FIG. 21. work is much used in borders of a con-
ventional design, where a figure or scroll-work is made more promi-
to be
nent than the rest of the pattern, and an outline of some fancy stitch, like
couching or chain, is often placed around the figure.
PERSIAN EMBROIDERY.
Persian embroidery is a showy stitch, much resembling braiding. The
material used may be either a strand of tapestry wool or three strands of
rope silk threaded in the needle. It is a
great addition to designs in applique, the
section here shown representing a small
portion of a palm leaf. This work is in-
troducedin mantel lambrequins, portieres,

table covers, scarf-tidies, and in decora-
tions of this work small gilt beads, span- FIG. 22.
gles and gold thread are very appropriate additions. A heavy cording can
be madenvith this stitch.
FRENCH KNOT.
This stitch has the merit of great antiquity, appearing in early eccle-
siastical embroideries to represent the hair of "men and a^^gels," as well as
in elaborate landscape specimens of the

time of James I, when it came into play for
the foliage of trees and shrubs; also, in
some ancient Chinese embroidery executed
FIG. 23. entirely in knots skillfully disposed. De-
scribing certain examples of the latter, a recent writer observes that the design
appears to have been printed in flat, low colors on a cotton fabric, and that
over the ground thus diversified are worked knots of silk, which have the
effect, at a short distance, of a stippled drawing on a large scale. The
flesh in the figures and some other portions of the design are worked
entirely in close knot. To-day French knot is of greatest importance in
fine work; it is almost always used in combination, seldom alone. As it is
such an important member of our family of stitches it should be thoroughly

and carefully practiced. Our illustration shows how it should look when
finished rather than the mode of working it. The following will be
readily understood: Bring the needle to the surface of the material from
the wrong side; bring it up in the exact spot where the knot is to be when
finished. Take the needle in the right hand, hold the thread firmly in the
left in a straight line from you, then twist the thread around the needle
three times, now put the needle down exactly through the place where
it was brought up, still keeping hold of the thread in left hand until all the
slack thread has been drawn through, then release the thread and pull
through with the right hand simultaneously. This completes the knot,
which should present a compact and smooth appearance. This stitch is
used for filling center of flowers, for underlaying raised work, for golden
rod, thistles and cat-tails, on wash goods and also in initials.
COUCHING STITCHES.
Couching stitch is very simple, but its uses are many and varied, and
it is quite as important in our alphabet of embroidery as the letter "a" in
the alphabet of our language, and must be
} learned. While very simple, it is yet one
of the stitches that require our utmost
care in the making, as all its beauty de-
pends upon the neatness with which it is
wrought. The simplest use to which this
stitch is put is to couch, or fasten down,

Tyrol cord, art cord or couching silk, to
form outline of design — see figure 24; also,
to couch down gold thread on church work, fig. 24.
and to form patterns by means of laying straight lines

FIG. 25. of silk and couching over them at intervals with silk
of another color or shade. The couching can be done straight
4
over the laid threads; that is, the needle will be brought up on one
side of the thread to be fastened down, and put down exactly opposite on
the other side of thread. By this means the thread is secured to surface
of material; but the fastening or couching stitch must be placed straight
over the thread to be so fastened, as a little slant to one side or the other
would ruin the effect. shows the idea we wish to convey.
Figure 25
Another method of fastening the couching silk, now so popular, is to use
etching silk or wash twist a shade lighter, and with it form couching
stitches diagonally across the couching silk, taking care to place a stitch
into every twist of the silk you are couching down. The effect is
beautiful.
HEMSTITCHING.
Hemstitching is at once the most elegant and useful accomplishment
of the needle worker. The ends of towels, sheets and pillow slips, as well
as articles of mere ornament are, or should be, finished with a row of hem
stitching. This is not one of the things that can be left to personal choice,
for custom has decreed that the refined housekeeper shall at least have the
hems of her best table and bed linen hemstitched, even if they are guilt-
less of every other form of art needle-
work. There are many methods of hem-
stitching, but of the many we find the
following gives most satisfactory results:

Measure the depth you wish the hem, and
then at the point where the edge of hem
will come when turned and basted, pull
two or three threads; turn the hem, and
P^^- -^- beginning at the left edge of work pass
the needle around two or three of the threads, having the point of the
needle to the left, then reverse the needle so that it will point to the right,
and catch the edge of hem; repeat this until the hem is completed. If
both edges of the drawn threads are to be hemstitched, repeat the operation
on the opposite edge. Figure 26 shows method of working, and as it is
very s'mple can be easily foUowed.
SPANISH LAID WORK.

This style of work is very beautiful for working borders to center cloth
for stand, for scarf ends and for cushion covers, and is an application of
couching stitches. Figure 27 shows the manner of working border in
Spanish laid work. For this purpose either a plain border or large scallop
SPANISH LAID WORK. FIG. 27
is used. For our purpose we have selected the scalloped edge. The scal-
lop is first filled with either silk or linen threads, laid straight across from
one outline to the outline opposite, being careful to carry them across in a
perfectly straight line; place the threads so close together that the surface
of material does not show, yet be careful not to crowd them, one upon
another. If the work is being done upon a white linen or cotton wash fabric,
then for the straight lines use white Bargarren art linen. Thread an
arrasene needle with a strand of the Bargarren art thread, bring the needle
up to the surface at the right side of scallop, close
to the point. Carry across and put the needle

down through the opposite outline; bring needle
up on same side, about one-thirty-second of
an inch from where it was passed down, and
carry it across to the right outline and put
down; repeat this until the surface is filled; this
will leave all the threads on the right side, and

none on the wrong, except the tiny stitch made
on the outlines by putting the needle up and
down.
^^^'
After all the lines are evenly and perfectly
laid over the surface of pattern, thread a No. 8 round-eyed needle with
etching silk; begin at the point of scallop and
couch one stitch over the first laid line, exactly
in the center; then over the next laid line
couch two stitches. Be careful to observe that

no two couching stitches come exactly opposite
each other, but come in alternate spaces. The
couching thread may be either white or any
FIG.
color preferred. If fancy couching stitches
should be preferred to those shown in figure 27
figures 28, 29 and 30 will offer a pleasing variety.
The threads that are to be couched over should

in all cases be larger than that used for the
couching. The outline of scallop should then be fin-
ished with a buttonhole stitch worked over a

German cord; and the diamond and oval spaces
FIG. 30. should be ftlled with either wheel stitch or spider
web; both these stitches being also used in drawn work they will be
found fully described in the chapter devoted to that subject. The material
should be cut away from back of the wheel or spider web.
PLUSH STITCH.
Plush stitch is used for raising portions of certain designs above the
surface of material and is employed principally in working raised cat-tail
sumac, goldenrod, coxcomb and flowers of a similar nature. A foundation

is first made for the plush stitch by means of French knots made of zephyr
or yarn, which are worked over the portion of flower to be raised; they
should be placed quite close together, and yet should not be crowded; of
course in placing the knots care must be taken to follow and preserve the
outline of design perfectly. For making the plush stitch, rope silk or filo
floss should be used. Cut the skeins of silk into equal lengths, according
to the height you desire to raise the flower; after the silk is cut, place
betweeji each French knot two of the strands, crossed like an X, sew them
firmly down to foundation and proceed to fill in each space between the
knots. If the flower requires to be very thick and velvety, instead of
crossing two lengths of the cut skein, double the lengths, using four instead
of two pieces between each French knot. After the flower is completed
whisk the silk out with a brush broom and clip off evenly. Plush stitch
is used in raised embroidery only.
FILLING STITCHES.
Filling stitches, so called because they are used to fill in the surface of
flower petals and foliage and the surface of conventional designs, which
have their outlines worked with short and long stitch, outline, or button-
hole short and long, stitch. This method of embroidery belongs to the
old Saxon days, and in fact used to be called Saxon embroidery. The
stitches used for filling are numerous and we will give a slight description
of those most commonly employed, with a few illustrations which will be of

assistance in copying them.
Honey-comb and Brick Stitches.
First on the list of filling stitches in point of general utility is the

honey-comb, and while this stitch cannot be called strictly a filling stitch,
from the fact that it is often used to cover backgrounds on which a design
is worked in relief, yet it is more commonly used as a filling for petals and
leaves and for circles and wide scrolls in conventional designs, and is
therefore entitled to a place in this classification. Honey-comb stitch is
shown in detail in figure 32, while figure 33 shows

the stitch applied to filling pansy petal, after the
edge has first been outlined with the button-

hole stitch, each petal being
treated in the same manner.
The method of working this
stitch will be' seen from figure fig. 31.
32. It is first, a row of buttonhole stitches placed

at regular intervals apart; the second row is taken
into the bottom of the first row, and so on. Pulling
each stitch down in the center as it is made, is what
gives the honey-comb effect. It is very effective
when used for filling surface of large leaves.
FIG. 32. Brick stitch is made in the same manner as
the honey-comb, except that the threads are not pulled down in the
center as the stitch is completed, but the thread is allowed to
remain straight, showing a ver-

tical line over a horizontal.
Figure 31 will show at once
how the stitch should look
when finished and in process
of construction. Brick stitch
can be employed for any of
the purposes for which the
honey-comb is suitable.
Brick and honey-comb

stitches are also frequently
used to cover the design in
Roman embroidery and add
much to the richness of the
work. For this purpose the
filo floss or Royal floss silk can honey-comb stitch, fig. 33.
be employed, especially if a light, soft effect is sought, though where it
is desired to have the work stand out in relief etching silk should be used.
Simple Star, Daisy Star, and Crowsfeet.

The three named above
stitches are used for filling purposes, and as
they are easily made and require but a small amount of material, are much
used where large surfaces are to be covered.
Figures 34, 35 and 36 will show clearly the mode of working. The
simple star, figure 34, is made by starting from a center and carrying out
^ ^ i4 H ^ ^^
N^^ :i4 ^ ^ ^
SIMPLE STAR. FIG. 34. DAISY STAR. FIG. 35. CROWSFEET. FIG. 36.
from it six or seven radiating lines, bringing the point of needle back to
center each time a stitch is taken. The daisy star, figure 35, is made by form-
ing four daisy loops as shown in illustration and then throwing out between
each of these loops a single stitch, shorter than the looped stitch. A
daisy stitch is simply a buttonhole stitch taken with a long narrow loop
and fastened at the loop end. In making the crowsfeet, figure 36, the cen-
ter line is made first and then a shorter one on each side at a slight angle.
Grouped Star Stitches.

The two group stitches here shown are modifications of star stitches,
and as the illustration shows the manner of placing them we will simply say
here that the two figures, 37 and
38 can be effectively used to fill space
between outlines of scrolls and for
small surfaces; also for stems and

-iaJLL^^^
stalks of conventionalized foliage,
FIG. 38.
FIG. 37. where the space between the two
outlines is so great as to require something more than the outline stitch.
Darning Stitches.
Darning applied to decorative needlework produces beautiful results, and
as the work is simple, quickly accomplished and little trying to the eye
sight, it is a popular method of embroidering. Darning stitches are used
as a means of producing a decorative background for embroidery done in
outline or short and long stitch; they are also used to fill the petals and
foliage of designs. In figure 39 we show a leaf filled
in with darning; the outline of leaf being treated with
outline stitch, which throws the darned work into
relief. The ordinary darning or running stitch is here
used, care being observed to take just as little of the
pjQ _ material on the needle as possible and to keep the

stitches even in length. Be sure to alternate the stitches; that is, bring a
stitch showing the silk or linen thread opposite a stitch formed of the mate-
rial that was taken up on the needle in running or darning in the preceding
row. In darning, follow the general curve of leaf or petal; when the petal
forms a smaller point at the
base, where it joins the calyx,
the effect of shading is secured
by the rows of darning coming
closer together. This stitch
is also used to darn back-
ground of cushions and other
articles made of huck-a-buck,
Concordia canvas and Bargar-
ren art cloth. See figure 40.
The length of the stitch can be-

suited to the worker's fancy "^"^^^^^
and the nature of the material. fig- 4o.
Where the entire background is darned, the design is first worked in either
short and long stitch or outline.

The effect of darning leaves, stems and flowers with one strand of filo
flosson bolting silk, and the whole design outlined with the same silk,
must be seen to be appreciated; anything more dainty and fairy-like can-
not be conceived. For this style of work two shades of each color used
will be needed, one for the darning and one for the outline stitch that is
used to outline all petals, leaves and stems. Use the darker of the two
shades for ojatlining.
Janina Stitches.
Different effects can be obtained with this stitch, as will be seen by

referring to figures 41 and 42. Figure 41 shows the stitch taken across
the space to be filled from edge to edge; while figure
42 shows the stitch taken from each outline to the
center of space; this presents a lighter and more
open effect. Janina stitch is suitably used on sheer
material like bolting silk, muslin and lawn. As will
be seen, this stitch is worked entirely on the sur-
face, except where the short back stitch occurs
along the outline. To work: begin at top of leaf
and pull up the needle from the wrong side, exactly
in the center of the point; carry the thread to the

right side of leaf nearly opposite to where it came
up, and in the exact outline take a tiny backstitch,
cross the thread to the left outline and in an exact *
fig. 41.
line with the first stitch, take another backstitch, cross to the right
edge again and repeat, taking care to pull the thread up through the hole
made in making the preceding stitch on that
side of leaf; repeat this crossing from right to
left, until the base of the leaf is reached when
the thread must be fastened invisibly at the
FIG. 42. side. To work figure 42 the same method is
employed except that each stitch is carried from the side to the center.
Single and Double Basket Stitch.
To work double basket stitch, see figure 44, lay straight lines across the
surface of material, from one outline to the one opposite, at regular dis-
tances apart; with silk a shade lighter, but of the same color, begin at the
top of leaf and over the first straight line work two basket stitches at an equal
distance apart as follows: put the needle up through the material at the bot-
tom of the first line, carry the thread across the second line and put the needle
down close to the cross line; repeat this three times, placing the threads
close together, this constitutes one basket stitch. Now, between the two
basket stitches, worked over the first and second lines, carry another over
the second and third, then over the third and fourth, and so on until space is
filled. The outline of leaf may-

be finished with heavy outline
stitch, and the leaf be also
veined down the center, but
this is a matter of fancy.
Figure 43 shows a convention-
alized lily worked over in
single basket stitch, which is
wrought in the same manner

as above described except that
instead of carrying over the
FIG. 43. lines three threads close to-
gether a single thread is used, and the outline is finished by a row of art
cord sewed down with invisible stitches.
Close Basket Stitch.

This stitch is rich and effective when applied to large unbroken spaces
CLOSE BASKET STITCH. FIG. 44. DOUBLE BASKET STITCH.

namely: ovals, broad or long pointed leaves without many serations, and
portions of conventionalized designs that need accentuation by a heavy
massed effect of color. The materials for working close basket stitch
depend upon the background; if that be of heavy fabric, then rope silk and
art cord will be most suitable; if, however, it is desired to ornament portions
of design on linen or light satin or silk, then wash twist will answer the
purpose better. At all events the silk used should have a slight twist.
To work: first lay the darker of the two shades of rope silk evenly and
close together from one edge of outline to the other, back and forth; be
sure that the threads lie evenly, side by side. With the next lighter shade
of silk weave over and under, in basket darning, crossing four strands of
silk each time. The weaving is done with four strands of silk, one at a time.
Figure 44 shows double basket and close basket stitch applied to a

scroll design. The leaf to the left shows close basket, the leaf to the
right shows double basket. In this design the outlines are finished with
art cord and the center of leaves are finished with outline stitches or art
cord sewed down with invisible stitches. Figure 44 shows both methods.
D'Alencon Bars.
The above-named stitch is one much used for filling in leaves and
petals which are long and pointed, and for star-shaped flowers it is espe-
cially suitable. The method of working is as follows: Along the two sides
of petal or leaf work a row of loose buttonhole stitches; as the beauty of
the work will depend upon the regularity
of these stitches, great care should be exer-
cised in this part of the work. The D'Alen-
con bars are now worked into the button-
hole stitches by passing the thread four
times over and under each buttonhole stitch. pj^ .
c
The length of the bars is regulated by the space between the two opposite
edges. When the thread has been passed over and under for the fourth
time, making four bars, it is completed by making a tight buttonhole
stitch, and the thread is then passed through to the next loose buttonhole
stitch. Figure 45 shows D'Alencon bars applied to a leaf.
SPIDER WHEEL.
For filling portion of design in Roman embroidery the spider wheel
here shown is beautiful, and can be quickly accomplished. In working,
cross the threads six times from the edge of space to be filled, and at equal
distances apart. These form the spokes to the wheel. When the six
threads are in, the needle will be in margin of design. To reach the center
twist the needle on one of the threads
forming the spokes. To work pass
the needle iindcr one spoke, and then
pass around again loosely in the
reverse direction; pass the needle
over the second spoke and pass
around in a reverse direction loosely;
then pass needle wider the third

spoke, and repeat the operation until
the six threads or spokes have been worked, and then repeat as many rows
as is desired. The cloth back of this wheel should be cut out, and for
this reason the edge should be first worked with buttonhole stitch. Figure
46 shows method of working.
Point de Reprise.
This stitch is admirably suited for filling large leaves and portions of
conventional designs. A background for this stitch is first prepared by

filling the space to be worked with
threads placed parallel and crosswise
from one outline of design to the
other, to form triangular spaces.
Thread the needle with rather a long

thread, and on each triangle formed
by the laced threads weave over and
under, from one side of the triangle to
the other, until the base of triangle is
reached, then pass the thread on the

wrong side to the next triangle, and
Figure 47 gives an excellent fig. 47-
repeat.
idea of the mode of working, as well as the result when completed. This
stitch, as well as the rosette and spider wheel, look best on heavy material
and done with art cord.
Rosette Stitch.
The above stitch is the most effective filling stitch we have, and suit-
able for all the purposes for which point de reprise is used. This stitch
also looks best done in art cord. Rosette stitch is made as follows:
Mark off the background to be filled into square spaces, a little less
than an inch apart, by carrying the silk from one outline of the design to
the opposite outline and crossing these threads, at equal distances, from
the opposite outlines. Fasten the lines to the foundation at the point of
intersection by couching down with a fine thread over both lines; this will
give firmness to the work when it
is finished. Thread the needle

with the same cord or silk as has
been used in laying the lines;
bring the needle up from the back
of the material, and on the left of
one of the intersecting lines, close
to the couching stitch. Pass the

needle under the line, throw the
thread over to form a loop, and
pass the needle under the same
line again and from the same side
as at first, and through the loop fig.
formed in throwing the thread over; this forms a buttonhole stitch over
the line, which must be drawn tight and close to the couching stitch that
fastens the lines, at their point of intersection, to the material. Pass the
needle under the next line and on to the third, where the same operation is
to be repeated. The rosette has now a buttonhole stitch worked over two
of the opposite intersecting lines; the two remaining lines must be treated
in the same manner. This finished, the rosette has been worked once
around; to complete the stitch it must be worked twice around, forming
two raised or buttonhole stitches on each of the intersecting lines. When
the stitch is finished, pass the needle through the stitch to the under side of
the material, and on to the next intersecting lines. Work all the lines that
cross each other in the same manner, and finish the design by outlining with
art cord or rope silk.
The foregoing pages on "Stitches" contain all that is necessary for the
most advanced worker. None of the embroidery stitches are difficult in
the execution, but all require extreme care and neatness in working, and a
certain perception of the fitness of things on the part of the needlewoman,

so that each stitch used shall express the worker's thought and meaning in
the best and clearest manner possible. A
knowledge of the relation of
different stitches to different forms of work may be had from a careful
studv of the following chapter, viz.: "Application of Stitches."

There are many different lace stitches which can be adapted for em-
broidery, with excellent effect — especially for filling stitches; but as a rule
they are too intricate in detail to suit the patience or lack of patience of
the modern worker.
In closing the subject of stitches we will make one more plea for the
outline stitch. From time immemorial the most artistic work has been
wrought by its use alone, and indeed all the wonderful and beautiful
Egyptian embroideries were outlined or etched. There is scarcely
a limit to the number of artistic effects that can be obtained by its use.
Then, too, its simplicity is so in its favor, and indeed forms one of its chief
claims to the needleworker's consideration. Outline stitches, then, should

be practised diligently, until they can be made to express every variety of
feeling. The least bit of carelessness will be fatal to the beauty and har-
mony of the design, and awful havoc can be wrought on an angel's face by
a stitch too short or too long in forming nose or lips.
CHAPTER VI.
APPLICATION OF STITCHES.
AVING given descriptions and illustrations of all the

essential stitches used in embroidery the first question
we are sure to be asked is:
"How shall we know when and where to use the

different stitches on different designs?"
This is a far-reaching question, and one that would
require pages of illustrated matter to answer in detail.
The best we can do is to give, in general terms, the

places where certain stitches can be most appropriately
used. In embroidery one must have ideas of one's own,
else the work will be, more or less, copies of oftentimes
poor originals. In Kensington embroidery, satin stitch
is often employed in certain portions of designs, notably
in the case of long, pointed leaves and in the tiny petals of the forget-
me-not, and other flowers of the same description; again, in working
cat-tails, thistles and golden rod, the flowers will usually be worked in
plush stitch, while the leaves may be wrought in Kensington stitch.
The most daring combinations of stitches are allowable, provided the

result justifies the means employed, and a harmonious ensemble of form,
light and shade is secured.
The stem or outline stitch enters into almost all forms of embroidery,
either in the formation of stems or outline of leaves. The short and long
stitch is used in conjunction with stem and darning stitch, and so on
through the catalogue of stitches.
Filling stitches are used most appropriately on wash materials and for
filling conventionalized designs used on tabic cloths, doyleys, table runners,
tray and carving cloths, fancy towels, pillow shams, dresser scarfs, toilet
articles and for filling portions of designs in Roman embroidery. For these
purposes the filling stitches are usually made with either etching silk or
Real Scotch linen floss, No. 4, though forsome stitches, notably janina,
and for darning on fine sheer fabric, filo floss or Royal floss is preferable,
while for French knots, where used in prominent portion of design, rope
silk or rope linen can be appropriately used. Darning stitch can be used to
form a background to throw design into relief; for darning a dado or frieze
for curtain or portiere. Any conventional design wrought out with any suit-
able filling stitch, or with short and long, outline, or buttonhole short and
long stitches can be used in connection. A combination of filling stitches is
perfectly proper and very effective on the same piece of work. Thus in
figures 49 and 51 we have a combination of several filling stitches.

Couching is frequently combined with satin stitch, and in fact enters
largely into all forms of flat embroidery, especially in ecclesiastical work,
and the combination is not limited to any one stitch, as it is used with but-
tonhole, short and long and darning stitches, and on monograms and
initials.
For embroidering underclothing, infants' trosseaux, cotton, flannel and

cashmere, French embroidery is almost exclusively used. By French
embroidery we mean that class of work done with a combination of satin,
couching, buttonhole, spot, eyelet, dot or seed stitches and hem stitches.
Many ladies embroider their initial on handkerchiefs, napkins, pillow

slips, sheets, etc., and finish every hem with hemstitching in pure
white embroidery cotton. It is a dainty fancy, and will give an air of
refinement to the most commonplace surroundings. For this purpose spot,
seed, satin and outline stitches are more commonly used. For embroidery
on silk, satin, velvet or cloth the filling stitches are not so appropriately
used. Short and long stitches, darning stitches, couching, applique, solid
Kensington and outline are here in better taste. Sometimes one sees
beautiful specimens of French embroidery on these fabrics, which of course
is always in good taste, but the amount of work required to complete a
design done in satin stitch, every thread of which must be laid "on honor,"
is a task not often undertaken in these days of hurry and scramble, where,
if the need of a piano cover is discovered on Monday morning, Saturday
APPLICATION OF STITCHES. 51
night finds the coversupplied, decorated with needlework. In the days of

Edward the Confessor a fair dame thought nothing of applying herself dil-
igently and patiently to a single piece of embroidery through the months

of an entire year. But such work is preserved as priceless heirlooms in
private families and public museums, while we are obliged to confess that
very little of our modern embroidery is wrought with such perfection of

detail.
In the matter of filling stitches the utmost latitude is allowed as to

choice, and we show here a few designs filled in with stitches which have
been described in the previous chapter. Our arrangement is not at all
arbitrary but merely given as suggestive for pretty and artistic com-
binations.
COMBINATION OF SPOT, AND SINGLE DAISY LOOP.

Figure 49 shows section of conventional design filled with single
daisy loop, cross stitch, spot stitch, diamond couching with French knot in
FIG. 49.
center and outlined edges. This method of applying these filling stitches
will be found quite simple, and as they require but little time and material
will be found economical as well as effective.
LEAF BORDER SHOWING COMBINATION OF STITCHES.
The design shown here is a section of border of leaves for lunch cloth.
The edges of leaves are finished with buttonhole stitch over German cord,
which can be clearly seen. The surface of upper leaf is then filled with star
'.EAF BORDER SHOWING COMBINATION OF BUTTONHOLE, HONEY-COMB, DAISY STAR AND

CROWSFEET STITCHES. FIG. 50.
Stitch. The leaf at the right of corner leaf is filled with crowsfeet stitch, while
the leaf atleft of corner is filled with honey-comb stitch. This method of
can be repeated throughout the entire design of which our illustra-
filling
tion shows but a section, and other filling stitches not shown here can be
used in connection, but the ones here shown are the simplest and most
popular of the filling stitches, and are used on all conventional designs
where solid work is not intended — indeed, they may be used on a design
having solid embroidery on some of its parts.
FILLING STITCH FOR APPLIQUE.
Figure 51 is especially suited for applique work. The leaf and vine is
first stamped on velvet which is then mucilaged to a foundation of

silk or cloth, after which the outlines of pattern are finely run to a founda-
tion with a silk
thread. The vel-
vet is then cut

away close to the
stamped lines, and
the edges are fin-
ished with a heavy

silk cord couched
down; the center
of the leaves are
then worked with
coral stitch in ara-
sene or chenille.
Any other of the

filling stitches
could have been
used here with
equally good ef-
fect, providing silk
thread had been

used in place of
arrasene or chenille, as these two last-named materials do not lend them-
selves to filling stitches with good effect.
The design here given is, of course, only a portion of complete vine,
but sufficient is shown to clearly explain mode of working. As to colors,
one must use a little judgment and taste in the selection. If the leaves are
of dark green velvet the silk used should be of a much lighter shade of the
same, while if the leaves and vine be cut from ecru or cream colored velvet
the couching and rope silk used may be in all the various tints of autumnal
foliage, yellow, brown, green, olives, terra cotta, and so on through the list.
There is no limit to the changes that can be rung on such a pattern.

In the matter of fancy filling stitches the utmost latitude is allowed as
to choice.
APPLICATION OF KENSINGTON STITCH.

Kensington stitch may be appropriately used for working out any
floral design, no matter where the finished work is to be used. It is also
sometimes used for working ani-
mals, human figures, and land-

scape details, such as rocks or
hills, where a massed effect of
light and shade is desired. For
ornamenting articles of dress,
such as dresses, wrappers, jack-

ets, etc., it is especially beautiful,
and ladies who can embroider in
either Kensington or satin stitch,

can indulge in many a beautifully
ornamented garment that would
be beyond the reach of their
more wealthily endowed sisters
who are without this accomplish-

ment. Figure 52 shows design
suitable for Kensington stitch
FIG. 52. stretched in the hoops ready for

embroidering. When embroidering dress collars, vest fronts, etc., with this
stitch, the material should be first stiffened by backing it with crinoline.
APPLICATION OF SHORT AND LONG STITCH.

Figure 53 shows a very appropriate application of short and long stitch
and isonly one of hundreds of similar instances where this stitch can be
effectively applied. In general, short and long stitch can be used where-
ever Kensington stitch would be appropriate, and also in many instances
where the latter stitch would be too heavy, notably, in portions of con-
ventional designs where

something a little more
elaborate than simple out-
line stitch is desired. Fig-
ure 53 shows a chair cush-
ion, flower-shaped, made
of white lawn. The sur-
face of the lawn is first
tinted a pale rose color

with water colors or Paris
tints, after which the edges
of the outer petals are
worked to the depth of an

inch with buttonhole short
and long stitch; the inner
petals are worked in the
same manner but with the
simple short and long
stitch. A pale rose-pink fig. 53.
rope silk should be used for this part of the work. The center of the flower
may be worked with pale green filo floss in satin stitch. To make up the
cushion, after the flower-shaped center has been finished: Cut a circle out
of cotton wool, using a breakfast plate as a guide to cut the circle by.
The wool circle should be at least two inches thick. Place this circle in
the center of a square of deep olive green surah silk, fold over the corners
of the silk to the center of the circle, and fasten in tiny plaits to the wôol,
and close enough to the edge of the circle to form a generous pufTing
around it; the cushion is now ready for the flower-shaped cover which
must be fastened in the center of the circle and on the side where the silk
is folded over. Suspend the cushion to a chair by means of a pink satin
ribbon fastened on with invisible stitches, just under the edge of the cover.
The shapes for the center cover of these pretty head-rests for chairs
may be cut from a variety of designs — large single peonies, sunflowers and
single roses, slightly conventionalized -can all be made effective. In adapt-
ing a sunflower, the embroidery will look best done with some one of the
shades of yellow.
SHADING CONVENTIONAL DESIGNS.
In strictly conventional designs there is, properly speaking, no such
thing as shading — a combination of colors that are effectively contrasting
or harmonious is
the aim of the

worker. The pop-
ular fad in coloring
for the past few
years has been
what is known to
the trade as one
line coloring; that
is, suppose the ma-

terial being em-
broidered to be a
medium light terra
cotta, two or three
shades of rope silk
of the same color,
but a shade or two

darker, would be
used in the embroi-
dery.
The effect is
certainly quiet and

FIG. 54. artistic to a de-
gree, and if portions of design are outlined with gold thread the effect is
heightened. Again, certain colors or combinations are effective as green

and white, blue and white, brown, red, ecru, etc., care being taken to use
the high colors, as red, to heighten the effect of the whole, depending on
the quieter colors for the body of the work.
:
Figure 54 shows a conventional design in filled outline, and we suggest

the following treatment, which if carried out neatly will produce a beau-
tiful result
This design of fruit, with foliage, is suited for table linen, either scat-
tered over a large surface, as a table cloth, or used in corners of mats or
napkins. The outlines are all first treated in stem stitch with etching silk,
and the spaces afterwards filled in with the fancy stitches, as shown;,
in the same silk. These stitches have been previously described, so we
will confine our remarks to the colors to be used. On table linen ladies
incline to pure white or the lightest, daintiest tints of a color. We suggest
several combinations, any one of which would be beautiful and correct.
First combination, pure white for stems, leaves and outlines, and for
filling stitches a pale silvery gray.

Second combination, outline entire design with white and fill in with a
pale blue.
Third combination, outline in stem and short and long stitch with pale
green, and fill in with cream white.
Fourth combination, outline stems and leaves with pale gold; outline
and fill in first cherry in the cluster with a shade of gold one degree deeper
than that used for stems and leaves; outline and fill in the next cherry with
a still deeper shade of gold, and for the third use a shade deeper yet.
This will give a scheme of color in yellow gold, ranging from the
faintest tint to a medium deep yellow. This method of coloring gives the
effect of elaborate shading, and is beautiful.
The foregoing illustrations and suggestions will give the reader a gen-
eral idea of the proper use and combination of embroidery stitches, and
will serve as a stimulus to the inventive worker, who will not be satisfied to
blindly follow our models, but will seek to mark out new lines of work for
herself.
DAINTY WORK FOR PLEASURE
AND PROFIT.
58
CUSHIONS AND HEAD RESTS.

CHAPTER VII.
SHADING.
FTER stitches, shading is the subject that naturally claims atten-

tion, and to the amateur embroideress it is usually a stumbling
block of pretty large dimensions; however, there is no reason
^'^^^j^ST' why this part of the work should present more difificulties than
^<^^ the formation of the stitches. We have for several years taught
a system of shading which we propose to present here, and as it is designed
for the benefit of amateurs, the expert needleworker will pardon us if
we are a little prolix on the subject. The woman who has an artist's eye
for color needs no instruction in shading; but, unfortunately, she is sadly
in the minority, and our efforts in this chapter must be devoted to her less
fortunate sisters.
Reduced to a system, shading is shorn of half its difficulties. In the
first place, there is a proper way to purchase embroidery threads, which,
when followed, gives satisfactory and certain results.
Embroidery threads are dyed in several different shades of each color,
and as each manufacturer has his own method of putting up and number-
ing his silks, it will be necessary for us to select one brand of silk and refer
to it exclusively throughout the different lessons given in these pages. For
convenience we will select the shade card* and numbers of Belding
Brothers & Co. There are other manufacturers of embroidery threads
whose outputs possess equal merit in regard to quality, fast dyes and
artistic shades, and in selecting one brand of silk from which to illustrate
our lessons, we do not wish to be understood as discriminating against

others. Arrasenes, chenilles and linen threads are made and numbered in
the same manner as the silks, so that the rule for selecting and using one
will do for all.
*NoTE.— We have & Co., that upon receipt of lo cents they will mail
arranfjed with Messrs. Belding Bros.
to readers of "Dainty Work" a complete color ami oi embroidery silks, properly grouped and numbered.
Attached to same is an extended shading table indicating most appropriate colorings to select for specific
work. Mention "Dainty Work"' and address, (enclosing lo cents) Belding Bros. & Co., Silk Manufacturers,
Fifth Ave. and Quincy St., Chicago, 111.
5
6o DAINTY WORK FOR PLEASURE AND PROFIT.
SELECTING SHADES.
To begin, we will explain a little about the colors and shades of silk to
be purchased for embroidery purposes from our shade card. Each color is
made in several different shades, but the number of shades any given color
is made in varies. For convenience in reference, we will give here a small
table of the colors, together with the number of shades in each color.
TABLE OF COLORS.*
The numbers of the colors are given inclusive, thus 1201 to 1204 means
that both numbers are to be included.
White, three shades, 1200 to 1202; Cardinal Red, ten shades, 1204 to
1213; Flame Red, seven shades, 1340 to 1346; Cherry Red, six shades, 1288
to 1293; Old Pink, five shades, 1220 to 1224; Rose Pink, five shades, 1335 to
1339; Bronze Green, six shades, 1214 to 1219; Olive Green, six shades, 1248
to 1253; Apple Green, four shades, 1240 to 1243; Grass Green, five shades,
I320to 1324; Sage Green, four shades, 1280 to 1283. Lily Green, five shades,
1375 to 1379; Silver Green, five shades, 1330 to 1334; Peacock Green, five
shades 1272 to 1276; Old Blue, five shades, 1225 to 1229; Gray Blue, five
shades, 1235 to 1239; Blue, nine shades, 131 1 to 1319; Baby Blue, six shades,
1354 to 1359; Peacock Blue, five shades, 1365 to 1369; Yellows, from pale
canary to deep orange, twelve shades, 1260 to 1271; Wood Brown, six
shades, 1294 to 1299; Red Brown, three shades, 1277 to 1279; Bronze Brown,
six shades, 1305 to 1310; Golden Brown, seven shades, 1347 to 1353; Old
Rose, five shades, 1335 to 1339; Dark Terra Cotta, five shades, 1230 to 1234;
Light Terra Cotta, six shades, 1254 to 1259; Silver Gray, four shades, 1244
to 1247; Lavender, four shades, 1284 to 1287; Heliotrope, five shades, 1300
to 1304; Fawn Brown, five shades, 1360 to 1364.
The above group of colors includes all the shades manufactured by any
silk house, and from them must be selected the colors needed for any given
piece of work. Thus, blue flowers must be selected from the different lines
blue; all red flowers from the lines of red; all pink flowers from the lines
of pink; and all purple flowers from the lines of purple.
From the list of colors given, it will be seen that there are different
varieties of the same color; thus, there are blues and blues, green «:«^ greens;
now, the different lines of the same color are rarely combined in the same
Note.— See foot note on preceding page.
SHADING. 6i
leaf or petal, and such combination should never be attempted by any

woman less than an artist. It is safest to confine yourself to one line of a
given color; in that line you have a number of shades from light to dark,
any one of which will combine with any other shade of the line.
As we have before hinted, any rule for shading is half mastered when
the worker knows how to purchase or select materials. It may seem a
simple thing to go into a shop and select silks for a rose spray, a poppy, or
so simple a flower as a buttercup, but not one lady in twenty can accom-
plish the feat with any comfort to the clerk or satisfaction to herself.
In shading there are three points to be considered. First, the color of
the flower to be worked. Second, is it light, medium or dark in tone.

Third, what kind of silk to work it in. These points are best decided in the
quiet seclusion of home. A heterogeneous mass of silk in hopeless confu-
sion, an anxious clerk, and a crowd of ladies clamorous for an opportunity
to pull and haul the same box of silk into still worse disorder— in the vain
endeavor to match silk purchased, perhaps, months before — is not condu^
cive to the mental equipoise necessary for the work in hand; therefore, we
repeat, do as much of the selecting at home as possible.
After you have fully decided upon the materials needed, the next
difficulty to be encountered is the procuring proper shading in small stores
in country towns. You are almost certain to be obliged to select from a
ragged, broken and incomplete assortment, difficult for even an experienced
worker to select from, and quite impossible for the amateur. When at all
possible, go to a store where a large and complete line of silk is carried.
If you have several colors to select, make up your mind what particular
line of each color you wish to use; if green, decide whether it shall be olive
green or grass green; if pink, whether it shall be old pink or rose pink, and
having decided this point, ask the clerk to show you one line of color at a
time. Insist on having the entire line of shades in that color placed before
you. By referring to the list of colors and shades given at the beginning
of this chapter, you will at once know if all the shades are before you, and
if any are missing, which ones. Place them in order on the counter before
you, beginning with the lightest shade first, then the next deeper, and so
on, until the last shade is reached. Now, from the colors before you select
as many shades as your pattern will require; thus, if you are shading wild
roses, you will call for the line of rose pinks, in which there are five shades;
you will at once see that you do not require the entire line, but only the
first three shades. If you are shading morning glories of a reddish pink,
you will call for the line of cherry red, which has six shades to select from,
and you will require all or part, according to the size of the design. In a
pattern having five or six flowers the entire line of this shade can be used
effectively, while if there are but two or three flowers the first three shades
of the line would be sufficient.
In working red poppies the line of flame reds should be used. This
line has seven shades, and if the pattern shows several poppies the entire line
can be brought into requisition, but not necessarily all in one flower. The
lighter shades of the line will be used for the high lights and the outer edge
of petals, then two shades next deeper will be blended in to work the body of
flower, and for the markings at base of petals the deepest shade of the line
should be used. Some varieties of red poppies show purplish markings at
the base of petals, but these should not be attempted in embroidery. There
are limitations in art needlework, and this is one of them. What would
present a beautiful effect of light and shade done with either oil or water
colors, would be but a patchy affair if attempted with the needle and the
colors at our command in embroidery threads.
But to return to our purchasing. Having selected your first line of
colors, require the clerk to put away all the silks you have been selecting
from, and proceed to the next color; repeat this until you have completed
your purchases. This will save the clerk a great deal of time and trouble,
and spare yourself annoyance and uncertainty, and when you are through
with your shopping you can return home with the consciousness that you
have purchased just the right thing. This method of selecting embroidery
threads leaves nothing to accident or whim, and thus will be avoided inhar-
monious and ignorant shading.
PROPER METHOD OF SHADING.

Having selected our embroidery silks, the next thing in order will be to
usethem correctly. In shading flowers and foliage Nature is not to be fol-
lowed in her entirety, forwe cannot successfully copy lights and shades
and eccentric markings; we must depend rather upon a continuity of sur-
—
SHADING. 63
face that is shaded from light to dark in the same color and with gradual
blending. We must, of course, consider the position of the flower or foli-
age; thus, in shading most flowers presenting a full front view — see figure 55
the rule is to begin at the tip of the
highest petal, and with the lightest

shade of silk used work toward the
center, blending with it, gradually, two
or three deeper shades of the same
color, using the deepest in the very
center of petal. Morning glories, nas-
turtiums, trumpetflower, orchids, in^
fact, most bell-shaped flowers, offer an
exception to this rule, as the heart or

cup of the flower is often of the
lightest tint; in some varieties of
morning glories the throat or cup will be pure white, while the outer edges
of petals will be the most vivid pink or purple. In figure 55 the numbers
I, 2, and 3 indicate the position of the
different shades of silk used, i indicates
the lightest shade, 2 the next deeper and
3 the third deepest shade used, while the
portion of flower heavily shaded, but with-
out numbers, indicate silk one and two
shades deeper yet than is indicated by the
numbers i, 2 and 3.
In a flower presenting a drooping side

view — see figure 56 — the lightest shade of
the color used will be disposed on that por-
tion of the flower where the light would
naturally strike first, which, in case of the
flower in question, would be on the upper
F^G. 56. petals, shading gradually darker toward the
base of flower from right to left. The figures i, 2, 3 indicate the relative
positions of shades as given in figure 55, and the heavily shaded lower petals
indicate the deepest shade of the color used in the entire flower. In work-
ing, begin at the point where the lightest shade is to be used and gradually
blend in the deeper shades, working always toward that point of the
petals where the shadows lie, which in this case will be on the edges of
those petals drooping lowest and nearest the worker.
In a flower presenting a full side view, the lightest shade will, of
course, be used on the outer edges of the petals, which will be shaded
deeper, gradually, toward that point where the flower joins the stalk, and
the shading will be deeper on that side where the shadow falls; this tends
to give the flower that rounded effect, that appearance of standing out and
away from the material. See figure 57.
In this flower the figures i, 2, 3 indi-
cating the lightest shades are placed at

the top edge of petals and also the deep-
est of these three shades is indicated
at the base of flower.
In shading foliage no cut and
dried rule can be applied. The general
rule of working with the lightest shade
that portion of leaf or stalk which the
light strikes first, must, of course, be
FIG. 57.
followed, but the combination of
shades to produce a mass of foliage must depend upon the arrangement of

design, the nature of the foliage and the color of the background. The upper
portion of foliage, the tips of leaves, the young leaves, and the wrong side of
turned leaves should be wrought out with the lighter shades of the colors
used, while that portion of the leaf joining the stalk, and leaves that are
overshadowed by other parts of the foliage should be shaded gradually
deeper until the deepest tone used in the design has been reached. We
have a great variety of greens to draw upon for shading foliage, and thus
natural shading can usually be obtained. In shading the foliage of poppies,
carnations, geraniums, thistles, and some varieties of the lily family, the
silver greens should be employed, while for the foliage of water, tiger and
Easter lilies, nasturtiums, morning glories, and plants of the same coloring,
the lily greens will produce natural shading; for chrysanthemums, some
SHADING. 65
varieties of geraniums, fuschias and a few varieties of rose leaves the sage
greens should be used.
In shading autumn leaves and foliage — such as oak, maple, mountain
ash, Virginia creeper, begonia, sumac, etc., we have at our command all the
greens, browns, olives, bronzes, flame reds and orange yellows, and with
these can be wrought out a very dream of autumnal glory.
For shading grasses and ferns, apple and grass greens are usually
employed, and where the background will permit, a little bronze green and
olive brown may be added to represent ripened grass and ferns. For rose
foliage all or any of the greens may be used; and for any foliage mentioned
above, where the background will not permit the use of natural shading, the
olive and bronze greens may be substituted.
The stalks of plants are better represented with either wood or red
brown, though in case of young and tender stalks the lightest shade of
green used in the foliage may be employed.
Having discussed natural shading, which may also be called popular
shading as well, we come to art or conventional shading, which is quite
another thing. Here we may work a rose in blue, or any other color our
fancy may dictate, provided the design has been slightly conventionalized.
This style of shading is used in the societies of decorative art, and among
people whose taste has been cultivated in this direction. The amateur
embroideress will find it hard to reconcile her ideas of the eternal fitness of
things with a flower wrought out in colors never dreamed of by Nature, in
connection with that particular plant, at least. However, time and contact
with artistic work will modify this taste for flowers mi 7iaUiral, both as to
form and color, and gradually will she incline to subdued tints and shades
for her art needlework. There is a distinct tendency to so conventionalize
our old familiar friends of the flower garden that we find it hard to recog-
nize them in their new dress and colorings; but one must admit that a frieze
of slightly conventionalized oak leaves and acorns across the bottom of an

ivory colored portiere, wrought in an applique of golden browns, through
several shades and tones of that color, would present a far richer effect
than a frieze of flowers embroidered in natural form and coloring.

Again, with this conventional shading we can have our decorative work
in distinct harmony with the furnishings of the room in which it is to be
displayed; and the most important point in its favor is tlie fact tha embroi-
deries wrought in dull art tones are less tiring to the eye, richer in effect
and more refining in influence than those done with the natural shading,
which in garden and field may be a delight, but which when transferred to
the sitting-room, and given a setting never dreamed of in economy of
the
nature, becomes garrish, loud and incongruous. For those who love color,
and cling to a rose that is red, or a tulip that is yellow, in all places and
under all conditions, there is a modified conventional shading, which, while
lying close to the natural is yet brought into subjection to surrounding

objects; for instance, if a curtain is to be decorated with yellow tulips,
instead of selecting for a model a tulip of bright yellow, work out the
design in dull yellows, with a hint of brown in them — the golden brown of
our shade card used throughout the entire flower will give the desired
effect. If a red, red rose is desired, instead of using the bright and glaring
reds, go down to the bottom of the line of reds and select the three darkest
shades. The effect of this shading is rich in the extreme, and does not
offend the taste of those people who cannot become reconciled to a blue
rose.
In conventional shading there may be no attempt at shading from dark

to light, or may appropriately be wrought with
the reverse; the entire design
one color; or with equal propriety all the different shades in one color may
be employed — and foliage, stalks, flowers, may all be worked with the same
shade.
In the pages of this book, when indicating the coloring and shading
for specific articles we shall refer to the silks by their numbers and names
as given in the table of colors at the beginning of this subject.
While it is absolutely impossible to teach all the subtle gradations of
artistic shading in any written article, yet the rules and suggestions here
given are so clearly marked, the limitations of our colors so well defined,
that the merest novice ought not to go astray; and, given an eye for the
harmony of colors, she should be able to obtain all the artistic results of
which the materials are capable. Without this eye for harmony she may
yet obtain beautiful and correct results, but in less variety, by simply fol-
lowing out our suggestions in either natural or conventional coloring.

CHAPTER VIII.
ART OR FLAT EMBROIDERY.
LL EMBROIDERIES are divided into two classes, namely,

art or flat embroidery and raised novelty embroidery. The
former includes all decorative needlework that is applied
directly to the fabric that is to serve as a background, with
either crewel, tapestry wool, silk, linen, cotton, or gold

threads. Those embroideries wrought out with arrasene,
chenille, smyrnasene, ribboseneand featherasene have been
relegated to the ranks of raised novelty embroidery.
Art and raised embroidery have each a place in our decorative economy,
and will be considered separately; yet, at the start, it is well to bear in mind
that art or flat embroidery is to decorative art work what bread and butter
is to our diet, and bears the same relation to raised embroidery that our
dinner does to the dessert; so in decorative efforts good let us have a
supply of the bread and butter of embroidery and a moderate amount of
dessert in the shape of raised work, otherwise the effect will be bizarre and
monotonous. That there can be too much of a good thing is an old saying,
and nowhere is it truer than here. So do not let us go to the extreme of
raised double and single roses, snowballs and thistles to the exclusion of
higher forms of art work.
We confess that raised embroidery has a fascination hard to resist; it
grows under our hands so rapidly; the effect is so striking; it fills up so

quickly, with such a small comparative outlay of labor; it is so pretty!
Granted, but we must not have too much of it; like every other good
still
thing it has its drawbacks— fashion is fickle, dust clings lovingly to its lux-
urious folds and obstinately refuses to "move on," and last, but by no
means least, it is more expensive than its legitimate sister, flat or art em-
broidery, and will not wear so well — in short, will not be "a thing of beauty
and a joy forever."
Under the head of art embroidery will be considered Roman embroi-
dery, applique, outline, solid Kensington, and those embroideries wrought
out with combination of filling stitches applied to articles of use or ornament.
The groundwork of all embroidery has been thoroughly laid in
chapters V, VI and VII, which teach the method of making and applying the
stitches and the proper shading of designs. The province of this chapter
will be to make practical application of those lessons given in previous
chapters, and also to give more complete detail of subjects treated therein
whenever necessary.
Art embroidery is suitable for decorating all and every article that one
may wish to embellish with needlework; the same, however, cannot be said
of raised embroidery, whose field of usefulness is indeed limited; but more
of this in its proper order.
ROMAN EMBROIDERY.
Roman embroidery is used upon articles of ornament or use, either
alone or in combination with other styles of decorative needlework. As
we wish to refer to it in future pages, we will here describe the method of
working.
This form of embroidery is very ancient and never goes out of style;
when nicely done, a piece of Roman embroidery is worthy to be handed
down as an heirloom from one generation to another. It is most generally
applied to table linen, articles of bedroom linen, curtains and cushion
covers on white wash fabrics; but it is also applied to colored materials,
either silks, velvets or cloths, and is known to some people as cut work;
however, as Roman Embroidery is the name by which it is most popularly
known, we will refer to it by that name.
To illustrate our lesson on Roman embroidery we will make use of a
design suitable for tablespread border, the full working size being 28x29
inches. See figure 58, on next page.
After stamping the design on the material, according to instructions
previously given, begin the work by putting in the lines that connect the
different portions of design; they are called lace lines. For this part of the
ART OR FLAT EMBROIDERY. 69
work etching silk or wash twist should be used, unless linen threads are pre-
ferred, in which
case Scotch linen
floss. No. 8, will
be required. In
putting in the lace
lines, begin at one
edge and carry
the thread across
to the opposite
edge of design,
and then twist the thread back upon the line
just carried across; this will give firmness to
the threads and prevent the work from pull-

ing out of shape when the material back of
the lace lines is cut away. Having brought
the needle back to its starting point, take a
few running stitches along the edge of design
until the starting point of the next lace line
is reached, when the same operation of car-
rying across and twisting back must be fig. 58.
repeated. Figure 59 shows section of design with the lace lines in. Now,
around all the outlines of design, where
the lines begin and end, work a button-
hole stitch over German cord. No. 1.
This not only adds to the beauty of the

design, but is necessary, as otherwise
the cutting away of the material back
of the connecting or lace lines would
w If llf If Jf w \7 "^ Jwi ^° shows section of the design enlarged

to working size and having outlines
PIG. 59. finished with buttonhole stitch.
After the lace lines are in and the edge buttonholed, the next step is
to cut away the material back of the lines. This must be done with great
DETAIL FOR ROMAN EMBROIDERY-SEE PAGE 68,

—
care, so as not to cut either the buttonhole edge or one of the connecting
lines.
This completes the Roman embroidery proper, but, in later days, some
embellishments have been added to the design. They consist of fancy fill-
ing stitches on certain parts of the material that is not cut away. Figure 60
shows a honey-comb stitch applied to a portion of the design, and the
spaces marked i and 2 on figure 58 can be similarly treated; also the scroll
portion of design, marked 3 on figure 60, can be filled with some other
stitch, thus giving variety to the design.
There is a style of Roman embroidery much used where the edges are
finished with a buttonhole short and long stitch worked on the material
without the strengthening aid of the German cord. For some purposes
this form of the work is very pretty, but it is not in the least durable and
should not be used on articles that are to receive much wear or that are to
be frequently laundered.
To summarize: In making Roman embroidery
First. Stamp design and put in the lace lines, being careful to twist
back on each thread carried across. This twisting is done by simply wind-
ing the needle around the lace lines until the opposite margin is reached-
Second. Work all outlines of design with buttonhole stitch over Ger-
man cord.
Third. Fill spaces of design with such filling stitches as are preferred.
Fourth. Cut away material back of the lace lines, cutting close to the
edge of the buttonhole stitch, taking care not to cut the buttonhole edge or
one of the lace lines. The above instructions contain all there is of mys-
tery in the modus operandi of working Roman embroidery.
The expense of making Roman embroidery is, comparatively speaking,
light. It can be done in white or colored threads, but in any case very
little material suffices to work out quite an elaborate design.
Many ladies combine floral em^Droidery with the Roman. Thus the
ends of towels, scarfs, center cloths, etc., will be finished with a Roman
embroidered border, and the surface of material above the border will be
embroidered solidly or with filling stitches, the combination of the two
styles of work being beautiful.
PRACTICAL EMBROIDERIES.
Embroideries done on wash fabrics with washable embroidery threads
will at once commend themselves to the wise and economical housekeeper,
and dining and bedroom linens offer a field for decorative effort in which
the home-loving woman never tires of working.
Table cloths, lunch sets, sideboard scarfs, doyleys, carving cloths, veg-
etable mats, tray cloths, pillow shams, scarfs, bedspreads, bureau and com-
mode scarfs, splashers, tidies, toilet sets for dressing table, all should be
made with a view to cleanliness, and this cannot be accomplished unless
the articles are made from and embroidered with materials that will bear
repeated laundering.
The articles mentioned above should all be decorated with art embroi-
dery, and whether the design selected be conventional or natural, any of
the stitches, except plush stitch, shown in Chapter V, can be employed in
working. The embroidery threads to be used are a matter of taste, to a
certain extent; for very fine linen or sheer fabrics, filo floss or Royal floss
will be found to give good results, while for buttonhole stitch, outline
stitch and some of the filling stitches, etching silk will be found better
adapted. In case one wishes to use Scotch linen embroidery threads instead
of silks, Scotch linen floss, No. 8 or No. 4, will be required. Gold thread is
sometimes effectively employed on white wash goods, couched down as an

outline, but it should never be employed on articles that are to be com-
monly used, and therefore frequently laundered.
Wash twist, rope silk, rope linen and Bargarren linen are all used
appropriately on articles of heavy cotton and linen fabrics, whether for
dining or bedrooms, though the threads first mentioned are more com-
monly employed upon table linen and toilet sets.
USE SIMPLE DESIGNS AND STITCHES.

Where time and expense are to be considered in decorating articles of
use, the different varieties of outline stitch will be found effective and beau-
tiful, and we say, at the risk of repeating, it is better to have several articles
simply decorated with needlework than to possess one piece of marvelous
and intricate workmanship, which from its very elegance is "too nice for
use," and which is kept from the light of day, securely wrapped in a sheet
! !
or towel,and brought out only on rare occasions to be displayed with pride,

and then rewrapped and retired to seclusion until, on some other occasion,
it is again brought forth to delight the gaze of a favored friend — but used
perish the thought
A bedspread, a pair of pillow shams, a toilet set, a splasher, a bureau
and commode scarf, a stand cover made of good domestic linen, and em-
broidered with wash silk or linen threads in simple outline stitch, and all
immaculately clean, are certainly within the reach of the poor and busy;
and what an air of dainty home comfort they will lend to the poorest bed-
chamber. Who would stop to notice that the bedstead and bureau were of
commonest pine— in a word, that the room was poorly and plainly fur-
nished. All that would appeal to the senses would be the air of sweet
cleanliness, the dainty womanly touches that can make the poorest spot on
earth breathe of home, rest and comfort.
If a little womanly care will do so much for the sleeping apartment,
what may not be expected from an equal amount of care expended upon
the dining-room, ever the true keynote of the whole home life.
Quiet elegance can be imparted to the plainest appointed table by
clean and shining glass and china, which may be but common delf, and
proper, though cheap, table linen in cleanly order.
Every dining-room should possess a sufficient amount of table napery
to last from one wash day to the next, and an extra set for emergencies.
In the days of our great-grandmothers plain dinner napkins and damask
linen table cloths alone were understood when dining-room linen was men-
tioned. Now the number of pieces of linen are seemingly limited only by
the number of dishes on the table.
In purchasing table linen, where essentials must first be considered, one

will naturally select first the everyday table cloths, which, for economy's
sake, should be of good firm texture. Next, one fine damask cloth for
"best." After these, napkins, and of these there should be a plentiful sup-
ply. Having secured the necessary linen, one can let her fancy have free
range through the list of modern table linen, including lunch cloths, center
pieces and table runners, tray and carving cloths, vegetable mats, fruit and
finger bowl doyleys, mats for oil and vinegar cruets, mats for water service,
doyleys for fish, corn, baked potatoes and hot roils; butter and cheese-
plate mats; lunch sets, consisting of center piece, cup doyleys and plate
doyleys, with individual doyleys for the different dishes, such as sal-
ads, cold meats, etc. These lunch sets are generally used without a table
cloth, in which case the dining table should have a handsome polish.
LIST OF TABLE LINEN.
For the benefit of such of our readers as are unfamiliar with the names
and uses of the different
pieces of table linen, we
will here append a small
descriptive list, which we
trust will be of practical
help.
Table Cloth.— A
cloth for covering the ta-
ble before the dishes are
placed for the meal.
Lunch Cloth.—A
cloth especially designed
for luncheons, either fam-
ily luncheons or those
given to a number of
friends. The lunch cloths
LUNCH CLOTH. FIG. 6l. are usually not as large as
the ordinary table cloth, and are decorated with needlework in the corners
or around the borders. Where an evening entertainment, such as a card
party, is given, refreshments are generally served on small tables, at which
not more than four people are seated; in such cases the lunch cloths are
smaller, being not over a yard square, and the needlework is so placed as
to appear upon the top
of the table. Our illustration shows section of a
lunch cloth made of plain satin damask and embroidered with conventional
design. The ribbon portion of the pattern is one and a half inches wide,
worked with simple darning stitch. See figure 6i. The edges of ribbon
are then outlined. The flowers are worked in solid Kensington stitch, in
pure white, with a tiny French knot of pale yellow in the center of each.
The ribbon is worked with pale lily green. Royal floss is used to work this
design, which is repeated on each of the four corners.
Napkin. — A square of linen cloth used at
table for wiping the mouth and fingers. The sizes
of napkins vary, dinner napkins generally being

larger than those used for breakfast or tea. The
decoration on napkins usually consists of the
initial or monogram of the owner, worked with
white embroidery cotton or linen in the corner or
center. These initials are generally worked with
satin stitch, though open spaces can be most
NAPKIN. FIG. 62.
effectively filled with dot stitch or open eylet-holes.
Doyley. — A small napkin used with fruit

and wine and also for placing under cups, and
wherever a small napkin would be required.
Doyleys of a larger size are also made for
placing under cheese, hot potatoes, hot rolls,
corn on the ear, fish and butter. These doyleys

should be made of good damask linen, with
the edge fringed or hemstitched. A suitable

DOYLEY. FIG. 63. dcsigu is usually embroidered in the corner,
around the border or scattered over the entire surface.
Carving" Cloth. —A piece of linen to be placed under meat, fish and
game platters in or-
der to protect the
table cloth when
carving. The size
depends upon the
size of platters, and
as many carving
cloths will be needed
as different sizes of fig. 64.
platters are used. The cloth should come out beyond the edge of the plat-
ter at least three or four inches. The edge can be hemstitched or fringed,
as described for tray cloth. The design may be floral or conventional. We
here show, in figure 64, a very pretty pattern for the end of a fish cloth. It
can be enlarged to correct working size by means of the pantagraph. The

design should be five times its present size. The water lines should be
worked with old blue etching silk, using two shades, a light and a dark; the
fish net should be worked with a light tan; the star and jelly fish with
pale old rose, and the fish and dragon in the net with a combination of all
the shades here given. Simple outline stitch will be all that is necessary for
working the entire design.
Table Runner. — A long scarf of linen, satin damask, silk or
bolting silk, having ©nds or sides decorated with needlework. This runner
is to be placed down the exact center of the table, and should reach within
ten inches of either end. the width of the runner depends upon the width
of table, but from twenty to twenty-seven inches is the usual size. A table
runner is used for the same purpose as is a center cloth. The relishes,
flowers, fruit and such ornamental dishes as are to remain upon the table
throughout the meal are to be placed upon it.
Tray Cloth. — A piece of linen usually 18x27 inches, according to

the size of table, to be
^M^ \^7-^ placed beneath the tea

service. The edges
are either finished with
hemstitching or fringe,
made by raveling out
the material to the re-
quired depth. The dec-
oration should consist
of a simple design
placed across the ends
FIG. 65.
— see figure 65 — or in
the four corners and outlined or worked with short and long stitch.
Years ago it was considered the proper thing to spread a common hand
towel on the tea tray or beneath the tea service placed upon the table, but
now the dainty tray cloths, decorated appropriately for the purpose super-
cedes the old style.
Center Cloth. — A square or oblong piece of linen, silk or bolt-

ing silk, used in center of dinner table, on which is generally placed the
fruitand flower piece and those dishes that are merely ornamental. These
center cloths can be very elaborately ornamented, as they are in most fam-
ilies used on occasions of ceremony only. The needlework may be solid,
or outlined with silk or linen embroidery thread. The designs most used
are floral, with natural shading; sometimes the entire cloth is covered with
an all-over design of flowers, worked solidly; sometimes with a floral scroll
around the borders in short and long stitches. Our illustration, figure 66,
shows a center cloth of satin dam-

ask, 27 inches square, with a con-
ventional floral design, suitable for
either solid Kensington or short
and long stitches. The colors
used for working our model were,
cream white for the outer edges
of leaves and petals; into this was
blended, with short and long
stitches, the two lightest shades of
golden brown. The effect of
blending one row of stitches into

another is almost equal to solid
Kensington stitch and not nearly
^^^'
as much work. The outside row
of stitches may be finished with the buttonhole edge when it is desired to
cut away the material from the edges.
—
Lunch Sets. A certain number of cup and plate doyleys, napkins
and center cloth, designed and worked en suite. These sets are to be used
on a polished table and without a table cloth. The center cloth is
made after the directions given for that article above. The cup doyleys are
made from a portion of the design used in the center cloth, while the plate
doyleys have a design similar to but smaller than that used on the center
cloth. These lunch sets, as their name indicates, are used for formal
luncheons, and consist of as many cup and plate doyleys as there are per-
rs DAINTY WORK FOR PLEASURE AND PROFIT.
sons to be served, a center cloth and mats or doyleys for salad dishes, etc.
The favorite fabric for making these sets is satin damask, and they may be em-
broidered with either silk or linen
threads. Figures 67 and 68 show
center piece and cup doyley of a
geranium lunch set. The plate
doyley is a circle having a row of
small geranium leaves arranged
around it in the form of a wreath.
The center piece of this partic-
ular set is but 18 inches across,
and the cup doyley but nine
inches. It will be seen from the
illustrations that the set is worked
with short and long stitches with
buttonhole edge, the veins being
worked with outline stitch. The
three lightest shades of lily green
FIG. 67.
will be required for this purpose;
use the lightest shade on outside edge of leaves, and blend into it
the next deeper shade, using the deepest of

the three shades selected for the veins. The
material is cut away from the edge of all the
pieces. These lunch sets are made in differ-
ent styles. A very appropriate design for

'
lunch set where oysters are served is a row

of oyster shells arranged around a circle, like
a wreath. We shall give in another chapter
other designs for lunch sets.

Cruet Mats. — Pieces of linen or
other material for placing under oil and vine-
FIG.
gar cruets, generally made in the form of a
leaf or flower; good domestic linen will do nicely for this purpose. The
edges should be buttonholed over a German cord with silk or linen threads,
and inside this a row of short and long stitches will give a rich effect. The
veins in the centers can be worked in feather or outline stitch. Figure

69 shows a very good illustration of our meaning. A set of mats of the
same design, only in varying sizes, is convenient, as
the larger ones can be used for water pitcher, pickle
and salad dishes, and the smaller ones for oil and
vinegar cruets.
Vegetable Mats are used to place under ^-s.''^^- ^1 iJ^ '}'
vegetable dishes. They should be large enough to

extend a little beyond the edge of the dishes used,
and may be square, oblong or round in shape.
Bargarren art cloth or linen canvas may be used in
p^^ g
their construction. Vegetable mats should not be very elaborately decorated,
a little ornamental work on the edges being all that is necessary. If Bar-
garren art cloth is
used a pretty border

can be darned in the
meshes of the fab-
ric with Bargarren
linen thread and the
edge furtherfinished
by fringing the ma-
terial to a suitable
P^G. 70. depth; two inches
will be deep enough. Figure 70 shows a set of these mats.
Tea or Coffee Cozy. — A covering to put over the tea or coffee
pot to keep its contents warm and prevent the aroma from escaping. Fig-
ure 71 shows a very handsome cozy designed for the Chicago Society of
Decorative Art. The model was made of fine white linen, embroidered
solidly with white Scotch linen floss No. 4, and laced with white silk art
cord over a puffing of deep golden yellow China silk. By this arrangement
the covering of the cozy can be unlaced and removed for cleaning when
soiled. The cozy should be made to fit the tea or coffee pot, and a good
way to get the dimensions is to measure the height and width of the tea or
coffee pot and allow an extra two inches each way. Then out of stiff paper
cut a piece the right size and round off the upper corners, making a half-
circle, or nearly so. Now cut an inner lining of sateen and an outer lining
of China silk and an interlining of wadding. Place the wadding between

the two linings and baste into
place. Duplicate this and
join the two half circles to-
gether on the sides and upper

edges, leaving a space open
at the bottom, like a pocket*
this is to allow the covering
to be slipped over the coffee

pot. The outside covering
should be cut out of white
linen, two sizes smaller than
the foundation. The edges
should be scalloped and
worked with buttonhole
COFFEE COZY. FIG. ji. stitch, and any design pre-
ferred worked over the two pieces. Lace these embroidered pieces over
the foundation by means of eyelet holes worked into each scallop, through
which art cord is laced back and forth. We think that with the help
afforded by the illustration no difficulty will be
encountered in duplicating. The material
and colors are matters to be decided by per-
sonal preference.
Mat for Water Service.— A mat to
place on tray or table, for the water pitcher

and glasses to rest on. It should be made of
thick material or a heavy lining should be

added. Bargarren art cloth or huckabuck an-
swers excellently for this purpose. The mats
are usually cut in the form of a large leaf, hav-
ing the edges finished with buttonhole stitch fig. 72.
taken over German cord. The surface of the mat is then darned with Bar-
garren art thread through each mesh of the fabric. Any color that will
harmonize with the other decorations can be used. Figure 72 shows a mat
ART OR FLAT EMBROIDERY.
made after this idea. Other styles of decoration can be used, as it is a
matter of individual fancy.

Sideboard Scarf.— A scarf of linen just long enough to reach
across the sideboard, from one end to
the other; or, if preferred, it can be cut
long enough to allow the ends to hang
over nine or ten inches, and wide
enough to just cover the shelf. This
scarf may be embroidered on the ends
and over the front edge. Outline, short
and long or solid Kensington stitch
can be used with equal effect, employ-

ing any of the wash silks or linen
threads preferred. Figure 73 shows
a scarf having the ends ornamented
with Roman embroidery. The sides and
ends should be finished with hemstitch.
The illustrations given in this list of
table linen are intended to illustrate the FIG. 73.
definitions only, and must not be considered as covering the field. The
subject will be treated more fully in other pages of this work.
EMBROIDERED BED-ROOM FURNISHINGS.

In furnishing the sleeping apartments for members of the family a
supply of articles, made ornamental by more or less needlework, should be
included in the list of necessary articles.
At least two sets of bureau and commode scarfs, toilet mats, cushion
covers, pillow shams, bedspreads and stand covers should be prepared for
each room. The guest room should also have two sets, a little more orna-
mental than those used everyday. There are some people who advocate
abolishing the "best" in every department of the household, but humilia-
tion of spirit is who listens to such
sure to be the fate of the luckless wight
ill-judged advice. The unexpected always happens to the unprepared, and
the woman who has no company china, glass, table linen, bed linen and
toilet articles laid away for emergencies, is seldom prepared for the advent
of the unexpected or hastily announced guest.

The everyday articles should be of as good quality as can be afforded
for common usage, but we may well spare a few extra dollars for a "best"
with which to do honor to those to whom we extend our hospitality.
The woman who declares that what is good enough for her is good
enough for anybody, is rarely an ideal hostess. She is quite likely to be
wanting in that spirit of self-sacrifice that delights to confer honor and
comfort upon the guest beneath her roof; that spirit of pleasure in giving
up the "best" to dear ones which is the loveliest attribute of the true
"home mother."
In selecting reserve supplies it is not necessary to go to extreme
expense, for there should not be a too marked disparity between the "best"
and the everyday supplies, but those reserved for occasional use may well
be of as fine quality as the income will warrant. They should be kept in
perfect order, and those articles that are to be ornamented with needlework
should be more elaborately embroidered than those used commonly.
There are many little articles of bed-room furnishing that depend, for
their beauty, upon the good taste that presides over their ornamentation,
rather than upon expensive materials. Following, will be found an illus-
trated list of articles that can be made at home for sleeping rooms
that will suggest to the ingenious woman work for many an otherwise idle
hour.
ARTICLES FOR USE IN SLEEPING ROOMS,

Bed Spread. — A cover to spread over the bed during the day.
Bed spreads are made of many different fabrics, but those made of white
wash materials are always in the best taste. Bargarren art cloth, holly-
wood drapery, linen bolton sheeting and bolting silk are much used for the
purpose, and any one of these fabrics forms an excellent background for
embroidery done with either silk or linen threads. The size and shape of
bed spreads vary. Some made long enough
are to come up over the pil-
lows, in place of pillow shams; some are made just the size of the top of
the bed; others come from the bottom of the bed to the lower edge of the
pillows, and fall over the side board of the bedstead. The shams used
with this latter style of spread are made in one piece, and reach across the
top of bed, over the pillows. The full page illustration of draped beds shows
a sham of this kind. The decoration may be an all-over design, or a cor-
ner piece with a handsome center, or a border around the sides and across
the ends. •
Pillow Shams. — Pieces of cotton, linen or other wash fabrics,

usually from 27 X 27 to 36 X 36 inches square. These shams are placed at
the head of the bed, over the pillows. They can be made as ornamental as
desired, or as simple. The hems are generally finished with hemstitching,
and the center ornamented with design; sometimes a monogram or initial
is added.
Pillow Scarf .—A long scarf, preferably of fine linen or bolting silk,
though other materials can be used. This scarf should be from one and a half
to three yards long and 27 to 36 inches wide. The ends can be fringed out, or
hemmed and row of drawn work added above the hem. Above this
a
should be embroidered a design of flowers, done solidly in fine silk or linen
threads. The sides should also be
hemmed. Tie the scarf in the middle
with a large bow of ribbon and suspend
on a hook placed in the top of head
board; the ends of the scarf fall over
the pillows, making a very graceful bed
trimming.
Commode and Dresser
Scarfs. — A strip of linen or other
white wash fabric, just as wide as the top
of dresser or commode and long enough
to fall easily over the ends. The designs
and style of work may be done to suit the
worker's fancy. The ends may be
hemmed, fringed or trimmed with lace.
Figure 74 shows a white linen scarf hav- fig. 74.
ing the ends finished in Roman embroidery with white etching silk.
Splashers. —A piece of linen or other material used to protect

the wall back of the commode when the wash bowl and pitcher are used on
it. The edges are stronger if finished with a hem, though some ladies pre-
fer a short fringe, made by raveling out the material. The splasher should
be embroidered in outline, as more elaborate work would here seem out
of place. The material for outlining splashers may be linen floss, No. 8,
etching silk,wash twist or embroidery cotton, arid some ladies who wish to
be sure of a color that will stand boiling, ravel out the blue stripes in bed
ticking and use the thread thus obtained.
Toilet Sets —Usually consist of one mat for cushion to rest on, one
large and small cushion and a
pair of covered bottles. These
articles can be made as orna-
mental as one chooses. Figures
75, "jd and 'j'j show large cushion
and pair of bottles covered with
white bolting silk, worked in
Roman embroidery designs with

white etching silk. The cushion
FIG. 75. and bottles are first covered with fig. 76.
pale blue over which the bolting silk cover is stretched.

silk,
Other models than those here shown can be used for toilet sets, and,
the coverings may be made of plain lawn, bolting silk, or even fine shirt linen
and decorated with embroidered designs done in outline or solid Kensing-
ton stitches. ____,,.„.__
same material
Oftentimes the .^^f"^^^^^^^^^^^^^^^^ ^"*^ designs are
cushions, beside ^îHI*' the cushions

the larger one. stuffed ready
In this case the fig. •]]. for the covering,
and as the charge for even good sized cushions is very moderate it hardly
pays to bother with this part of the work. Where it is desired to make the
cushion at home a few hints may be helpful. First, bran makes the best
possible filling, and the cushion should be stuffed with it until no more
can be packed in. A blunt piece of iron or wood is a great help in pushing
the bran into the corners.
OUTLINE AND COMBINATION EMBROIDERIES.

So much effective work can be accomplished by means of outline
stitches, used alone and in combination with simple short and long stitch
and buttonhole outline, that we feel the subject cannot be too fully dis-
cussed.
There are so many of our sisterhood who have neither time, eyesight
nor means to indulge in intricate and elaborate needlework, and who, not
having the least conception of the beauty and easy accomplishment of out-
line embroideries, settle the matter by ignoring the subject of decorative
needlework in toto, that we feel we shall have failed in accomplishing the
purpose of this book, as set forth in the introduction, did we not fully and
clearly set before the readers all the possibilities of the simpler forms of
decorative needlework.
PILLOW SHAMS.
As an illustration of what can be accomplished in this direction with
little time and money we will give an example of outline, and outline com-
bined with other stitches, applied to articles of household use.
A pair of pillow shams of bleached cotton factory are quite good
enough for everyday service, and will cost, ready stamped, with real Scotch
linen floss No. 8 for working in outline, 40 cents. If the design selected
be pretty and graceful and the work neatly done, the result will delight the
heart of the most fastidious house-
keeper. The model we have in mind
as we write consisted of a wide scroll
through the center of sham, on which
were the words, "Sweet Dreams."
Springing from top and bottom of
the scroll was a graceful arrange-
ment of eight full-blown poppies,
two buds, eight leaves, and stems.
Thus it will be seen the design was
quite elaborate. Figure 78 shows ^ fig. 78.
one poppy done in simple outline, and the whole design was so worked.
If more elaborate work be desired the design can be wrought out with
pointed buttonhole short and long stitch for the poppies, and simple
short and long stitch for the leaves, with outline stitch for the stems. The
additional cost would be about 25 cents. Figure 79 shows the pointed
short and long stitch, which made by taking five stitches as follows: one
is
short stitch, which for convenience we will call No. i; then a stitch a little
longer, which we will call No. 2, and
another stitch still longer, which will
be No. 3. Having worked these
three stitches in the order named,
side by side, and from left to right,
repeat No. 2 on the right of No. 3,
and No. i on the right of No. 2, thus

forming a point of five stitches, the
longest of which is in the middle.
FIG. 79. Repeat the point around the outline
of design. In taking the short and long stitches hold the thread the same as
for making a buttonhole; this forms the edge. The middle stitch being the
longest determines the depth to which the leaf or petal will be worked,
and the length of this stitch must be determined by the size of the design.
Figure 80, as we have said, shows a leaf of poppy worked with simple
short and long stitch, which has been fully described in the chapter on
stitches.
The shams can also be effec-
tively worked by using all three

stitches in the same design; for
instance, work some of the pop-
pies with the pointed short and
long stitch, as shown in figure 79,
and others with the outline stitch,
as shown in figure 78; while for

the leaves, work some in outline fig. 80.
only and others with the simple short and long stitch, as shown in figure 80,
and of course work the stems in outline. One shade of silk or linen can be
used for all the work. The letters on the scroll, as well as the outlines of the
scroll itself, should be worked out with the outline stitch, or if a more elab-
orate effect is desired satin stitch may be substitutedo
ART OR FLAT EMBROIDERY. 8;
SPLASHERS.
The two designs shown in figure 8i are excellently adapted for splash-
ers, and for either of them the simple outline stitch alone will be quite
enough, for from the nature of the pattern the effect will be elaborate.
However, if time and inclination permit, a few fancy filling stitches can be
added to certain portions of the design on the right. For instance, the
crescents can be filled with plain darning stitch, the petals of the star-shaped
flower can be filled with honey-comb stitch and the triangle-shaped spaces
with crowsfeet, while the outlines of these and the balance of design can be
outlined. In case this plan of working is followed two shades can be effect-
ively employed, as white and yellow, green and white or blue and white, or
two shades of one color.
FIG. 8l.
For the design on the left —the flight of birds — outline stitch alone will
be far more effective and appropriate. The birds can be outlined with
three shades of fawn brown; that is, work one bird in one shade, the second
bird in another shade, and the third bird in still a deeper shade of the same
color. The water lines can be worked with an old blue, one shade; while
for the lilies use cream white, and for the lily pads and flag stalks use two
or three of the shades used in working the birds. Of course any other
scheme of coloring can be followed out. We merely offer the above as a
suggestion, for in fact the entire pattern could be correctly worked with
only one shade if it were so desired. The amount of material necessary for
these splashers will be two pieces of butcher's linen or brown crash, 27 x 36
inches. Hem the edge with hemstitching. For the design on the left will
be required, of Scotch floss No. 8, one skein of each of the colors men-
tioned in this connection. For the design on the right, three skeins of the
color used for the outline and one skein for the fancy stitches will be suffi-
cient.
BORDER FOR LUNCH CLOTH.

This border is equally suitable for lunch cloth or center cloth, and
worked out as indicated in the design here shown will be at once beautiful
and inexpensive. For the cloth a good quality domestic linen or satin
damask should be used.
All the leaves and con-
necting outlines should
be worked with button-
hole stitch over German
cord, No. I, with either
Scotch linen floss or etch-
ing silk, and the surface
of the leaves filled in
with the combination of

filling stitches, as shown
in design, or with any
one of them, as pre-
ferred, though we think
the effect is richer when
the combination is used.
The stitches here shown
^^^- ^2* are honey-comb, single
basket, daisy star, diamond couching, crowsfeet, cross stitch, star and
darning, all of which will be found described in the chapter on stitches. The
amount of material for making the cloth will depend upon the size of the
cloth, from 27 to 54 inches square being the usual sizes. For the first-men-
tioned size five skeins German cord. No. i, eighteen skeins wash twist, for
working buttonhole stitch over the cord, and two dozen skeins etching silk
for the filling stitches, will be required. For the last-mentioned size double
the amount will be needed.
If this design is desired as a border for a large cloth cover for large
table the leaves will look exceedingly well filled with point d'reprise,
rosette stitches and d'Alencon bars, worked with art cord and the outlines
finished with rope silk in outline stitch.
The method of working the three stitches mentioned will be found in
Chapter V.
SCARFS.
Figure 83 shows designs for three scarfs, suitable for either sideboard
or dressing case. Butcher's linen, huckabuck, domestic linen or satin dam-
ask can be used for the scarfs, though of course the last-named fabric is
the most expensive. Two yards of 4oinch butcher's or domestic linen will
make two scarfs, costing, according to the quality of linen, 80 cents or one
FIG. 83.
dollar for the pair. The sides should be finished with a narrow hem hem-
stitched down, and the ends with either a fringe formed by raveling out the
linen to the depth of nine inches, or with torchon lace sewed on, or with a
hemstitched hem, with a row or two of drawn work above. The designs on
all three of these scarfs are purely conventional. The one on the scarf at
the left is a very graceful scroll, which will look exceedingly well outlined,
and having the surface of design filled in with open basket stitch. Another
effective treatment would be to outline the stems, leaves and stamens, and
fill all the rest of design with short and long stitch. To work the design
in the manner indicated last will require six skeins Real Scotch linen floss,
or eighteen skeins Royal floss silk; while for the treatment first mentioned,
about half the amount named would suffice.
The center scarf is a beautiful design in Roman embroidery, and should
be worked according to instructions given for that style of work at the
beginning of this chapter. The design in question is very lacy and light,
owing to the great number of lace or connecting lines. The material for
working this scarf may be either silk or linen; if the former is used two
dozen skeins wash twist, six skeins of German cord, No. i, and one dozen
skeins etching silk will be required. Use the wash twist for the lace lines
and for buttonholing over the German cord around all the outlines, and use
the etching silk for filling in all the star-
shaped figures with fancy filling stitches — of
which there may be a variety, or only one
throughout entire design, as preferred. Hon-
ey-comb, brick, star, crowsfeet and darning
will all combine effectively. For the very
center of each star figure crochet over a
brass ring, large enough to cover the circle
in the center, with the wash twist, sew firmly

to the foundation, exactly over the stamped
circle, with a thread of the silk used to cro-
chet with, after which cut the cloth away
from the back. In a design having so many
lace lines care must be observed to twist all
the threads forming those lines, according to

directions given for that part of the work in
FIG. 84. the lesson on Roman embroidery.

The scarf on the right, in figure 83, is a very pretty all-over pattern, and
particularly appropriate for a sideboard. Work in outline stitch alone, and
use not more than three colors or shades — and one only will be very beau-
tiful. For this design two dozen skeins etching silk or one dozen skeins
Scotch linen floss. No. 8, will be required.
Figure 84 shows a scarf finished around the edges with fancy stitches
and having the surface from end to end covered with a daisy pattern. This
scarf can be used as a cover for side board, runner for dinner table or as a
dressing case scarf; etching silk should be used for the stitches around the
edges and filo floss for the design over the surface; two shades of pink, blue
or brown will be effective.
DOYLEYS.
There are many different methods of decorating doyleys, chief among
which are the all-over and the Dresden designs. The former style is well
represented by the two illustrations shown in figures 85 and 86. The two
DOYLEY. FIG. 8$.
designs are given full working size and can be transferred to the material
according to the directions given in The edges of doyleys
Chapter IV.
are usually finished with a very narrow hemstitched hem. To work figure
85 will require four skeins of filo ftoss, as follows: Shades Nos. 1202, 1240,
1242 and 1260; as will be seen from the table of shading, these colors
9^ DAINTY WORK FOR PLEASURE AND PROFIT.
are pure white, pale green, dark green and pale yellow. Use the
white for the clover heads, the pale yellow for outlining the circles, the
dark green for the clover leaves and the pale green for working the dotted
DOYLEY. FIG. 86.
vines that connect the circles; or, a very good effect can be produced by
using both shades of green in this portion of the design, outlining the vines
with the deeper shade and working the dots with the lighter shade of green.
The stitches necessary will be outline for vines, circles, clover heads and
leaves, and spot stitch for working the dots at the end of the vines. The
four skeins of silk necessary to be purchased in order to secure the shades
mentioned will not be used in working this design once, in fact but a few
threads from each skein will be needed; same colors can be
but the
employed for working figure 86, using the white for the snowdrop and
flower, the pale yellow for the center of flower, also to outline circle; use
the two shades of green for working the foliage of snowdrop and the
maiden hair ferns that connect the circles. As will be seen from the
example given above a variety of designs can be wrought out with the same
colors, and it is well, in selecting patterns, to bear this in mind, as it saves
purchasing so many more skeins of silk or linen than are actually needed
for the work in hand.
There are many new and beautiful designs for small fruit and finger
bowl doyleys that are designed to be worked in solid Kensington stitch.
As doyleys for the purposes named above are rarely over four to five inches
square it follows that the designs for them must be of a light and dainty
character, and where it is wished to use large sized flowers for this purpose,
they must of necessity be drawn in miniature.
Figure 87 shows a set of six doyleys ornamented with flowers in minia-
ture, designed for solid Kensington stitch. The designs for this set were
drawn expressly for this book and are among the most artistic floral
arrangements we have ever seen.
The materials for these doyleys may be bolting silk, linen lawn, or fine
shirt linen. The edges may be hemstitched or fringed, but the former
mode of finishing is the one most commonly employed.
No. I. Narcissus. The arrangement here shown is particularly light

and graceful and will require four shades of filo floss for working in Ken-
sington stitch. Pure white, No. 1200; green, two shades, Nos. 1240, 1241;
yellow, 1460. Work all the narcissus petals and the throat of the flower
with No. 1200. The cup in the center should be worked with the yellow,
and the calyx with the lightest shade of green. The leaves should be
worked with both shades of green, using the darkest shade in the shaded
and lower portion of leaf.
No. 2. Morning Glories. For this design will be required of filo floss
green, Nos. 1240, 1241, 1242; pink, Nos. 1288, 1289, 1290; by comparing
these numbers with those indicated for the narcissus doyley, it will be seen
that but one additional shade of green is required, namely 1242. Use the
last named shade for the veins, stems and shaded portion of leaves; for the
tendrils and calyx use'the lightest shade. The throat of the morning glory,
inside and outside, should be worked with the palest shade of pink and be
lightly streaked with the shade next deeper. The edge of the petal should
be worked with the two deepest shades; for the buds use No. 1290.
No. 3. Peach Blossoms. For this design pale pink, white, pale yellow
and a shade of brown filo floss will be required. Work the blossoms over in
FIG. 87.
solid Kensington stitch with the white filo floss, then with the pale pink,
No. 1288, work over this lightly in the same stitch; fill the center with a
French knot of pale yellow. No. 1260. For the leaves and the young stems
use the pale green, No. 1240, and for the branch use the brown. No. 1296.
For this design only one additional color will be needed, namely. No. 1296,
All the others having been used in doyleys No. i and 2.
No. 4. Poppies. If it is decided to work the poppies in either pink

or yellow only two additional shades will be necessary, Nos. 1261 and 1229,
as those used in the preceding doyleys will give correct shading. For large
design of poppies, wrought out with elaborate detail, we should prefer the
line of silver green for the foliage; but in this design there is so small a
surface of green that those shades used for the narcissus and morning
glories will answer very well. In working the foliage use the lightest shade
of green for the turned leaf, and the darkest shade, or No. 1242, for the
under side of the same leaf; for the stem and bottom portions of seed pod
use the brown, shade No. 1296; for the top of seed pod use the lightest
shade of green, No. 1260; if a red poppy is preferred then additional

shades will be required, namely, Nos. 1340, 1341, 1342. For the disposition
of the shades in the poppies see illustrations in the Chapter on Shading.
No. 5. Pansies, A design of pansies is sure to appeal to the heart of
every lover of flowers, for of all flowers it seems to be the one that is
universally held dear, either for the sake of its almost intelligent beauty or
for the sake of old memories and associations. At all events it is certainly
the flower of the rich and poor alike. In shading pansies it is more satis-
factory to select a cluster and shade them as near like the original as the
silk thread will permit. To give a rule for shading pansies would be like
giving a cut and dried receipt for making human faces and we fancy the
result would be almost the same in either case, an absolute failure; how-
ever, as there are some ladies who insist on having a receipt or rule for
everything they do, we will try to give a simple shading that can be easily
followed. But, ah! if the reader loves the pansy, how tame and spiritless
will seem the result. When embroidering this flower we always feel as
though it has a sentient existence, and we are therefore in honor bound to
do it justice; to give expression to its inmost thought and feeling — for who
can look at the lovely and expressive face of a pansy and doubt for a
moment that it docs think and feel.
For a deep purple pansy, four shades of purple filo floss, Nos. 1300,
1301, 1302 and 1304 will be required; for the eye or spot in the center, a
pale yellow may be used. No. 1260 will answer, and for the stem and calyx
Nos. 1241 and 1242. Begin at the outer edge of the top petal and with the
lightest shade of purple work to the center, blending in gradually the
deeper sliades. For the lower or under petals, the rule may be reversed,
beginning at the edge with the deepest shade and blending in to the center
with the lightest shades.

No. 6. Fuchsias. This design is a very graceful arrangement of that
somewhat difificult flower — difficult both as to the setting of stitches and the
coloring. The best effects are
obtained by commencing at the
edge of lower petals and working
upwards toward the calyx. The
colorings of this flower are many
and varied, from combinations of
pink and white to red and purple.
The natural flower is the best
guide for shading, as we might
here indicate colors which the
reader has not chanced to see
duplicated in the natural flower
yet which has been taken by us
direct from the hand of Dame
FIG.
Nature herself. In shading a
purple and red fuchsia the under portion of the flower should be a deep red,
best copied in shade No. 1209 or 1212, while for the upper portion. No. 1304
or 1374 will come as near the cor-
rect coloring as our materials will
allow. The sepals and stamens
should be a purplish white; for the
stems and foliage, shades Nos.
1240 and 1243 may be used. Fuch-
sias can also be worked in satin
stitch with good effect.
Doyleys are frequently

worked with a combination of
satin, spot and seed stitches and
French knots. When these

stitches are used the doyleys are
generally made of fine lawn or fig.
shirt linen, worked with white embroidery cotton, linen floss or silk floss.
Figure 88 shows a small square fruit doyley, with a leaf design suitable
for this kind of work. The stems are worked with heavy outline stitch,
the lower half of each leaf is worked in satin stitch taken at an angle,
of about 45 degrees as shown in figure 17, on page 32. The surface of
that part of the leaf is first raised, by taking running stitches length-
wise with two or three threads of linen floss threaded in a large-eyed
needle; after this filling is in, work the satin stitch smoothly and firmly over
it. The upper half of the leaf may be made very effective by working the
edge to the depth of one half-inch with satin stitch, following the outline
of the leaf, and filling in the balance of the surface with either French
knots, spot or seed stitches; or, the upper portion of some of the leaves in
the design may have spot stitch, some seed stitch, while others may be
filled with French knots. Indeed, this combination is very effective where
there are several leaves in the design. Figure 89 shows a style of decora-
tion that is equally effective worked out with solid Kensington stitch or
satin stitch, in pale lily green Royal floss; or, pure whitemay be used with
equally artistic results. The two figures here presented may well form
part of a set of six or twelve doyleys, each one of which may have a differ-
ent pattern. If the designs shown in figures 88 and 89 are used they should
be enlarged four times.
SCROLL BORDER FOR CENTER CLOTH.

The scroll border shown in Figure 90 should be enlarged ten times its
present dimensions to give the correct working size. This pattern is
susceptible of different modes of treatment, and we will indicate two,

either of which will give satisfaction to the worker.
Treatment No. i. Stamp the design on a piece of white satin damask.

To embroider: Use Royal floss and work the outlines of every portion of
design with short and long stitches, with buttonhole edge, in cream white.
Then, with a light shade of golden brown. No. 1347, blend into the first
row of stitches another row of plain short and long stitch, and into thi€
again another row, using a deeper shade of the brown. No. 1348. Work
the leaves and petals with this blended short and long stitch into at least
two-thirds their depth. For the leaves use a deep golden brown, shade
No. 135 1, and work the stems in solid Kensington stitch with shade No.
1353. Fill the center of the flower with French knots, worked close
together, with No. 1351. After the embroidery has been finished cut away
outlines of the pattern. Be
allthe material from the edges, following the
careful not to cut the buttonhole edge.
To blend one row of short and
stitches in the first row, not
long stitches into another, work between the
in lightly, allowing
crowding or working solidly as for Kensington, but fill
rather between them.
the background to show through the stitches, or
Treatment No. Outline all the edges of design with German cord,
2.
FIG. 90.
in pale gold etching silk. No.

No. I, worked over with buttonhole stitch
the petals of the flowers with a matting of cream

white filo
1260. Fill in
needle, and working from
or Royal floss, using three or four strands in the
one edge of petal to the opposite edge, after the manner of laying threads
in Spanish laid work. When the matting or foundation has been laid
nothing of the fabric to be seen through, work over it a

solidly, allowing
on page 38.
couching of gold thread, using the pattern shown in figure 30,
Fill the leaves with honey-comb stitch, worked with the cream white
etching silk and vein in outline stitch with the gold cord.
There are other combinations of stitches and colors that can be used
with equally good effect and which will suggest themselves to the
worker.
FLORAL CENTER CLOTH.
The center cloth shown in figure 91 is designed for Kensington effects,
and will look best wrought out on satin damask or bolting silk, with file or
FIG. 91.
Royal floss. The colors may be nearly or quite true to naturk or they may
be slightly conventionalized. Pale gold for the crescent, thr<?e shades olive
green and three shades pale pink for the floral design around the crescent,
and a combination of blue and gold, pink and brown and green and orange
harmoniously blended, for the butterflies, will produce an artistic effect.
The orange should be used very sparingly, and may be omitted altogether
if desired, though a very little of it judiciously used, gives character tp the

shading.
BOOK COVERS.
For many centuries, ladies of rank and wealth have delighted to work
with rare and«*dainty device covers for missak, prayer books and choice
volumes. Many of these covers have been preserved as treasures of
decorative art. In the Eighteenth cen-
tury the art of decorating covers fell into
disuse; but it has again been revived,
not indeed on so elaborate a scale as
formerly, as the covers embroidered in
these degenerate days are intended for
practical use rather than as specimens of
elaborate workmanship, many of them
FIG. Q2. being used to cover paper-covered novels
and account books, and also books whose handsome and expensive bindings
need protection. Figures 92 and 93 show two designs which are at once
simple and pretty. Figure 92 is a Dresden design worked out with pink
and white filo floss on white duck or
canvas, while figure 93 shows a con-
ventional design treated with brown
rope linens on white canvas in outline
stitch and French knots. There are
many other designs that can be adapted
for this purpose, floral or otherwise, but
the two here given will serve as an in-
dication of what may be accomplished FIG. 93.

in this direction. These book covers make cheap and always acceptable
wedding or christmas gifts. For putting covers on see Chapter on "Dainty
Trifles."
ROUND CUSHIONS.
Cushions are or should be suggestive of restful comfort, and to that
end should be stuffed loosely yet with sufHcient filling to be soft, and the
outer covering should be of a material meant for usage rather than orna-
ment. Cretonne, gobelin cloth, figured silk, art linen and tapestry linen are
all suitable fabrics as they can be laundered without injury; the decoration
should be flat and done with thread that will stand both wear and cleansing.
ART OR FLAT EMBROIDERY. lOI
The shapes in which cushions have been, are, and ever will be made
are many and varied. Some are large and some are small, while they may
be round, square, oblong, high or flat as fancy suggests. In the different
pages of this book will be found further suggestions and illustrations of
this subject, but in this place we wish to show a model suited for art
embroidery which in its turn, will suggest other suitable forms of ornamen-
tation.
Our model, figure 94, shows a round cushion having a puff of wood
brown India silk around its edges. This puff is applied to the cushion
FIG. 94.
proper and is not connected with the cover, which consists of two circular
pieces of cream white gobelin cloth, about 18 inches in diameter. Only
one of these circular pieces is to be ornamented, on it draw three small
disks, using the top of a large-sized goblet for a pattern; then, with a
pencil, draw in the connecting scrolls. Or the pattern here given can be
enlarged by means of a pantagraph.
To work: Outline the disks with old blue couching silk No. 1227;
couch this down with a single thread of etching silk two or three shades
lighter, shade No. 1225 will answer very well. Over the surface of the
disks lay rope silk, shade No. 1226, solidly from one outline to the outline
opposite, and couch down with gold thread as shown in figure 25 on page
35. Work the scrolls with rope silk in heavy outline stitch with shade
No. 1228. Finish the edges of both circular pieces with a strong button-
hole edge and either work eyelet holes at regular distances apart on the
edges of both of these pieces, so that they will be exactly in line with each
other when the two covers are placed one over the other, or crochet small
brass rings over with golden brown etching silk and sew them to the edges
in place of the eyelet holes. Place the plain circle on the bottom of
cushion and the embroidered one on the top and lace them together
through the eyelet holes or rings over the puffings of silk on the side, by
means of a heavy silk cord of a color several shades lighter than that used
in the puffing. When the cushion cover is soiled it may be unlaced,
removed and laundered.
Any other scheme of harmonizing colors may be used in place of the
one suggested. In fact, the models given in a work of this kind should
serve as a stimulant to the inventive genius of the worker rather than to be
slavishly followed.
TABLE COVERS.
Covers for dining tables, where the dining-room is used for a sitting-
room as well, is a question which may prove of interest. Covers for this
purpose should always be
in keeping with the other
appointments of the room.
If the furniture is hand-
some polished oak then
some color that contrasts
or harmonizes with that
wood should be chosen.
The same is true of other
woods, as cherry, walnut
or mahogany. If the wood-
work and furniture be pol-
ished oak, then old blue^
FIG. 95, DETAIL OF FIG. 96. olivc green, amber, dark
terra cotta, Nile green, sage or lilly greens, tan and wood browns or old
rose shades will be effective and artistic. If the furniture and woodwork
of the room be black walnut then deep crimson, light old gold, rose color,
light terra cotta or pale blue will be appropriate. The quality of the ma-
terial will depend, as we said before, upon the purse of the owner or the
FIG. 96.
furnishings of the room. Felt, satteen, Morris cloth, basket silk, mail cloth
and Devonshire art cloth are all elegant and expensive, while artistic and
beautiful effects may be obtained by using hollywood drapery, Bargarren
art cloth, or tapestry linen, at half the price of the former fabrics. The
designs for decorating these spreads may be conventional or floral, but in
either case the shading should be slightly conventionalized. Broad leaves,
flowers and scrolls look best worked out with the coarse embroidery
threads, while the filling stitches, such as double basket, close basket, rosette,
point de reprise and D'Alencon bars, are all appropriate for filling portions
of the design, which may have all its outlines finished in outline stitch with
rope silk. Figure 96 shows a corner of
table spread made of Devonshire art
cloth. The border is worked in cross
stitch with Bargarren art thread; the

flower is a conventionalized chrysan-
themum. Figure 95 shows section of
border in detail; each stitch is crossed
over one square or mesh of the good ,
as will be seen from the illustration;
therefore it will be necessary only to

count the meshes, estimating one mesh
for each time the thread is crossed in
FIG, 97. figure 95, to work out the design here

given. The fringe is made of the Bargarren art thread tied in the edge and
and knotted, knotting with four threads each time. The chrysanthemums
are worked out with the Bargarren art
thread, with short and long stitches, in

three shades of wood brown, and the bor-
der with four shades of the same color.
The two darker shades are also used in
the fringe. This is a very effective de-
sign and can be worked out with little fig.
expense for material. Cross stitch works up rapidly on a mesh of the

size here shown, and will therefore commend itself to ladies whose time
has to be considered. For the exact design, working size, enlarge with
a pantagraph five times. In the Chapter on "Berlin Stitches" will be
found designs that will make a beautiful border for this material,
Bargarren art cloth is an artistic and inexpensive fabric for table cov-
ers. Our model, figure 97, shows a cream white Bargarren art cloth cover,
The border was firststamped with star shaped flowers, in groups, at regular
distances apart. See figure 97. These were outlined with Bargarren art
thread, in cream white, after
which the cover was darned from

the bottom edge around the four
sides, to a depth of 18 inches,
with the palest shade of lily green
Bargarren art thread. Figure 99

shows the star shaped flower out-
lined and the border darned, in
detail. Figure 98 shows a sec-
tion of the material with the
needle darned through the
meshes. These illustrations show
the method of darning Bargarren
art cloth, huck-a-buck and con-
gress canvas, as well as the effect FIG. 99.
when the work is finished, If one has a smooth material that will not ad-
mit darning the background, an equally good effect can be obtained by

couching down two threads of Bargarren linen instead of darning them in.
CURTAINS AND PORTIERES.

Curtains are generally understood when window draperies are intended,
and portieres when the hanging or drapery is designed for doors, either
double or single. Door and window draperies can be made at home at
much less expense than is possible when they are purchased ready made,
provided some member of the family is equal to their ornamentation. The
material best suited fcr window draperies depends upon the use of the
room in which they are to serve, the general style and cost of the other
furnishings, and somewhat upon the taste of the owner. Swiss muslin, bolt-
ing silk, India silk, Brussels net, Madras muslin, cretonne. Gobelin cloth,
dotted Swiss, for light draperies; mail cloth, satteen, tapestry linen, art
linen, Hollywood drapery, Devonshire art cloth, Morris cloth, bolton
sheeting, where heavy drape'- <"" are desired, are all suitable. The orna-
mentation should be simple or elaborate, according to the position the cur-
tains are to occupy. If draperies for bedroom windovrs are desired, then
io6 DAINTY WORK FOR PLEASURE AND PROFIT.
scrim, dotted muslin, bolton sheeting or India silk may be appropriately
used, and their decoration should be of a simple character. For sitting-
room windows the same materials may be employed, but the ornamentation
should be of a different character. For use in parlor and library the mate-
rialemployed should be richer than that used for other portions of the
house, and the ornamentation more elaborate. In fact a sliding scale of
elegance may be adopted, with excellent results, beginning with the sim-
plest for the sleeping and living rooms, and progressing gradually until the
parlor is reached. Beware making the fatal mistake of having the

of
hangings for doors or windows more expensive than the other furnishings.
SCREENS.
Screens, large and small, are most convenient possessions for any
housekeeper. They may be ornamental, for bedroom, parlor, library or
dining room; or they may be designed
strictly for utility — strength, rather than
beauty, being the desideratum. These
screens are desirable for verandah ser-
vice, to protect one from draughts, the
too ardent rays of the sun, or the too
curious gaze of the passer-by.
A prettily decorated screen is par-
ticularly filling, and will often supply

just the bit of color and furnishing
needed to brighten an otherwise dark
and bare-looking corner; but there
should always be some apparent use
for a screen. It should not be set up in
a corner, like a statuette, to be admired;
FIG. 100. it is not primarily an article of orna-
ment and there should be some reason for its presence; so, in disposing a
screen let it serve a purpose, either to conceal an open grate in summer; to

protect the occupant of some favorite chair from the heat of an open fire
in winter; to half conceal or half expose a pretty cabinet filled with bric-a-
brac, or even to enclose a cozy nook holding a tiny table, an easy chair and
a few choice books.
In making and decorating we should consider the room in

a screen
which it is room it is to
to be placed; even the especial position in that
occupy. Parlor screens are generally more ornamental than useful, and
therefore may well be smaller, lighter, and in every way more daintily
ornamented than those screens designed for use in any other part of the
house.
The screen shown in figure 100 is a pretty model for parlor corner
screen. The foundation is of white wood, painted robin's-egg blue with
English enamel. The upper portion of each panel is filled with a small
rose-colored glass panel. The lower portion of the screen is filled with
robin's-egg blue satin panels. Around each panel is a border of roses, car-
nations, foliage, etc., in miniature, while over the surface of the panels the
same flowers are arranged in graceful sprays in natural size. The border
should be worked with satin stitch, in Royal floss, and the center of the
panels with Kensington stitch, in filo floss. The colors required for work-
ing the design as shown in the model will be, pale pink, three shades;
cream white; sage green, three shades. After the design has been stamped
upon the satin panels they should be lined with crinoline. Both sides of
this screen can be made equally ornamental by working two pieces of satin
for each panel instead of one, not necessarily with the same design, how-
ever.
APPLIQUE EMBROIDERIES.
This style of decorative needlework is of ancient origin, being first
employed for church work. There are several styles of applique, but the one
most commonly employed is where the design is applied to the foundation,
having the edges finished with buttonhole stitch, or a cord couched down
along the outlines. Another method also much used is to stamp the
design on the foundation, which has previously been lined with some con-
trasting color. In this case the edges of the design are worked with but-
tonhole stitch or with the couched cord, after which the material is cut
away from the edges of the design. The appearance is that of inlaid work.
One of the most popular appliques is that of fine lawn or muslin upon
net. A pair of pillow shams and a spread to match, of net, decorated with
a conventional floral design, can be made up at a merely nominal expense.
Stamp the design upon the muslin, after which tack the muslin over the
io8 DAINTY WORK FOR PLEASURE AND PROFIT.
net; run with fine stitches all the outlines of the design, thus fastening them
to the net, then with fine embroidery cotton work all the outlines with fine,
light, buttonhole stitch. In the centers of flowers wheels may be worked,
while leaves may be filled with tiny seed stitches and stems worked over
with outline stitch. After this has been done, all the muslin should be cut
away from the net except the part comprising the design. After the mus-
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APPLIQUE ON NET. FIG. lOI.
lin has been cut away, sprays and scrolls may be darned directly into the
net with the cotton. These sprays should always start from some portion
of the muslin design and appear to be a part of it. Figure loi will illus-
trate our meaning, and also give a good idea of the effect of net-applique
when finished. The edges of spread and shams should be finished with
buttonholed scallops.
EMBROIDERED ARTICLES OF DRESS.

There are other uses for ornamental needlework, aside from that used
on household decorations; namely, ornamenting articles of apparel.
Daintily embroidered handkerchiefs, collars
and cuffs, dressing sacques and the numberless
elegant trifles of the wardrobe so dear to the
heart of the refined woman, so utterly impos-
sible to the refined poor woman, unless she
herself can embellish them with embroidery,
are within the reach of all who desire them and
are willing to give the time necessary for their
production. Fine linen handkerchiefs with
hemstitched hems can be purchased for a trifle
at any of the large stores; an initial or mono-

gram worked in the corner with white embroi-
dery cotton or linen floss will change a sim-
ple article into one of luxury. Again, from a HANDKERCHIEF CORNER.
piece of Indian mull or linen lawn four inches FIG. 102.
square and a strip of the same material three inches wide and 24 inches
long can be produced a handkerchief that could not be purchased for $3.50.
With fine embroidery cotton work a tiny scallop in
buttonhole stitch along one edge of the three-inch
strip, then over the surface of the strip work seed
or small spot stitches with the same, material; in

the center of the square piece work an initial inside
a half-wreath of forget-me-nots, or a monogram

without the wreath. This part of the work should
be done with satin and spot stitches combined,
using the white embroidery cotton for the purpose.
After the needlework is finished, gather the strip of
lawn by rolling the edge lightly and taking an over-
DESIGN FOR PARASOL.

hand running stitch; put this strip on the square
FIG. 103. with an over-hand stitch also. The above method
indicates but one of many ways in which elegant handkerchiefs can be
obtained at little cost to the owner. It is a pretty fancy to buy a dozen
no DAINTY WORK FOR PLEASURE AND' PROFIT.
plain hemstitched handkerchiefs and work each one differently, with
monogram or initial. Handkerchiefs intended as gifts to gentlemen can
be worked elaborately or not, as desired. For instance, if the gentleman
is addicted to lawn tennis, a ball and a pair of rackets worked in outline
stitch will prove acceptable, while for something" extra nice," no decoration
can surpass a handsome monogram worked in satin stitch.
Embroidered Dresses.
Given ten yards of fine cashmere (either colored or black) and a bunch
of Royal or filo floss, the artistic embroideress will turn out a Parisian
robe "that will turn all womankind green with envy and admiration." We
remember, not long ago, the high-priced emporiums were importing Pari-
sian embroidered robes for the modest price of S50, ^75 and Sioo each.
An ingenious friend of the writer soon came out with an exact dupli-
cate of one of the costly affairs, and as her income was known to be more
than slender, it was a matter of wonder until she explained that the dress
cost her ^10, and proudly added, "I did it myself."
Many of the Roman embroidery designs can be adapted for dress
trimmings, notably those having the bot-
^î:x::^^>^^*\Xj^j^^^ t*^"^ edge vandyked. The embroidery
EDGE FOR COLLAR AND CUFFS. should be donc with a silk thread, either
FIG. 104. one shade lighter or darker than the foun-

dation. Thus a dark brown cashmere or cloth may be worked with a
golden brown or a wood brown, as nearest matches the cashmere, but
not with the exact shade, as the contrast would not be sufficient to
bring out the beauty of the work. In adapting a Roman design for a
dress skirt the pattern should be at least 12 to 18 inches deep, and on the
vest front, collar and cuffs a modification of the same pattern should be
carried out. In working, follow all the outline of design with a small cord,
fastening it down if there is any difficulty in holding it in position; then
with Royal floss, one strand, work over this cord in heavy satin stitch, being
sure to place the stitches close and even. Do not take the stitch beyond the
edge of the cord on either side. This method will slightly raise the prom-
inent portions of the design. The lace or connecting lines should be
worked in outline stitch on the material, from one outline to the opposite out-
'ART OR FLAT EMBROIDERY. Ill
line of the design, and with the same silk. If the design is one showing many
plain spaces the effect can be enhanced by filling them with Janina, rosette,
point de reprise or honey-comb stitch. The effect of this method of treat-
ing designs is extremely rich, and
requires no more than mechanical
skill, as the work is not shaded but
EDGE FOR DRESSING done with one color throughout. Of
JACKET. Fig 105.
course the beauty of the work will
depend upon the exactness with which the stitches are
CORNER
,,
'^ '^
FOR
taken and the general smoothness of the work. In using dressing jacket
floral designs for street dresses it is not good taste to do the ^^^' '
work in natural colors; thus if a deep navy blue dress is to be embroi-

dered with a band of buttercups across the bottom and scattered flowers
across the front, the colors for working them should be either a shade of
navy blue or a golden brown. In this case a little shading would be admis-
sible, say about three to four shades of the line of golden brown filo floss
for the entire design. The stitch used for this style of pattern may well bs
the solid Kensington. For neglige jackets, to be
worn during the morning hours over a dark skirt,
nothing could be more dressy or serviceable than a

black cashmere or satin jacket, cut after a pretty
model and embroidered down the front edges,
around the bottom and across the collar and cuffs
with a graceful arrangement of dainty wheat and
poppies, or roses, worked out in natural shades with
Kensington stitch in filo floss. Again, it may be
desired to renovate the bodice of a plain cashmere
dress without much expense. A nicely fitting col-
lar, with the edges finished with a tiny scallop, em-
broidered with buttonhole stitch in the same shade
of silk as the dress material and the edge of cuffs and design for parasol.
^°^'
the bottom of bodice treated in the same manner "
will give an appearance of quiet elegance that could not be obtained from
other trimming at five times the cost. Fans, parasols, bonnet crowns, all
offer excellent opportunities for the needlewoman's skill. A plain black

IT2 DAINTY WORK FOR PLEASURE AND PROFIT.
silk parasol, of a good quality, with a graceful spray of flowers embroidered
upon one section, in colored silks, will make a very dressy promenade
article, while fan covers of silk can be made, using a fan one already has in
possession as a pattern. Cut the silk a
trifle larger than the fan it is to cover, to

allow for making. The embroidery should
be of a light and delicate character;
heavy or massive effects will be entirely
out of place for this purpose.
Double and triple crepe lisse frills for
C(»RNER FOR CREPE LISSE RUFFLES. neck and sleeve trimmings, having the
FIG. 108. edge worked in scalloped buttonhole
stitch and scattered seed or spot stitches above
the scallops, sell in the large stores for $2.50
to $3.50 per yard. These frills can be made at
home for one-quarter of the store price. Fig- SCALLOP FOR CREPE LISSE
ures 108 and 109 show a suitable scallop for this
RUFFLES. FIG. IO9.
purpose. Filo floss, a shade lighter than the crepe, is generally used.
Embroidery for the Children's Wardrobe.

The children must not be forgotten, and many are the dainty garments
that can be made for the little ones by loving fingers. Infants' jackets,
dressing gowns, robes, cloaks, bonnets, shawls and skirts may all be ren-
dered elegant by much or little handwork, as the judgment of the worker
decides. Embroidery for infant's clothing is almost always done with satin
stitch combined with spot and seed stitch, and buttonhole stitch for finish-
ing the edges.
Embroidered flannel skirtings can now be purchased so cheap that it
hardly pays to spend the time to embroider

them at home, but cheap as they are they still
are beyond the reach of the woman who can
SCALLOP FOR FLANNEL. barely eke out enough to purchase the plain
FIG. IIO.
flannel. A few cents' worth of white embroi-
dery silk, a knowledge of embroidery and time enough for the work
will enable such a woman to prepare for her darling many a dainty gar-
ment otherwise impossible. In such cases it is better to select a simple

pattern and do the work well than to hurry over a large and elaborate pat-
tern. Figure no shows a pretty design for edging flannel garments.
Strips of white flannel, of different widths, from one inch to two inches,
stamped with a small scallop pattern and a design of small circles suitable
for spot stitch will be found convenient pick-up work. The embroidery
may be done with white, blue or pink embroidery silk. These strips may
be used to finish the necks, sleeves, front edges of jackets, dresses, skirts
and dressing gowns for the little ones we love so well to deck with our
best. Many a mother's work basket is never without a little roll of flannel
strips, either embroidered or in
process of completion. One

dozen skeins of Royal floss will
embroider five yards of these

strips. Another pretty decora-
tion for flannel or cashmere
dresses, jackets, etc, consists of
working over the surface of
material with spot stitch or
French knots, using either white
or colored silks for the purpose.
Specific designs for certain
purposes it is impossible to
give in the pages of a work of
DESIGN FOR INFANTS SHAWL IN SATIN STITCH,
this kind. The best that can FIG. III.
be done is to give occasionally an illustration that will be suitable for cer-

tain purposes. It is an excellent plan to have in one's possession a variety
of perforated patterns, suitable for various purposes; two or three sizes
of scallops, several floral arrangements, etc., should be included, and as
these designs are inexpensive, nearly all ladies who embroider can pur-
chase a good assortment. Again, magazines and periodicals often contain
excellent designs, and these can be transferred, according to instructions
given in Chapter IV. The different scallop designs shown in this chapter
are suitable for many other purposes beside those designated.
114 DAINTY WORK FOR PLEASURE AND PROFIT.'
DRAPERIES FOR PICTURES, EASELS AND MANTELS.

CHAPTER IX.
CHURCH AND BULLION EMBROIDERIES.
HE EMBROIDERIES for ecclesiastical purposes

form a branch of decorative needlework quite
distinct from that applied to articles of dress
and household ornamentation. In the former

no shading is required and the work is more set
in its character, allowing less scope for individ-

uality. The stitches employed are couching
stitches of every variety, both raised and flat,
long stitch, bullion knot and satin stitch. The

material employed for church embroideries must
be of the very best, and the workmanship must show no amateur touches;
in fact, we may as well say here, in this connection, that church embroidery
requires the most skilled workmanship, and should never be attempted by
the amateur embroideress. The stitches required for this style of work
depend entirely for their effect upon the exactness with which they are,
placed, and this exactness can be attained only by diligent practice. There
is room for ornamental needlework in the houses of worship of all Chris-
tian denominations. Aside from altar frontals and altar curtains there are
smaller articles that can be made by ladies, either privately or in the sew-
ing societies usually connected with church work. Among the latter may
be mentioned book marks, sermon cases, burses, alms bag, mats for collec-
tion plates and flower stands, and banners for the Sunday-school, especially
fo*" Easter services.

There has been very little written on the subject of church embroi-
deries that can be considered authoritative, and the author of "Dainty
Work" has been at considerable trouble to prepare something that should
ii6 DAINTY WORK FOR PLEASURE AND PROFIT.
be practical, correct and within the comprehension of the average embroi-
deress, and she wishes here to acknowledge the assistance received from
Caulfield and Seward, London, England, who in 1881 published the only
practical article on ecclesiastical embroideries to be found in the English
language.
CROSS FOR ALTAR FRONT. FIG. 112.
We will
give here a list of the materials used in ecclesiastical embroi-
deries,premising that each article must be the best to be obtained: Gold
thread, passing (this is a thread of gold and silk, mixed), filo floss, purse
silk, knitting silk, sewing silk, silver thread, colored art cords, spangles and
bullion. Of these materials floss is the most used, as it can be split and
CHURCH AND BULLION EMBROIDERIES. 117
subdivided to the smallest strand, and is used for working over the main
part of design in long stitch. Purse silk is used for the parts requiring
strength, and frequently for couchings; knitting silk, gold and silver thread
and passing for ornamental sprays; spangles and bullion for ornamenting
the raised parts of the design; gold and silver cord for finishing design.
The foundation for these embroideries should be the best velvet, plush, rep
silk or broadcloth.
For doing the embroidery there will be required frames of several sizes,
square frames are best for church embroideries; strong, unbleached linen,
that has been boiled to take out the stiffness, upon which the design is
worked, after which it is cut out and applied to the foundation; piercer,
an instrument invaluable in placing the floss and gold threads in posi-
tion; stiletto, for puncturing holes; round-eyed needles of different sizes,
and carpet needles Nos. 2, 9 and 10.
The hands of the embroideress must be kept smooth, and for this pur-
pose a piece of pumice stone should be kept in the work basket. Ladies
whose hands are continually moist should not attempt church embroideries,
as the moisture ruins the gold and silver threads.
STITCHES USED IN ECCLESIASTICAL EMBROIDERIES.

In ecclesiastical or church embroideries the following stitches are used:
Couching, raised and flat, and of every variety of pattern; long stitch, satin
stitch, French knots, bullion knot, spot stitch, chain and outline stitches.
Satin stitch, spot stitch, chain stitch, outline stitch, French knots and flat
couching stitch have been described in detail in Chapter V; but in this con-
nection it seems advisable to give the different varieties of couchings in
greater detail, as they form the distinctive features of all church needlework.
Couching" stitches are divided into two classes, namely, raised
couching and flat couching; in each class there are several varieties. Flat
couchings are formed of threads laid smoothly upon a foundation, and
caught to it with small stitches, brought up from the back of the work and
then returned to the back again. Raised couchings are formed by laying
the same kind upon the foundation, but over whipcord that has
of threads
been previously arranged upon it in a set design. The raised lines are
secured in the same manner as employed in flat couching. The names given
to the different varieties of couchings are taken from the direction of the
ii8 DAINTY WORK FOR PLEASURE AND PROFIT.
securing stitches, and are Basket, Battlemented, Brick, Broad, Diagonal,
Diamond, Diaper, Plain, Shell, Spider, Vandyke, Wheel, Wavy. The man-
ner of working them differs only in the patterns formed by the securing
stitches and in the direction of the whipcord in the raised designs.
The manner of working flat couching has been described, in Chapter V,
therefore we will consider raised couching more particularly in this connec-
tion. To work raised couchings, sew to the linen foundation a number of
strands of whipcord, in straight or waved lines, or they may be formed into
a set pattern; over these lines of whipcord lay gold thread or several
until the work is finished. Outline the couched design with a cord or cords
of silk or gold. x
The raised couchings are more frequently used for backgrounds, while
the flat variety is better adapted for the centers of the various devises used
as powderings or scattered all-over designs over a large surface on the
centers of altar frontals and on embroidered vestments.
Basket Raised Couching". — Figure 114 shows raised basket
couching. To work: Lay upon the foundation perpendicular lines of whip-
cord and sew them firmly into position. Take
four threads of purse silk, or four strands of
filo floss, or the same number of gold threads,
and stitch them down with purse silk of the
same color, brought through from the back of

the material and returned to it. Place the secur-
ing or couching stitches between every second
strand of the whipcord; form the next line with
four threads laid over the cords and stitche ^^^* "4*
down as before. To prevent the lines of securing stitches coming directly

beneath each other, the first line of stitches must secure the floss or gold
thread over one cord only, the rest over two cords. Repeat these two lines
until the desired space is filled in.
Figure 115 shows another variety of raised basket

couching, which is worked as follows: Sew down the
whipcord, and over it the floss or gold thread, as described
in the preceding figure, but over these again, lay short
lines of fine gold thread or purse silk. Bring these short
lyjyyigr lines from the back, by puncturing a hole through the
FIG. 115.
foundation with the stilletto for them to pass through;
return them in the same manner.
Spider Couching".— A raise couching. To work: Upon a linen
foundation fasten down short pieces of whipcord, cut of equal length and
arranged like the spokes of a wheel or the chief threads of a spider s web.
Fill in the whole of the foundation to be treated in this manner with the
whipcord so arranged, placing the wheels they form as near together as
possible. Place lines of filo floss over the whipcord, beginning at the cen-
ter of the wheel, and couch it down. When the floss has been couched
once around, repeat row after row until the outer ends of the whipcord
spokes have been reached. Place the couching stitches in lines on each
side of the lines of cord, so that the shape of each wheel or web may be
clearly defined.
Vandyked Couching". —A raisea couching formed with lines of
whipcord laid on the linen foundation in the shape of Vandykes. Over the
lines of whipcord lay filo floss, secured with couching stitches taken in
such a manner as to outline each piece of whipcord.

Wavy Couching'. — Figure ii6 shows raised wavy couching. To
work: Arrange upon a linen foundation curved lines of whipcord; place
over them purse silk, two strands at a time, and secure as shown in broad
couching, omitting the stitches when-
ever the raised part formed by the cord
underneath is approached. When the
broad couching is finished, lay a thread
of gold or silk cord on each side of the

PIG. ii6. waved line and couch it down with a
fine sewing silk; or, work the lines on each side of the raised part with a
continuous line of couching stitches,
Battlennented Couching. — Figure 117 shows
a flat couching, with the securing threads arranged as
battlemented lines. To work: Lay the filo floss in diag-
onal lines across the foundation, then work the securing
stitches so as to form the design shown in the illustra-
tion. The above pattern is effective as a background for
large spaces, or for filling in unbroken surfaces of a set fig. 117.
design. It can be varied by placing the securing stitches at different
distances.
Brick Flat Couching. — Figures show two methods of

118 and 119
working brick flat couching. To work the design
shown in figure 118, lay down lines of filo floss
in a diagonal direction, and secure them with

FIG. 118. stitches from the back. Pass each stitch over
two lines of floss, and work it in at an even distance from the stitch pre-
ceding it, to the end of the pattern. Work the next line of securing stitches
over two laid lines of the floss, but be careful not to have the securing
stitches fall directly under those in the preceding row, but place them so
that they will come in the spaces between. These securing stitches are not
taken over the entire laid surface, but are arranged to form Vandykes. Fig-
same stitch differently worked,
ure 119 shows the
as follows:Lay down two threads of purse silk,
catch them down with a stitch from the back,
also of pi^rse silk, and placed at regular dis-
tances apart along the line; work the second fig. 119.
line like the first, but place the securing stitches in it so that they will fall
between those taken in the previous row.

Broad Couching". — Figure 120 shows an-
other variety of couching. It is worked like the
brick flat couching previously described, but the

securing stitches slightly draw the foundation
FIG. 120. floss together as they stitch it down. This gives
to the work an entirely different effect.
Diamond Couching. — Figure 121 shows a flat diamond couch-

ing, worked as follows: Lay down lines of filo floss to
cover the desired surface, and above them lay lines of

purse silk or gold thread, singly, but in a diagonal direc-
tion, and at equal distances apart. Secure each single
line with a securing stitch brought from the back. Lay
all the lines in one direction first, and secure them; after
which lay the lines that cross them; wherever the lines
meet and form one of the points of a diamond, work in
a pearl or spangle at the point of junction. fig. 121.
Diaper Couching". — This is the same as plain couching, but the

securing stitches are worked so as to form zigzag lines, diamonds and
crosses.
Plain Flat Couching. — Figure 122 shows flat couching, which

has also been described in Chapter V. Lay down filo floss evenly over the
foundation, and secure with couching stitches brought from the back. Take
the securing or couchins; stitches over two threads of the floss and return
to the back again. Arrange the couching stitches so as to form straight or
curved lines or diamonds across the space covered. See page 38, figure 28.
In figure 122 the couched lines are not placed close

together, but allow the material upon which they are
laid toshow between them; when so arranged they
must be placed directly upon the foundation and
FIG. 122. not upon the linen which is after-
ward appliqued upon the silk or velvet foundation.
Figure 123 shows still another variety of plain couch-
ing. To work: Lay down perpendicular lines of filo
floss, arranged close together, then, wide apart and hori-

zontal, place single lines of purse silk or goldthread, fig. 123.
and secure them at equal distances by a couching stitch. Wherever a

couching stitch is taken work in a spangle or bead.
Shell Couching" is a flat couching in which the securing stitches
are arranged in half curves, and bear some resemblance to the shape of a
scallop shell.
The preceding comprise all the important varieties of couching, though
the possibilities of new patterns and combinations are almost numberless,
and the earnest worker will not be satisfied with being a mere copyist, but
will never willingly stop short of the creative point. The illustrations
given will form a good basis for further developments.

Long Stitch is a name given to satin stitch when worked across
the design without any under padding.
Bullion Knot. — This stitch is used in church embroideries, and
forms a raised roll laid along the surface of the material. To work: Secure
I
':.TE-7^-— '
; ;, n the thread at the back of the work and bring it through to
fi the front. Put the needle into the material and bring it
M out so that the point is close to the thread, and take up

from one-quarter to one-half inch of material on the needle,
according to the length desired for the knot. Wind the
thread around the point of the needle from ten to twelve
times — see figure 124 — hold the needle down with the left
KiLr. 124. thumb and wind with the right hand. Still holding the
needle down, pull it through the material; pull up the thread to where
die needle was inserted, and allow the knot to lie evenly along the sur-
face; put the thread through to the back at this place, and repeat for a
second bullion knot. In the illustration two bullion knots are arranged
as an oval, but they can be laid down upon the material as single knots, or
in any other device.
Chain Stitch. —This stitch was an important factor in ecclesiastical
embroidery of the fourteenth century, and is again coming into use for this
class of work. To make: Bring the needle from back of the material up
in the line to be embroidered; put the needle down close to the place at
which it came out, but on the right side; repeat; hold the thread down with
the left thumb, and bring the needle out upon the line but one-eighth of an
inch below where it was inserted, and ^z/^r the thread held down; repeat
until the pattern is finished.
Outline Stitch. — See Chapter V.

In ecclesiastical embroideries the designs, if small, should be clearly
stamped on the unbleached linen previously spoken of, after which the
linen must be stretched firmly in a square frame large enough to take the
entire design; or, if the pattern is too large to be
easily managed in this way, the design maybe stamped
on the linen in sections, worked, and then cut out and
applied to the foundation, piece by piece. In either
case the entire design should be stamped on the real
foundation as well as upon the linen, in order that the
worker may the better see where and how to apply
the cut-out After the design has been
design.
worked on the and then cut out and applied to
linen
the foundation, the edges should be finished with FIG. 125.
one or two cords couched around the outlines. We here show working
details of a design intended for ecclesiastical purposes. See figure 125.
"In church designs commence the work with raised couchings or
all
with the laying down of gold threads. These lines of gold thread are
usually worked so as to follow the wave of the part they are ornamenting.
Thus, the flower shown in figure 125 would be entirely wrought with Ijnps
of gold or silver threads, placed as the shading of the pattern indicates.
Figure 125 is much reduced from the natural size; an ornament so small as
9.
it is represented rarely has threads laid down. Wavy lines of gold are
more used than straight ones, and these are shown in the working detail in
figure 126 Through a hole made in the foundation

and are managed thus:
linen bring to the front of the work from the back two pieces of gold twist
of equal size and thickness, and make a bend or curve in them by curling
them once around the stilletto after which lay them on the foundation with
the curve still in them, and catch them down with the holding thread
thrown across both at once. Lay the gold twist so curved between each
securing stitch [see figure
126] on the space it is to
cover, in an upright direc-
tion, then turn and bring it
down, turn again and bring

it up; and so on until the
space is filled. These lines
need not be laid close to-
gether, but with a space

between them equal to one
line in width, and this space
may be filled in with a line

laid afterward, the gold twist
lying flatter on the surface

when so arranged than when
laid down in consecutive
FIG. 126. lines. Turn the twist wher-
ever possible; but in many places this cannot be done and it must be cut
and fastened at the back and again commenced. When angles and curves
are being laid, it is a task of dexterity and patience to lay the lines and
turn them so as to fill the spaces with the fewest breaks. The fastening
threads should be bright-colored purse twist.
In figure 126 these fastening threads are shown worked in two ways.
In the space marked c they are arranged so as to form open diamonds,
while in the long narrow space marked d every other fastening thread
forms part of a straight line arranged across the work. An illustration of
the two ways of using filo floss is also given in this working detail. In a it
—
is laid in flat lines across the surface of the foundation and caught down
with lines of purse twist of a contrasting color to the floss and laid in a con-
trary direction. These are fastened above the floss silk by catching stitches
of silk brought from the back of the work and returned there. The lines of
purse silk are laid over the floss silk at nearly equal distances from each
other, and are intended to imitate the veinings of a leaf, the threads that
catch them down being of a silk matching them in color or of a contrast-
ing shade. The space marked b shows the mode of working the floss silk
when it is passed through the foundation and not laid upon the surface. It
is a long stitch, but worked so that each stitch is placed in a slanting direc-
tion, and does not follow the preceding one with the regularity of a straight
line. The long stitch is more fully illustrated
in figure 127, where it is shown considerably
enlarged. The small space is filled with
black silk lines, which are secured by three
lines, two of gold thread and one of silk.
The border to the detail is formed of two lines
of thick silk cord of harmonizing colors, both

caught down with the same stitch. The sin- fig. 127.
gle cord that surrounds the piece of work between e and b \s d. silk cord
around which a fine gold thread has been twisted, and which is couched
down with a silk thread. This working detail will be an extremely useful
piece for a beginner to try her hand upon, as it combines several of the
stitches that are used in ecclesiastical embroidery."
Another design that is also simple is shown in figure 130 on page 128.
This design ismuch reduced from the working size and is suitable for the
ends of scarf for flower stand. The main portions of the pattern are laid
in with floss couched in various patterns, as brick, flat, diamond and basket.
The stems are laid in with gold thread couched down with red purse silk;
all the design except the five branches at the top, are first worked upon a
linen foundation, which is then cut out and applied to the article to be
decorated. The outer edge of the pattern is then finished with two cords
a gold cord and a cord of black silk couched close to it. The five branch-
ing fibers are worked with gold thread and spangles upon the material
To secure this design enlarge with a pantagraph four or five times accord-
ing to the position it is to occupy, or it can be used in connection with
some other design, as powderings over a surface, in which case it may bg
worked on a smaller scale than where it is used alone as a set design.
Figure 128 shows a reduced design
for border and powderings, suitable fof
1 altar frontals or altar
the large fleur-de-lis in long stitch

three distinct shades of green
edge with blue purse
curtains.
silk.
floss,
Fill
Worjc
wit);^
and
the
band in the center of the fieur-de-lis
with crimson floss laid in perpendicular
lines secured with gold thread; edge
with black knitting silk. The various
tendrils or sprays springing from tj>e
powderings are made of gold threa4

laid in lines and caught down with crim-
son purse silk. These lines of gold
thread should have a line of floss lai4
close to them, and following their out-
lines; this is not shown in the illustra-
tion, but it should always be used when
FIG. 128. gold thread is laid as an unornamented
spray. Work the small half fleur-de-lis figures ill long stitch witji flps§.
Their colorings are alternately crimson and green; the crimson shading to
pink, the green from dark to light. Surround them with black knitting silk,
and with branching fibers of gold thread and floss. The small circles are
formed of spanigles, four to each circle, caught down with green or red purse
yilk. Work the border upon a band of rep silk of a darker color than is
used for the body of the curtain or frontal. The wheels or stars on the bor-
der should be worked with gold thread or yellow purse silk, caught down
with black silk. The leaves are worked with shades of blue in long stitch,
and the stems and tendrils are formed of gold cord. Add small spangle^
where shown in the design.
The three shades of blue, green and rose color used should be perfectly
distinct from each other, and not selected as in ordinary embroidery, so
'
CHURCI^ and BULLtON EMl3ROIDER!ES. 127
that one shade blends imperceptibly into the other; for although harmon-
izing, each shade must be distinct from the one above and below it.
Figure 129 is another valuable working detail. It should be carried

out as follows: Lay gold cord or thread in
waved lines, as at A aa a, and catch these down
with even rows of purse silk. . Lay down the
head of the seed pod with gold thread, as at A,
but the lines must here be straight. Fill the

stalk, B B B, with green floss of three distinct
shades; work in long stitch. The leaves are
of the same, except the veins, e e, which are
of yellow floss; d d, representing the soft hairs
on the stalk is done with green floss; the cen-
ter of seed pod, k, work with two shades of
pinky red floss, in upright lines and surround
with a silk cord; H H, work with silver thread
twisted around it and caught down with pale

blue silk; in the inside of the cord place a nar-
row black cord, and catch it down with black FIG. 129.
thread. The two succeeding oval cords laid upon the goM cord are of yel-
low silk, one thick, l, and one small, m, but both cords have a silver twist
around them. The outside cord, g, is also yellow, but thicker thah either
of the others. It is caught down with black.
The center cross for altar frontal shown in figure 112, on page 116, is
more elaborate than any design we have given, and requires excellent
workmanship. This design differs from those shown in figures 125, 128 and.
129 in that some of the parts forming it are worked directly on to the silk
foundation, while other parts are appliqued on to velvet of a different color
than either the foundation or the colors used in other parts of the design.
The stitches on the cross should be worked upon white silk, the circle upon
which the cross rests should be of deep crimson silk, upon which the flori-
ated ornaments are to be appliqued. Work the boss forming the center o
the cross, and containing the center jewel, on to a linen forndation and
applique it on to deep blue velvet, which in turn must be plac^'^ d" the
white silk foundation.

The cross is shown as it would be in the embroidery frame; when re-
moved and applied to the curtain or frontal, rays of gold thread or yellow
silk surround its outside circle, and branching fibers proceed from the four
limbs, with spangles carried up each side of them. The five bosses are
made of Surround each
jewels.
jewel with gold thread and with
rays of green floss, shading to
light green. Form the body of
the cross, as previously stated,
with white silk. Ornament the
=o»^^» cross with couchings of gold
* «> Nv thread, laid in diamond pattern
• and caught down with spangles
and red sewing silk; also some
portions of the cross may be or-
namented with straight lines of

floss. Arrange the outside lines
in brick couching with yellow silk

or gold thread.
The ends of the cross that
appear beyond the circle cover
only partially with embroidery;
the foundation of blue velvet, the
same color as that used around
the center boss, leave visible. The
crowns finishing the ends make of
FIG. 130. gold thread laid upon the velvet,
as also the thick line from which they proceed. Work the leaves in crimson
silk,shading to pink. The floriated ornaments that proceed from the cross
are first worked upon a linen foundation and then appliqued upon the
crimson silk circle enclosing the arms of the cross. The outside leaves of
these ornaments are embroidered in long stitch with three shades of green
floss. Fill in the lower part of the space they enclose with crimson silk
worked in long and ornament with knots or spot stitch formed of

stitch,
gold-colored purse silk. Above this lay lines of gold thread, and catch
them down with crimson silk. The points which finish the ornament should
be finished with pale blue silk in long stitch. Carry pale blue cords around
the edges of the ornament to cover the stitches connecting them to the silk
foundation. The scrolls that fill in the rounds form of lines of gold thread
caught down with blue silk, and terminate with spangles.
The designs so far given illustrate the various ways of using filo floss
in flat church embroidery. Thus, it is either laid down in even lines of one
shade of color, and kept in position with gold or silk cord placed in devices
over it, or it is worked in long stitch with three shades of color. These
shades are distinct from each other, and are worked with the lightest shade
uppermost; they never blend together, but they match in tint. If contrasts
are used, such as pink and blue upon the same leaf, they are divided either
by a line of black knitting silk or gold thread. In ecclesiastical embroi-
dery no regard is paid to copying any design in its natural colors; the de-
signs are never intended as realistic, but as conventional ornaments, and

blue, lilac, crimson and yellow are used about leaves and other floral orna-
ments as well as green; though in examining specimens of old work it will
be seen that green and gold are more used about the powderings and bor-
derings than brighter hues, which are found in all their glory in the picture
centers. The faces of figures are worked in satin stitch with one or two
shades of flesh colors. The shade and contour of the features are managed
by the direction given to the stitches, which follow the lines that would
indicate them in an engraving. Chain stitch will undoubtedly soon be
employed again for working faces in the modern as it was in the ancient
work.
One of the richest and most popular stitches for couching background
is the spider wheel, described in "Stitches for Ecclesiastical Embroideries."
The wheels are usually made about an inch in size, and when the whipcord
which forms the raised spokes of the wheel is covered with fine gold thread,
couched down on each side of each line of cord, in such a manner as to
outline each spoke of the wheel, the effect is indeed rich and beautiful.
Upon rich fabrics open couchings are frequently laid for borders. These
are made of diagonal lines of gold caught down with crosses of colored
silk, and the center of the diamond spaces are filled in with spangles, beads
or French knots.
t.^0 DAINTY WORK FOR PLEASURE AND PROFIT.
CHURCH WORK ON CARDBOARD FOUNDATION.
Cardboard foundations forming this variety of work are used for sacred
monograms and emblems, and are invaluable when clear, distinct and raised
work is desired. This work is employed in church furnishings only for
such minor details as the emblems on stoles, bur-
ses, alms bags, mats, book-markers and sermon

cases, it being considered too severe in outline and
too mechanical of execution for altar frontals and
the vestments of the church. Being worked with
silk of one shade of color throughout, and over
rigid outlines, it requires no artistic taste in the
execution, but it must be arranged with precision
or it will entirely fail in effect. The designs
selected should be simple, clear in outline and
^^^" ^^^' The
correct as to ecclesiastical form. usual de-
signs are the Latin cross, the initials of our Savior, triangles, circles and
other unfloriated devices. Some of these are shown in figures 131, 132,
133, 134, in their plain cardboard foundations. Figure 131, the triangle,
is an emblem of of the Trinity, as is also figure 132, the circle. Figure 133,
the Latin cross combined with anchor and circle, is an emblem of atone-
ment and patience, and figure 134, the Greek cross surrounded by triangle
and trefoil combined, is a symbol of the
Godhead. The manner of working is as
follows:
Select the design and trace it upon
thin Bristol board. Color the design yel-
low and cut it out carefully, leaving little
supports, that are called stays, to any part

of the letter or emblem that is too fine to
support itself before it is caught down in
its position. The stays in the designs fig. 132.
given would be required only to keep the extremities of the Greek cross,
figure 134, in position. A piece of gray hoUand, sold expressly for this
purpose, is then tightly framed, and the material to be embroidered secured
to it. If velvet or a large piece of plush, paste it down, if silk sew on with
great care, and sew round the center when the emblem is arranged. Put
the design cut from the cardboard into position and carefully tack it to
the foundation, and as soon as every part is secured cut away any stays that
have been left. The embroidery is now commenced, and is done either
with yellow purse silk or with gold twist of short
lengths. The manner of working is shown in figure
136. Bring the needle up from the back of the frame

on the left hand side, and pass the thread over the
cardboard, the point of the piercer being used to lay it
flat; insert the needle on the right side in a line par-
allel to the point where came up. This operation

it
requires great nicety. The thread or silk must be

kept evenly twisted, and each line laid down with
great regularity, as the entire work will be ruined
with one irregular stitch. When the cardboard is
covered, outline the design with a couched line of fig. 133.
blue or red cord or gold thread, as shown in figure 135. This couched line
will take away any unevenness of outline that may have been made in the
working. The material is then cut away from the frame and the hoUand
from round the edge of the embroidery at the back. Figure 136 is an illus-
tration of a single letter worked in this manner. The exact shape and size
is first cut out in cardboard and laid on the

foundation and carefully sewed to it, the arm
of the "r" requiring very delicate adjustment.
Lay a line of carpet thread down the center of
the letter and fasten it, and cover all the card-
board over with lines of gold thread or yellow
purse silk. Figure 135 shows the manner of
working interlaced letters and adding the
couched line around them. Interlaced letters
FIG. 134. are cut in one piece and no stays are required.
They are fastened to the foundation and covered as described with the
gold thread. No shading is necessary in this style of work, though a vari-
ation in coloring devices is permissible. Thus, in figure 137, "I. H. C."
placed upon a cross, which can be used for a sermon case, book-mark or
10
alms bag, is worked as follows: The cross is worked in gold purse silk or
gold thread, and couched round with a line of black silk. The letters
"I, H. C." are worked in crimson silk and couched round with pale blue
silk. The entire design should be placed upon a background of green or
blue velvet. The "I. H. S." of figure 139 is
arranged for a banner. The I should be in
gold silk, the S in blue and the H in red. All
the letters should be outlined with a couch-
ing of black silk. The letters are to be
placed upon a white silk banner. The wreath
should be worked in satin stitch, flat, without
under padding.
These small pieces of church embroi-
deries will be very welcome, as ladies can

easily do them at home. For book-marks a
FIG. 135. thick corded ribbon should be used, one and
one-quarter yards long and from one to three inches wide. The ribbon to
be embroidered should be tacked to the framed hoUand, and the design put
on at its lowest part six inches from the end, so as to allow five inches or
more for turning up at the back to hide the lining. Both ends should be
embroidered, one design on the right and one on the wrong side of the rib-
bon, otherwise the work will not fall right when the marker is folded for
use. The marker should be finished with heavy gold fringe.
Alms bags are made in two shapes, one, a regular bag, hung
upon a ring or hoop of brass, and made of a straight piece of
velvet eleven inches wide and nine deep, joined, gathered and
sewn into a circular velvet bottom, stiffened with cardboard;
the other, the ordinary hand bag, nine inches in length, six in
width, with a front lap six inches long, upon which the motto
or emblem is embroidered. The bag is lined with white silk,
covered with colored velvet sur- îg, 136.
but any part that shows is
rounded with an ornamental cord of gold and silk. The upper part of the
alms bag is either curved or pointed. Alms mats are made to fit the plate,
and the monogram ornamenting them worked so as to be contained in a
square. The ornament upon a stole consists of Greek crosses worked with
gold silk. Sermon cases are made of velvet and lined with silk, and should
be covered over a cardboard foundation. The burse is used to keep the
corporal and smaller eucharistic linen in, and is a pocket made of silk over
a cardboard foundation and ornamented

with needlework, and in shape is a square
of from ten to eleven inches. The colors of

these ornaments vary with those used upon
the altar, which are as follows:
White for festivals of our Lord, the
Virgin, Saints, and for Easter; red for Mar- |
tyrs. Ash Wednesday and last three days ^
of Holy Week and Whitsuntide; blue for
week days after Trinity, and indifferently- K^
used with green on ordinary Sundays; yel ^
low for Feast of Confession; violet, brown
and gray for Advent, Lent and Vigils;
FIG.
black for Good Friday. i^^:
Figure 138 shows a very pretty border, snitable for flower stand cover.
It can be easily worked in gold thread. For the scroll line lay down a
gold thread and secure it at intervals of one-sixteenth of an inch with red
purse silk. Cut the floral portion of design out of cardboard and paste
upon the foundation and work over with gold thread, as previously de-
scribed.
The lines enclosing the scroll device may be worked with three shades
of green and three shades of red
purse silk. Couch down the straight
lines and work the small pattern
between with outline and spot
stitches.
Figure 113, page 118, is also a

very suitable design for either gold
DESIGN FOR BORDER. FIG. n,8. -, ^1 i
or silver thread or bullion, and will
in- , -i,
look particularly well wrought out on either blue, green or crimson velvet.
The leaves may be treated with diamond couching in gold thread; the
flowers may be worked with the same material over a cardboard foundation.
BULLION EMBROIDERY.
Bullion work is sometimes used for church embroideries in place
of the purse silk and gold thread over cardboard, and the treatment is the
same, as concerns the designs and the laying of the threads, except that the
bullion is not used in the needle, but is cut in lengths the exact size of the
width of design to be covered. Thread the needle with a yellow silk,
waxed; bring it up from the back of the material, close to the cardboard
foundation; thread one of the cut lengths of bullion on the point of the
needle and put the needle down on the oppo'
site side and pull through to the back. This
operation brings the bullion into position, and
if the length has been correctly measured the
bullion will lie smooth and even across the
cardboard; but if it has been cut too long or
too short, the work must be done over again,
as a single poor stitch will ruin the entire work.
After the cardboard has been covered, the
design should be outlined with bullion of a
different variety, or with other colored cords.
Bullion embroidery is also used to ornament
the regalias and banners of different societies,
and for heraldic devices. The designs for
these purposes may be secured from medals,

etc., in possession of the society for which the
work is to be made. Perforated patterns can
FIG. 139, be made for stamping the different parts of the
design. For collars and other society vestments the cardboard foundation
is pasted directly on the velvet forming the collars and covered with the
bullion. Ivy leaves, arranged as a vine, is a favorite design for collars. The
leaves are cut from cardboard. Sometimes one thickness and sometimes
two thicknesses of the cardboard is used for a leaf. After the leaves of the
pattern have been placed in position the bullion is worked over them,
beginning at one edge of a leaf and ending the bullion in the center. One
side of a leaf finished, the reverse side is then worked, and a thread of
another shade of bullion is carried down the center to form the veining.
CHURCH AND BULLION EMBROIDERIES. I3S
After all the leaves are worked, the stems and tendrils of the vine are to be
worked directly on the velvet, without any cardboard foundation. When
outline stitch is desired for this purpose the bullion should be cut just the
length of a stitch, and each time an outline stitch is taken with the threaded
needle a piece of bullion should be threaded on the needle.
In making shields, eagles and other large devices, the foundation is
cut out of cardboard, and some portion of the design will have four or five
thicknesses of cardboard, one over the other, and each succeeding piece a
size smaller than the
first. This gives a
more raised and
rounded effect to the
work.
In making ban-
ners, a piece of stout
hoUand should be
tacked in a frame, and
the entire design
should be stamped
upon it and worked.
The same design
should also be
stamped upon the
silk composing the
^^^- ^ô-
banner, and this
should be stretched in another frame. As fast as one part of the orna-
mentation is finished it maybe cut out of the holland and tacked into posi
tion upon the banner and finished with a couched silk or gold cord.
The mottoes upon banners look best made of bullion over a cardboard
foundation. Though amateurs sometimes embroider them with gold thread
upon the silk, the effect is not nearly as rich and heavy. There are several
kinds and sizes of bullion, and introducing a variety into the same piece of
work relieves the monotony of a design worked in one color.
The trade terms for the different patterns of bullion are, checked,
smooth, and spiral, and they come in bright gold and burnished gold. The
same is true of silver bullion, which is made in the same patterns as the
gold. Where the cardboard foundation is pasted directly on to the silk or
velvet foundation, Chase's liquid glue is used for the purpose.
In finishing banners, an interlining of crinoline should be put in; the
sides should be finished with a flat band of gold lace and the ends with
heavy bullion fringe. When hung on a pole, the top should be finished
with gold cord and heavy bullion tassels. Figure 140 shows an Easter ban-
ner. It consists of three banners suspended from a standard. The founda-
tion of the three banners is white corded silk. The cross on the center
banner is made of blue silk filled in
with basket couching of gold bullion.
The lily decorating the cross is made
of silver bullion worked over card-
board.
The cross and circle on the
small banner to the left is made of
couchings of three varieties of gold

bullion, checked, smooth and spiral,
couched directly on to the white sV-k
foundation with blue purse silk. The

letters on the banner on the right are
worked with silver bullion on a blue
silk foundation. The letters are wor]^ ed
over a cardboard foundation, as yn-c-
FiG. 141. viously described. The scarf of silk

draping the standard should be white China silk edged with gold bullion.
The Bleeding Heart is an emblem peculiar to the Church of Rome.
The colors for working are three shades of red, three of deep green, and for;
the rays surrounding it gold bullion. Figure 141 is a very good working
model for this emblem, but it should be enlarged five times the given
size.
Figure 142 shows emblem suited for small banners. Work the passion
flowers in three shades of purple purse silk. Couch around the edges a
cord ui black Icnittir.g silk. For the Icives use three shades of green. For
the letters use purple, crimson and green silk. The letters should be made
over cardboard; the wreath should be worked on holland and appliqued

to the foundation.
The illustrations and directions here given will certainly be a valuable
assistance to the experienced worker, and we trust that the explanations
will be sufficiently clear to be of service to the beginner.
In parting, a word of advice to the embroidcress who is ambitious to

undertake church or heraldic devices, may be "the right word in the
right place.". It is this, then: Practice diligently and patiently the differ-
ent couching stitches explained in this chapter. Stretch a piece of material
in your embroidery
frame, and with gold
thread and different
kinds of silk threads

work the couching
stitches, and while they
may seem simple in the
reading, you will be

astonished at the skill
required to lay the

threads evenly in posi-
tion and to couch over
them in the various pat-
terns shown.
There is no royal
road to this skill. Noth-
ing short of faithful
FIG. 142.
practice, and patience
unlimited will carry the worker to the goal of success. Next in importance
is the long stitch. This should also be practiced until the threads can be
at once placed at the exact angle desired, and in even, regular lines.
PLATE DOYLEY,
DRAPE. DRAPE.
CHAPTER X.
BERLIN EMBROIDERY.
ERLIN EMBROIDERY was, anciently, as much in vogue as is
the flat or art embroidery of the present day. In its original

form, that wrought on canvas with wool or silk, it is still used
is,
for overhangings for mantels, borders for table covers and cur-
tains, and for furniture coverings. But the modern use of Berlin
work has necessitated some modifications in the method of work-
ing. Several of the stitcH'^s formerly used exclusively in the
manufacture of Berlin work are admirably adapted for use on plain
and checked fabrics, namely cross stitch, tent stitch and a combination
of the two, also satin and long cross. Perhaps the most popular form of
this work is that wrought out with simple cross stitch on checked or square-
meshed fabrics, such as Bargarren art cloth, huck-a-buck, Devonshire art
cloth, checked lawns, scrim and gingham. On these fabrics beautiful geo-
metric, floral or mythological designs can be worked with linen or silk
threads, and most beautiful results obtained for a trifling outlay of time
and money.
The work maybe done with one color, or with a series of shades of any
given color, as three or four shades of yellow, from light to dark.
Bedroom and dining-room curtains made of scrim, and having a border
of cross stitch done with filo floss or linen floss, can be easily accomplishedr
as the coarser qualities of scrim are quite equal to the regular Berlin canvas
for the purpose. Beside curtains, toilet sets, tidies and towel ends may bs
worked to match.
Figure 143 shows a border of dragons that is suitable for use on cur-
tains, bedspreads, shams, stand and dresser covers, all embroidered to
ft
BERLIN EMBROIDERY.. 141
When Berlin work is used to decorate coverings for furniture, the pat-
tern should be formed of rope silk or filo floss, and the grounding stitches
done with Berlin wool. Patterns for this purpose should be conventional,
and the colors used dull, dead shades for the design and black or brown
FIG. 144.
wool for tlic grounding. Figures 144 and 145 show a chair upholstered .vith
this work, and the detail of pattern with the proper colorings. As will be
seen, very little grounding will be necessary. The design is worked in cross
stitch, and the grounding is done with Irish stitch. If it is desired to work
the design upon a fabric instead of canvas, Devonshire art cloth will be at
once suitable and artistic. After the work of embroidery is finished, it will
be well to have a regular upholsterer put it on the article to be covered.

The cost for this part of the work will be but a trifle, and the result will be
sure to justify the extra expense. For recovering odd pieces of dilapidated
furniture no work is at once so durable and inexpensive, providing the em-
broidery is done at home.
The genuine Berlin embroi-
dery is always worked on can-
vas, of which there are three
styles used, namely, Berlin
canvas, Penelope canvas and
Java canvas. The latter is a
small, square -meshed woolen

canvas, which is made in white
and colors. The design is first
worked in cross stitch or tent
stitch with silk, after which the

background of canvas is filled
completely with grounding

stitch done with Berlin wool or
crewels. Following we give a
list of the principal stitches em-
ployed, also a few of the com-
binations.
A very little practice will

suffice to render the learner
]QC Bark oIi\o. XX Sledium shade, mt Light olive. BM Dark red
«i-,bluo. S52J Middle shada of red or blue. £Sa Light red 0- familiar with the stitches and
DETAIL OF FIG. 144. FIG. 145. Combinations shown here. The
materials generally used for forming the stitches are Berlin wool, German
wool, crewels, zephyr, purse, knitting, etching and rope silks, also linen
threads and working cottons. The wools are used for filling in back-
grounds, the silks, smaller size linen threads and working cottons are used
to work the designs. Linen and cotton threads are only suitable for work-
ing patterns on meshed fabrics.
BERLIN EMBROIDERY. 143
The stitches used formerly for Berlin work were cross, cushion, satin,
tapestry and tent, but these have been added to in late years, and now
include German, Irish, plush, leviathan — single, double and treble — and
fancy stitches combined from the above.
Back Stitch.— This stitch is made like the ordinary back stitch
taken in plain sewing.

Cross Stitch. — This is the principal stitch used in Berlin work. It
is used not only for working with wool on canvas, but for embroidering with
any material that will thread, upon cloth, silk, satin and velvet. It was
much used in the Egyptian embroideries. This stitch can be worked in a
|lb frame or upon the hand. That done in a frame

^ generally looks the best. Cross stitch is a
double stitch taken over two threads, the
object being always to form a perfect square.
The thread is taken in a slanting direction
across this square from left to right, the needle
urmniintinHnnnin wnirfinir' t'S'^g brought up on the lower left-hand corner,

CROSS STITCH. FIG. 146. put jn at the upper right-hand corner, brought
up at the lower right-hand corner, and crossed back to the upper left-hand
corner. When grounding in cross stitch, work the first part of the stitch in
rows along the canvas, and cross it when returning. When using the stitch
for a pattern, finish each stitch at once and commence from the bottom on
the left-hand side.
Long" Cross Stitch. — This is a variation of cross stitch, the two
stitches forming it not making a perfect square ^Mt
but a long stitch crossed. This managed by ^^^^^
is
taking the silk or wool over a greater number of ^S^^

threads in height than in width — four threads in ""
height to two in width being the correct propor- M

tion, as shown in figure 147. This stitch is suit-
able for geometrical patterns, and can be varied, ^

as shown in figure 154 by silk cross stitches taken J
over the two long cross ones; this A'aricty of the ^
stitch is particularly suitable for filling large
spaces in grounding, as it covers the surface rapidly and effectively.
Persian Cross Stitch.— The first half of the stitch is a long
stitch taken over six horizontal threads in a slanting direction and two in
height; the second is the last half of cross stitch,
over the two center threads of the long stitch, from
right to left. See figure 148.
Cusiiion StitcFl. — One of the ancient names

given to cross stitch.
Damask Stitcil is a variety of long stitch. It
is taken over four horizontal threads of canvas, or two

stitches, in a slanting direction and over two upright
threads. The variety is that the remaining sec- PERSIAN CROSS STITCH.
all
end lines of damask stitch are taken over the two fig. 148.
lower threads of the upper line, and two new threads, instead of all the
threads being new.
German StitcFl. — This is a stitch formed from a tapestry and tent
stitch, being worked alternately in a diagonal line across the canvas. The
tapestry passes over four threads, the tent over two — see figure 149. In the
^MlHUtrniyH^^fe succeeding line the tent is placed under the tapestry and
JQE the tapestry under the tent, but so that the canvas shows.
This stitch is suitable for
borders where the founda-
tion can be left exposed,
but is rarely used for
patterns. See figure 149.

InSlplfirirllrifintf Tapestry Stitch
GERMAN STITCH.
FIG. 149. is used in embroidery as
well as in Berlin work. As will be seen from tapestry stitch, fig. 150.
figure 150, the stitch is raised from the canvas by means of a padding of
braid. This padding is a great improvement to this stitch, as otherwise it
lies quite flat, not being crossed. It is worked over two horizontal threads
and into every space left by the upright ones.
I rish Stitch is used for grounding or for patterns formed with shades
of color in Vandyke crossing. Irish stitch is a long stitch taken over five
or more threads of canvas in an upright direction, and should be worked on
fine canvas. Its only peculiarity consists in being alternately started from
BERLIN EMBROIDERY. M5
the last row of canvas and from the third. This allows the stitch to end in
one line where the center of the next line comes, and gives a pleasing
variety to ordinary groundings.
Leviathan Stitch. —A modern Berlin stitch, sometimes called "rail-

way," because it is considered to cover the canvas quickly. It requires to
be worked on large sized or leviathan canvas. To work: Four squares
must be taken for one stitch, and a cross stitch made into the four corners
of the square. The wool is then carried across the center of the stitch
from top to bottom, and then from left to right, so that it passes through
all the outside holes of the square forming the stitch. It is worked all
together, and each stitch is made as to crossings exactly the same, or an

even appearance to the whole will not be given.
Varieties of leviathan are formed by working over six or eight threads
in height and as many in width. These require a double crossing at top
and side for the sixth thread, and a double crossing and a straight stitch top
and side for the eighth. These varieties are called double leviathan and
treble leviathan. See figure 151.
Double Leviathan Stitch.—Work over eight square threads, or

four square stitches. Make a cross
stitch into the four corners of the
square, then a long cross stitch to
fill in the holes on each side of the
cross stitch, and lastly an upright
cross into the middle stitches in
length and width of square. Fill in
all the square in the same order or

the uniformity of the pattern will be
destroyed, and put a single long
stitch between each square, to fill up
the part of the canvas that is left
bare. See figure 151. When com-

mencing a new line of stitches on
the canvas make a half stitch to be-
gin, so that the center of the second double leviathan stitch, fig. 151.
line of stitches does not come under the center of the first line. Com-
mence with a half stitch at each alternate row. This stitch should be
worked upon leviathan canvas, and it is not suitable for groundings, and
should only be used for geometrical designs.
Treble Leviathan Stitch. —^^To work this stitch a square of eight
threads of four stitches is required. The work starts from the center and
is taken to one of the corners, passing over four upright threads and four
horizontal ones in a slanting direction. The next two stitches are placed
one on each side of the first, crossing over four horizontal and two upright
threads, and vice versa, all finishing in center hole. The four corners are
thus worked, and the stitch is completed by taking a cross stitch over the
center hole and one in the center of each side of the square. When repeat-
ing this stitch the outside crosses are worked only in every alternate
square of eight, as there is not room to make one at every stitch. The
crosses should be worked with a contrasting shade.
Long" Stitch. — See satin stitch.
Tent Stitch. — To work this stitch requires finer canvas than that
used for cross stitch, the silk or wool being laid on the canvas once instead
of twice. Tent stitch is shown in fig-
ure 152 and is simply the first half of

cross stitch, the silk or wool passing
over one or two threads of canvas in
a diagonal direction.
Raised Stitch. —This stitch

is used for raised woolwork, and can
i^ be worked to any height by using
TENT STITCH. FIG. 152. various sized meshes, and then cut
and combed until the wool attains the softness of velvet pile. To make:
Use a No. 4 knitting needle. The first stitch is a tent stitch. Bring the
needle up where the stitch began, push the knitting needle over the tent
stitch and make a gobelin stitch over it, putting the needle in two threads
above the place where it came out. It is now at the bottom of the next stitch
to be made, which is a tent stitch. Repeat the process described above.
The work is commenced from the bottom, and the knitting needle left in
lowest row until the row above it is completed; this prevents any dragging
of the wool. Cut and comb out all the loops when the work is completed.
Berlin emSroiidery.
Satin Stitch in squares. — The squares are made over six threads
in length and breadth and filled by unequal length satin stitch. The
direction of the stitches are altered in
each alternate square.
As will be seen, satin stitch is sus-
ceptible of many variations. Working

in alternate colors will give a beautiful
effect of shading, and is most effec-
tive where the design is geometric in
character, and is worked out with black

silk. See figure 153.
Figure 154 shows a combination

of long cross stitch and cross stitch.
This design is well adapted for filling satin"stitch'in squares, fig. 153.
backgrounds; for working, see detail of long cross. After the long cross
stitches have been made with the
Berlin wool or crewels — using
for the purpose two contrasting
shades of a dark color — work over
them in sections, forming squares,
cross stitches of bright colored
filo floss, three strands.
In the preceding pages of
this chapter we have tried to give
those stitches and combinations

that are more commonly em-
ployed in Berlin work, either on
canvas or meshed fabrics. Lim-
ited space forbids the giving of
CROSS AND LONG CROSS STITCHES. FIG. 154. , -i j 1 j • 1 •
•^
.
detailed working designs and we

have therefore, given only sufficient to illustrate the different stitches and
their applications. There is much scope in this direction for the exercising
of personal ingenuity, as the different combinations that can be made with

the stitches here illustrated are almost unlimited.
t48 DAINTY WORK FOR PLEASURE AND PROFIT.
BEDSPREADS AND PILLOW SHAMS.

CHAPTER XI.
RAISED EMBROIDERY.
AISED EMBROIDERY is a subject that will inter-

est all lovers of decorative needlework, and we
have purposely delayed its discusssion until the
higher forms of art needlework had been thor-
oughly mastered. It is a style of decoration that
should be indulged in very sparingly, as too much
of it in a room will cheapen rather than enhance the effect
of the entire furnishing, while if prudently and sparingly
used it will give a pleasing variety to the other decorative
work.
Raised embroidery was not designed for its utility, evi-
dently, as to use it means to ruin it. Therefore do not employ it to decorate

cushion covers, tidies, or, in fact, any article where the embroidery will be
subject to the least wear, but reserve it for the embellishment of mirror
frames, panels for the walls, over-mantel curtains, easel pieces, table banner-
screens, and for the outer covering of handkerchief and glove sachets. This
style of embroidery must never be skimped as to material nor slighted in
the workmanship if satisfactory results are desired.
There are several flowers and fruits that are especially adapted for
raised embroidery, and we propose in the present chapter to select those
designs that are most effective when finished, and that can be used for the
greatest variety of purposes, as in the pages of a work of this kind it will
be quite impossible to give a specific lesson on all the fruits and flowers
that can be used for this style of work.
Ribbon work, sometimes called "roccoco," is one of the oldest forms
of raised embroidery, and was much used in the last century; it has had,
from time to time, a revival of popularity in this. At first the ribbon was
150 DAINTY WORK I'OR PLEASURE AND PROElt.
RIBBON WORK-SEE PAGE 151.

RAISED EMBROIDERY. 151
worked on the material without any effort at raising it; a narrow ribbon
threaded in a long-eyed needle being used for this purpose. From this to
.single and double roses was but a step, after which followed raised cat-tails,
golden rod, coxcomb, sumac, snowball, fruits and varieties of the lily fam-
ily. We will discuss first the various forms of
RIBBON WORK.
The earlier ribbon designs were worked out with a narrow China ribbon
about one-half inch in width. This ribbon was dyed with beautiful shades
in art tones, as old blue, dead rose, sage green, etc. Some of the ribbons
were shaded from light on one edge to dark on the other, and thus formed
effective shadings.
The designs for working the ribbon were of the smaller flowers or of
the larger ones drawn in miniature and arranged as Kensington designs are
now made. Also Louis XVI designs — arrangement of flowers in various
devices — were designed on satin bed coverings and door hangings in de-
tached groups or in continuous garlands around the borders, with clusters

powdered over the center.
To work: For the leaves, thread a long-eyed needle with a green rib-
bon, bring it up from the back of the material, at the point of the leaf, and
put it through to the back again at the base of the leaf; this, in case of
long-pointed leaves, and also for the petals of star-shaped flowers. Where
the leaf is broad, the ribbon is worked in satin stitch, taking the stitch from
one edge to the center of leaf at an angle; the reverse side being worked in
the same manner, forms a vein in the center. For double flowers in minia-
ture, as asters, roses, etc., shaded ribbon was used. This was gathered full
on the darker edge, which was sewed on the design, beginning in the center
and sewing around toward the outer edge, until the design was filled in.
For very small single flowers the ribbon was threaded in the needle, as for
the leaves, and a single stitch taken from top to bottom of petal. The cen-
ters of flowers were put in with filo floss in French knot. Page 150 shows
a design for this style of embroidery full working size. It is suitable for
toilet cushion covers, or it may be repeated for borders, or clusters may be
detached and used as powderings.
This form of ribbon work is indulged in by the wealthy only, as the
ribbon is a foreign manufacture, and not imported into this country, except
by the decorative art societies, which make a specialty of keeping ribbons
and designs for this work. A cushion with Louis XVI design worked in
the manner here described is in the possession of the Chicago Society of
Decorative Art and valued at $50. On the other hand, if one has friends
in Paris, the ribbon can be there purchased for a few cents per yard, and
good designs can be traced from prints of decorations of the Louis XVI
period. The ribbon work above described is the highest form of raised
work indulged in even at the present day. As the designs for it are of a
light and graceful character and the tints of the ribbon exceedingly deli-
cate, it follows that the background on which it is to be applied should also
be of a light or medium tone of color, and satin or silk offers by far the
best surface.
SINGLE RIBBON ROSES.
Branching sprays of large single roses and buds are suitable for ribbon
work, and may be applied to screens or mantel hangings with good effect.
The amount of material necessary for working out a design will, of course,
depend upon the number of roses, buds and leaves in the arrangement.
For the purposes of this lesson we will suppose a branch of roses consisting
of three full-blown and three half-blown roses, four buds and thirty-three
leaves. This design will require three and one-half yards No. 16 satin ribbon,
divided as follows: One yard deep rose pink; one-half yard rose pink one
shade lighter than that first selected; and one-half yard two shades lighter
still. One yard deep rose red ribbon; one-half yard a shade lighter; and one-
half yard two shades lighter than the shade first selected. The shades of
color must be in exact lines of gradation, from light to dark. This com-
bination of blush rosesand deep red roses on a dark blue velvet background
is exceedingly pleasing. Beside the ribbon and the material for the back-
ground there will be required a long-eyed and a common needle; three
skeins olive green filo floss; three dozen skeins No, 2 imported chenille,
and a square frame.
As regards materials for ribbon roses, opinion differs, some teachers
preferring satin in the piece, while others use nothing but the satin ribbon.
We have always employed the latter for three very important reasons:
First, closer shading can be obtained; second, the ribbon has more body
and can be manipulated with greater ease; and, lastly, there are no raw
edges to be cared for. No two persons ever secure the same results with
the same materials, no matter how closely a rule may be followed; more
or less of a worker's individuality is certain to creep into the work, and rib-
bon seems to offer the best medium for the expression of this individuality.
Stamp the design upon the material, and after the paint has thoroughly
dried, stretch it firmly in the frame. Do not pin the fabric to the frame
but sew it with strong thread.
In all raised work the leaves or foliage should be worked first, and the
flowers added last, otherwise the raised portion would be in the way and
would become crushed and soiled. At least twelve shades of chenille will
be required for effective shading, as follows: Five shades of olive green,
from light to dark; five shades of wood brown, shading from ecru to a deep,
rich brown, and two shades of red brown.
On ribbon work the foliage should be striking and effective, rich and
varied. One can hardly go astray on shading rose leaves vividly, as nature
has set us an example of the utmost latitude. Each leaf should contain at
least three different shades. These need not necessarily be three shades
of one color in direct line of ascent or descent, as, for instance the first,
second and third shades of the olive greens or the wood browns; in fact, this
form of shading would give unbroken and monotonous effects if carried out
through all the design — a result to be avoided, although an occasional leaf
worked after this rule helps to lend variety to the whole. All that is arbi-
trary in this form of shading is that the outside of each leaf shall be worked
with the lightest shade used, or if shaded from the tip down, the base must
be darkest, the tip lightest; or, again, if opposite sides of a leaf are to be
differently shaded, the side which the light strikes first must be worked
with the lightest shades, while the under side should be dark.
In using chenille, follow the outline of the leaf closely, and do not
make the stitch of regular lengths; preserve such a slant as will not crowd
the stitches, and do not leave too many open spaces to be filled in with the
succeeding shades. •
After the foliage has been worked, protect it from the dust by sewing
over it fine tissue paper, leaving exposed only that portion of material
where the roses and buds are to be placed.
LIBRARY TABLE COVER WITH CROCHETED FRINGE.

To make the roses: Cut two pieces of the lightest shade of rose pink
ribbon two inches in length; two pieces of the shade next deeper, and one
piece of the deepest shade, all two inches long. These are to form the five
petals of the rose. Thread a common sewing needle with strong thread,
and sew one end of each piece of ribbon in three small plaits and fasten
firmly. With the same kind of thread gather the other end of the pieces of
ribbon, draw together tightly and fasten.
Begin with the lightest petals first. Fasten the gathered end of a petal
to the outer edge of the highest petal of a rose in the design. Sew it firmly
to the material on the wrong side of the ribbon, then turn the petal over
(like the flounce of a dress when sewed on the wrong side and allowed to
fall over, showing no fastening stitches), and bring the plaited end to the
center of rose and fasten on the right side. The mechanical part of the
petal is now finished, and it rests with the worker how much individuality
is put into the flower when completed. Lay one or two tiny plaits on each
side of the outer edge of petal and fasten; this will give a rounded fullness
to the ribbon, which fullness can be crushed into close resemblance to a
crumpled rose leaf by a few judicious and gentle touches; allow the ribbon
to dispose itself gracefully, and catch it here and there with a stitch to hold
in place; turn the edges under slightly, and carry the thread on wrong side
to the center of rose, where a few little gathered stitches on each side of
the petal, close to center, will be an improvement. For the second petal
proceed as for the first, catching the two petals together at the top with a
blind stitch, being careful to avoid a strained or forced appearance. The
two upper petals should be of the lightest shades, the three under petals of
the two deepest shades. When the petals are finished fill in the center with
French knots, using three strands of green filo floss. Thread the sewing needle
with a single strand of pale yellow filo floss; begin at center of petal and
carry three long light stitches upon it, the longest stitch in the center and
a shorter one on each side. Repeat these stitches upon each petal. This
completes the rose.
The buds are formed in the same manner as the rose petals. For very
large buds, a piece of ribbon one and a half or two inches long will be re-
quired, while for small buds three-quarters of an inch will be sufficient.
Plait one end and gather the other, as described for the rose petals. Fasten
11
the gathered end to the top of bud, fold over and fasten the plaited end to>
the center of the bud. This method leaves a graceful fullness, which can be;
manipulated easily by picking and punching into position with the needle,,
and caught here and there with an invisible stitch to hold in place. Carry
the needle to the right of bud at the base, and take three small running
stitches in the edge of the ribbon, always with the needle point towards the
top of the bud. After the running stitches are in, draw the needle back to
base of bud and fasten. Repeat the same operations on the left side; this
will bring the ribbon into minute folds. With the lightest shade of olive
green chenille work the calyx of bud, carrying a few long stitches well
upon the bud do not pull them, but allow each stitch to lie lightly in
itself;
place. Follow the markings of pattern on each side and at the top of bud
with single stitches of chenille.
The half-blown roses are manipulated in the same manner, except that
three pieces of the deepest shades of ribbon, two inches long, will be re-
quired. Place these in position so as to cover the design. Little pulling
or pricking into position with the needle will be necessary, and where the
rose joins the stem it should be heavily worked with the second shade of
olive green chenille. Follow markings of pattern, and do not be afraid to
carry a few graceful, light stitches well upon the rose itself, starting from
the base.
DOUBLE RIBBON ROSES.

Double ribbon roses are suitable for decorating many articles, and they
can be easily made if the directions here given are carefully followed. Each
rose will require three shades of ribbon, divided into twenty pieces, as fol-
lows: Five pieces, two and one-half inches long, of the deepest shade used;
five pieces of ribbon of the same shade as first given, three inches long; five
pieces of the next lightest shade, four inches long, and five pieces, the same
length, of the lightest shade.
Gather one end of each piece of ribbon and plait the other end, as de-
scribed for single roses. Begin at the outer edge of the stamped rose and
sew down on each stamped petal a ribbon petal, using for this purpose the
five four-inch pieces of the lightest shade of ribbon. Do not fold the ends
of the ribbon petals together to fasten, but sew down the plaited end first,:
—
as described for single roses, then turn the petal over and fasten down the
gathered end, a hair's breadth beyond where the first end was sewed down.
After the five outer petals have been fastened into position, take a few run-
ning stitches on each side of each petal, at the base, and draw down toward
the bottom of the petal and toward the center and fasten. Put in the next
row of petals in the same manner, sewing down the plaited end so as to
cover the gathered end of the preceding petal; use for this row the four-
inch pieces that have been cut from the next deeper shade of ribbon. In-
side this row fasten down, in the same manner, a row of petals of the deep-
est shade. Use the three-inch pieces for this row. Inside this, again, put
in the petals that were cut two and one-half inches long, and which were
also cut from the deepest shade of ribbon. This completes the rose to the
center. Fill the center as follows: Cut a square piece of the ribbon, fold it
diagonally across the center, making a half square; gather the two sides of
the square into a point and fasten, giving the ribbon a little roll inward
as the fastening is completed. Place this exactly in the center of the rose,
and secure it firmly.
The different petals can be pinched into shape and fastened here and
there with invisible stitches. The beauty of this work depends entirely
upon the manipulation of the petals after they have been fastened into posi-
tion. The more crumpled they are the better will be the effect.
CALLA LILY.
For banners or easel pieces there is no flower more effective than the
calla lily, and better than almost any other flower does it lend itself to
raised effects. The background should be of plush or velvet, and the color
should be rich and warm. A deep blue, crimson or green will throw the
raised callas into relief.
In putting the design upon the stamp on only the leaves and
material,
stems; do not stamp the floivers. The material required for making one calla
will be as follows: One square foot of screen wire — the finest mesh made
this can be procured at any hardware store; four dozen skeins cream white
arrasene; one calla center, one skein light olive green chenille, one arrasene
needle, one piece wash blond. The wire will be sufficient for two callas
and one bud, but less cannot be purchased.
AND PROFIT,
,58 DAINTY WORK FOR PLEASURE
PAGE 15T
PANSY AND TIGER MLY-SEE
WORKING PATTERN FOR CALLA,
Cut a piece of the wire into shape by the calla pattern on page 158, cut
with a pair of sharp shears, so as to get a good, clear edge. Cover this wire
calla on both sides with the wash blond and secure with a few stitches.
You are now ready to work the calla.

Thread the arrasene needle with a strand of the white arrasene. Begin
at the top point of the flower and work over the edge, down one side; return
to top of flower again and work down the opposite side, taking the stitch
in to a depth of at least one or two inches. This
operation will give a smooth, even edge to the
flower, alike on both sides, and is worked as
follows: Bring the needle up from the top of

the wire about two inches from the top edge;
throw the thread over the edge and bring the
needle up again from the back. Repeat until
the edge of flower has been worked. After this

part of the work has been completed, begin to
cover the wire on one side by filling in toward

the center with several rows of short and long
stitches, being careful to work both halves of
the wire shape so evenly that there shall be no
perceptible joining in the center, but the entire
calla should present a smooth even surface.
This completed, turn the wire shape over and
work in the same manner on the reverse side. CALLA LILY. FIG. 155.
In working, twist the arrasene in the needle. When the wire has been
smoothly and solidly covered with the arrasene stitches on both sides, take
the calla between the thumb and finger of one hand, near the top of the
flower, and with the other fold it into shape, after the fashion of twisting a
cornucopia; the wire is stiff and will retain the shape without trouble. Place
the calla in position on the background and secure with a single stitch at the
top and one at the base of the flower. This will be sufficient to hold it in
place. Slip the calla center into position and catch with a stitch. With the
green chenille, work the calyx of calla, carrying the stitches well up on
the outside of the flower, working quite heavy at the base. This throws
t6o DAINTY WORK fO% PLEASURE AND PROFIT.
the flower into relief and gives it a rich effect. The stems of the calla
should be worked with solid Kensington stitch.
Sometimes the calla is made of fine chenille instead of the arrasene,

but it is never so satisfactory. Figure 155 showsâ raised calla applied to a
moss green plush banner, and will give an idea of grouping. These raised
callas are very beautiful for Easter decorations.
When the callas are soiled they can be removed and cleaned by shak-
ing in a pan of flour that has been previously well dried.
TIGER AND JAPAN LILIES.
The above varieties of lilies lend themselves to raised effects adn)ir-
ably, and are easily made. First, stamp the design on the material to be
embroidered — that is the leaves and foliage —be careful, however, not to
stamp the flower itself, as its position will be
sufificiently indicated by the stems, and if the
flower were stamped it would be difificult to
cover the marks.
Figure 156 shows a correct shape by whish
to cut the wire petals for a tiger lily. It should
be drawn from the figure and cut out of stiff card-
board so as to secure a pattern by which to cut
the wire. For a Japan lily this pattern should be
cut three times as large.
Materials required for a single Japan or tiger
lily are as follows: Screen wire, finest mesh, blond
net, arrasene and chenille. Both varieties of
FIG. 156. lilies are worked in the same manner, so that the
instructions for one will answer for the other.
Three shades of orange yellow arrasene will be required for working
the petals of the tiger lily, and one shade of pinkish white arrasene for the
petals of the Japan lily. The brown spots marking the petals of both
varieties should be imitated with reddish brown chenille, No. i the finest —
made — with seed stitch.
The centers of the flowers can be purchased at any art store, though
they may be very successfully made at home by grouping together pieces
of fine hair wire for the stamens. Cut the wires about three inches long
RAISED EMBROiCERY. i6t
and bind therii firmly together at the bottom; spread the wires apart at the
top and fasten on the point of each a tiny bit of cotton wool; dip the whole
in melted rosin, and then, while still wet, dip the very points covered with
the wool in dry mustard, or sprinkle with gold powder.
For a tiger lily cut six petals out of the wire, by the pattern previously
prepared, and cover them with the blond net. Work as follows: Begin at
the tip of a wire petal with the lightest shade of the orange yellow, and
work if downward in Kensington stitch to the base, using the three shades
of orange yellow — the darkest at the base of petal. Work both sides of
the wire petals alike. When finished, group them around the prepared
center and secure with a few invisible stitches. After the stems and foliage
have been worked with arrasene or chenille, punch a small hole at the
point where the flower is to be placed and insert the stem of the lily, fasten-
ing it on the back of the material, and also catch a stitch or two lightly
through the petals that Vte next the material; curl the points of the petals
outward, and work a few stitches on the lower part of flower with olive
green chenille, to form the calyx. The Japan lily is made and placed in
position in exactly the same manner.

Groups of either Japan or tiger lilies made in the above manner are
suitable ornaments for the top of toilet cushions, banners or placques. To
make one lily of either variety will require three skeins of arrasene, one
skein of olive green chenille for the calyx, one thread brown chenille for
the markings of petals, one yard hair wire and one-half foot of screen wire.
Multiply the above quantity by the number of flowers on a pattern and it
will give the necessary amount of material for that pattern. The back-
ground should be satin or velvet, either cream, blue or deep moss green.
WATER LILY.
Cut the shape of lily petal in fine screen wire, using the pattern of
water lily on page 158 to get the shape of petal from. Cover the wire petal
with white blond or rice net, smoothly, and beginning at the top of petal
work downward in Kensington stitch with white arrasene; when one side
of petal is worked, turn and work the reverse side in the same manner.
For large lilies twenty-four petals will be necessary, using twelve for
extreme outside row and eight for inside row, and the remaining four to
i62 DAINTY WORK FOR PLEASURE AND PROFIT.
surround the center, which can be purchased at any art store. The outside
petals should have a few stitches of green arrasene near the base of
each. The last or inner row of four petals should be much smaller than
the outside row. In stamping the design do not stamp the lilies on the
goods — just the leaves and stems — as in arranging the petals you would not
be able to cover the marks made by stamping. Raised water lilies look
best mounted either on white velvet or dark green satin. The leaves and
stems should be worked with lily green arrasene or chenille. This flower,
thus treated, is suitable for placques, banners, or for corners of plush-
covered mirror frames. To arrange the petals on the foundation, com-

mence on the outer edge of the space the flower is to occupy, and sew
twelve of the large petals in a circle, fastening the petals to the fabric by
taking a securing stitch in the very edge of base of petal. Curve the petal
outward at the base and inward at the top, giving a cup-shape appearance
to all the petals. Inside of this outer row of petals arrange eight petals,
the same size, so that the center of each inner petal shall come exactly
opposite the center oi two outer petals, and last sew in the four small petals,
arranging them so that each petal shall come opposite the joining of hvo
petals in the preceding row; curve each row of petals as directed. After
the petals are sewed in position, punch a hole with the stillettoin the exact
center of the flower and insert the stem of the lily center and fasten it on
the back.
GOLDEN ROD.
This most beautiful of all our autumn flowers is essentially national
in its character, as it grows from east to west and from north to south; in
good soil and in barren and waste places. It is loved by the rich and poor
alike, and is a golden glory always.
For purposes of embroidery, where bright rich color is desired, there is no
other flower that can quite fill its place. It allows of graceful arrangements
of form, and is susceptible of the most subtle gradations of light and shade.
It is especially beautiful when combined with other autumn flowers — as
sumac, thistles or asters — the rich purples and bright gold forming a piece
of gorgeous coloring that will most effectually brighten up any dull corner*!
Golden rod may be worked in several ways, either raised or flat, an

the materials may be arrasene, chenille, rope silk, filo floss or etching silk
To work with arrasene or chenille, commence at top edge of the high-

est branch of the golden rod and fill the surface of pattern with French
knots, using the palest shade at the top and shading to deepest gold on the
under branches; when it is desired to raise the flower, rope silk or filo floss
must be used. First fill the surface of the pattern with large French knots
of olive green rope silk; then, between each knot sew down thick strands
of the silk, cut in lengths and crossed like the letter X; catch in the center
of the X with a fastening stitch, pulling it down firmly, this will cause the
ends of the strands of silk to spring up and cover the fastening stitches.
Cover the surface of design thickly with the crossed strands of silk, which
will be supported by the underfilling of French knots, which will also
afford that undershading of green seen in the natural flower. To work a
medium-sized branch of golden rod about four shades of filo floss will be
required, viz: Nos. 1261, 1262, 1263 and 1264. When it is wished to work this
flower on wash fabrics the work should be done with two or three shades
of yellow etching silk in French knots; make the knots smooth and even,
winding the thread around th£ needle twice only; place the knots close
together, but do not crowd them. Made as above described, the knots will
not be much raised from the surface, and work thus treated will laundry
perfectly. The foliage and stems of the golden rod should be worked with
silver or lily green silk in Kensington stitch.
CATTAIL.
This rather stiff and stately inhabitant of river courses and marshes is
sometimes used for decorative purposes. It is suitable for frieze or dado

for curtains, for banners or easel piece. When used on a curtain the leaves
and foliage should be worked with solid Kensington stitch and the cattail
with brown rope or etching silk in heavy French knots. When desired for
banner or similar purpose, the cattail should be worked in plush stitch
done with filo floss over a ground of French knots, made of brown zephyr.
In fact, whenever plush stitch is used, the design should first be covered
with French knots in order to give body and firmness when the work is fin-
ished, and as this stitch depends for its beauty upon the firmness and com-
pactness with which it is worked, this grounding is essential. The work,
when the stitch is completed, must be evenly and carefully shaved and
combed out.
12
1 64 DAINTY WORK FOR PLEASURE AND PROFIT.
The foliage and spike or cattail may also be effectively worked with
No. 2 chenille in browns for the cattail, and olive green, three shades, for
foliage. Cover the design with French knots or with solid Kensington
stitch.
COXCOIVIB.
This gorgeously-colored flower is peculiarly adapted for raised effects,
but is most when combined with some other autumn flower. A

effective
favorite combination is coxcomb and thistles, or coxcomb and golden rod

and sumac as shown in the illustration, figure 157.
Three shades of red filo floss will be required for working coxcomb, a
deep red, a medium red and a bright scarlet. The scarlet is used to work
that portion of the flower
indicated by the heavy black
line shown in figure 1 57, at top
of flower and following the
outline. To work: Begin
at the base of the flower
where it joins the stem and
work upward toward the top
of flower with Kensington
stitch, working lengthwise.
Use deep olive green rope
silk for this part of the work;
when the base of flower has
been solidly worked in Ken-
sington stitch, work a few
stitches, up and down, with a
shade of red filo floss. This will simulate the markings of red in the natural
flower. Above this base begin the flower by covering the design with
heavy French knots done with red zephyr. Between the knots sew down
heavy strands of filo floss X; cut each
or rope silk, crossed like the letter
strand about one and one-quarter inches long. For one section of the X
use the deepest shade of silk; for the other section the shade next lighter,
and for the dark line shown in figure 157 use the scarlet silk, as before
described. When the plush stitch is completed it should be clipped and

shaved evenly with a pair of sharp shears, after which the silk should be
brushed with a comb or whisk broom. This will untwist the silk, which
will lie fluffy and soft as the real flower itself.
SUMAC.
The foliage and bobs of the sumac are beautiful worked in autumn
shades. The leaves and foliage should of course be worked with filo floss
or Royal floss in solid Kensington stitches, using for the purpose dead
yellows, deep crimsons, golden browns, orange, wood browns, and the
bronze greens and browns; no two leaves need be shaded alike, and the
effect of the entire'foliage when worked should be a mass of royal coloring.
The bobs are usually worked with raised effect in No. 2 chenille, using for
the purpose the three deepest shades of yellow reds. To work the bobs:
Begin at the top of the bob with the lightest shade, bring the needle to the
surface of the material at the top and put it back to the wrong side again,
close to where it came up, and pull it through until all the chenille has been
drawn down, except a loop about one-half of an inch high; continue the
operation to the base, working in the deeper shades, until the darkest has
been used. Place the loops close together over the surface of the design,
so that the bob presents a mass of color from light to dark. No shaving
or clipping will here be necessary. Another method of working this
flower is to cover its surface with French knots of chenille, or rope silk,
though the loops are by far the most effective. A beautiful combination
would be a spray of goldenrod and sumac bobs, with foliage. This com-
bination would make a beautiful banner or easel piece — or coxcomb, sumac,
golden rod and thistles gracefully arranged and worked with raised effect,
would be still more beautiful.
THISTLES.
Thistles are easily adapted for raised effects, and in combination with
golden rod, or even used alone, they are always pleasing to the eye. The
materials for making raised thistles are: one skein green zephyr, two skeins
deep olive green etching silk, one skein silver green etching silk and three
skeins of heliotrope filo floss. Do not make the mistake of using lavender
shades — the proper shade being a reddish purple, which is admirably
imitated in that line of silks known as heliotrope. To work: Begin with
the base of the thistle, cut the skein of green zephyr, and wint^ four or five
strands over the thumb and first finger. Place the tip of the thumb on the
bottom part of the base of thistle and the
forefinger on the top of base, and slip the
zephyr off, catching it into position by a

stitch at top and bottom. This forms the
padding that raises the base of thistle.
With the darkest shade of green etching

silk, work over this zephyr, taking a
^^^r^-, satin stitch from top to bottom of base,

until the zephyr foundation is entirely
covered with the silk; now repeat this
silk covering by working crosswise of
the base. Begin in the center of the base
FIG. 158. and work over and over to the top;
place the needle in the center of base and work to the bottom of thistle
base. After this has been done, so that the base presents the appearance
of an oblong ball, of
one solid even mass of
stitches, mesh it off into
small diamond-shaped
spaces, with the skein
of silver green silk.
This completes the

base of thistle, and if
the work has been well

done, a real thistle
would find it hard to

detect the fraud. To
work the top of flower.
Fill a semi-circle around design for flat work. fig. 159.
the top of base with French knots, made out of green zephyr; fill in be-
tween these with heliotrope silks in plush stitch, in the same manner as
described for coxcomb, using the very lightest shade at the top of flower.
Carry out from the edge of the plush stitches a few simple straight stitches
with one strand of silk. Shear off the uneven ends of silk and whip or
comb out the flowers. This method gives the most natural effect of any
employed, for making raised thistles.
RAISED SNOWBALLS.
Snowballs for ornamenting banners, corners of mirror frames, etc., are
very effective and simple of construction. The background should be
either plush or velvet of a rich dark color — as blue, red or green. For
working the foliage five
shades of olive green arra-

sene, from light to dark,
will be needed; work in
solid Kensington stitch.
In stamping the design

transfer only the foliage
and stems, as advised for
the lilies. To make the
snowball will require a
small piece of cheese cloth
or scrim, six skeins of
white arrasene, a skein of
palest green arrasene, a
knot of pale green zephyr
and a piece of cotton
wool. To work: On the
scrim or cheese cloth draw fig. 160.
a circle, using the top of a small-sized tumbler or water glass for a pattern;
stretch the cloth firmly in a pair of small embroidery hoops and with the
green zephyr work across the circle until the surface has been completely
covered; over this prepared surface the white arrasene is to be put, and the
method of doing this part of the work is identical with that described for
making sumac, viz.: Commence at one side of circle; bring the needle,
threaded with white arrasene, from the back of work to the surface and put
down close to where it came up and pull through to the back, leaving a
loop from one-half to three-quarters of an inch high on the right side;
i68 DAINTY WORK FOR PLEASURE AND PROFIT.
repeat this until the surface is thickly and solidly covered with these white
loops; be careful not to arrange the loops so that they shall appear set in
any particular direction, but so that they shall present a light, feathery sur-
face. After this part of the work has been done, take the cloth from the
frame and cut out the worked circle, leaving a margin of about one-six-
teenth of an inch; turn this margin under and run in a gathering thread.
Do not pull the gathering thread tight, but just enough to curl the edges
inward; place the circle over the spot where the snowball is desired, and
blind stitch it down, leaving a space of three inches at the point where it
joins the stems. Into this space stuff the cotton wool, with the blunt end
of the stilletto, until the snowball looks sufficiently raised, then sew down
the space left and over it work in loops of the green arrasene. This will
give the green cast observed at the base of snowballs.

The above method of working is very simple, and when the flower
becomes soiled it is but the work of a few moments to remove it and clean
in a dish of dry flour, when it can be replaced as good as new.
Snowballs are sometimes worked by putting heavy French knots of

chenille over the surface, and sometimes plush stitch is employed, using
fiilo floss to work with, but neither of these methods can compare in beauty
with the one first given.
RAISED PANSIES.
For small banners, ornamental covers for toilet cushions and for the cor-
ners of small satin-covered photograph frames these flowers make beautiful
ornaments. The leaves and stems should first be worked on the foundation
with the finest chenille. No. i, in olive green, using Kensington stitch.
To work the pansy, select a perforated pansy pattern, and stamp a
flower on stiff paper. From this cut out each petal separately and dupli-
cate each one from fine screen wire by the pattern thus obtained. Work
them v/ith four or five shades of lavender chenille No. i, in Kensington
stitch, putting in a few stitches of yellow chenille at the base of each petal.
After all the petals are worked, arrange them on the foundation with invis-
ible stitches, and curl the petals gracefully with the fingers; in the very
center put in a French knot of the lightest shade of lavender. A cluster of
pansies on a white satin banner, made in this way, is beautiful. For

piefhod of placing the petals, study one of the flowers in the perforated
RAISED EMBROIDERV. 169
design. It is better not to attempt a too elaborate design— one or three

pansies at most will be sufficient for any small article, and these flowers
would not be suitable for large pieces. Both sides of the petals must be
worked alike, as described for calla lily.
A toilet set of white satin, the mats of which are embroidered with
pansies in filo floss, with Kensington stitch, and the cushion and bottles
having a cluster of raised pansies, the whole finished with fine white lace,
would make a wedding present that would delight the heart of any bride.
RAISED FRUIT.
Raised fruit maybe used for panels for dining room or for over-mantel
hangings, though, as a rule, it is not as effective as flowers.
Cherries.
A branch of cherries raised on a black velvet ground will make a very
pretty placque ornament. To work: Stamp the design upon the velvet,
cherries as well as foliage. Work the latter with silk, in Kensington stitch.
Over each stamped cherry fasten a tiny ball of cotton wool rolled into the
shape of a cherry, but a little smaller than the fruit should be when finished.
Over this cotton work from the stem to the end of cherry with a strand of
fine red chenille. Work these stitches until the cotton is completely cov-
ered, being careful to preserve the outlines perfectly. Some of the cherries-
may be made of a deeper red than others, thus giving a pleasing variety to
the coloring.
Raised Oranges.
A panel of raised oranges, worked on a deep green velvet panel, will
make a very beautiful over-mantel hanging for dining room. To work the
oranges, two or three shades of golden yellow chenille No. 2, shades corre-
sponding with 1263, 1264 and 1265 of the Belding silks will be correct for
this work.
Stamp the entire design upon the material, and work the stems anc
foliage with olive green arrasene, using about three shades of arrasene for
this part of the work. Over the stamped oranges place a ball of cotton
wool and fasten with securing stitches. The ball of cotton is made by roll
ing tl;e cotton in the hand until it assumes the desired shape. Over this
cotton ball work the yellow chenille, from the point where it joins the stem
downward, until it reaches the blossom end. Work a little knot of bronze
^reen in the blossom end with filo floss. The stitch should be taken in a
straight line, and the threads should lie evenly and not crowd each other.
When it is desired to work oranges on table linen or other articles that
must be laundered: (i) commence in the center and work around and out-
ward in chain stitch, with yellow green etching silk; (2) work over the
surface in three shades of filo floss, with Kensington stitch; (3) work over
the surface with French knots, done with etching silk. For this style of
work the foliage should be treated with outline or short and long stitch,
in filo floss or Royal floss.
Strawberries.
Strawberries should be arranged with a suitable amount of foliage and

a few blossoms, with one or two half-ripe berries and two or three fully
ripe. Such a design thrown on white satin or black velvet is extremely
effective.
Work the blossoms with cream white filo floss, in Kensington stitch;
fill the center with a yellow French knot. The leaves and stems may be
worked with filo floss, in Kensington stitch, using olive green, three shades.
For the half-ripe berries use silk of a brighter shade of red than that used
in the ripe fruit. Cover the stamped strawberry with a piece of cotton
pressed into the shape of the berry, and secure with stitches. Cover this
with filo floss of a true strawberry red, working over it, from stem to end,
until the cotton is covered, after which put in seed stitches over the berry
in irregular order, with yellow-green filo floss. Be careful not to raise the
berry unnaturally, but follow the outlines of the stamped design. This
fruit may also be worked with fine chenille, or it may be worked in solid
Kensington, flat upon the surface of material, using either Royal floss or
filo floss for the purpose.
Grapes.
Bunches of grapes, with foliage, make a beautiful design for panel.
Stamp the entire design upon the fabric to be embroidered. Work the
leaves and stems with bronze green and bronze brown arrasene. For the
grapes, roll little balls of cotton, and catch down on each grape shown in
the bunch, after which work over the cotton with chenille No. i. in the
shade nearest like the variety of grape being copied. Deep purple grapes
are the favorite for raised effects. Great care should be exercised to keep
the form and outline of each grape perfect.
COTTON PLANT.
A cotton plant, with the ripe cotton bursting from the pod, is par-
ticularly beautiful, arranged as a panel, or as an ornament for a wall pocket,
and figure 161 shows a particularly graceful arrangement.

The method of working is exceedingly simple
and the materials quite inexpensive. The foliage
and stems should be worked with solid Kensington
stitch in arrasene, using bronze greens and bronze
browns. The background should be of velvet or
plush, of a deep rich shade, either blue, red or
green.
The cotton ball for the design is the only dif-
ficult part of the work, and even this is simple
enough, when one understands how it is done.
To work: Cut out of pasteboard or stiff paper the
pattern given in figure 162. It is given the exact
size, so no allowance is to be made. Having cut the
pattern, place it on a piece of brown canton flannel,
and mark it around the outlines, with a red pencil,

or a piece of chalk; remove the pattern and stretch
the canton flannel in a pair of small embroidery
hoops, stretching as tight as possible. Work over
the pattern marked on the flannel in solid Kensing-
ton stitch with arrasene, in dark and golden brown,

and bronze green — a few stitches only of the latter fig. 161.
shade — work solidly, putting in plenty of stitches, and do not take them of
too great length; carry one shade into another. When this has been done,
remove the hoops and cut around the pattern, leaving a quarter-inch mar-
gin to turn down and hem with a running stitch, drawing the edges in
slightly in the operation, so as to form a sort of bowl-shape receptacle for
the cotton; now select a good sized piece of cotton wool that is free from
dust or other specks, pull it apart until every fiber stands out distinct and
light as a feather, place it in the pod or bowl just made, and catch it to
the pointmarked o, in figure 162, with an invisible stitch. Half close the
bowlshaped pod over the wool, pulling a portion of the wool beyond
the points of the pod, and spreading it out as seen in
/f/l^jK
fio-ure 162. /ill KllllnlvK The entire effect de-
pends upon the manipulation of the wool, and the

design shown at the beginning of this article is a
perfect guide. The balls when completed should
be sewn to the foundation as indicated in the pat-
tern, though they f/'l ///////!/// /|///| ///////

should not be stamped, as
it would be difficult to I
\nll \ jjl I '
W cover the marks.
The flowers of the cotton plant are a creamy
\
ill III /
white, shading to dull \1| U i^ pink and should be raised
a little by working over \ |//////^ ^ padding o f wool o r
crewel. This cotton ^<ll!l^ plant treated as a panel,

and embroidered on fig. 162. rich blue or cardinal red
plush or velvet, and framed with glass over it, makes a most effective and
taking piece of needlework, for fairs and bazaars.
THE DESIGNS AND INSTRUCTIONS

For raised embroidery, given in this chapter, are not intended to exhaust
the subject. Their province is rather to give practical help on specific
articles of decorative work. It is needless to tell the woman of "ideas"
that the instructions given for working raised pansies can be applied, with
equal effect, to the working of single poppies, clematis, magnolias, and, in
fact, anv flower whose petals have simple oiitlines and unbroken .surfaceSi
As before stated this form of work must be sparingly indulged in, and
the proper place for its display should be well considered.
All raised embroidery should be worked in a square frame, both hands
should be used — one under and one over the frame. When the work is com-
pleted it should receive a coat of thick mucilage on the back; this should
be applied before removing from the frame and while the work is tightly
stretched. This will secure ends of silk, etc., and give a smooth appear-
ance to the article when finished. A most important point, and one that
should never be forgotten, is to embroider all foliage and stems before the
raised portion of design is commenced.
CARAFFE MAT.
CHAPTER XII.
DAINTY TRIFLES.
HERE isalways a demand from ladies for "ideas" on fancy

work. They know how to embroider, but they do not know
how to use the knowledge to advantage. Again, fairs, bazaai-s,
Christmas gifts, birthday and wedding remembrances are

always in order, and "something new" is eagerly sought for-
Having laid the foundation for a broad and systematic knowledge of deco-
rative needlework in the precedjng pages, we cannot do better service than
to devote the present chapter to describing and illustrating a number oi
articles suitable for the purposes mentioned above. It is our experience

that for fairs and bazaars, articles of useful ornament, made up inexpen-
sively but showily, find quicker sale, and at comparatively better prices
than articles of elaborate workmanship and expensive materials, while for
birthday and wedding gifts the articles should be as daintily made as is
possible for fingers to accomplish, and the best material of its kind should
be employed. Thus, if the material be linen or lawn, a good quality should
be purchased for the work; better far to make a smaller article, simpler in
every way, than to cheapen the material. These gifts generally depend for
their value upon the esteem in which the donor is held, therefore the
best possible work should be done. Again, appropriateness to the occa-
sion, to the age, condition and occupation of the recipient, should be
considered.
We have not confined the articles illustrated in this chapter to those
requiring embroidery for their decoration, but have included those that are
to be painted as well, also some that require no decoration whatever, the
aim being to give a number of inexpensive articles that can be made up
with little expense; and also to utilize the contents of the scrap basket
as far as possible. Very few novelties, so called, have been included
in the list; rather descriptions of articles that are always "in style," because
always useful. The day has long gone by when a room was filled with a
lot of useless, meaningless, dust-catching articles, called "fancy work."
Nowadays, when an ornamental article is added to the furnishing of a room

it must serve at least an ostensible purpose— in a word, it must have an
excuse for its presence.
Whenever articles are illustrated requiring painting in either oil or water
colors, specific instructions for this part of the work will be found in the
chapter on "Brush and Palette."
MEMORANDUM CARD CASE.

These convenient racks make pretty remembrance gifts that have the
merit of being useful as well as
ornamental. To make: Cut a
fou-ndation of stiff cardboard 10 x
16 inches; line this cardboard on
the back with bronze brown leath-
erette, which can be purchased at
any art store for five cents per

sheet. Line the front of the card-
board with gray linen; over this
again, put folds of the linen diag-

onally from one edge to the other.
These folds form receptacles for
cards, one for each day in the
week. The ornamentation may
be done with either embroidery
or painting. The model, figure
163, has a cluster of forget-me-

nots on the top and bottom,
worked with two shades of old
blue filo floss, in satin stitch. The
FIG. 163. week
names of the days of the are
worked with outline stitch on the folds, with the same shade of silk, and
the case is completed by bows of blue ribbon, disposed as shown in the
illustration. The edsj-cs arc bound with blue silk cord.
DAINTY TRIFLES. 177
HANGING BOUQUET HOLDER.

This novelty is designed to hold ferns, autumn leaves or pampas grass,
and is made on a wire foundation, such as is used for making calla lilies.
Cut the wire in shape and cover with

soft cotton crepe, in pale blue or pink,
or figured China silk may be used with
good effect. Fold the whole in shape
and secure with a few stitches. The wire
gauze being stiff yet pliable, lends itself to
any form of manipulation readily. Finish
with a windmill bow, in harmonizing
color, of soft ribbons. The wire is twenty
cents a square foot. About two square
feet will be needed, and one yard of the
crepe or China silk. For bazaars or fairs
this article would be attractive made up

in a cheaper manner, as follows: Cut the
shape out of pliable cardboard, cover with
deep red crepe paper, fasten with a bow
made of the same material. Fill with
ferns and grasses. The crepe paper is
beautiful, and exactly resembles expen-

sive crepe.
The illustration is but one of many

ideas that can be worked out for wall
pockets. Very pretty catch-alls can be fig. 164.
made from two palm leaf fans as follows: Cover one side of each fan with
plain gray crash and gild the reverse side with liquid gold. On the gray
crash any pretty design may be embroidered. Join the two fans together
at the handle by means of a ribbon bow, and add a few stitches on the side.
WRITING BOARD FOR INVALIDS.

This article, figure 165, was designed for the use of invalids by a French
lady, Madame Tignet, and will at once commend itself. The foundation is
a light, plain board, 23 J^ x 151/^ inches, covered with dark blue cloth — either
denim or felt will answer. In the center is the blotting pad, held down at
each corner with triangular pieces of leather or cloth. The various pockets,
intended to hold paper, envelopes, stamps, cards, etc., are fastened with
buttons. A straight band of cloth, divided into compartments with small

nails, holds the paper knife, pen holder, pencil and penknife. Next to th«
FIG. 165.
inkstand, held in place by a strap of leather or elastic, is a movable calen-

dar, and on the opposite side is a penwiper and block note.
For an invalid friend no more acceptable gift could be devised. The
expense is but trifling, the value of the article being in the loving care and
thoughtfulness that prompts the offering.
FOOT STOOL.
These little foot stools can be
purchased in the rough for 50 cents
each, and can be prettily decorated

by means of a paint brush and a can
of English enamel. One coat will be
sufficient, and a pretty color will be
old rose. The cushion is made of
FIG. 166. India silk, to just fit the top of stool;

a pale gray blue or gold color will harmonize with the old rose. The
DAINTY TRIFLES. m
cushion should be securely fastened to the corners of the stool to prevent
slipping off. The filling of the cushion may be of sea moss or feathers, or,
failing either of these, cotton wool will do nicely.
PAPER STAND.
This convenient paper stand is made of three bamboo rods, three box
lids — either cheese or sugar-box covers are preferred — seven yards of two-
inch ribbon and one bolt of very narrow ribbon. The bamboo rods are
fastened to the box covers by means

of fine wire threaded through holes
bored into the covers and rods oppo-
site each other. The places where
fastened are concealed by the rib-
bon bows. The bamboo rods are
wound from top to bottom with the

narrow ribbon, a piece of the two-
inch being fastened around top and
bottom of rods. The inside of lids
are covered with egg-shell paper,

upon which has been painted a de-
sign in either oil or water colors; or,
for those wîo do not paint, a very
pretty substitute would be satin with
floral design embroidered with the

wash silks; the outside of rim can
be painted with English enamel, or
a band of embroidered ribbon can
be fastened on with excellent effect.
The colors to be used are a matter of

taste, but should harmonize with the FIG. 167.
furnishings of the room. If bamboo rods are not obtainable, the handles
of worn-out brooms will do nicely, sawed off to the desired length; they
should be either ebonized or gilded. If the stand is to serve as a paper
holder room, a good substitute for the satin or eggshell board

in a sitting
would be linen crash, embroidered with linen floss. The design should
be tiny flowers, scattered rather than arranged in any set design.
SHOE BOX.
We here give a design for a shoe box, which is ornamental as well as
useful. An ordinary soap box will do for the foundation. It must have a
cover fitted to it. Line the box inside with pale pink sateen, such as is
used for dress linings; cover the out-

side with pale blue sateen, and on this
covering arrange flowers, as shown in
figure i6g; cut the flowers out of pale
pink satin, using figure No. i68 as a

Fio- i68. guide. Cut eight pieces like the
pattern and fasten them on to the background, slightly wadding each
petal. The middle of each flower is made in knot stitch with tinsel thread,
and the broken lines are made of the same material. A cording outlines
FIG. 169.
the box and conceals the sewing. Any other combination of colors or
ornamental design may be substituted, keeping in mind always that the
article is to be inexpensive.
SUNFLOWER CUSHION.
This little cushion for the dresser is very simple and can be easily
made. The material is India silk, fine lace, silk bolting, one skein filo
iloss and one skein gold thread, and a small, round, soft cushion, not over
DAINTV TRIFLES, tSi
ôur inches in diameter. First, stamp on the bolting the sunflower design,
which, by the way, is not a sunflower at all, but is a conventional form, hav-
ing pointed leaves like that flower. Around the edge of this design sew
on the lace; this will give a
circular cover; outline all
the leaves or points with

gold thread and fill them
with darning stitch. Outline
the center with gold thread
and check it off into squares,
couched down at the intersec-
tions. Any color of filo floss
can be used for the embroi-

dery — pink, yellow, brown,
blue or green —but the silk
lining must match in shade
exactly. You are now ready
to line the cover, which is
done by cutting a circular

piece of the silk the size of fig. 170.
cover, lace edge included, and tacking lightly to the outside cover; pink
the edge of silk all around. The cover, lining and all, is now fastened to
the top of the cushion by tacking each point of leaf to the cushion proper;
this gives the fluffy, full appearance of the flounced edge. Usually a dresser
scarf is made to match these little cushions. Our design shows both scarf
and cushion, the same design being used for both. The model was embroi-
dered with gold filo floss, on white silk bolting, and lined with gold India silk.
WORK BASKET.
Figure 171 illustrates a collapsible work basket. This little basket,
fitted with every convenience, will be especially appreciated by a lady who
is visiting or traveling much. Four pieces, 9x9 inches at the top and 55^x
5j^ at the and one piece S^'^S% the bottom.

bottom, form the sides,
These pieces should be cut from pliable cardboard, not too stiff, and
covered on the outside with gray crash or linen, or pongee silk in natural
I82 DAINTY WORK FOR PLEASURE AND PROFIT.
shade; these pieces can be embellished with a graceful design, worked out
with Real Scotch linen flourishing thread No. 8, in pink or red, with wood
browns; the inside should
be lined with pink silk,
and the edges overhanded

with silk to match; the
bottom is covered in the
same manner. The bot-

tom edge of each side
piece is then fastened to
the bottom piece firmly,
but the sides are not sewn
together, only fastened at
the top with bows of rib-
bon; a handle of card-
board, covered to match
the basket, is fastened at
FIG. 171.
the sides with bows, in a
removable manner. When necessary to pack the basket, remove the han-
dle, untie the bows fastening the side pieces at top, and fold the sides in,
one over the other. This forms a neat, flat package that can be packed
anywhere without injury. There should be two long, rather deep, pockets
on opposite sides of the basket, on the inside, for spools, buttons, etc.; also
on one end a neat needlebook, on the other a tiny square cushion, all of
pink silk, and fastened securely. An acceptable gift for any occasion.
HAIR PIN HOLDER.

Figure 172 is a small hair pin holder, the
foundation of which is a tiny Japanese circular
basket. Fastened on the inside of the opening
are several pieces of narrow pink ribbon, on the
ends of which are fastened small brass rings,
crochetted over with pink etching silk. These

ribbons arc allowed to drop over the outside of FIG. 172.
basket, as shown in cut, and form a pretty finish; the top opening is then
DAINTY TRIFLES. 183
filled in with pink zephyr in tuft stitch; this is to receive the hair pins. The
cost should not exceed fifteen cents.
TWO SMALL CUSHIONS.

These small toilet cushions can be made so daintily, ornamented with
so little expense attached, that it is a real pleasure to write about them.
Two or three of these on a

dresser are much more con-
venient than one large mag-
nificent affair that looks
altogether too grand for
mortal use. The model

shown in figure 173 may be
made of any color to suit
the room or the fancy of

the maker; but the puffed
cover should be of soft
silk, India or China, and

the square in the center fig. 173.
should be of %vash material. The model was a cushion three inches square,
covered with pale blue China silk; the center piece was a square of fine
linen lawn, embroidered with fancy filling
stitches. As will be seen, the silk is cut
larger than the cushion, and all the spare

fullness is gathered into pompoms at the
corners. The center square offers room

for a variety of decorative work, and it is
a good idea to have several of the centers

for each cushion. Some may be worked
with Roman embroidery, some with Dres-
den designs, and others may be covered
with drawn work.
FiG. 174. Figure 174 is a tiny round cushion,
covered top and bottom with a plain white linen cover, embroidered with
wreath of wood violets in natural shades. The covers are placed in posi-
tion and laced together with a white silk cord over a puffing of lavender
silk. The materials required for these dainty trifles are mere scraps from
one's piece bag, and they will make most acceptable gifts for any occasion,
at little expense.
CHAIR BACK AND SEAT.
Figures 175 and 176 show design for back and seat of chair. The
material is a deep silver green Russian tapestry, and the design a spray of
poppies. Treatment:
Work the stems with No.
1334, the leaves with Nos.
1330, 1331 and 1332 silver
gray green; the flower

petals with Nos. 1209, 1210,
1211 and 1213; the centers
of poppies with Nos. 1263
and 1278 rope silk. Use
solid Kensington stitch for
the entire design. Work

the fancy stitches around
edge of chair with No.
1263, with the exception
pjQ j-c. of the three short stitches
at intersection of diamond-shaped spaces; for these use No. 1209. The

treatment is, of course, the
same for seat and back, and
filo floss should be used
throughout. Of course, any
other combination may be
made to suit individual
taste. The size of seat is
15x19; of back, 10x15.

The same pattern can
be worked with other mate-
rials, as deep brown mail cloth embroidered in solid Kensington stitch with
two or three shades of golden brown filo floss.

DAINTY TRIFLES. 185
LAMP SHADE.
The lamp shade shown in figure 177 is made of tissue paper in three
shades of old rose. The paper is first creased by folding back and forth in
small plaits and then drawing several times
through the hands, or it can be purchased
ready for use, but is more expensive that way.
Place the three shades of paper, one over the
other, the lightest shade first, the medium
shade next, and for the outside the darkest
shade. Gather the paper at the top to fit the
neck of a wire foundation, which in turn is
made to fit the top of a lamp chimney; fasten

securely, and then drape up the outside layer
as shown in illustration. The wire foundations FIG. 177.
can be purchased for twenty cents, and any color paper to suit furnishings
of rooms can be used in place of the old rose.
WALL POCKET.
A convenient wall pocket for newspapers is shown in figure 178. Heavy
pasteboard i s used for the
foundation; the dimensions of
the piece are 15 by 25 inches.
The pasteboard should be cov-
ered on both sides with gray
canvas or ecru linen; on that
portion of the material that
forms the pocket stamp a frieze
of carnations; work the design

with Real Scotch linen floss in
the shades of red and olive

greens. In covering the paste-
board with the linen the edges
must be neatly turned in and
overhanded together; the finish
o
FiG. 178.
is made more complete
^ by
^ sew-
ing on the edges a row of Tyrol cord. The lower part is then turned
over and sewed on the back as here indicated. Brass rings are sewed
on the corners to hang it up by. Bows of ribbon, the darkest shade of red
used in the carnations, are placed on each corner.

BOLSTER AND PILLOW.
A bolster covered with white linen lawn is here shown. For a summer
bed noth i n g
cooler or more
inviting could
be imagined.
The ends are
trimmed with
"'^
FIG. 179. wash lace and
bows of ribbon. Over the surface a design of very small daisies or carna-
tions may be scattered and

worked in short and long
stitch with filo floss. The
work must be light in effect
and daintily executed.

The infant's pillow
illustrated in figure 180 is a
dainty affair, and consists
of a square of fine shirt
linen, around which is sewn

a border of lace; the square pj^ jgg
is then folded once in the middle and the edges sewn together and deco-
rated with ribbon bows of any color desired. It can be removed when
necessary to launder. A pretty design for ornamenting would be an
arrangement of buttercups and daisies done with filo floss.
HANDKERCHIEF HOLDER.
Figures 181 and 182 show this little case in process of construction
and completed, so that by studying them carefully the holder can very
easily be duplicated.
Before commencing operations on the material to be used, it will be
well to take a piece of white or light paper, twelve inches square, and pen-
cil line it like figure 181. First, fold the sides marked i, straightening out
DAINTY TRIFLES. 187
each before folding the next. Then turn the paper over and fold across
cornerwise, like lines marked 2. Now turn the paper back again, first side
up and fold in the sides ac-

cording to creases, and fold
the corners marked 3 back.
This will give a perfect
guide for the folding of the
case, without experimenting
on the goods, which would
show a misfold beyond re-
pair. To make the case will

require a piece of satin of
pale cream twelve inches
square, a lining piece, same
size, of shrimp pink, and
an intervening lining of
stiffening — crinoline will do
nicely. Place these together
squarely and evenly; finish the edges with gold and pink silk cord and pro-
ceed to fold like the paper
pattern previously prepared.
This will make a simple
and inexpensive gift for

friends, and but little time is
required for the making, as

no embroidery or painting is
needed.
One-third of a yard of
satin, twenty-four inches
wide, and a like amount for
the lining, will make two

cases at an expense of sixty-
six cents; two and two-thirds
FIG. 182. yards silk cord, at eight cents
per yard, will bring the cost to about ninety cents for the two.
13
PHOTOGRAPH OR CALENDAR CASE.
These cases are convenient for holding photographs and calendars, and
are, beside, an ornament for mantel, table or bracket that will be appreci-
ated by ladies who are interested in home decoration; also, they are
always rapid sellers at fairs and bazaars, and make acceptable wedding,
birthday or Christmas gifts. The two-panel de-
sign shown in figure 183 is made of egg-shell
board or linen canvas for the outside, and stiff
cardboard lined with gray linen for the back.

Egg-shell board is a stiff cardboard, having a
crinkled enameled surface, and comes in cream,
ecru, brown and old rose. A leaf from an old
FIG. 183. album will furnish a pattern to cut the panels by.
Out of the egg-shell board or linen canvas cut two panels, each having an
opening for the photograph, and out of the cardboard cut two pieces the
same size, for a back to the panel. If linen canvas instead of egg-shell
board is used for the front panel, then it must be first pasted smoothly over
cardboard. Cover the two pieces that are to serve as backs for the panels
with gray linen, on the outside turning the edges in on the inside of panel
and gluing them down. When the front and back pieces are ready, place
them one over the other and oversew the edges together with art cord.
Join the two panels by oversewing down the back with art cord.
If the panels are covered with the linen canvas,
they may first be beautifully decorated with needle-
work. The design should be worked before the cov-
ering is put on. Floral designs are best suited for this
purpose, and may be worked solid or in outline, with
silk or linen floss, in na'tural colors or in conventional
shading. Brown silk floss on cream white duck is
artistic to a degree, as is also pale gold, sage green,

deepest shade, or old blue. If the egg-shell board is
^^^- ^^4-
used, it may be decorated with a design painted in oil or water colors, for
which directions may be found in the chapter on "Brush and Palette."
Figure 184 shows a calendar case, made in same manner as described
above, only in this case but one panel is used and it is covered with cellu-
DAINTY TRIFLES. i8q
loid, instead of the opening being cut entirely away it is rolled up.
This material may also be decorated with either oil or water colors. A
printed calendar should fill the opening, being pasted in the opening on the
back panel.
NIGHT DRESS SACHET.
This pretty sachet is made of white silk bolting lined with pale pink
satin. The lining is quilted and cov-
ered on the reverse side with blue satin.
The sachet is edged with a double frill
of lace, and finished with bows of blue

and pink ribbon. The silk bolting
cover is decorated with a spray of Mar-
guerites and rose buds, done with filo
floss. Twenty-four inches of bolting

and the same amount of blue and pink
satin for lining, and one sheet of wad-
ding, with five yards of ribbon for
bows, will be required, together with
one-half dozen skeins of pink, yellow
and green filo floss — two skeins of
each.
The shade may be used to make up
other materials and colors by, and the
outside cover may have a design paint- FIG. 185.
ed instead of embroidered.
PANSY SACHET.
This pansy sachet is a charming little
gift, and can be made of a bit of gold or

rose-colored silk three inches square. Cut
out the leaves separately, a little larger
than the outlines shown in the illustration,
using pattern of pansy petal given on

page 138, for this purpos(f, .-.ine each
petal with pink satin, lightly wadding the
FIG. 186. space between the lining and outside with
perfumed cotton. The lines on the petals may be made with a pen and
IQO DAINTY WORK FOR PLEASURE AND PROFIT.
violet ink. Arrange the petals so that they fall easily over each other, as
in the illustration, and sew a scrap of yellow silk bunched up in the center,
and next to this irregular clippings of brown or purple velvet.
PUFF CUSHION FOR HEAD REST.

Soft, puffy cushions, circular in shape and made of India silk, make
delightfully comfortable head rests. Figure 187, shows a very simple man-
ner of making. Cut a circle,
the size of a dinner plate, from

cotton batting — not wadding
— and cover with old rose
India silk, as follows: Cut a
square of the silk as large as
the width of silk will allow,
FiG. 187.
place the batting in the cen-
ter of the square and bring the four corners over to the center of top of
wadding. Arrange the fullness into puffs, from center to circumference, by
catching here and there with a stitch: over the top of this cushion fasten a
large leaf or flower, cut from linen lawn or other wash fabric; work this with
filo floss, in short and long buttonhole stitch, around the edges, and cut the
material close to buttonhole edge. This piece, can be easily removed for
cleaning, and the entire arrangement is light and dainty.
DECORATED EGG SHELL.

The illustration clearly shows the idea. Care should
be taken in breaking off the top of the shell not to make
unsightly cracks and checks; a very sharp pair of scissors
will obviate this difficulty. The wire standard can be
made easily. Procure the wire at any hardware store,
bend it into shape and twist around it a lighter wire to
keep in shape. They can be painted in water colors or
sSi^:^!^ oils, and are dainty trifles for the mantel, and can be
made to serve as unique vases by filling the shell with a
FIG. ibs. piece of moistened sponge over which has been thickly
strewn grass seed.
DAINTY TRIFLES., 191
PANSY SACHET.
A pretty trifle for toilet table is a pansy sachet, made as follows: Take
a piece of cotton batting and roll it into a ball about the size of an egg, and
sprinkle with sachet powder; cut from pale yellow tissue paper a square
large enough to cover the
ball and leave enough at top
to form pansy petals Ij4 in-
ches deep. After the square

is cut, fold the paper back
and forth into small plaits,
like a paper fan, and then

draw it through the hand sev-
eral times; when unfolded it
will present a soft, crepy sur-

face; place the ball in the
center of this and fold the
paper to top of ball and tie
closely with hair wire. Slash

the paper that is left above
the wire into four equal parts fig. 189.
and round the edges; cut one more petal from an extra piece of paper and
mucilage it under and between two of the petals left on the bag. This
forms a perfect pansy top to the ball, and the illusion is completed by paint-
ing each petal slightly with oil colors in pansy shades. This inexpensive
trifle can be easily duplicated from the illustration.
MENDING BAG.
This simple and inexpensive mending bag
would be a gift that would delight the heart of
the busy housewife at any time. To make: Cut
three pieces of cardboard, as follows: Two
pieces for front and back, each iixg inches at
the top and narrowed to '/}4 inches at the bot-
tom; one piece 3^4x75^ for the bottom. Line
FIG. 190. these three pieces on both sides with plain
sateen, pink, blue or brown, and join them together by overhand seams on
the inside of bag. To make the accordion plaited ends, hem across the top
a piece of cretonne 13x21 inches, and gather it at the bottom to fit the
narrow end of the bottom piece of bag, to which it must be fastened. Sew
the sides of the cretonne, which have been reduced to eleven inches by the
hem across the top and the gathering at the bottom, to the sides of the
front and back. This finishes one end of bag; the other must be treated in
the same manner.

Across the inside of the back piece is placed a full pocket, eight inches
deep, to hold balls, spools, etc. The top is finished with a shirring for an
elastic band beneath a narrow standing ruffle. Above the pocket are tacked
flannel needle leaves and scissors straps. Sometimes an interlining of
wadding is placed beneath the inner cover of the back piece, and the whole
used as needle-book or pin-cushion. Sometimes the pocket is omitted and
a third piece, just like the front and back, is fitted in between the two to
divide the bag into two equal or unequal compartments.
Small brass or silvered rings — or homemade ones of wound wire, cov-
ered with knitting silk or floss in closely worked double crochet — are sewed
to each upper corner of the front and back, and three more are sewed cross-
wise to the hem of each side piece — one in the middle and one four inches
from each corner ring.
A narrow stitched band of the plain sateen is run through the rings,
and the ends are neatly joined. This forms the means of suspension, and
also allows the bag to be opened easily and widely when in use. The lettering
is worked with silk or floss in colors to match the figures in the side pieces.
HOLDERS.
These little articles do not find their field
of usefulness bounded by the kitchen walls.
They are quite frequently to be met with in the
sitting room, in the library or living room, and

sometimes in the parlor — but always in Sunday
best, it must be confessed. Seriously, a good
supply of holders, for various uses, are most
convenient, and they may be made quite orna-
^ mental with little trouble. Our model, figure
191, is made of a square of dark brown felt, cut from an old felt hat that
DAINTY TRIFLES. 193
had been discarded. The edges are bound with a narrow red silk ribbon
and ornamented with satin stitch in red etching silk. The letters forming
the words are made in outline stitch with the etching silk. A loop of rib-
bon is added to hang it up by. These holders may be made of a variety of
materials. Those used about the table should be made of two pieces of
white canvas or linen, lined with sheet wadding on each side. Work one
simple design in the corner; buttonhole the edge with linen floss. The
merest scraps serve to make them.
Where it is necessary to make a large number of Christmas remem-
brances these inexpensive articles will serve for many of them. Of course,
one would naturally make up ornamental holders for this purpose, rather
than those for kitchen use, though even these would prove acceptable to
many a busy housewife. A good material is colored Hollywood drapery
or the cream white if preferred.
PAPER HOLDER.
A piece of pasteboard, about 18x22 inches, is used for the back found-
ation. This is covered with
garnet satin and deco-
rated with brocaded rib-
bon of a lemon yellow; the

front is made of garnet
satin, lined with lemon
yellow, and is slightly
rolled back to show a
portion of lining (see fig-
ure 192). Between the f

outside and lining put a
stiff piece of buckram.
On the front stamp a
spray of yellow Marguer- ^^^- ^92.
ites; work with filo floss, Nos. 1262, 1263 and 1264, using brown for the cen-
ters. For the leaves use the olive green.
These holders are useful as well as ornamental, and may be made of a
variety of materials. If satin and silk are too expensive, celluloid or egg-
shell board may be used, in which case the design must be painted.
m Dainty work for pleasure and profit.
HANDKERCHIEF SACHET.
The illustration shows a handkerchief sachet made of cream white
plush lined with quilted blush rose satin. The edges are bound with silver
cord, and bows of

pale pink ribbon join
the back edges to-
gether and ornament

the front edge of
sachet. The design
is a cluster of double
ribbon roses and
^buds with stems and
^ foliage in chenille.
f y The roses are made

\^^ of pale pink faille
FIG. 193. ribbon. For direc-
tions for making see "Double Ribbon Roses," in Chapter XI. Dimensions
of sachet are 12x16 inches. The design may be embroidered in solid Ken-
sington stitch in Royal floss if preferred.
FANCY TABLE.
This dainty little table is at once useful and inexpensive, and best of
all, easily made at home. The material need be nothing better than com-
mon pine, two pieces for top and shelf, 24x24
inches, one inch thick, and four pieces two-inch
stuff for legs. The top, shelf and legs can be
covered with art linen in yellow brown, old blue
or shrimp pink, or the whole can be treated to a
coat of English enamel, any color desired. The
enamel is 40 cents a jar, and one jar will do con-
siderable decorating. If the linen is used as a
cover, a pretty decoration would be an all-over
Roman embroidery design stamped on the cover
and worked out with white linen floss. Instead fig. 194-
of cutting away the ground from back of the lace lines it would be better
for this purpose to outline them directly on the material.
DAINTY TRIFLES. ^95
SUNFLOWER PENWIPE.
Stamp on chamois skin any one of the many pretty sunflower patterns
that can be had for five cents,
and paint the petals with

chrome yellow and burnt
umber; cut the flower shape
out, and finish center by
putting in a circle of brown
plush over a padding of
wadding. This makes a use-
ful as well as ornamental
adjunct for the writing table.
The same design may
be made from yellow flannel
or felt for the petals and
brown velvet for the center.
To make from these materials

it will be better to cut the fig. 195.
center from cardboard; cover it with the velvet, cut the petals out of the
felt and fasten on to the back edge of center. This is a little more work
than the first mentioned method.
SOFA CUSHION.
In figures 196, 197 and 198 we show three very comfortable as well as
pretty sofa cushions. These particular cush-
ions are not designed to repose in state, at a
most uncomfortable angle on the best sofa
in the best room. They are for everyday
use; and, as comfort has been considered, the
cushion proper has been made nearly square
and lightly filled with feathers or hair. It is
a great mistake to stuff a sofa cushion until

it resembles a small mountain; it should be
just high enough to fill the space between
the head and shoulders. As has before
been stated the cover for cushions that are to be used should be made of
14
wash fabrics. Figure 196 is made on ecru twilled linen and the design
shown is worked in outline stitch with three shades of wood brown linen
floss; a bow of brown ribbon
finishes one edge. This is a
very beautiful design, and am-
ply repays all the work one
chooses to put on it.
The cover for figure 197 is
made of white linen having a

border all around treated with
drawn work; the center is em-
broidered with a set figure in
white linen floss. The under

cover is of the same material,
without the decorative work,
^^^' ^^^'
however; the upper and under
covers are laced together around the four sides and fastened at the corners.
Figure 198 shows a round cushion
for sewing chair. The cushion is first
made of unbleached cotton or cotton

twill, and for comfort, filled with feath-
ers; do not stuff it too full. Put on an
outside cover of old blue tapestry linen,
blind sewing the edges; fasten to the
chair by means of straps on the under
side caught to the seat; over the cush-
ion fasten an embroidered cover of
white linen edged with lace or drawn
work. The design shown in illustration
is powdered forget-me-nots worked . fig. i
with old blue filo floss in satin stitch with a center of yellow French knots.
FANCY WORK BASKET.

The basket shown here is eggshape. The best way in which to prepare
the foundation is to cut an oblong circle out of heavy straw board, wet it
i
DAINTY TRIFLES. 197
thoroughly in cold water and roll up in the form of an egg; leave an opening
to the side from end to end; secure in position with a string. Let it become
quite dry, when it will retain its shape without trouble; prepare a lining of
silk for the inside, which should be wadded lightly and quilted, fasten this
in the inside of the pre-

pared shape. For the .§.:.y^
outside cut a circle out

of cream satin the same
shape as the foundation,
stamp on it a cluster of /S-
pansies, work with wash xi;'

filo floss in numbers
1300, 1 30 1, 1302 with a
dash of 1260, 1264; for
the leaves and stems use fig. 199.
numbers 1248, 1249, 1251. Stretch this cover over the shape, being careful
not to leave any wrinkles; finish the opening with a frill of soft lace and
ornament each end with bows of ribbon in two shades of numbers 1300 and
1301. The effect of this little trifle depends upon the neatness with which
it is made. It should look light and dainty and not in the least useful, and,
of course, is better adapted for fairs and bazaars, where it will be certain to
attract purchasers, than for sober everyday use. Made of more durable
materials they are useful catchalls for the dressing table.
FOOT CUSHION.
Small cushions are much used in place of foot stools. The model
shown in figure 200 is made of chamois
skin. The cushion should be first
made, and then covered on top only

with the chamois cover. The design
should be worked out with golden and
bronze brown Royal floss and the sec-
tions should be defined by sewing on
FIG. 200. flat gold braid. The ends and one
edge of cushion should have a row of narrow gold fringe, and bullion
tassels should finish the four corners.
igS DAINTY WORK FOR PLEASURE AND PROFIT.
OTTOMAN CUSHION.
Round cushions for ottomans and foot-rests are always useful orna-
ments, and the two designs given in figures 201 and 202 are among the
prettiest we have seen. Figure
,^~^ ^^'^S^/f^'^^ ^"1^ 201 is covered with Roman
embroidered cover, and the
cover for figure 202 is treated
with applique. The cushions
can be purchased stuffed, ready
for covering, for 75 cents each;
however, if one prefers to do

this part of the work at home,
two circular pieces, the size the
cushion is desired, should be
FIG. 201. cut from heavy twilled cotton

and a bias strip, four to six inches wide, should be sewed around the cir-
cumference of one of the circles, the other circle should be sewed to the
other edge of the strip, leaving an opening for stuffing. When the cushion
is designed for a foot-rest, excelsior will be found a good stuffing; if for a
seat to an ottoman, then feath-
ers or hair will be more com-
fortable. After the cushion is
made, the bias piece forming

the sides of the cushion should
be covered with a very full puff
of China silk. The silk must
be sewed to the cushion itself,
as it is entirely distinct from

the covers. For the covers cut
two circles, the size of top of
cushion from ecru linen; on one
of these linen covers stamp a ^^^- -°^-
Roman embroidery design and work it with brown or white linen floss.
Do not cut the material away from the background unless it is intended to
line the cover with silk, but outline the lace stitches instead of carrying across
DAINTY TRIFLES. 199
from one outline to another. On the under cover work a row of buttonhole
stitches, and at equal distances apart sew to the edges of both covers brass
rings which have been crocheted over with the linen floss. Place the cush-
ion in the center of the bottom cover, and over it put the top cover; lace
them together over the cushion with heavy silk cord.
The cover for figure 202 is made of deep blue mail cloth on which is
arranged a design of poppies, cut out of white ooze leather. Select any
design having full blown poppies in one or two positions; stamp them on
the leather, cut out with a pair of sharp scissors and glue to the foundation.
When the design is in position, outline all the edges of the poppies with
gold cord or bullion. Fill the center with French knots made of gold
thread, and for the scrolls couch down white couching silk with geld thread.
The puffs should be white India silk and the covers should be laced
together with gold cord.
These two cushions are very desirable for churchOf course
fairs, etc.
the cushion may be made of other materials and combination of colors, and
decorated to suit individual taste.
SHAVING PAPER CASE.

This little trifle is made of two pieces of cream tinted eggshell board,
7x9 inches in size. The design shown should be

painted on the outside cover in oil paints; the
edges of both front and back covers should be

edged with gold paint; prepare a dozen sheets
of pink and white tissue paper, the same size as
cover, place evenly between the two eggshell

board pieces and punch a hole in both ends, large
enough to draw through a pink ribbon. Tie in
small bows.
This makes a dainty gift for a gentleman
friend at little expense.
Celluloid or leatherette may be used in place
of the eggshell board; or, a cover can be made ^^g. 203.
of white canvas, embroidered all over with a Dresden design; in this

case, a pair of cardboard covers should be cut and the embroidered can-
vas fastened on the outside of each cover.
—

LAUNDRY BAG.
Ornamental bags for small toilet articles, such as collars, cuffs and
handkerchiefs are a necessary luxury, and the methods of making and
decorating are almost numberless. It is, however,
desirable to have them made in such a manner that
they can be laundered when soiled. Figure 204 shows
a bag made of a strip of cotton canvas, 36 inches long
by 12 inches wide. The canvas is folded in the center
of the greatest length; the two sides are sewed
together, making a bag 18 inches long by 12 inches
wide. Face the top of the bag to a depth of three
inches with pale pink satin or silesia, and run in a
shirring strip of pink ribbon at the bottom edge of
hem, putting in two rows of stitches for that purpose.
The ribbon should be long enough to tie in a bow and
to form a loop to hang the bag up by. The decora-
tion may be a simple floral arrangement outlined with
silk or linen threads, or short and long stitch may be
employed, if the article is desired to be very orna-
mental.
These bags may be made larger than the model
Uajfe^wv-vW ;i>Tn\ ^-,Vftjff^^;^
T when intended for larger articles than here mentioned,
FIG. 204.
g^j-j^ Bargarren art cloth will prove a most serviceable
The bottom of a bag made of this fabric couia
material for the purpose.
be darned through each mesh, straight across the bottom, with Bargarren
linen threads, to a depth of six inches. The top part that forms the hem
could be treated in the same manner, and the center should have a design
outlined with the same thread. Again, useful and durable laundry bags
may be made of crazy patch work silk and velvet pieces are not necessary,
cashmere and other woolen material will work up with good effect. Put a
chain stitch with etching silk over all the seams; face the hem with a piece
of bright colored silk. A number of laundry bags of different sizes will
alwa3-s find sah; at fairs and bazaars; beside they make a most acccp able
Christmas gift to any woman. The expense of getting them up is but
trifling, provided one e.xerciscs common sense in selecting ihe r.MtcriuU.
DAINTY TRIFLES. 201
PUMPKIN CUSHION.
Figure 205 shows a design for a pumpkin cushion. It is intended for
use on the dressing table and is made as follows: Make a round cushion
the desired size and stuff
with cotton or hair; cut
two semi-circles of yellow
satin or surah silk and
cover the cushion. Divide
into sections as shown in
the illustration by passing

a long needle threaded
with knitting silk or etch-
ing silk through the cush-
ion as follows: Put the
needle up through the
center of cushion to the
center of top; pull it up
and carry the thread down
the outside of cushion and
secure it in place by put- fig. 205.
ting the needle up through the cushion to top again; this forms one
section. Repeat this, carrying the thread down the sides of the cushion at
equal distances apart, until you have marked off as many sections as are
desired. Fasten the thread at the top of cushion where the handle is to be
placed. Two curved pieces of cardboard should be covered with green silk
and glued into position for a handle. The embroidery must be done before
the cover is put on the cushion. The model shows a vine of morning glor-
ies worked with one strand of filo floss in short and long stitch; blue — palest
shade — for the flowers, and two shades lily green for the stems and leaves.
Provided one can paint and would prefer that style of decoration, the
cushion may be made of cream white satin, which should receive a ground-
ing of deep yellow over which the design should be laid in.
A cushion made after this model would be sure to prove a great attrac-
tion at any sale, or would be a very pretty gift for any occasion. They
need not be so elaborately decorated unless desired.
—

PHOTOGRAPH FRAME.
Figure 2o6 shows an easily made photograph frame, suitable for panel
picture. To make: Cut a piece of cream white leatherette, 12x15 inches.
Begin in the center and cut a slit toward the four corners, and bend the
pieces of leatherette outward toward the side; this will form an opening,
the size of which will ciepend upon the length each slit is cut. It must be
cut to fit the picture the
frame is designed for. The
turned back pieces were
decorated with gold paint
— the upper and lower
piece with a band of gold
three-quarters of an inch
deep and the sides a floral
arrangement of roses or
pansies without foliage
see illustration — and
painted with the gold
paint. The piece of leath-
erette decorated as direct-
ed should be backed by a
piece of stiff cardboard a
size smaller, and the edges
IniMMT"' J "- <—M^ of the leatherette should
I III
I saga— ' '• i ll t
FIG. 206. be folded back to the card-

board and glued down; slip the photograph into the opening. Select two
and one-half yards No. 12 satin ribbon of a rich gold color and place it
squarely around the opening in the frame and tie a bow at the upper cor-
ner — complete by fastening a wire standard in the back to support the
frame.
Any other material may be used for the frame, as eggshell board,
celluloid, ivorine, plain cardboard covered with satin decorated with flat
embroidery. The outer edges of frame, made as directed, should have a

gold band one-quarter of an inch wide, painted all around; or the edges
may be picked out in gold in Vandykes.
—
DAINTY TRIFLES. 20-
PHOTOGRAPH ENVELOPE.
An accumulation of photographs beyond the capacity of the family
album is an embarrassment of riches to many people. A convenient
receptacle for these "left-overs" will be found illustrated in figure 207. To
make: Cut out of parchment paper a
sheet 7x13 inches; fold the two side
flaps together down the center and cut
into shape at the bottom edges; turn
the bottom of the parchment up to
one-half its depth and cut into shape
see illustration, figure 207, The flaps are
to be left loose, as the envelope is to be

placed upon a table, and this method
allows the photos to be examined with-
out fear of tearing their edges in remov-
ing from and returning to the envelope.
The decoration maybe made to suit the
fancy; the model has an arrangement of
'oTom^ ^^G- 207.
Cupids done in water colors; the lettering is done with gold paint, all of
which can be easily accomplished by the merest novice with brush and pencil.
PIN TRAYS.
Small trays for holding pins and loose toilet articles are convenient for
the dressing table. It is not
always desirable to stick pins,
big and little, into a handsome
cushion, and these little trays
make a most convenient recep-
tacle. The model, figure 208,
shows two shapes, one inside
the other, for making. The
larger tra}^ is made of a piece
of ivorine six and one-half by
FIG. 208. nine inches. Slash the corners
of the ivorine in to a depth of one and one-quarter inches, beginning one
inch from the points; this will give a slant to the sides and ends when
turned up; the edges should be turned up to one and one-quarter inches,
forming a shallow pan. Use the polished surface of the ivorine for the
outside of tray; on the inside edges paint a row of wild roses, without
foliage, in oil colors— see figure 208. Cut the outer edges of the rose petals
out to form an ornamental finish and fasten the corners together
with tiny bows of ribbon. The tray in the center of illustration is cut in
triangular shape, of the same material, and painted on the edges with a row
of daisies. These trays can also be made of heavy linen twill; hem the
edges and turn up to a depth of one and one-half inches; fasten the corners
with a securing stitch and ornament the bottom with a Dresden design done
with silk or linen floss. The twill should be heavily starched before turn-
ing the edges up; this keeps it in shape.
GLASS HANDKERCHIEF BOX.

The article illustrated in figure 209 is at once one of the simplest and
most inexpensive gifts that could be devised. The boxes are made of
glass and may be any size or
shape. The model shown

here was six and one-quarter
inches wide, nine inches long
and three and one-quarter
inches high. To make this
box will require six pieces of
glass, as follows: Two pieces

654^x9 inches for the top and
bottom, two pieces 3^x6^^
inches for the ends and two
FIG. 209.
pieces 9x3^ inches for the
side pieces. Bind each piece of glass with No. 9 ribbon, any color pre-
ferred; draw the ribbon tight while binding and over-cast it at the ends
with invisible stitches. Fasten the pieces together by sewing at the corners
through the ribbon, which has first been fastened to each individual piece
of glass; this sewing must be done neatly and strongly. Finish the corner
with ribbon bows, also fasten two bows on the back edge of cover to serve
as hinges; sew on a cord and tassel to lift lid by, and put in the bottom a
quilted silk lining perfumed with sachet powder.

DAINTY TRIFLES. 205
EIFFEL TOWER SCRAP BAG.

The above illustrates a very pretty substitute for a waste, scrap or
laundry basket, and can be easily made. To make: Cut from card or paste-
board three pieces, 7x21 inches in size, for the three sides; a triangular piece
measuring seven inches on each
of its three sides for the top or
cover and a hectagon shaped
piece for the bottom, measur-
ing seven inches on each of its
six sides. Coverthe three side-
pieces on one side with duck

or canvas, and the other with
silesia or anything else you
choose, using the latter also
for the top and bottom pieces.
Sew the three side-pieces to
alternate sides of the hectagon
with three half-yard breadths
of Chinese or Japanese silk,
properly lined, filled between

the three boards, beginning
seven inches from the top and
fulled into the remaining sides
of the hectagon. Gather the
silk breadths closely in at the
top and fasten the upper por-
tion of the three boards to-
gether. Put a ruffle of the silk
around the triangular piece
and fasten it to one side of the
top for a cover.
The painting — it might be FIG. 210.
embroidery on appropriate material — had best be done before puttiu-; tlie

parts together. The article illustrated has large, dull, yellow flowers, some-
whr.t conventionalized and well shaded in different forms upon the three
2o6 DAINTY WORK FOR PLEASURE AND PROFIT.
sides, the background being formed by painting the surface of the three
pieces over with a delicate bluish gray. The silk is yellow, and yellow satin
bows, one on the cover one hanging from the top by an ecru Tyrol cord, fin-
ishes the basket. The long lines of the sides are artistically broken by loop-
ings of this cord, across from where the silk fullness begins. Other colors
may be used, but all must harmonize or the basket will not be "a thing of
beauty."
The most convenient way to paint the panels will be to first cover them
entirely and evenly with the gray background; gray is simply red, blue and
yellow combined, and is bluish, purplish or greenish, according to the pre-
dominating colors in the mixture. In mixing put your red and blue
together with a very little ivory black and a good deal of white, and then
tone with the yellow. When this background is dry, paint the flowers upon
it. For the colors needed and the method of putting them on see chapter
on "Brush and Palette."
Should embroidery be preferred, instead of painting, it must be done
before the covering is fastened to the pasteboard. Any of the conventional
forms preferred may be used. If yellow is the color chosen, Nos. 8i, lO,
19, 82, 6, if red is the color, then 87, 58, 70 Real Scotch linen threads will be
required. The work should be done in solid Kensington stitch. The
leaves should be done in browns or olives. Of course, in case embroidery
is used the canvas will not be painted.
STAR QUILT.
The subject of quilts is a most social topic of conversation. How many
a romance has been stitched into patchwork squares will never be known,
and the woman who has never solved the mystery of the "Irish chain," "fox
and geese" and the "Greek cross" has missed half the sweetness of life.
The old styles of patchwork quilts are still made, and probably always
will be, but in these days of elegant fabrics and perfect embroidery mate-
rials at such fabulously low prices women have been tempted to stray
beyond the limits of calico quilts, and indulge in something a little more
ambitious. The popular quilt is nov/ the star quilt, and for a raffle piece, for
fairs or church festival, there could be no more attractive article. As the
stars are worked separately and joined afterward, a number of people couH
DAINTY TRIFLES. 207
work on the quilt at once, and then, too, there is such a variety of work
necessary that even grandma's eyesight would enable her to add her mite.
The method of working is as follows: The materials used are first, four
yards good quality domestic linen, quite heavy, with a nice smooth surface,
a quality worth about 35 cents per yard

will do nicely, three bunches etching
silk, or Real Scotch linen floss No. 8,
two gross smallest size brass rings, one

six-pointed perforated star pattern to
stamp with.
Place the linen on a smooth sur-
face, and stamp the star pattern over
the surface, being careful to economize

space, and yet leave room for working.
After the stamping is done, cut out the

stars on the square, that is, do not cut
the points out, but cut a square with
the star in the center, leaving about
one inch margin from the end or point
of star; this is for convenience in work-
ing. When the stars are all stamped

and the squares cut out, you are ready
to proceed with the fancy work. With
the etching silk work a heavy button-
hole stitch (see illustration page 208)
over a thread of Bargarren linen, or
size German cord around all the points
of the star. Then, with the same silk
fill each point of the star with one of
the filling stitches, either fish net, brick
cross, crows-feet, or any that is pre- fig. 211.
ferred; each star however, should contain but one kind of filling stitch;
but each star in the quilt may be of a different pattern, that is, use fish net
in one star cross stitch in another, and so on. For the center part of star,
crochet a sufficient number of the brass rings with the etching silk, and
STAR QUILT-SEE PAGE 206.

DAINTY TRIFLES. 209
sew them in a circle to the linen. This makes a very effective linish.
After the embroidery is done, cut out all the linen from the points of the
star with a pair of sharp scissors; this will leave a six-pointed star only,
w'.th no surrounding linea Thirty-six to forty-eight stars will be necessary

for the spread and they must be set together by the points. The edges
will, of course, be formed of the points,' and from eac]i should be suspended
a tiny silken tassel. The colors of silk used is a matter of fancy, but the
handsomest are gold on white, old rose and white, blue and white, green
and white, and exquisitely beautiful is an all white quilt.
To bottonhole the edges of star will require about one skein etching
silk, while the filling stitches in the points of star will require three to
four skeins, and for the tassels, one skein etching silk will make three.
The illustration on page 208 shows two of the spaces formed in setting
star together filled with cobweb stitch — this method is not arbitrary, as the
quilts are quite as frequently finished without as with, but of course this
method adds much to the beauty of the quilt when finished. As will be
seen, threads are carried from different portions of the star points, across
the open space, these are worked over with cobweb stitch, which is simply
running a silk thread alternately over and under the crossing lines, loop
over in each instance with buttonhole stitch — this will hold the silk in
place. The cobweb can be made open or close.

The illustration on page 208 shows two of the stars worked, each after
a different method. One has all the stitches alike, the other has six differ-
ent stitches; the balance of the stars are not shown with stitches, they are
merely added to show how to set a number of the stars together, and how
to fill the spaces. We do not think there can be the least trouble in follow-
ing these instructions.
HANDY BAG.
Fancy bags are very convenient receptacles for the odds and ends that
accumulate, and which one occasionally has use for; suspended on the wall,
in a corner or on a table in the sitting room they are useful and ornamen-
tal. These bags should be decorated with needlework and made of suita-
ble material, art linen, silk, tapestry linen or cloth being best adapted for
the purpose The model, on page 207, shows a bag having the bottom gath-
ered in a point and finished with a tassel. The material is moss-green
satin, for the outside; the lining is of pink sateen, faced on the top to a
depth of three inches with pale pink China silk. A shirring is formed at
the bottom edge of the facing, into which an elastic rubber band is run.
This draws the top of bag together. The handles are formed of No. 12
pale pink satin ribbon, fastened to the bag as shown in the illustration.
The design ornamenting the front is a branch of pink daisies. The flower
is worked out with foiir shades of pale pink filo floss, shading from the
palest shade made down through four shades, in Kensington stitch. The
center of flower is filled with French knots. The leaves and stems are done
with the same stitch, in three shades of silver green. The buds are worked
with the deepest shade of the green and tipped at the very point with a
few stitches of the deepest shade of pink. The tassel at the end may be
made of rope silk or crewels, as preferred.
Cheaper bags can be made by using art linen for the foundation and
embroidering the design with linen threads.
TOILET CUSHION.
The cushion shown in the model, figure 212, is made a little longer
than wide, and is stuffed so that it is higher in the back and slopes at a
gentle angle to the front. This effect is secured by sewing side pieces tc
the top and bottom of cushion cover, having the back side pieces highe:
than the front. Cover
the cushion with pale
yellow surah silk, and
make for the top a
removable cover of
white silk bolting, bor-
dered with fine white

lace. The top of cover
may have a design of
golden rod and foliage
painted in oil colors.
Fasten ô the «.ushion

FIG. 212. with pale golden yellow
bows. The design may be embroidered, in which case the golden rod
should be worked with French knots, and the foliage with short and long
stitch. See chapter on "Raised Embroidery,"
DAINTY TRIFLES. 211
EMORY CUSHION.
A little novelty easily made is shown in figure 213. It is an emory
cushion, made in the form of a leaf. Make a cushion the same shape as
here shown but twice the size, and fill
with emory. Out of white cashmere

cut two leaves a size larger than the
cushion. Fill the surface of one leaf
with French knots, done with etch-

ing silk— pale pink; vein the center
with Royal floss, using a shade of
pink a trifle deeper than for the
French knots; place the cushion on

the plain leaf and put over the cush-
ion the embroidered leaf; buttonhole
the edges of the two leaves together
with pink Royal floss, and fasten a
bow of narrow pink ribbon at the
stem end. A number of these emory

cushions embroidered in different
colored silks will always prove a sell- fig. 213.
ing attraction for fairs and bazaars. Flannel could be used in place of the
cashmere, or if it was desired to have something extra fine, white satin or

silk could be used.
BUTTERFLIES.
Sprays of flowers, beetles, bugs and butterflies are used to decorate
lampshades, to pin to the window curtains, to fasten on the wall over a pic-
ture frame; in fact, wherever a convenient spot affords a resting-place it is
quite in order to fasten a bug of some kind-— not the real thing, of course,
but just as good an imitation as nimble fingers can fashion. We show here,
which can be attached to a lamp shade, or any of
in figure 214, a butterfly
the places mentioned, with good effect. Trace the shape of the wings by
means of impression paper, but twice the given size. This can be accurately
accomplished by means of a pantagraph. Cut the wings out of black vel-
vet paper, or if preferred, black crepe paper; paint with liquid gold the
markings shown in illustration, and fasten a fine hair wire around the wings
on the wrong side. To make the body, roll a piece of cotton lengthwise
until it is about twice the size of a lead pencil in thickness, v/rap it around
with the black paper and tie a piece of wire around the neck and at inter-
vals down the length of the body; fasten in pieces of wire for feet, and two
FIG. 214.
wires in the head, as shown; these must be gilded. Fasten the wings to
the body by means of mucilage. Several of these butterflies made up of
different colored paper would be very useful for filling up bare-looking
spaces.
MUSIC STAND.
To make the simple arrangement shown in figure 215 will require the
service of one's husband, father or brother, as the frame work will be beyond
the skill of most women, — note that we do not say all women. The four
upright pieces that form the sides of the stand should be 3 feet long ^
and the side braces 2 5^ feet long. In the center of the side pieces bore
two holes so that they come directly opposite each other; six inches from
the bottom ends bore holes large enough to receive the ends of the side
braces. Cross the two side pieces, like the letter X and fasten with a
double-headed screw or with a riveted nail, and put the side pieces in.
The material for the frame may be common pine or it may be old broom
handles; in any event, when the frame is fastened together give it a coat
of ecru-colored English enamel. For the pocket select a piece of tapestry

DAINTY TRIFLES. 213
linen, of a shade bordering on golden brown, four feet long by two feet
wide. Line it with dark brown canton flannel, of a good quality, and finish
the edges all around with a heavy
silk cord. Fasten the four cor-
ners of the tapestry linen to the
four side pieces of frame by
means of ecru-colored ribbon
bows. The sides of the pocket
should have an elaborate design
worked out with four shades of
golden brown Royal floss, dashed
with gold thread. This stand
will be found very convenient,
and inexpensive as well.
The colors given here are

not arbitrary, nor are the materi-
als; but it will be found to give
better satisfaction if the embroi-
dery is done with the same color fig. 215.
as the foundation. Mail cloth, velvet, silk and ooze leather are all desirable
fabrics for the pocket of stand, but of course more expensive than the linen.
In case ooze leather is employed, two skins will be required. The dec-
oration could be a conventional design stamped on the ooze leather ana
then gone over with gold paint. As this paint comes ready for use, a
person need not be an artist to apply it. This leather can be had in ecru,
white and bronze brown. The ecru treated as described would be effective.
The inside of pocket could be lined with some pretty, bright color,
either green, rose or blue china silk, and the edges finished with a
heavy cord.
Artistic pockets for rack can be also made of Scotch homespun, which
is a pure linen fabric, very heavy, but without any twill. The decoration
could be a Dresden design of buttercups worked with yellow browns in
silk or linen threads, or a design of music notes and violin could be worked
on one side.
^14 DAINTY WORK FOR PLEASURE AND PROFIT.
SCISSORS CASE.
A scissors case made as follows will be found a splendid article for
fair--, Christmas or birthday gifts. The case, of course, must be cut to
fit the scissors it is designed to hold, but the shape
can easily be copied from figure 216. Cut two pieces
of cardboard, line them on the inside with a piece
of chamois skin or velvet, cover the outside with
any scrap of silk or cloth that may be at hand. Join
the two pieces together with a buttonhole stitch,
done with rope silk or Royal floss. On the outside
cover work a design in solid Kensington stitch with
filo floss. The model shows lilies of the valley on
moss green velvet. The lining is of pink satin, and
the buttonhole stitching pale pink silk, though any
colors one happens to have will do equally well. To
embroider the design here shown will require one-
half skein white filo floss, one thread of green filo
floss, and one-half skein rope silk.
The shown here, the laundry bag

scissors case
on page 200, the mending bag on page 191 and the

holder on page 192 would form a combination gift
that would delight the heart of any woman with
FIG. 216. mind on housewifely cares intent and the cost —
could certainly be compassed by a single dollar, and may be less all —
would depend upon the condition of the scrap-bag. And here it may be
well to state that a scrap-bag should be kept in every household. Pieces
of ribb®n — no matter how soiled or creased — should never be thrown away;
carefully cleansed in gaseline, they can be utilized for various purposes;
also velvet that has been used on bonnets, dresses, etc., can be steamed,
when it will answer for making various trifling articles at once useful and
ornamental; so cultivate the habit of saving all the scraps of old ribbon,
velvet and cloth, and you will always have a resource in times of making up
"fancy work." And be sure the scrap-bag will save many a penny in the
course of a year.
DAINTY TRIFLES. 215
CRAWLING RUGS.
These rugs are the delight of every baby fortunate enough to possess
one. The foundation may be made of an old dress skirt, a piece of felt or
flannel, or even canton flan-
nel will do nicely. It should

be lined with old ticking and
lightly wadded. Over the
surface applique all sorts of
figures — of toys, animals and fj
familiar playthings. These

figures can be cut out of any
odd bright-colored scraps
the rag-bag may afford.
They should be buttonhole-

stitched on to the founda-
tion. Old pieces of silk, rib-
bon, velvet, flannel and cash-

mere can be used indiscrim-
inately. Picture books and
cards will furnish designs for
cutting the scraps by, and the
figures may be further em-
bellished by adding a few
embroidery stitches occasion- ^^^- -^7-
ally. made simple or elaborate, it is a most cunning article for the

But,
little who can just crawl about, investigating everything on their hands
tots
and knees. They will spend any amount of time patiently trying to pick a
small boy, drum or wheel-barrow off the rug — sometimes developing a little
latent temper when they don't succeed.
For fairs or bazaars they are a decided success. Where it is not desired
to make up more than one rug for a bazaar a nice profit can be made by
cutting sets of figures, ready for appliquing, out of bright felt or flannel.
They could be sold very cheap, as the scraps and work would of course be
aonated.
2l6 DAINTY WORK FOR PLEASURE AND PROFIT.
FOR THE DINING ROOM.
Nowadays there are so many pretty novelties used on the dining tables
and sideboards that one need never be at a loss what to make for Christ-
mas, wedding or birthday gifts, for one's married, or about-to-be-married
lady friends. In the chapter on "Flat or Art embroidery" will be found a
list of the various linen articles that are commonly used in the dining room.
In this chapter there are several ideas in the same direction that will be
found simple and inexpensive in the working out.
Doyleys, mats of var-
.M30s^
ious sizes, lunch sets, tray
and bread cloths, etc.,
offer a field for decorative
embroidery whose variety

scarcely knows a limit.
The work required for
these articles is not exact-
ing and only simple color-
ing is required.
Roman embroidery is
especially suitable for ta-

ble linen and may be in-
troduced in a center piece
as a border, while the cen-

ter of the article may be
FIG. 218.
embroidered with Dresden
design. Some ladies prefer the appointments of their table to be all in
white, while others prefer delicate shades of a color; but we would not
advise going beyond this- decided colors are not usually satisfactory used
on table linen.
Doyleys are always in order; they may be of different sizes and used
for a variety of purposes. It is a good idea to have several sets of different
sizes on hand, but decorated with colors that will harmonize — so that in
case it is necessary to use them all at one time, the colors will not swear at
each other. If you are obliged to make a wedding gift, be sure that the
bride will be delighted with any gift in this line. A set of six odd mats, a
DAINTY TRIFLES. 217
complete lunch set or a water server mat, will always find eager purchasers
at fairs; and for one's self no more satisfactory fancy work can be done
than making up "Dainty Trifles" for the dining room.
Figure 218, on the foregoing page, shows a design suitable for center
piece for luncheon. The working size is seventeen inches across, while
plate or cup doyleys from four to six inches across may be embroidered to
match. The material best adapted for this work is satin damask or Roman
twill. To make a center piece and six plate doyleys will require two-sixths
of a yard of the damask eighteen inches wide, three dozen skeins of etching
silk, or one and one-
half dozen skeins
Scotch linen floss, six
skeins German cord,

smallest size. First
work the edges with

but ton hole stitch
over the German cord
with the silk, after
which fill in the sur-
face with double bas-

ket stitch described
in the chapter on
"Stitches." The cen-
ter should be filled
in with spot stitch
for the circles, out- fig. 219.
line stitch for the straight lines, daisy stitches for the figure in the center,
and French knots for the small circles in the center. The colors are of
course a matter of taste, but pure white Royal floss for filling in the basket
stitch, the same color etching silk for buttonholing the edges, and palest of
green for filling in the center, would give a pleasing effect, or the pale yel-
lows, pinks or blues would be effective.
Figure 219 is a very beautiful design which will require careful treat-
ment to bring out its beauty. It is not desirable to use this design reduced
in size for small doyleys. It is better to make the center pieces as shown
2l8 DAINTY WORK FOR PLEASURE AND PROFIT.
and then have the cup doyleys in the shape of the leaf without the flower
resting- on it; silk bolting is a beautiful material for the foundation of this
design. Treatment: First darn, in Queen Anne stitch, the entire surface
of leaf with pale silver green filo floss, shading to nearly white; work the
edge with a light buttonhole stitch taken on the edge of material — not over
a cord — with the same silk; with a shade of silk a trifle deeper work in a
few short and long stitches at regular distances around the edge of leaf,
outline the petals of flowers with white Royal floss, working some of the
petals with short and long stitch. For the shadows put in a few threads of
silver green filo floss; cut
the edges out very care-
fully and line the center
piece with pale pink silk
or with a rich gold or a
light green. The darning
stitches should not be
taken very close together,
but about as indicated in
the illustration. The silk
lining may have the edges

fringed or finished with a
ruffle of fine snow-white
lace — or both — arranging
the lace so that it will fall
over the fringe.

FIG. 220. Figure 220 shows a
model that can be used as a center mat 17 inches across, or, reduced in size
as a mat for bread plate, salad dish or fruit basket. The material for the
foundation may be fine huck-a-buck linen, satin damask, or satin sheeting.
To work the design as shown in the illustration will require, for a mat
seventeen inches across, two skeins smallest size German cord, one dozen
skeins etching silk or Royal floss. Work the edges of the center circle and
the four loops with plain buttonhole stitch over a German cord, fill in the
spaces in the loops and the circle with diamond couching, explained in the
chapter on "Ecclesiastical Embroidery." Work the outside edges of the
DAINTY TRIFLES. 219
center pieces with pointed short and long buttonhole stitch, previously
described, using for this part of the work Royal floss. The rays spreading
out from the circle between the loops will be effective in gold thread.
This design is exquisitely beautiful worked with pure white for everything
except the diamond couching and the rays, which should be of fine gold
thread, although any other combination of colors may be used to suit
individual fancy; as deep moss green and white for the couchings and rays,
or, old blue and silver threads; pale rose and gold, or, yellow in two
shades, one light and another shade at least two tones deeper. If linen
floss is used in place of

the silk about one-half
dozen skeins No. 8 will be
required.
Figure 221 shows a
model for center piece
that is very effective made
up as a set, consisting of
a center piece and six doy-
leys for cups, etc. Work
the edges over the small-
est size German cord with
white etching silk; fill
in the surface of petals
with honey -comb stitch
in white etching silk; out-
line the center with outline FIG. 221.
stitch and fill with plain diamond couching, done in gold thread; also work
the veining lines that spring from the center down each petal in the gold
thread. [ In using gold thread for table napcry, or indeed wherever it will
require washing, purchase the best, that which comes on spools giving bet-
ter satisfaction than that put up in skeins.] White silk and silver thread
would be a beautiful combination, worked out in this design. Of course

the other mats, etc., used with this model should be decorated with the
same or harmonizing colors or shades. For evening suppers or five o'clock
teas the silver and gold thread light up wonderfully well, under the gas
15
or candle light. Figure 222 shows a graceful design, suitable for center mat,
in a size either 17 or 21 inches in diameter; reduced to 12 to 14 inches a set
of four mats could be most effectively used in combination with the center
piece. The plate and cup doyleys could match or not as preferred. The
edges of the petals should
be worked all around with
a row of buttonhole short
and long stitches; into this
should be blended two or

three rows, so as to work
into the petals at least i Yz
inches. Begin on the outer

edge with the lightest
shade of the color to be
used, blend into this the
next deeper shade, and
into this row blend still a
third and deeper shade.
Fill the center with out-
line and spot stitches.
Royal floss will be found f^g. 222.
the best adapted for working this design as indicated, and it will require a
little more silk than the other, previously described.

A beautiful lunch set could be made by using this design in three
sizes — for cups, plates and center pieces worked, as described, in three
shades of lily green Royal floss on white satin damask. The combination
of the delicate green and white would allow of any kind of floral dec-
oration desired, and yet be a little change from the dead white so long
used. If however the set is to be used over a white cloth, instead of on a
polished table, a little color will lend a pleasing variety to the table, all the
other appointments being in harmony; for this purpose pale dead rose, old
blue, or certain shades of yellow are effective.
The set could appropriately be made of silk bolting, in which case the
embroidery should be done with white silk and the doyleys and center
pieces lined with delicate colored surah or China silk.
DAINTY TRIFLES. 221
A SHOE BOX.
A shoe box cannot properly be styled "a novelty" in itself, as these
articles have been in use from time immemorial, but the one shown in figure
223 is both -convenient and ornamental. A soap box 14x18 inches will
answer for the box, the inside of which should be lined with white oil cloth,
tacked in neatly. Around the inside of the box, when lined, arrange a
strip of the oil-cloth, as wide as a shoe is long, and tack it into position
so as to form compartments or pockets, dividing each compartment by
means of a strip of brass braid, such as is used to finish the edge of floor
oil mats. A narrow strip
should also be fastened on the

inside of the cover, for the
purpose of holding brooms,
brushes, etc.; for the bottom
of the box, cut a strip of any
dark colored cloth, canton
flannel, Hollywood drapery or
bolton sheeting as deep as the

box is high, allowing for hem,
and the strips should be as
long as will go around the box
twice. Finish the bottom
edge with a buttonhole short
and long stitch or a simple fig. 223.
hem, and over the surface scatter dogwood blossoms and embroider them
with white Bargarren art thread for the petals, and a shade of yellow for
the center; arrange the strip around in box plaits, tacking on the top edge
of box with brass headed tacks. The cover for the top should be cut
three inches larger than the top of box, so as to allow it to fall over, scallop
the edges and work with buttonhole stitch and embroider dogwood blos-
Wkoms over the surface, fasten the cover to box by means of small hinges
and fasten a stout braid from the middle of cover to
fthe side ofof box,cloth,shown
r strips oil
figure
as in 223.
BURNT MATCH HOLDER.
Nothing presents a more untidy appearance than burnt matches scat'
tered over dresser or commode. A pretty little affair to hold them is shown
in figure 224. It will be an acceptable
gift to almost any lady, especially if she
be of the busy practical sort who never
"finds time to do fancy work."
The holder proper must be purchased and
may be any pretty shaped glass, either white
or colored; select a piece of colored china

silk and cut a circle that shall be 12 inches
across; hem the edges, and 1% inches from
the top run in a piece of ribbosene for a
draw string; into this silk bag put the glass
FIG. 224. and draw the string and tie. What could
be more simple and inexpensive? A most saleable article for fairs and
bazaars.
TOILET CUSHION.
Figure 225 shows a very pretty round cushion which is about 4 inches
high and 8 inches across.
The cushion is first covered

with some pretty-colored silk
put on plain. Around the
edges is fulled a flounce of
white lace as deep as the
cushion is high. The top of
the cushion is then covered
with a square of sheer linen
finished around the edge with
a narrow lace edge. In the
corner crowsfeet stitches are
worked with rope silk, or
instead, a pretty idea would
^^^- --5-
be to work a Dresden design
over the linen in solid Kensington stitch. In fact, it would be well to
DAINTY TRIFLES. 223
provide several of these small square covers for each cushion, each one
worked differently, and as wash material will be used in their manufacture,
the cushion can be kept ever fresh and clean with little trouble.
FOOTSTOOL.
These little footrests are made in divers shapes, and decorated accord-
ing to individual fancy. The model has a frame painted with white
English enamel, a piece of canvas, tacked on to the frame, forms the bed
for the cushion, which is made of ticking filled with sea moss, and covered
with pale yellow silk, on one corner of which is embroidered a graceful
arrangement of daisies, worked out v/ith dull yellow filo floss, shading to a
yellow brown. The cushion is
kept in position by means of a

scarf of pale yellow and golden
brown silk, passed under the can-
vas and over the cushion and tied
in a large, loose bow on top. The
ends may be fringed or trimmed
with lace. The frame of stool
should be nine inches wide, twelve
inches long and eight inches high. no. 226.
The material for cushion cover will be a piece of silk twelve by twenty-four
inches, and the silk or ribbon to fasten cover on should be four inches wide
and one and one-half yards long.
CHILD'S CHAIK.
At the season when the little remembered the
folks are especially to be
little chair here shown will serve as an idea which can be enlarged upon to
suit the fancy. The chair shown is one of the ordinary wooden affairs sold
in stores for twenty cents. Taken home and treated to a coat of ecru-colored
English enamel, and decorated as shown, it could not be purchased for
$5.00, and would make a gift that would delight the heart of the most exacting
infant.The cushion for the seat is cut to fit, and filled with wool or feathers.
The small cushion for the back should also be filled with the same mate-
224 Dainty work for pleasure and profit.
ials. The outside covers may be made of any material preferred; by far
the most sensible as well as most fashion-

able is fine white linen, embroidered with
wash silks. The model shows an arrange-
ment of carnations worked out with three
shades of pale pink for the flowers, and
two shadesof brown for the stems and
leaves.The cushions are tied to the chair
by means of brown and pink bows of
ribbon. When soiled the covers can be
easily removed and laundered.
CATCH-ALL.
A dainty little trifle for the table,
which will serve as a catch-all for cards,
odds and ends, etc. is shown in the ac-
companying illustration; it can be made

of ecrcrshell board, ivorine or cardboard
covered.
To make one like the model will
require five pieces of stiff cardboard,

FiG. 227.
twelve by twelve inches each. Cover
each piece on both sides with art linen of a dull rose or light tan shade;
overhand the edges neatly. If the ornamentation is to be embroidery, this
part of the work must be done before
the cardboard is covered. The design
shown is very effective, and should be
wrought out with three shades of^
yellow filo floss. Sew the four pieces,

forming the sides, together, about two-
thirds their depth, beginning at the
bottom edge, and fasten a bow of
ribbon at the termination of the fasten-
ing — see figure 228. Sew the bottom
in and finish all the edges with a row fig. 228.
of art cord, sewed on with invisible stitches. Curve the side pieces out-
DAINTY TRIFLES. 22^
ward slightly and the work is done. If celluloid or eggshell board is used
the decoration must be painting, with oil or water color.
HEAD REST.
Head rests ftr backs of chairs are always in order, and those made
long and somewhat narrow are preferable to the fancy shapes, especially
when designed to be used on a sitting-room or library chair. The fancifully-
shaped trifles are better suited
for parlor, reception and draw-
ing room chairs.
The rests are made from
silk, satin, linen, — white or
clored — velvet, chamois skin,
bolting silk or tapestry cloth.

The one shown in the model
is made of a pale ecru-colored
soft twilled silk, bordered with

cream-colored lace and pale
heliotrope ribbon bows. The
design is an arrangement of
conventional clematis, worked
in solid Kensington stitch,
with four shades of heliotrope

filo floss. The decoration
might be any other design
preferred, or indeed the en-
tire scheme of color could be fig. 229.
changed to suit individual fancy. The main idea is, of course, to have the
thing resemble its name, and be a head rest in fact as well as name, and to
that end the cushion should be filled with cider down.
HANGING PIN CUSHION.

Figure 230 shows a convenient pin cushion, suitable for suspending
from the wall or a corner of the dressing case.
To make: cut four pieces of cardboard 2^/^ inches wide and 7 inches long,
pointed at each end. Cover each piece on both sides with soft silk, join
the pieces as shown in figure 230, after which finish all the joinings with a
cord terminating at the ends with loops and tassels. Suspend by means of a
cord fastened at the ends. The model is covered with pale heliotrope
satin on which is
embroidered on
the front edge pale
wood violets. The
pieces of card-
board should be
exactly of a size,
and to insure this
it is better to cut
^^^- ^30-
one piece the re-
quired size and shape, and then cut the other pieces, using this as a pattern.
The entire effect of such articles as here shown depend upon the neat-
ness of the work for their beauty almost entirely.
FANCY PIN CUSHIONS.

For fairs and bazaar sales the small inexpensive articles usually find readi-
est sale and yield greater profits than the larger and more expensive ones.
The two designs, figures 231 and
232 show some pretty models for
this purpose. Displayed in quan-
tity, tastefully arranged in baskets
they are an attractive addition to
the fancy work booths. The
illustrations show pin cushions
made in the shape of apples and
radishes of different sizes. They
can be made of small scraps of fig. 331.
silk and a bit of cotton. To make: roll a piece of cotton in the hand
until it resembles the desired shape, then cover smoothly with soft china
silk in the proper shape for the article represented, or in white silk tinted
with diamond dyes to the required shade. Apply the dyes with a brush
after the cushion is made.
DAINTY TRIFLES. 227
Other vegetables and fruits can be imitated in the same manner with
equal success, for instance, toma-
toes of the small, round varieties;
strawberries, of exaggerated size;
pears and peaches, can all be re-
produced in velvet and silk for a
trifling outlay of time and money.

The strawberry and tomato
shapes should be filled with em-
ery for needles. The pumpkin fig. 232.
pin cushion, shown on another page in this chapter, may also be made in a
much reduced size, covered with yellow velvet and filled with emery.
INFANTS' CRIB COVERLET.

Crib coverlets are appropriately made from flannel, eider down flannel,
or lighter fabrics, as silk and merino, but in such cases they must be
lightly wadded and
lined. There are vari-
ous pretty methods

of decorating these
coverlets.The edges
may be either bound
with ribbon, or scal-
loped, and worked
with a heavy button-
hole stitch with wash
twist silk, and inside
this border a scat-
tered design of
flowers over the en-
tire surface is the
prettiest and most
simple method of
making up. The il-
FiG. 233. lustration, figure 233,
shows a coverlet of heavy white flannel, having a design of daisies scat-
16
tered over the surface, worked in heavy satin stitch with white wash twist
silk. The edges are bound with white satin ribbon. Carnations, buttercups,
forget-me-nots, and miniature morning glories are all suitable designs for
this purpose.
TABLE COVER.
So much depends upon the size of the table, the place it is to occupy,
the purpose it is to serve that it is hard to give, in general terms, directions

for making up table covers. Small tables having well finished legs or
r^s^^r-^t^" ci''
d...
FIG. 234.
Standards, are usually covered with a square of. plush or silk, or other fabric,
covered with embroidery, and edged with lace or fringe. Tables for dining
and sitting rooms are more generally covered with a large cloth, reaching
nearly to the floor, and made of either Bargarren art cloth, hollywood
drapery, Devonshire art cloth, mail cloth or tapestry linen, and decorated
with cross stitch borders, fringes and conventional designs. Figure 234
DAINTY TRIFLES. 229
shows a table cover made of No. 6. Bargarren art cloth, having a border
worked out in cross stitch with three shades of brown Bargarren linen
thread. Figure 235 shows detail of pattern, which can be easily copied.
The design is carried across the top and worked in quarter sections. Any-
other colored thread could be used. The edge is finished with scallops,
buttonhole stitched with the same thread as used for the cross stitch. This
design is and can be duplicated by a person having no previous knowl-
easy,
edge of Embroidery, simply by following design and making a cross stitch
in each mesh of the,
fabric.
Kensington embroi-
dery is most effectively
employed on table
covers made of fabrics
having a silken surface,
as mail cloth, Russian i
tapestry or sateen, and

the design selected
should not be, for these
large surfaces, broken
by many details, but
should be slightly con-
ventionalized, both as
to form and shading.
See chapter on "Shad-
ing." Where it is not
desired to put in as fig. 235.
many stitches as Kensington embroidery would require, short and long

stitch will be found almost as effective, though, of course, a massed effect
of color cannot by this method be obtained.
CHICKEN PENWIPE.
A unique little trifle is shown in figure 236. It consists of two or three
leaves of chamois skin, on which is gracefully mounted a fluffy little chick.
To make, cut from scraps of chamois skin three pieces about four inches
square; paint around the edges a gold band, using a No. 3 bf'sh and liquid
>30 DAINTY WORK FOR PLEASURE AND PROFIT.
gold paint. Fasten the leaves together by taking a few invisible stitches in
the center. The next operation is the manufacture of the chicken. Cut a
circle out of cardboard about the size of a small sauce dish. Out of the
center of this circular piece of cardboard cut another circle. This will
leave a hole in the center.
Around the edges of the
circle wind pale yellow
yarn until the center space
will hold no more. Sew it
on the inside edge and cut

around the outside edge
and pull out the cardboard
in sections. The result will
be a fluffy yellow ball, which

will look like almost any-
thing except a chicken, but
FIG. 2^6.
at one end wind a piece of
wire around to form the neck; put a black bead in both sides for eyes; cro-
chet a beak out of brown wool or a bit of brown velvet, covered over cardboard
and sewed on will answer as well. For the feet and legs select four strands
of good, strong brown wire for each leg. Wind with brown silk thread, and
at the bottom spread apart to form claws; the upper end of the wires must
be fastened to the ball of wool. When the chicken is finished stand it in
the center of the prepared leaves, and lo! you have the cutest possible
penwipe.
BRANCH OF FRUIT.
There are many pretty little novelties that can be made from tissue
paper — not the old-fashioned plain tissue, but the velvet and crepe papers,
which are so beautiful and not at all expensive —that we think Dainty
Trifles would not be complete without a few illustrations oi what can be done
with this material. Figure 237 shows a branch of fruit which is effective,
when nicely made, to pin to curtains, on a picture, or to cover a bare space

on the wall. To make the spray shown here will require one-quarter yard
green velvet paper, one-half yard orange-colored crepe paper, and a small
piece of brown tissue paper and a piece of stout wire. Prepare the stem or
DAINTY TRIFLES. 231
branch by winding the wire with the brown papel*, twisting it around
smoothly and evenly. Cut the leaves from the
velvet paper; they should be about three inches
long. Cut the green paper into strips about
four inches long by two inches wide, fold dowii
the center and taper the end to an oval point
with the scissors, and the base of the leaf
should also be sloped off. With a No. i brush
vein the leaves with liquid gold paint, as indi-
cated by markings in the illustration. For the
oranges roll a piece of cotton wool into a ball
and cover with the orange-colored paper; fas-
ten one orange to the end of the branch by in-
serting the wire directly in the center of the
fruit; for the two remaining oranges insert a
fine wire into each, and twist these wires
around the main branch, where it is desired
to have them; previously twist the small
wires with brown paper. Gum the leaves into position, and the branch is
finished.
DUST CAP.
The little dust cap illustrated in figure 238 is not so very ornamental,
but its usefulness entitles it to a place
among Dainty Trifles, as no neat and

dainty who has dusting to do
little I'^dy
can dispense with one. To make, cut a

good-sized circle — at least twenty-four
FIG. inches across — from paper cambric.
Pink the edges, and two inches from the edge run in a gathering ribbon,
draw it up to fit the head of the wearer, and behold! the sauciest little mop
cap imaginable.
SACHET BAGS.
The sachet bags shown in figure 239 are made of crepe tissue paper and
are pretty ornaments for parlor, mantel, or for the dressing case in a
guest room. To make the larger of the two shown, cut two squares of tissue
2^2 DAINTY WORK FOR PLEASURE AND PROFIT.
paper the same size; use a deep old-rose shade for the outer square and 3
light shade of the same color for the

inner square. In the center of the
squares laid flat upon a table place a
ball of cotton wool, scented with some
perfume. Gather the edges of the
paper up and close to the ball of wool
wind a wire tightly round and fasten.
Pull the edges of the outer square

downward to cover the fastening and
to form a bottom trimming. Gather
the edges of the inner square together,
and dispose them so they will stand
shown in the illustration.

upright, as
The smaller sachet is made in the
same manner as the one just described,
only it is smaller and the edges of the
paper are disposed a little differently.
A pretty combination would be white

crepe paper for the inner square, and
FIG. 239. pale violet for the outer, and to car: 7
out the illusion — or delusion — scent the wool with violet pov/der.
TWO TOBACCO POUCHES.
Figures 239 and 240 illustrate two
pretty little tobacco pcJuches, which can
be utilized as Christmas or birthday gifts
for the brother, big and little, one's own

and the other body's brother, as the case
may be. Figure 239 is made of olive
plush, lined with oil silk, or sateen would

do if more convenient. The design of
clover, daisies and ferns should be

worked out in solid Kensington stitch in
\vasli iiilks in natural suades, and a draw-

FIG, 240.
string completes the pouch.
DAINTY TRIFLES. 233
Figure No. 241 is more simple. The pouch is made of chamois skin,
without lining. The bottom edge is trimmed

with a fringe of the chamois, made as follows:
Select a strip of chamois as wide as the bag,
and as deep as the fringe is to be when fin-
ished; paint over the entire surface of this

piece, on both sides, with liquid gold paint.
When dry, slash into narrow strips, to within a
half-inch of the top edge, which is left for a
heading; sew to the edge of pouch. The let-
tering on the pouch may be etched on, with
wash twist, in deep brown, or it may be written

FIG. 241.
in with a brush dipped in the gold paint. The design shown in illustration can
be transferred by means of a pantagraph direct to the chamois, and then
painted in oil colors with one or two shades of brown and gray for bowl and
clouds. See chapter on "Brush and Palette," for instructions for painting.
LEAF PENWIPES.
Figure 242 illustrates three very convenient and pretty penwipes. Cut
scraps of chamois
^t. -^ skin into leaf shapes,
as here shown. A
natural leaf can be
used as a pattern.
For the covers, or
outer leaves, use
opze leather, velvet
or celluloid. Place
the leaves together
and fasten at the top,
or stem part of leaf.

Dip a No. I brush in
liquid gold paint, and

gild the edges of the
leaves; also vein
FIG. 242. the outer or cover

leaves with the paint, followinjj the natural markinp^s as nearly as possible,
TRAVELING CASE.
For the convenient and serviceable traveling case here illustrated,
select two pieces of good, strong,

brown linen canvas, one for the out-
side, and the other piece for the pock-
ets. The lower pocket is formed by
facing up the inside of the case to a
depth of fifteen inches with a piece of
the canvas; round the top edge, and
stitch down the center, forming two
serviceable pockets. The middle cf
the case is divided into three pockets,
for smaller articles, and the space
above is divided into eight sections.
The case is bound with brown tape,
and the pockets ornamented with
lettering in satin stitch, done with
Real Scotch linen floss, in a shade
FIG. 243. of brown lighter than the canvas.
The middle pocket may be ornamented as shown in accompanying design.
CHILD'S CHAIR.
The chair shown in the illustration is such as can be purchased for
twenty-five or thirty cents. Paint the frame with
two coats of cream-white English enamel. For
the seat and back make two cushions, filling them
with feathers or cotton wool of the best quality.
After the cushions are finished, cover them with
white linen lawn cases, embroidered in solid
Kensington stitch with filo floss. The model

shown here had an exquisite design of forget-me-
nots, worked out in natural shades. The advan-

tage of these covers lies in the fact that they can
be laundered as often as necessary, without fear of
injury. Any other design than the one mentioned pjQ_ 244.
can be used. It is a matter of individual fancy — or taste, rather.

DAINTY TRIFLES. 235"
MAT FOR WATER PITCHER.

The mat here illustrated may be made of heavy Roman twill linen.
The outlines should be worked with buttonhole short and long stitch. The
petals should also be marked into diamond-shaped spaces by means of
outline stitch, and in
the center of each dia-

mond-shaped space,
a tiny forget-me-not,
embroidered in solid
effect, adds much to

thebeauty. Thebottom
of the mat is worked
with a spider web. The
colors are a matter of
taste, but white for
the buttonhole stitch,

blue and gold for the
balance of the work,
would be effective. If
a round tray is used on

which to rest the water
^^^- ^^5-
bottle or pitcher, then
care should be observed to fit the mat to the botto7n of the tray, and if
the bottom of the water receptacle can be made to fill the spider web
portion of the mat, the effect will be even prettier.
NEEDLE CASES.
Figures 246 to 248 show two pretty needle cases. They are designed
FIG. 246.
for utility, but may also be as ornamental as one chooses. Figures 246 and
247 show a needle case open and closed. To make, cut a strip of velvet,
celluloid or chamois skin eight inches long by three inches wide, lined with
a strip of red satin. In one end fasten a tiny silken
bag for thimble, etc.; in the center fasten a spool of
silk by running through it a ribbon, which is tied

on the outside of the case in a bow; the other end
of the case is furnished with a needle book, made of
flannel leaves, having the edges scalloped and
worked in buttonhole stitch with some pretty col-
ored etching silk; ribbon is sewn on each end to
fasten with. Figure 247 shows case closed. The
ornamentations on outside of case may be any de«
sign to suit the fancy, but for small articles of this
nature, the pattern will look best worked out in
FIG. 247. natural shades in Kensington stitch.
Figure 248 shows a needle case somewhat similar to the one just de-
scribed, but folding differently. Cut a piece of
ooze leather or oil silk about three and one-half
inches wide by six inches long. This will form the
outside cover. For the inside lining stitch scraps
of chamois skin or velvet in the form of pockets, as
indicated in the illustration. Letter each pocket
in outline stitch with etching silk. The leaves
for the needles should be made of fine white flan-
nel, buttonholed with blue or pink silk around
the edges. The case should be neatly bound and
supplied with two ribbons to fasten with. This
is a pretty little needle case and can easily be
made, and is at the same time inexpensive.
The material indicated in the instructions for ^^®- --^^•
any article in this chapter may be varied to suit the convenience of the worker.
KENSINGTON COVER FOR CUSHION.
Figure 249 illustrates a beautiful design for sofa cushion cover, to be
worked out in Kensington stitch with filo floss on mail cloth. The colors
in Foundation for cover, cream mail cloth;

the model were as follows:
the roses were worked out with pinkish browns, which shades from a
DAINTY TRIFLES. 237
white brown to a pinkish brown; four shades were used in each rose; the
forget-me-nots were done in old blue, with a tiny French knot in pale
yellow; the star-shaped flowers were shaded with pale pink, and the ribbon
and foliage were treated with lily green in four shades. Anything more
beautiful and artistic could hardly be devised, the effect of the semi-con-
ventional shading being extremely rich. The edge was finished with a row
of gold lace.
Furniture covers m.ade of unbleached linen, of heavy quality, and with
a decided twill. These covers are designed to protect handsomely uphol-
stered furniture from the ravages of dust, light and moths, but they are
sometimes also used to hide the ravages of time and hard usage. In either
case they should be made to fit exactly, and the work should be done
neatly and thoroughly. There is no excuse for furniture swathed in an
untidy mass of loose cloth. The covers may or may not be ornamented,
according to the washes of the owner, but where the covers are designed to
be used throughout the greater part of the year, it will be more pleasing to
the eye if there is a trifle of well-wrought needlework on each cover.
There are two methods of embroidering furniture covers, either of
which will be recognized as artistic. The first is to decorate each piece with
cross-stitch, done with linen floss in monotone. Pages 140 and 141 show
appropriate designs, and in the chapter on "Berlin Embroidery" will be
found instructions for working. The second method is solid Kensington
stitch, with wash fllo floss silk. For this purpose natural forms of flowers
may be selected, but the shading should be done in dull conventional
shades, as described in the chapter on " Shading," as a constant sight of
covers embroidered in glaring reds, yellows, pinks or blues will soon be-
come an almost unbearable eyesore.
NASTURTIUM CUSHION.
The cushion shown in figure 250 is simple and elegant. The founda-
dation is a square cushion.rather flat, covered on both sides with dark blue
plush or velvet. The back
cover is cut large enough
to lap over on the front
side, joining a facing or
hem about four inches
deep. The front of the
cushion has a piece of
pale blue fish net lace
laid over the plush cover.
Over this fish net are
scattered nasturtiums,
which have been just
stamped on a piece of
satin, the color of the

lightest shade in a natural
FIG. 250. nasturtium, and then ap-
pliqued to the fish net by means of a buttonhole short and long stitch
around the edges, with a shade of silk deeper than the satin flowers. The
cushion is finished with a bow of ribbon, two shades, nasturtium yellow and
pale blue.
In using the fish-net covering, any scheme of color may be carried out,
and the effect of the net over satin is particularly pleasing. A beautiful
cushion could be made in this manner by covering cream satin with cream
white net, and appliqueing pansies in different shades of pansy purples,
shading into pale heliotrope, with a dash of yellow; or, over the net, a
—
DAINTY TRIFLES. 239
powdered design of blush roses, worked in solid Kensington with rose pink
filo floss. There is hardly a limit to the diversity of ornamenting cushions,
but as has been frequently observed in these pages, the use to which each
cushion is to be put must be carefully considered. Such a cushion as
described above would be suitable only in a reception or drawing room or
guest chamber.
INFANTS' TOILET CASE.
This dainty little affair will at once commend itself to those mothers
of little ones who visit or travel occasionally. Many small articles are
needed for baby's
comfort, and it is so
necessary to have
them all together.
A piece of pale
green moire silk, 27
inches square, lined
with a stiffening
crinoline will do
and over this anoth-
er lining of pale pink
China silk, fitted on
to the edges of the
outside green silk, so
that the pink lining
will lay in little puffs fig. 251.
of fullness. Straps of ribbons are fastened at convenient distances for

holding sponge, brush, comb, powder box, etc. To close, fold the four
corners together, and tie with a pretty bow. This ,will be found convenient
for packing. A little case made after this model and fitted with brush,
comb, sponge, powder and puff, would make a gift for an infant's trousseau
that would delight the heart of the most exacting mother.

KEEP A SCRAP BAG.
In this chapter on "Dainty Work," many articles of easy manufacture
have been illustrated and described, but, dear reader, do not for a moment
imagine that the subject has been exhausted. What has been given should
but serve as a stimulus to the inventive faculties of the worker, for each
article illustrated can be made in as many ways as there are individual
fancies. It is not expected that the woman with brains will confine herself
slavishly to a given size, color or shape. She will but use the suggestions
given as a foundation on which to work out her own taste. There are many
novelties which the scope of this work will not permit us to enlarge upon,
but we must be permitted one more word before we pass on to the next
subject, viz., ''Keep a Scrap Bag!' The numbers of pretty little trifles that
can be made from the accumulation of ribbon, velvet, silk, flannel, and the
usual odds and ends that will accumulate, is indeed surprising. To women
of limited means it is most discouraging to be compelled to purchase each
item for making the smallest trifle of fancy work, and many homes go un-
adorned because of the neglect to care for the little scraps that an ingenious
mind and nimble fingers could fashion into articles of use and beauty.
Again, despise not the simple and inexpensive means of decorating a
mantel, shelf, table or dressing case. Tissue paper, scrim, muslin, crochet
linen, etc., may all be used effectively, and it is not at all necessary to wait
until you are able to buy silk, plush, velvet, etc., for the work before at-
tempting to make your home artistically and cosily pretty — "Cosily" is a

good word applied in this woman who fails to grasp its
connection, and the
true spirit, is pretty sure to make a failure of her home beautifying.
The following chapters on "Drawn Work " and "Brush and Palette,"
should be carefully studied and thoroughly comprehended, as by means ot
the instructions there given, the question of expense is resolved to a
minimum.
CHAPTER XIII.
DRAWN WORK.
RAWN WORK offers a means of beautifying table linen,

bed linen, towels, handkerchiefs, and many articles of a
lady's wardrobe. It is the least expensive, as to actual
outlay of money, of any form of decorative needlework,
i
but to do elaborate pieces on fine materials will require
time and patience, and prove a tax upon weak eyes.
The material for doing drawn work must be selected with care, but
FIG. 252.
nearly all grades of linen may be used, provided the threads are even and the
surface smooth. The quality of linen known to the trade as "round thread
linen," is best adapted, as the threads are easily drawn, and the remaining
threads are firm and smooth. Scrim, surah silk, lawn, mull — all may be
decorated with drawn work. The work should be done in either a square
frame, having the work stretched in it according to directions given in the
chapter on "Implements," or in a pair of hoops, as shown in figure 252. To
work with, linen crochet thread. No. 80, is most desirable to use, though the
beautifully colored wash silks are frequently employed on white goods and
always on silk and colored fabrics.
Madonna cotton is used where linen or silk thread is not desirable. It
comes in small balls, in cream or pure white.
Preparing the Work.

Having decided upon the pattern, and the size of the article to be em-
bellished with drawn work, the first step is to draw the threads. Figure 253
,n„. , ,11!^ ,
_^- -.,. shows a border and one corner hav-
gg
,
ing the threads drawn ready for work-
ing. The space required for the cor-
ner is first cut out — see figure 254.
The threads are then drawn out from
each side, until a space of drawn
threads the required depth of the
design is obtained.
This operation is always the
'i^-W
same in all patterns, where a corner
is desired; sometimes the corner is
filled with alternate squares of linens

FIG. 253. and drawn threads, instead of being
filled in with a solid design Figure 255, illustrates method of doing this.
First cut out a space the desired size for the first square, next leave an
equal space of plain linen, repeat until the requi-
site number of squares is obtained, pull out the
threads from each side; the pattern is then ready
for working.
Where a border only is desired, the
threads are drawn from edge to edge, see _Mi%2£
figure 256.
p^g 254
The threads drawn, we are now ready to proceed to the work of making
the patterns and this brings us to the question of stitches.
DRAWN WORK. 243
Foundation Stitches.
The stitches used in complicated patterns of drawn work, are those
given in the chapter on lace making. The number used in any given
pattern is limited and when the work done by use of the threads of the ma-
is
terial, is confined to varieties of knot stitch and weaving stitch. For instance:
the corner shown in No. 258 is made entirely from these two stitches —the
varieties of these two stitches include hem stitching, ladder stitch, her-
ringbone, duck's tail, spider web, raised wheel, flat wheel and woven wheels.
Hem Stitching.
The most useful of all drawn work stitches is the simple hemstitch
shown in letter c, in figure 256. This stitch enters into almost every pat-
I [K -• (») 11) (v; ifll l») (v) (t ) (v) w/ (s) I Hn—î;—IN i

'— :
FIG. 255.
tern for drawn work; for instance, when the threads are drawn for a design
the first operation should be to hemstitch the edges or the material where
the threads were drawn, to prevent the further loosening of threads, see
letter c, figure 256.
The method making hemstitching is simple; commence at the left
of
and work to the right is a rule to be remembered. Where hemstitching is
to be applied as a finish to a hem of any article, a few threads only are
drawn, the number in any case depending on the fine or coarse quality of the
material. If very fine, more threads must be drawn, three to five, will in
244 DAINTY WORK FOR PLEASURE AND PROFlt.
most cases be sufficient. The depth of the hem must be first determined,
and the threads drawn twice the distance of the width of the hem from the
edge. The hem should then be turned and basted into position close to
FIG. 256.
the first drawn thread, commence at the left and put the needle point at the
back of the drawn threads, taking up three to four threads; be sure that the
thread in the needle is to the right and tmder the needle, forming a half-
loop. Pull the needle through towards you; repeat to the end. This
Drawn work. 245
^
^4^ DAINTY WORK FOR PLEASURE AND PROFIT.
arrangement it has the appearance of knotted chain. Figure 257 shows the
knot stitch so applied, as well as the method of placing thread to make.
To make the knot stitch: carry the thread upward and to the left, forming
a loop; insert the needle under the drawn threads to be tied and draw
upward through the loop. The needle when inserted under the threads
should point to the right and the thread should be drawn through care-
fully and firmly. Knot stitch will require some practice in order to make
it exact and smooth
each time, as its
beauty and usefulness

depend entirely upon
the nicety with which
it is made. Letters
e e, figure 256, show
this stitch applied to
knotting threads;
letters d d, same fig-
ure, show the knots

applied to forming
patterns, and letters
^^show a more com-

plicated use of the
same knot.
In working out
the design in letters
^^^- 259. figure 256, knot
gg^
with knot stitch a group of four strands of threads, which have first been
hemstitched on both upper and lower edges, knot in the center and twist
the thread back to the edge of the material on one of the strands of
threads, twist it down the first strand of the next group of four strands and
knot again; continue this to the end of the drawn threads. The twisting
back is done to avoid carrying the knotting thread across middle of the
pattern forming. The difference will be noticed by observing letters d d,
in figure 256. In this pattern the thread is carried from one group to the
next, forming a strand through the center. The next step in forming this
DRAWN WORK. 247
pattern is to commence at the first strand of the first knotted group and
make a knot stitch about one-eighth of an inch from the upper edge, carry
the thread across to the next strand and knot again; continue this knotting
until the four strands have been knotted, when the thread must be carried
down to the lower half {vi^yiX. the center knot) of the second group of fours,
this thread is then knotted across each of the four strands, when it is
carried upward to the upper half of the third group of fours. This opera-
tion must be continued until all of the groups have been knotted; commence
again at the first
strand of the first
group of fours and

repeat the knot-
ting a short dis-
tance below the

first row. The
exact distance
must of course be
regulated by the
depth of pattern.
This will form two
rows of knotting
across the upper
and lower portions
o f every other group
of fours. Begin at
the first strand of

the lower half of pjq 25o
the first group and knot across, carry the thread upward to the upper
portion of the second group — in crossing the threads that have been left
between the two groups in the first two rows of knotting make a knot
stitch — and remember it is a rule in drawn work to knot every time a thread
is crossed. Continue the knotting across all the groups as before described
and then return to the starting point and put in the last row. The number
of rows must depend upon the depth of the design. In letters ^^ the first
and last group of strands have purposely been left unknotted.

Double Matrimony Stitch.
Double Matrimony stitch is a simple and effective means of making

rows of insertions, also to lend variety to designs that otherwise would
appear too monotonous. Letter f, figure 256, shows this stitch in detail,
while it may be seen applied to a portion of insertion in figure 255. To

make: four strands of hemstitched threads will be required for each stitch
— see letter/ Fasten the working thread in the edge of the material and
carry point of needle tmder the third strand, twist point of needle back over
the second and back tmder the fourth and over the first strand and draw
the needle up through the center. The working thread running through
the center of each stitch holds the twisted strands in place; work from the
left to the right.
Wheels and Spike Ornaments.
Wheels and spike ornaments for corners and other open spaces are
formed by means of weaving. Figure 258 shows a corner and section of
border. The space for the corner is
nttltii
first cut out — see figure 254. The cut
edge is next buttonhole stitched to
prevent raveling. The threads are then
drawn from each way, as shown in figure
253. The border is first worked with
knot stitch, as previously described,
and the working thread, as each row of
knotting is finished, is carried across
the cut out corner and invisibly fastened
into the edge of the material. To work
FIG. 261. the corner shown, commence in the
center with the working thread and weave over and under all threads a
few times; this will form a flat wheel. Then pick up seven threads and
weave back 3iXi<\ forth over and under them, until about one-third the distance
from the center to the corner of design has been so treated. Now continue
the weaving, but drop one thread at each side and weave over five instead
of seven, proceed the desired distance —which is entirely a matter of

personal choice — and then drop two more threads, one from each side, and
finish to the corner, weaving over only three threads. To fasten, run the
DRAWN WORK. 249
needle through the woven spike to the center and cut off at the back of the
work. Leave one thread and take up the next seven and work as before,
and so on until the four corners of the square are filled with woven spikes.
FIG. 262.
When the work is completed there will be left on each side one unworked
thread — all similar ornaments are made in exactly the same way, being
FIG. 263.
varied only by the number of threads woven, and the different number of
the rows of weaving. To weave, here means to put the point of needle
under one thread, over the next, under the third, over the fourth, and so
on, repeating back and forth.
Figure 259 illustrates a corner and border different from any
yet shown. In the construction are used four stitches, knot stitch,
hemstitch, weaving stitch and buttonhole stitch.

The corner is prepared as described in the preceding. The two edges
of the cut corner are first buttonholed, the threads for the insertion next
''-----'----"'^--^'"^^^^^^^^^^
%nr.>uuiniiittjiin:uif
BORDER OF TEA CLOTH, AND CENTER OF DOYLEY. FIGURES 264-265.
drawn from each way. In the model the insertion is one and one-quarter
inches deep. Both edges of the insertion are hemstitched and a row of
knot stitch is worked top and bottom about one-eighth of an inch from the
edge of the material, across the entire insertion. The border is made by
DRAWN WORK. 251
weaving stitch; commence and weave over four strands of hemstitched

threads, back and forth from top to bottom of insertion. When about half
way to the top edge of the insertion, weave in the fifth strand of threads
with two rows of weaving, then drop it and proceed as before. Skip the
sixth strand of hemstitched threads and begin at the bottom of the seventh
^SS^^ ^S3 ?=vi^ îs $
5=^"^" ^§ =12-2 pig =gi| --i?i
wa^^//;«/H/iirtmi'r/miimaiHiii«it'i"'iin«"niuiMHiiiKi'M'M«ii«««^«iiinniirini«iuiiiuiiiiw^^
*
Ia
CORNER TEA CLOTH AND CENTER. FIGURES 266-267.
Strand and weave back and forth over the four strands until the center is
j
reached, when the sixth strand and the eleventh strand must be woven in
with two rows of weaving; drop the sixth and the eleventh strands and
I
I
proceed as before.
17
To work the corners some extra threads must be put in; the corner
requires 26 threads to form the pattern. Commence in the center and tie
all the threads together with a knot stitch; then weave over eight threads
as follows: starting from the center, weave over three threads for a distance,
pick up the fourth and proceed as before; next take five threads and con-
tinue until the ten threads have been woven over. Go back to the center
and begin the second spoke of the wheel, and so on until all the threads
have been woven close to the edge of the material. A close following of
the design will render this part of the work extremely simple.
Good All-Over Design.

Figure 260 shows a square suitable for a corner or for an all-over
design, or a deep insertion. To prepare the threads for this design: the
material must be cut for every alternate square and the edge of material
buttonholed, the threads are then to be drawn each way; this will leave
every alternate square of the material, and the other square of drawn
threads crossways of the design, while there will be a square opening to
be filled in, and a square of drawn threads, lengthwise of the pattern. The
edges of the linen squares must be hemstitched; the drawn thread squares
knotted with knot stitch, three rows being sufficient for a square five-
eighths of an inch each way. In knotting the drawn threads the working
thread is carried straight across the cut-out square, and forms the founda-
tion for the spikes and wheels, which are fitted in. The spikes are woven
as described for the corner for figure 258; three threads being woven over
for each corner. To weave the spikes and wheels commence in the center
and weave outward. An unwoven thread is left on each of the four sides
of the square.
To make Raised Wheels.
The woven raised wheel shown in the center of design 260, is made by
working over the threads carried across in knotting the drawn thread
spaces. All the threads are tied together in the center with a knot stitch;
the raised wheel is made by putting the needle under two of the threads,
back again, under the last of the two threads, and one new one, and repeat-
ing, going around the center until the wheel is large enough. Figure 261
shows raised wheel in detail.
DRAWN WORK. 253
Flat Wheel.
A flat wheel is made in the same manner as the raised wheel except
that the needle is put under and over every spoke of the wheel until the
desired size is attained,
Spider-Web Wheel.
A spider-web wheel is made by knotting the working thread around
each spoke of the wheel, at equal distances from each other. Use the
regular knot stitch for this purpose. Figure 262 shows a wheel as part of
an insertion pattern; it is also very suitable for corners. Figure 263 shows
the spike stitch with flat wheel center, and the spider-web stitch with raised
wheel center, and knotted stitch for the outer spokes; these will suggest
variations for the spike and spider-web wheel, which will give pleasing
variety to a pattern.
Corner of Tea Cloth.

Figure No. 264 shows corner of tea cloth. The cloth has a hem two
inches deep finished with a ladder hemstitch — see figure 256, letter b.
One-half inch above this is an insertion one and one-quarter inches deep.
The pattern for the insertion and corners is shown in figure 259, and is
worked after directions given for that figure. A space of the material one-
half inch wide is left above the insertion, and a border two and three-
eighths inches deep is worked according to directions for figure 259,
another space of material is left, and the center —a space one and three-
quarter inches square is filled with spikes and raised wheels.
Doyley Designs.
The doyleys shown on pages 254, 255, 256 are all made of fine linen,
and worked with weaving and knot stitches, hemstitching, spike stitch,
spider-web wheel, raised wheel and flat wheel, all of which have been
described.
DRAWN WORK DOYLEYS. FIG. 268.
Designs furnished by the Chicago Society of Decorative Art.

DRAWN WORK. 25s
DRAWN WORK DOYLEYS. FIG. 269.
Designs furnished by the Chicago Society of Decorative Art.

2i;6 DAINTY WORK FOR PLEASURE AND PROFIT.
DRAWN WORK DOYLEYS. FIG 270.
Decorative Art.
Designs fumislied by the Chicago Society of
CHAPTER XIV.
BRUSH AND PALETTE *
AINTY Work for "Pleasure and Profit" would

not be complete without a chapter devoted
to decorative work with the brush. It is not
the intention of the writer to go into the
subject exhaustively here, but to give simple,
easily-followed instructions for doing deco-
rative work for the home, without incurring
the expense of a teacher. So much can be
accomplished with a few colors and a set of
brushes, in the way of decorative effects,

and at such a small outlay of time and
money, that every woman should make her-
self familiar with the method of doing the
different kinds of decorative painting. Teach-
ers have been and still are making money
teaching painting; and painting on silk, satin,
T^J- velvet, chamois skins, silk bolting, ivorine,
celluloid, egg-shell paper, bristol board and canvas is used as means

from which to derive a handsome revenue, by ladies who teach the art or
do the painting for the trade. One lady in New York has, in the past few
years, purchased a home and supported an aged mother and two younger
sisters painting calendars, letter holders, telegram covers, etc., for a large
wholesale firm in that city. There may not be much of what professional
artists call " art," in this style of decoration, but it produces wonderfully
pretty effects, at little cost, and so places the beautiful within the reach of
the many, instead of confining it among the few wealthy fortunates.
Note.—The illustrations given in Brush and Palette are described in detail in Chapter XVIII.
The following instructions will be found practical, reliable and easily
comprehended.
Designs for Painting.
Many ladies imagine they cannot paint because they cannot draw.
None of the paintings on fabrics displayed in the stores are drawn. The
design is first stamped upon the fabrics by means of perforated stamping
patterns, according to directions given in the chapter on "Designing."
after which they are painted according to the instructions given in this
chapter.
We will discuss first.
Painting in Oils on Fabrics.

Almost any fabric can be used as a background for painting, but of
course some fabrics are better for this kind of decoration than others; but
silk, satin, muslin, linen, silk bolting, wool and silk canvas, give the best
results, while fairly good success may be obtained on plush (short nap) and
felt. To paint upon plush, felt, silk or satin no preparation of the material
is needed. Stamp the design lightly with a powder, dust it off lightly, and
tack the fabric on a board, or stretch it in a pair of embroidery frames.
When painting on silk or satin, to prevent the oil from the paints spread-
ing beyond the design, put the paints first on blotting paper, which will
absorb the superfluous oil. The materials necessary for painting on fabrics
are few and simple, as follows:
Materials for Painting.
Brushes. — Red sable, No. i.
Red sable, No. 2.
Small flat sable brushes, Nos. 3, 4, 5, 6.
One large bristle brush for backgrounds and large surfaces.

Palette. — This can be purchased at the art stores or a piece of smooth
glass will answer the purpose equally well.
Medium. — For thinning paints for use on wash fabrics. Foster's
medium is excellent for this purpose. One bottle poppy oil and some spirits
of turpentine.
Colors. — A limited list of colors for decorative painting will be needed,
as follows: zinc white, light red, vermilion, madder lake, cadmium, burnt
.
BRUSH AND PALETTE. 259
sienna, terra verte, zinnober green, Vandyke brown, rose madder, Antwerp
blue, raw umber, ivory black and mauve. Others may be added if desired.
Standage, who is authority on mixing colors, gives the following table

for mixing, which will be found very valuable for those who wish to do
much work in this line.
To Produce Blues.
Cobalt Green, Cyanine Blue. — In series of blues of the turquoise tint,
sparkling and tender, both beautiful and useful.
To Produce Browns, Buffs and Yellows.

Chocolate Brown. — Add lake or carmine to burnt umber, or take Indian
red and black to form a brown; then add yellow to bring about the desired
shade.
Olive Brown. — Mix one part of Saxony blue with three parts of burnt
umber. Change proportions for different shades.
Snuff Brown. — Yellow, 4 parts; Vandyke brown, 2 parts.

Ordinary Brown. — Red, parts; black, 2 parts; Chinese yellow, 2 parts.
3
Light Buff. — Yellow ocher, lightened with white.
Deep Buff— Yellow ocher, white and a red. little
Oak —White, 8 parts; yellow ocher, part.

Color. i
Fawn —White, 8 parts; red, part; yellow, 2 parts; umber,

Color. i i
part.
Tan — Burnt sienna, parts; yellow, 2 parts; raw umber, part.

Color. 5 i
Brick —Yellow ocher, 2 parts: red, part; white, part.

Color. i i
Stone —White, parts; yellow, parts; burnt umber, part.

Color. 5 2 i
Portland Stone — Raw umber, parts; yellow ocher, parts; white

Color. 3 3
I part.
Yellow Lake. — Umber and white, equal parts; add Naples yellow and
scarlet lake; glaze with yellow lake.
Jonquil Yellow. — Mix flake white and Chinese yellow, and add vermilion
to carmine.
—White and yellow, tinted with red and blue.

Golden Yellow.
— White and lemon yellow.
Canary Yellow.
Lemon Color. — Lemon yellow, parts; white, 2 parts.
5
Straw Yellow. — Yellow, parts; white, 2 parts; red,

5 part. i
— Red, parts; yellow, 2 parts, blue part.

Citron. 3 i
18
Clay Drab. — Raw sienna, raw umber and white lead, equal parts, and
then tint with chrome green.
Ordinary Drab. —White, 9 parts; umber, part. 1 ,
Cream. Color. —White, parts; yellow, 2 parts; red,

5 i part.
Orange. — Made with gamboge and burnt sienna. Useful for the autumnal
tints, and to mix with the other greens, in order to vary their tone and
depth, but not to be used in very warm sky tints.
To Produce Grays.
Indigo, lampblack, and madder lake.
Indigo and Indian red.
Indigo and light red.
Indigo, lake and gamboge.
Indigo, lake and Roman ocher.
Indigo and Venetian red.
Indigo, raw sienna and lake.
Indigo, sepia and lake.
Indigo and purple madder.
Indigo, light red and lampblack.
Indigo, burntumber and lake.
Indigo, madder purple and burnt umber.
Lampblack and madder lake.
Lampblack and burnt madder.
Lampblack and light red.
Lampblack and lake.
Cobalt green, cyanine blue, carmine madder, for silvery grays, through
lilacs to purple.
The colors given in the first list answer for all kinds of painting
for decorative purposes, no matter by what name it may be called, except
for tapestry and china painting, a list or colors for which we give later.
The designs that best lend themselves to decorative painting are all field
and garden flowers, arranged in groups or used as single sprays, or formed

into scrolls for border effects; also tiny landscapes.
Handkerchief cases and articles of a like nature, are made very
beautiful by painting over the entire surface of the satin a background;
it may be in some neutral shade, or it may be a sky effect, over which

the floral arrangement is thrown.
Daisies, honeysuckle, apple or peach
blossoms, delicate tea roses, feathery
clematis, violets, white and purple lilacs,
pansies, are all excellent subjects for

silk or satin decoration.
A design of apple blossoms would

be painted thus: Squeeze out upon the
palette a good quantity of zinc white
and a little rose madder, and for the
green leaves, terra vert, cadmium, burnt
FIG. 271 A. sienna and Antwerp blue. fig. 271 b.
Begin by putting in the general tone of the blossom with zinc white,
rose madder and a trifle black. For the calyx use terra vert and cadmium,
and in the center of flower burnt sienna and cadmium, with a touch of zin-
nober green. This for the yellow stamens. The high lights are painted
with silver white and a

trifle madder lake. The
leaves require more
transparenc y of coloring,
Forthese use terra vert cad-
mium, burnt sienna and
Antwerpblue. Ij Where the
under side Df the leaf
shows, use I silver white
with the colors, and a
little ivory FIG. 271. black. The
grayish branches are painted with Vandyke brown, silver white, and black,
with raw umber and burnt sienna in the shadows.
To paint morning glories, which are a delicate pink, banded with white,
use madder lake, silver white, yellow ochre, and a trifle ivory black for the
local color. The shadows are painted with light red, raw umber, and white.
The white stripes, or bands, with white, madder lake and a little ivory black.
The lights are painted with the same colors. The centers are pale, almost
white. For these use white, light cadmium and madder lake. The green
leaves are painted with Antwerp blue, white, cadmium, light red, and ivory
black, shaded with burnt sienna and black. The stems and tendrils, which
are yellower in tone, with light zinnober green, white, light cadmium, and a
little burnt sienna, and black in the shadows.
Apple blossoms and morning glories are both beautiful gracefully ar-
ranged for panels, photo frames, memorandum racks, cushions, drapes, etc.,
and the background effect spoken of previously enhances the effect a
hundred fold. Any dealer in perforated designs will be certain to have

several arrangements of these flowers, some one of which can be adapted
for your use. Magazines, cards, etc., also frequently have pretty arrange-
ments, which can be transferred by means of a pantagraph, as described in
the chapter on "Designing."
Sky Effect for Backgrounds.
A good sky effect can be produced by going over the surface with
cobalt and zinc white, with a little castle earth at the bottom. Over the
blue scatter gray and white clouds; for gray see table for mixing colors.
Mix the colors carefully, and do not work the strokes of the brush together
very much, as the broken effect is much more desirable. This part of the
work should be done with a large bristle brush, and must be allowed to dry
perfectly before putting in the design, which may be stamped on through
a perforated pattern with white powder. We will suppose a design of
daisies to be painted on the background just described, the colors needed
will be zinc white, pale cadmium, pink madder — the tiniest bit possible.
Make a green for the leaves and stems by mixing on your palette a little
Antwerp blue, cadmium, and ivory black, or terra verte and zinnober green
may be used, modified with zinc white.
First, take out a small quantity of white on the palette, and we will say
here, in taking paint from the tubes, always squeeze the paint from the
bottom of the tubes; add to the white paint two or three drops of the
poppy oil as a dryer. Mix thoroughly with the palette knife, and apply
with a No. 2 brush. Begin at the top of the petals, laying on the color with
smooth, even strokes, being careful not to go over the outlines. Take up
the paint on the point of the brush, which should be held almost perpen-
dicularly. This method lays the color on heavily. When the petals are
perfectly dry, retouch them with white, to which a very little pink madder
has been added. The cadmium is for the center of the daisies. The leaves
and stems are to be painted with the green mentioned.
Some artists use a great quantity of paint on textile fabrics, while
others use very little. It is a question to be decided by individual prefer-
ence. For white velvet the colors should be mixed with turpentine, and
carefully painted over a coating of gum arabic, which has been previously
applied to the velvet.
Special Palettes.
We have prepared instructions for painting a number of different
flowers and foliage, which can be ap-
plied to any purpose preferred, and the
designs can be had in perforated pat-
terns, very gracefully arranged. These
instructions will frequently call for
other colors than those mentioned in
the list of colors. They can be added
to the list if desired, or a substitute
can frequently be made by using the
FIG. 272. table of mixing colors.
Strawberry Spray.
A pretty design for this spray, 17x14, can be obtained in perforated
stamping patterns. Bronze satin or plush would be a suitable background.
The paints needed will be scarlet lake, emerald and chrome green, Chinese
Vermillion, lemon-yellow and white. If you wish to paint on satin, use soft
brushes and drying oil; if on velvet or plush, use "clipped" brushes, and
turpentine for mixing the paints.
Paint the leaves with emerald and chrome green, mixed, giving a
lighter shade on one side by adding a very little lemon-yellow. The veins
in the leaves must be made with the finest brush, using brown madder.
When this is very dry, retouch them with pure chrome green. Use equal
parts of Chinese vermilion and scarlet lake for the berries, lightening with
a little white, where a tint is required. Where the lines cross, a fine point
of yellow must be made, after the body of the berry is dry. This is put
on with the finest brush, a very little paint being taken up directly on the
point, and the brush held .almost perpendicularly in the hand. The calyx of
the berry is made in two shades of green, lightening with a little yellow, to
suit the fabric used.
Geranium Spray.
Geraniums are exquisite painted on black, brown or white satin. In
stamping patterns, there are small, medium and large sprays, so that one
can adapt them to a variety of uses. We will suppose the pattern to be
nicely stamped on the goods, and the goods neatly, firmly fastened to your
painting board. As before stated, soft brushes are best suited to this class
of work, and Nos. 2, 4 and 6 are good sizes.
There are a great variety of geraniums, but we will select one of the
zonal species for this lesson. Its blossoms are pink and its leaves have
zones of reddish-brown, separated from the edge by a very narrow border
of green. The paints needed are zinc white, pink madder, lemon yellow,
chrome green and brown madder.
Begin by laying out on your palette about a thimbleful of zinc white.
Add to this five or six drops of the poppy drying oil. Now paint the en-
tire design white, this being, of course, a mere body color. On satin of any
shade, except white, it is best to give the design the body color. When
the white is dry the natural shades are then laid on. For the leaves mix
equal parts of chrome and emerald green, adding just a touch of lemon
yellow. Paint the entire leaf with this color. When dry add the "zone" of
pure brown madder. Do the veining with your finest brush, after all the
rest is entirely dry.
A natural zonal geranium leaf aids one in attaining the best coloring.
For the blossoms use pink madder, lightened with white, laying on the
color in smooth, even strokes, and being careful not to go beyond the out-
lines. The stamen in the center of each geranium may be represented by
a small dot of yellow, made with the finest brush.
If you wish to paint scarlet geranium blossoms, use scarlet-lake, to
which a small touch of carmine has been added.
An excellent siccative, made of equal parts of balsam of fur and tur-
pentine, is used for varnishing work done on satin. It must only be applied
BRUSH AND PALETTE. 26s
when the paint is dry, and then very lightly. Work treated in this way is
very durable.
Butterflies.
A small or medium-sized butterfly is a pretty decoration for a small

cushion, perfume sachets, etc. A light yellow butterfly looks well on
almost any shade of satin or velvet. Lemon yellow may be used for the
body color, and when this is dry, spot with brown madder. The fine mark-
ings that are sometimes seen on butterflies, may also be made with mad-
der, using a very fine brush. A golden brown butterfly is beautiful on pink,
white or blue satin. For such a one add Vandyke brown to yellow, to
make the desired color. Spot this butterfly with mauve lake or ivory black.
Use only a few drops of poppy oil in mixing the paints.
Grapes on Black Velvet.
For velvet painting the fine bristle brushes are used with good effect,
but red sable brushes " clipped " are superior. To clip them, take a pair of
small, sharp scissors, cut them off on each side and a little at the point.
They must be rounded and firm to the touch, and at the same time have a
good point. Three sizes of these brushes are necessary to do a variety of
work on velvet. Cutting them lessens the size; therefore it is advisable to
begin with medium sizes.
The colors for a design of grapes will be cobalt blue, mauve lake,
chrome green, terra vert, brown madder and silver white. Turpentine may
be used for thinning the paints. Paint the stems and veins of the
leaves with pure brown madder, then paint the grapes. To mauve lake add
only a touch of white and two or three drops of turpentine.
Lay on the colors smoothly, and do not go beyond the outlines; shade
a little (using another brush) with pure cobalt blue. For another shade
mix equal parts of mauve lake and cobalt blue. Paint the leaves with
chrome green, to which a little yellow has been added, and when this is dry
retouch them with terra vert, to which a chrome green has been
little
added. Do not work your color in on the veining if you can help it. When
the body of the leaves is dry go over the veins again with brown madder,
to which a little yellow has been added. / On velvet the grapes look well
done in silver bronzing and the leaves in gold. Gold and silver paint may
be purchased of all dealers in artists' supplies. A mixing liquid and direc-
tions for using accompanies it. Gold and silver bronzing are effective for
painting borders to portieres, table scarfs, and piano covers.
Pansies.
ft
Pansies are exquisitely dainty and lovely on bolting cloth, with satin
under the bolting. They are also stylish painted in oil on the crown of an
evening bonnet, with the ends of the strings painted to match.
The colors needed for this lesson in pansies are brown madder, pink
madder, silver white, lemon yellow, mauve lake, blacklead, chrome green,
and terra vert, the latter being a very dark shade of green. Some natural
pansies or a good pansy study will be of great assistance in painting, as
these blossoms admit of more variety of shades than any other flower.
To lemon yellow add a very little white and three drops of drying oil;
with this shade paint one or two of the pansies, varying the color a little
around the edges with brown madder; or only the lower half of the petals
on each pansy may be painted with the light yellow. For some of the
others mix mauve lake and pink madder, using one-third madder to two-
thirds of mauve lake. This makes a handsome purple; to brighten theshade
add a little white, and to darken it add brown madder. The fine lines and
markings are made with a very fine brush, using black lead. Put this on
after the first color applied to the petals has dried. If there are any buds,
paint them to correspond with the blossoms. Paint the leaves in two
shades of green, making them a little lighter on one side. To vein them,
add a little yellow to the chrome green; do your veining with your finest
brush. If any sprigs of ferny appearances are visible, paint with light
green. Paint the little oval in the center of each pansy with lemon yellow,
to which just a touch of brown madder has been added. When this is dry
draw a fine line of pink madder around it. The same rule would apply it
the same work was to be done on white or cream-colored satin.
Purple Thistles.
To paint the purple thistle in oil colors use permanent blue, madder
lake, white, raw umber, and a little ivory black for the purple blossoms.
In the shadows add to these colors burnt sienna, and use less white. Put
in the high lights last, using permanent blue, madder lake, white, and a
very little ivory black. Do not blend these lights, but paint them while the
surrounding tone is fresh. The leaves, stems and calyx, which are rather a
light, silvery gray green, are painted with permanent blue, white, cadmium,
maddar lake, and ivory black. In the shadows add burnt sienna and raw
umber; use less cadmium and white.
Pond Lilies.
To paint pond lilies in oil colors, first paint in the white blossoms in
one general tone of light, warm gray. Afterwards put in the deep accent
of shadow, and add the high lights with crisp touches; do not blend. Paint
the general tone with white, yellow ochre, a little ivory black, cobalt and
light red. In the shadows substitute burnt sienna for light red, and use
less white and yellow ochre. The high lights are painted with white, a
little yellow ochre and a little ivory black. The green leaves, which are
gray and rather dark in quality, are painted with permanent blue, with a
little cadmium, madder lake and ivory black. Use the same colors in the
shadows, adding a little raw umber and burnt sienna. Paint under side of
leaves with yellow ochre, white, cobalt, a little ivory black, and light red.
Purple Clematis.
Colors: Permanent madder lake, and ivory black for the
blue, white,
general tone. Shadows, add raw umber and burnt sienna.

Paint the high lights in white, permanent blue, madder lake, a little
yellow ochre and ivory black. In the centers use a little light cadmium
with raw umber; for the shadows add white, ivory black and a little burnt
sienna. For the green leaves use white, cadmium, Antwerp blue, vermilion
and ivory black. Shadows of leaves, substitute burnt sienna for the ver-
milion, add raw umber, and use less less cadmium and white.
Oxhart Cherries.
To Paint White Oxhart Cherries: Lay in a general tone. Mass the
lights and shades very simply. Put in the high lights with crisp touches,
and add the deeper accents of dark in the shadows. For the local tone use
white, yellow ochre, a little vermilion, and a very small amount of ivory
black. For shadows use white, raw umber, yellow ochre, a little ivory
black, and madder lake. Paint the high lights with white, yellow ochre,
a very little madder lake, and the smallest possible quantity of ivory black.
There will probably be soft gray half parts. Use for these white, yellow
ochre, ivory black, cobalt and light red. In the deeper accents of the dark
use burnt sienna with the other colors. If there is a faint tinge of red on
one side of the cherry, add some madder lake to the other colors. To
paint the black Oxhart cherries, use for the local tone madder lake, ivory
black, a little cobalt, burnt sienna, and a very little white. The high light
is made in white, yellow ochre, a little madder lake, and a very little ivory
black. There is a gray surface light, which must be carefully observed, add
more white and cobalt to the other colors in painting this.
Leaves and Berries of Virginia Creeper.

To paint the leaves of the Virginia Creeper, when they are turning red
and yellow in autumn, use for the local green parts Antwerp blue, white,
cadmium, vermilion, and ivory black. The shadows are painted with the
same colors, but burnt sienna is substituted for vermilion, and raw umber is
added. Less white and cadmium is needed. The red tones are painted
with vermilion, madder lake, light red, white, a little ivory black, and raw
umber. In the deeper tones add burnt sienna, and in the cool gray
half tints use white, ivory black, a little cobalt, light red, and yellow ochre.
The yellow tones are painted with light cadmium, yellow ochre, white, and
a little ivory black for the lightest tints. In the deeper yellows add a little
madder lake or light red, and substitute a darker cadmium for the light
shade. In the shadows add raw umber and burnt sienna to the same colors,
omitting yellow ochre. To paint the dark purple berries use madder lake,
permanent blue, ivory black, white, and yellow ochre for the local tone.
In the shadows use the same color, but add burnt sienna and raw umber.
The reddish-brown stems are painted with burnt sienna, permanent blue,
white, and ivory black.
Peacocks.
The oil colors used in painting a peacock are as follows: The deep,
rich, irridescent blue tones in the center of the eye are painted with Antwerp
blue, a little madder lake, and ivory black. The bronze tones are painted
with raw umber, yellow ochre, burnt sienna, a little ivory black, and as
M
much white as may be needed. For the brilliant emerald greens use
Antwerp blue, white, light cadmium, a little vermilion, and a little black.
The delicate purple tints are painted with permanent blue, white, madder
lake, a little yellow ochre, and a very little ivory black. In the shadows
add raw umber and burnt sienna. The beautiful irridescent color on the
breast, which is partly blue and green, is painted with Antwerp blue, white,
a little light cadmium, a little madder lake, ivory black, and burnt sienna.
For the beady, black eye use ivory black
Golden Rod and Asters.
Set the palette with white, chrome or king's yellow, cadmium, cobalt,
Prussian blue, Indian red, burnt sienna, mauve, castle earth, and black.
Use a background, 15x24 — larger or smaller, only keeping that propor-
tion. If you do not draw, stamp the design with powder. There are many
pretty perforated patterns to be had for 15 to 25 cents. With a large
bristle brush paint the background, using cobalt and white for a bit of sky
effect near the top of the right side of the canvas, and surround it with
white and light g»'ay clouds, making some darker towards the left upper
corner. For gray use white, black, a little cobalt, Indian red, and yellow
ochre.
Mix the colors carefully, and do not work the strokes of the brush
together very much, as the broken effect is much more desirable. Paint
the background entirely first, using castle earth toward the lower edge of
the canvas to darken it; also, draw in some grasses before it is dry, in pale^
yellowish green or gray, using brighter green for the nearer bits of grass or
leaves.
Paint stems of light green, shaded with castle earth and burnt sienna.
Use chrome yellow and black for most of the leaves, using white or a little
cobalt where they are lighter. Use a small, flat bristle, No. 3, for painting
leaves, drawing the stroke out from the stem.
Paint in the golden rod flower with an undertone of cadmium, using
a small bristle brush, well loaded with the color, or else use a comer of the
flat brush, and touch the color, not put it on with a stroke. Finish with
chrome yellow for highlights, and where the flowers are full bloom, add a
few touches of burnt sienna for shadows, taking care to mix the colors as
little as possible.
For asters, use mauve and white, putting each petal on with one stroke
of the brush. A red sable, about No. 2, is most convenient for this part of
the work. The center of the flower has the lower part, or shadows, in burnt
sienna, and chrome yellow above. Leave the background to dry before
attempting the flowers, if you feel that you can succeed better by doing so.
Panel of Hollyhocks for Screen.

A very good background for a panel of hollyhocks can be made from
cream white hollywood drapery, which should have a background painted
over its entire surface, thinning the paints with Foster medium, scrubbing
them into the material with a stiff brush, after which the hollyhocks can be
stamped on the panel.
Set your palette with white, chrome yellow, yellow ochre, permanent
and Prussian blue, burnt umber, vermilion, light or Venetian red, crimson
lake, rose madder, raw umber, castle earth, and black.
you wish a sky background with clouds, paint in the blue where you
If
prefer it, using permanent blue, white, and a little black; cloud of blue,
Venetian red, yellow ochre, and most of all white. Soften edges of clouds
and blue carefully together; or, the background may be painted with a pale
shade of green.
Below center of panel darken gradually towards left-hand corner, if
your study is painted with the light striking from the right side.
After background is finished for the first painting, begin at highest
buds and paint down buds and stems, carefully putting in the bright colors
in buds before laying in green leaves. For pink flowers and buds use rose
madder with white, using sugar of lead as a drier —a very little with each
brushful of color. Use flat, soft brush on flower leaves, pressing the color
firmly down at outer edge and drawing brush towards the center for large
petals. For dark red flowers use crimson lake; shadows, mauve or purple
lake; under side of leaves, crimson lake and white. For center of stamens
use burnt sienna, yellow ochre and chrome yellow.
Paint leaves in with Prussian blue and chrome yellow, or chrome yellow
and black, using blue in shadows. Paint stems a little lighter, using white
with other colors.
After it is dry use castle earth to scrumble the background on lower
half of panel.
The foregoing instructions can be applied not only to painting on

fabrics, but are equally suitable for painting on celluloid, ivorine and
glass, eggshell board, wood, curtain holland, and also for
Washable Painting
on linen, bolting silk, scrim and muslin; very beautiful effects are also ob-
tained by painting in oil on wash fabrics. Curtains, pillow shams, toilet sets,
and stand covers can be decorated manner at very little expense. The
in this
painting is done as directed for oil painting, and the same colors are used,
with the addition of the Foster medium, which renders the colors almost
liquid and allows them to be absorbed into the fibers of the cloth. Only
flat floral effects, without perspective, should be attempted for this pur-
pose.
To use the Medium.
Pour a thimbleful of medium to use from, as it must be used but at the one
sitting; dip brush in medium, then in color on palette, working a little.
Repeat same if necessary until color is thin; then tap brush on blotting
paper until the paint will not spread, or until you can make a hair line.
This will come with Hold brush perpendicularly, firm, but

little practice.
with a light hand, and, as a general rule, make quick, short strokes. Care
should be taken to dip brush in medium often, and judgment used not to
get too thin — /. e., without body of color, as colors shade lighter on fabric.
Always put the dark shade lines in first. The colors, by use of the medium,
act as a dye, and fill the fibres of fabric; therefore go over work but once.
What is put on in excess of first coat — or more color than cloth will absorb
— will wash off. If color does not seem to penetrate cloth so as to show
well on wrong side of work, dip clean brush in medium, tap on blotting
paper, and carefully go over work on wrong side just as if you were paint-
ing; or if you wish to blend colors, follow same directions as on right side.
Let painting dry thoroughly — thirty to forty days — before washing;
then if the work fades it is because enough medium was not used while
working. In painting from nature or a study, in most cases, any defect
can be remedied by painting over. With this process this is impossible.
Therefore, as an easy, quick way of doing, we suggest the sketching or
tracing outlines of study or object on thin paper, placing paper between

fabric and sheet of glass, placed on easel, or held in any manner, the work
may be done without fear of mistake.
Washing Make — a warm suds, wash the article, rinse and hang up;
when nearly dry iron. Do not rub soap o?i painting direct. In short, take
the same care you would with a delicate handkerchief.
Water Color Painting.
This method of painting is easily learned, and can be applied to many
ornamental objects. Squares, scarfs, etc., of bolting silk, linen lawn, and
China silk, tinted delicately with a wash of water colors, make desirable
backgrounds for embroidery in outline, while drawing paper, leather,
ivorine, and eggshell board, made into calendars, letter covers, telegram
holders, photo frames, etc., and decorated with designs in water colors,
are within the reach of all who are willing to bring to the work patience
and application.
The materials necessary are brushes, from No. i to No. 6, china palette,
having cups in which to mix the colors, a list of colors as follows:
"The pigments, which you will find most useful, are comprised in the
following list: Vermilion, orange and scarlet, extract of vermilion, crimson

lake, rose madder, or extract of madder, carmine, light red, Indian red,
gamboge, yellow ochre, Indian yellow, raw sienna, lemon yellow, cadmium,
burnt sienna, purple madder, cobalt and indigo, brown madder, biste, Van.
dyke brown, sepia, burnt umber, neutral tint, ivory black, Prussian blue,
French ultramarine, Chinese white."
There are other colors which may be added, as desired, but the above
will answer all the requirements of an amateur.
In stamping the design for water color painting, great care must be
observed. Stamp with white powder, and then with a brush charged with
a pale tint of the local color of the flowers, go over the outlines lightly. If
the painting is being done on cardboard or drawing board, the card must
be wet in all the parts intended to be colored. This is done by passing a
wide, flat brush, moderately full of water, gently over it; boiled water is
best for this purpose. When the card is thoroughly dry, each flower and
its foliage should be washed over with a tint, matching as closely as possi-
ble the lighter tones of its own local color. This wash should be begun at
the upper left-hand side, proceeding quickly to the right and downward.
Beginners generally experience a little difficulty in this operation at
first, but if attention is paid to keeping the brush equally full of color until
it is completed, the difficulty will be easily overcome.

Beginners frequently exhaust the color in the brush before filling it
afresh, the consequence of which is that the new supoly of color flows back
into the former, leaving, when dry, a distinct mark, which it is impossible
to obliterate without sponging the whole entirely out with clean water.
Fresh color should, therefore, be taken so frequently that no difference

can be perceived between the tint of that which flows from the brush and
that which is already laid on.
The large pool left when the wash is completed can be best disposed
of by drawing the brush gradu-
ally to a fine point against
the extreme outline.
When the color just laid on
is perfectly dry, the shadows
must be carefully painted in
and washed in the manner al-
ready described, pains being

taken to match the colors with
those of nature. The shadows
generally appear in parts to
FIG. 273. be insensibly lost and blended
with the pure color of the flower. This effect may be produced by pass-
ing over the edges while wet a clean brush rather dryer than that with
still
which they have been painted. The local color may then be deepened
where necessary, and the darker shadows may be worked upon until they
are of the proper depth, and finished by small touches wherever great
nicety is required. Some artists endeavor to finish their work entirely with
soft washes, whilst others execute them with large or small touches, called
stippling, but a middle course between these extremes will give a result
more akin to nature.

The leaves must be executed in the same manner as the flower. When
of a glossy surface and affording brilliant lights, as well as shadows, they
must be washed over with a very pale shade of cobalt and Indian red mixed.
the veins only being left (if they appear of a very bright green), and those
lights which appear absolutely white. When this is dry the local color,
composed of chrome yellow. No. i, and indigo, must be laid on carefully,
the lights only being left. The shadows must then be painted in with the
same color, or a little gamboge and indigo, with a very small addition of
Indian red; then the veins, if dark, with the same color, and the whole
finished with small touches. Some leaves are of a silvery grayish tone; for
these the local color must be composed of cobalt and chrome yellow, with
an almost equal amount of Indian red.
With respect to the use of body color, there is a great diversity of
opinion. The earlier artists disdained its use altogether, while some later
artists used it on every possible occasion, loading the paper with it, both
foreground and background. This method undoubtedly gives more force,
and certainly is more expeditious. When white is used it should be the
permanent Chinese white.
We give a few studies with palettes, suited to beginners.
Roses.
In pink roses, the local color is best imitated with pink madder, a pale
tint of which must be washed over the flower, leaving only the perfectly
white lights. When quite dry, the darker petals must be again covered
with a deeper hue, and again with a still deeper hue the dark ones near the
center. Sometimes the color of these is extremely red; if so, a little scarlet
must be washed over them first. Next lay on the shadows, but so great is
the transparency of the petals, that very little gray will be perceived in them.
A very small proportion of cobalt and Indian yellow must, therefore, be
mixed with the madder with which they are painted, and for the dark ones
carmine alone may be used. For dark roses, crimson lake will be found
the best color, instead of pink madder or carmine.
Yellow roses should be painted in the same way, with either lemon
yellow or chrome No. i, for the local color, the darker shades of yellow
being finished with gamboge. The shadows can be painted with the same
gray recommended for other flowers.
White Flowers.
In painting white flowers it is totally impossible to produce the brilliant
whiteness of nature. The paper on which the drawing is to be executed and

the purest white pigments, are only of the same degree of whiteness as the
flower in its half shade. If, therefore, either of these is used for the pre-
vailing tone, which it most resembles, there will be no means left to repre-
sent or even to attempt to imitate the high lights. The whole flower,
therefore, to be in keeping, must be painted a degree lower than natural, and

washed over with a pale gray, just as the local color is laid on in other flow-
ers, leaving only the high and most brilliant lights. For this gray use pink
madder, cobalt, and a very little Indian yellow, mixing the two former
together first, and then adding the yellow cautiously. Then lay on the
shadows with a much warmer gray — that is, with a less proportion of blue.
In painting a white lily, chrome yellow, No. 3, may be used for the
anthers; but in the white azalia, or other white flowers where they appear
pale, a little Chinese white, mixed with chrome No. i, will be better.
The Primrose.
Outline the flower, beginning in the center; wet all the parts intended
for coloring with water; wash over with a thin tint of lemon yellow, such
as will match the depth of the larger portion of the flower, leaving only
those parts, if any, which appear to be white, or nearly so. The color must
be softened into these with a clean brush, as already explained. The color
for the shadows must be composed of cobalt, pink madder, and a very
little gamboge, the two former being mixed together first, and then the
yellow added, always matching the tints used with those of the flower
itself. When quite dry, the yellow must be deepened where necessary, the
green in the center painted in with a little gamboge and indigo, and the
deep yellow marks, which surround it, with gamboge alone. The local color
for leaves may be composed of chrome yellow. No. i, and indigo, with a
very slight admixture of Indian red. For the darker shadows a little gam-
boge will be required, instead of the chrome yellow.
Blue Flowers.
For the blue nemophila, cobalt alone will be the nearest approach to
nature in the local color. For some campanulas, cobalt and a little lake;
for others, French blue, and as much lake may be used as appears best to
match the color of the species to be represented. For the salvia, smalt or
ultramarine must be used, no other colors being sufficiently brilliant in the
particular tone required.
The Convolvulus.
Cobalt or French blue, with a slight mixture of crimson lake, may be
used for the local color, but, of course, the more blue this is, the freshet
and more newly expanded the flower will appear. The shadows should be
painted with the same colors, substituting in the darker tones indigo for the
cobalt or French blue.
To Paint Figures in Water Colors.
For designs having figures, as cherubs, cupids, Diana, etc., flesh colors
will be required, and the following directions from A. H. Wall's treatment

will be found to give desired results, although the minute details given
need not be so faithfully carried out. Use the broad, general effect, and put
in only such details as are needed to accentuate the work.
The flesh colors are rose madder and raw sienna, Indian yellower burnt
sienna; vermilion and raw sienna; vermilion; extract of vermilion, alone

or with rose madder and raw sienna; Venetian red, crimson lake and yellow
ochre; rose madder and Naples yellow.
The required mixture of colors prepared carry a clean, flat wash of it
over the flesh, using the large brush charged with just enough color to cover
the space at once.
"The first wash being dry, take a little rose madder and extract of ver-
milion, and with a few tenderly applied touches, or washes, put the color in
the cheeks and lips; then, but with extreme delicacy and faintness, increase
the depth very gradually and softly —touching upon the chin, the nostril,
the upper eyelid, just over the eyebrows, the tips of the ears and fingers,
knuckles, etc., with the same tint, rendering the effect more or less percep-
tible, according to the complexion desired.
" Mix a little raw sienna and cobalt (substitute lemon yellow or yellow
ochre for raw sienna, if the study is a dark one) and with the same
delicate touches go over the outer portions of the shadows and retiring
surfaces of the face, over the entire sockets of the eyes, the lower jaw, and
the lines where the hair and flesh combine, making the blue a little more
perceptible when touching the temples, the lower lid of the eye, between
the eye and nose, etc., where the skin is thin and the veins perceptible.
" Upon the darker shades a little vermilion and raw sienna may now be
touched, and upon the darkest a little pure vermilion used thin and faint.
"With a little rose madder and cobalt the retiring portion of the cheek
and chin, the lower portion of the socket and upper lid of the eye, may be
carefully and tenderly touched.
"A little indigo and raw sienna may be next used, with the same deli-
cate care and faint, fairy-like scarcely perceptible touches upon the edges
of the deeper shadows, and where the hair and flesh meet, blending and
softening with patient skill one into the other.
" Here and there the color in the cheeks and lips requires strengthen-
ing. For this use a little crimson lake, or crimson lake and vermilion, or
the extract of madder carmine, as your thoughtful consultation of the
model may decide.
" Put in the« pupils of the eye with indigo; outline the iris with either
the same color or sepia, according to its color, stronger or fainter, as your
subject may indicate. If the eye is blue, use cobalt, or cobalt and
indigo, as may be required; if gray, use a little indigo and burnt sienna,
or neutral tint; if brown, umber, burnt or raw, as may be most desirable, or
burnt sienna, or Vandyke brown, or brown madder, being guided by the

tone of the part to be covered, and the color to be attained. Sometimes a
little Chinese white will be required, mixed with either of the above.
" Proceed to strengthen all the lines, such as those of the eye and eye-
lids, the line dividing the lips, that of the nostril, the under orshadow line
of the eyebrow, the soft line of shadow seen where the hair is thin and the
skin seen through it, using a little Indian red or brown madder. A little
madder brown may also be used to give strength to the cast shadows at this
stage of your progress, and a little sepia to strengthen the outer lines of the
upper eyelids.
Very artistic figures can be had in perforated designs. "Aurora, cupid,
cherubs — arranged in designs for wall panels, fans, easel pieces, etc.
Fabric Tinting.
Many ladies find profitable employment in tinting white goods with

water colors, Paris tints, or even diamond dyes, which latter certainly have
the advantage in point of cheapness.
The tinted pieces are usually small and either square or round in shape.
They are used as head-rest covers, toilet cushion covers, toilet mat, chair
mats, etc. The fabric selected should be very fine linen lawn, mull or bolt-
ing silk.
The article to be tinted is first tacked to the drawing board, being care-
ful to stretch it smoothly and firmly. Sponge the surface of the fabric with
water until it is evenly wet all over; then, commencing at the upper portion,
apply the tint with a large, flat brush, which has been heavily charged with
color. This part of the work must be done rapidly, and the brush must be
refilled before the first charge is exhausted, in order to secure an even, uni-
form tint over all the surface. Always begin at the top and work downward.
A variety of effects are obtained by deepening the tint on the edges or
in the center. This is done by going over the work several times with a
stronger wash of the color desired. After the pieces are tinted they are
allowed to partially dry, and are then pressed between two pieces of thick
white flannel.
They are now ready for receiving the design) which should be stamped
on the tinted background with the black liquid stamping fluid, as this makes
the finest and, at the same time, most legible line; see chapter on " Design-
ing." The designs for this purpose should be light and of a most fairy-like
daintmess —a blackberry bramble or a wild rose and bud, a flight of butter-
flies, etc., being suitable.

The tints for the background may be a primrose yellow, a wild rose
pink, a pale green or a delicate blue, but be careful to have only a tiiit —
never a decided color. The water colors that come in the little pans are
more easily managed than the colors sold in cake form.
If a rose tint is desired, place a little pink madder in a butter chip or on
the china palette, if one is at hand. Dilute with water until the lightest
possible pink tint is obtained; wash this over the fabric as described; then
to deepen the edges add to the pink madder a little cobalt and the tiniest
bit of Indian yellow. This wash must also be diluted with water and
washed over the edges, carrying the stroke toward the center in irregular
and broken lines. The general directions given under the head of "Water
Color Painting " will be of assistance for this kind of work and should be
carefully studied. In tinting it is convenient to have at hand a piece of
cloth on which to try the paints before applying them to the article, as if it
happens to be too deep it will not be possible to remedy the defect. These
tinted novelties find ready sale, and when tlie work is nicely done, and
stamped with artistic designs, and done up in assorted lots of one dozen
each, the wholesale houses become eager purchasers at fair prices.
One lady known to the writer has added materially to her income by
this means. She knew nothing about painting, but one day being engaged
in dyeing some white cotton cloth for carpet rags, she observed that differ-
ent tints were obtained with the same color by adding water. Naturally of
an inventive and ingenious disposition, she began to experiment, and from
the crudest possible first results, she has succeeded in producing some of
the most beautiful tinted articles ever put on the market, and her custom-
ers may be found in almost every state.
Aside from the tinted backgrounds, beautiful decorative effects are
easily obtained by the use of the Paris tints, described below, or the water
color paints may be substituted with as good effect if the artist has them at
hand. The water colors are in the end the cheapest, as they can be used
for a greater range of work than the Paris tints, which are useful only on
fabrics, while the water colors can be used on fabrics, celluloid, wood, etc.,
and offer a greater range of tints, shades and colors. Many teachers insist
upon pupils using the Paris tints for fabric and water colors for other back-
grounds. The reason is obvious, as the use of the two entails an extra
lesson or lessons and an extra outfit, which the teacher usually supplies the
pupils for a " discount."
Paris Tinting.
This is a style of painting applied particularly to bolting silk, sheer

lawn, and China silk, and by means of the tints, the daintiest possible effects
can be obtained, and washed carefully the color will not run or fade.
if
The designs most effective in this work are flowers that do not require
minute shading to bring out their beauty. Pansies, fleur ê lis, wild roses,
poppies, morning glories, and trumpet vines are particularly effective.

The paints necessary for the work are as follows:
Paris Tints— Put up in outfits of twelve bottles each. There are two
sets, viz., A and B.
Set "A" contains the following shades:
Orange, dark red, bronze, blue, black, violet, lemon, scarlet, peacock,
Bismarck, dark green, and mordant.
Use the mordant to lighten the color of any shade.
Set "B" contains the following shades:
Yellow, old red, olive, navy, drab, seal, flesh, pink, yellow green, purple,
magenta, and mordant.
Use the mordant to lighten the shade of any color.
The above sets, with two brushes and two saucers, are sold in the
art stores for iî.oo each.
To use these tints, first stamp the design, moisten a fine sable brush
with the color desired, and go over the space a number of times. Do not
charge the brush too full of color, as it will then run over the outline and
spoil the material.
The material to be painted should be placed on the drawing board or
table over a piece of blotting paper. Plenty of soft, clean rags should be
at hand to wipe brushes on. Be careful not to dip the brush from one bot-
tle of paint into another without first cleaning, as this will ruin the tints.
The same effects can be obtained with the common Diamond dyes, sold
in the drug stores at lO cents a package. To paint light tints of a color,
dilute with water, and apply in the same manner as the Paris tints.
Painting on Celluloid or Ivorine.

Celluloid or ivorine offers a beautiful background for painting in either
oil or water colors. No preparation is needed for oil painting, while for
water color painting it is well to go over the surface with a piece of fine
emery paper. This will give what artists call a " tooth " to the material.
The celluloid should be cut the desired shape and size, and tacked firmly
to the drawing board, as otherwise the edges would curl. The design can
be stamped upon the material, and the outlines gone over with a fine-
pointed sable brush with white paint. This will be necessary, as the pow-
der will not adhere to the smooth surface of the celluloid.
To paint with water colors on any highly polished surface, as celluloid,
ivorine or glassine, first wash it over with a strong solution of borax water.
Celluloid and ivorine are both inexpensive, and many beautiful articles
can be manufactured from them. See chapter on " Dainty Trifles."
Lilacs in Oil Colors on Celluloid.

This flower in large, rich masses offers a beautiful and effective design
for painting either on fabrics, cardboard or canvas. If the artist is com-
pelled to depend upon a stamping pattern for the design, a special pattern
should be made to order, as ..lOse usually sold are intended for needlework
only, and show each portion of flower in detail. While for brush work-
masked effects are necessary, and if a little detail and perspective be in the
pattern, all the better, as a fence, through which a distant bit of foliage can be
seen.
Begin the first painting by laying in the general masses, and do not
attempt to paint the blossoms in detail at this time; that should be reserved
for the finishing. For the second painting begin with the blossoms, and
finish each part, if possible, while the paint is wet. For the purest white of
the white lilacs use zinc white, softened with a little yellow ochre, light
cadmium, madder lake and cobalt blue. For the shadows the same colors
with ivory black and raw sienna. For the clearest purple mix a tone of
zinc white, cobalt blue and madder lake, which should be modified with
yellow ochre and ivory black. A little vermilion will be found useful in the
darker blossoms. For the pale green leaves use zinc white, yellow ochre,
light cadmium, and raw sienna. For the darker greens add some burnt
sienna, deep cadmium, Antwerp blue and ivory black. The distant greens
seen through and beyond the fence, are painted with the same colors, the
grayer tones being made by using more of the yellow ochre, cobalt blue
and ivory black. If a sky background is to be desired, the principal color
needed be zinc white, light cadmium, yellow ochre, cobalt blue and ver-
will
milion, some madder lake and ivory black will be found useful for the dark
warm For the fence use Vandyke brown, yellow ochre, raw sienna,
purple.
ivory black and zinc white. Any parts which cannot be finished at the sec-
ond painting should be allowed to dry for several days and then have a
little linseed oil rubbed over them before proceeding again with the work
It will be best to avoid turpentine for these final touches.
Lilacs in Water Color on Celluloid.
A deep cream or pale ecru will be most suitable for the small
and delicate forms of the lilacs. Moisten the celluloid with borax water
and then start with the fence, using Vandyke brown, lamp-black, yellow
ochre and cobalt blue. Next paint the leaves which come in contact with
it, using cobalt blue, light cadimum, raw sienna, Indian yellow, burnt
sienna, indigo and yellow ochre. All the greens used can be made
with this palette by varying the mixture. To paint the leaves outline each
one with the green paint and then fill in quickly before the outline dries
and leaves a hard line. A full brush should be used. In painting the lilacs
pass a delicate wash of cobalt blue and rose madder, modified with yellow
ochre and lampblack. Tint the wash, paint the shadows, using the same
colors intensified, and adding vermilion and brown madder. Keep the
portion of the study you are working at wet, or the outlines will look hard,
and be careful to observe the roundness of the bunch. If the bunch shows
white and purple flowers, the background should be toned with lampblack
and yellow ochre, for the white bunches, of which a very delicate wash
should be made. For the shadows use the same colors, adding cobalt
blue and light red.
Lustra Painting.
This method of decoration can be applied to wood, pottery and velvet,

felt or satin, though velvet offers by far the best background.
The materials necessary are the colors which come in the form of a dry
powder. They can be had, put up in bottles, at the art stores, or in ounce
packages, which latter is somewhat less expensive than the former method.
The colors or powder are of two kinds — brocades and flitters. The brocades
are a fine, impalpable powder of irridescent hues: the flitters are brilliant
flakes of the same colors as the brocades. The colors are as follows:
Brocade Powders — Antique green, brown, copper, crimson, gold bro-
cade, green gold, lemon, light green, orange, rich gold, scarlet, silver,
sparkling silver, steel.

The above colors are each 15 cents per bottle.
Dark purple, pale purple, emerald green, pale blue, ultramarine.
Brocades — Gold, silver, copper, orange, fire, carmine, crimson, cambric
(assorted), light green, light blue, dark blue, blue violet, red violet, new
i
green, dark green, straw yellow.
Flitters — Gold, silver, copper, orange, reds, blues, greens.
Dry Colors — Black green, dark green, dull green, dull blue, dull red,
light green.
General medium, special medium.
A china palette for mixing colors will be necessary. Where a palette
BRUSH AND PALETTE, 283
is not at hand small butter dishes will do nicely. Two flat bristle or sable
brushes, Nos. 5 and 11, will be found most suitable for ihis work.
The them with the general medium. Use
colors are liquified by mixing
the china palette or saucer for this purpose (for pale pink, madder pink and
carmine, the special medium must be used for mixing). The paints must
be applied with the flat of the brush as much as possible. Keep the edges
clear cut by taking fresh color in the brush frequently. Take long, firm
strokes, laying the color on the surface only.
In painting on plush the colors should be mixed with the medium until
about the consistency of syrup. Select a plush with short, close pile, and
paint with the pile. In painting silk, satin and linen, the colors must be
mixed thinner and but little color taken in the brush at a time. Care must
be taken that the color is not too thin with medium, or it will spread beyond
the drawing.
These colors are very brilliant and will last as long as the foundation to
which they are applied.
In the list of colors are given all that are in the market, but it is very
seldom that one will require more than a dozen different colors for a large
and varied amount of work. Good taste demands that the brocades should
be used sparingly on textiles. They are more suitable for decorating pot-
tery, wooden articles, etc., though for white flowers and brilliant foliage
they can be made very effective and beautiful. The best artists, however,
incline to the duller, more sombre tones.
White flowers should be painted all over first with silver, using more
paint where a high light will be than in the shadows; afterward glaze the
high light with a mixture of one-third silver and two-thirds sparkling
silver, and glaze the deepest shadows with steel.
For yellow flowers use rich or pale gold, for the high lights, fire for the
deepest shadows, blend with a middle tone of lemon or orange, to suit taste.
In attempting any new kind of work, without personal instruction, the
student must be prepared to do a little experimenting, to exercise consid-
erable patience, and bring to the task all the common sense she can muster.
There are ever pitfalls for the feet of the unwary, and many a puzzling
point will come up for settlement in the work of each individual student,
which cannot be anticipated in a work of this character, but with the pa-
19
tience to follow the instructions that have been given, point by point, and
item by item, there is no excuse for not obtaining satisfactory results.
Kensington Painting.
This style of painting, as its name indicates, is a close imitation of

Kensington embroidery, and for some purposes quite as effective as that
work and much less expensive.
The painting can be done on plush, velvet, satin, felt and any smooth
surface cloth, with oil paint, the same list of colors given for painting on
" fabrics," answering for this style of work also.
Brushes Nos. 6 and 7, a palette knife, a porcelain palette, spirits of tur-

pentine, a bank pen and some soft rags for wiping brushes, will complete
the materials necessary for "Kensington Painting."
Stamp the design on the material, using floral arrangements, and tack
the material smoothly to the drawing-board. If the piece to be painted is
small it can be stretched in a pair of embroidery frames instead.

The paints should be applied with a stiff bank pen for the detail of
the work, though where a broad surface is to be gone over, the paint may
be applied with a brush, and afterward worked up with the pen.
Squeeze out on the palette, or a common plate, a little of each of the
colors to be used; if it is necessary to mix any of the- colors to get any de-
sired shade, it should be done with the palette knife. To do the painting
hold the pen bottom up; take the paint up in the hollow of the pen, shovel
fashion; wipe the paint from the back of the pen with a piece of old cotton
cloth, kept for the purpose. Then draw the point of the pen, with the back
toward the material, over the outline, turning the pen slightly as you draw
it, in order to make the outline clear and sharp. Next fill the pen and
apply the paint to cover the inside of the petal or leaf, drawing the pen
toward the center, as the stitches are taken in embroidery. Apply the
several shades used in this manner, blending them together with the pen.
After this scratch the leaf over with the point of the pen to give it the ap-
pearance of stitches, remembering to make the lines run towards the center,
as in embroidery. If you wish to make the work finer, a needle can be
used to do this part of the work.
In painting petals or leaves, begin from the outer edge and paint to-
;RUSH
\^
and palette. 285
ward the center. Lay on the principal colors first, afterwards the darker
shades and high lights, blending with the pen.
For such flowers as golden rod, coxcomb, sumac, and for the pollen or
anthers of other flowers, the paint is best applied by dabbing it on with the
end of the brush. The knack will be caught with very little practice, and
then no further trouble will be met with.
The "feather stroke" is made by taking the paint up in the
hollow of the pen, and from the outer edge of outline of design make a
clear stroke to the center, twisting the pen in the fingers in order to make
the paint stand out roundly from the material. Place another stroke beside
the first in the same manner, but do not attempt any other blending
of colors.
Use turpentine or poppy oil to thin the paint with when necessary,
also to act as a dryer.
Parrots in Kensington Painting.
A large parrot is a good design for fire screens or wall banner, and
small ones form an effective decoration for the blocks of a fancy quilt,
cushion or wall pocket. A moderately coarse pen and the following paints
will be needed: Silver white, Vandyke brown, chrome yellow, Chinese
vermilion, chrome and emerald green, Prussian and cobalt blue.
Paint the branch with Vandyke brown, to which a touch of chrome

green and white have been added. This and the leaves can be done with a
brush. Make the l.eaves of chrome green, and shade them by adding a
little white and a touch of yellow. Paint the bill pure white, using the
brush. For the front and back of the head use Chinese vermilion, apply-
ing the paint with the pen, doing the "feather stroke." Take the paint up
on the under side of the pen, place the pen down firmly on the
goods and draw it toward you. Use chrome yellow for the eye,
and paint the neck with chrome yellow, lightened with a little
white. For the breast, mix equal parts of emerald green and chrome
yellow. Use a little brown and yellow for the feet. Edge the wing
with a stroke of Chinese vermilion, and then one of yellow. Paint
the inner part of the wing with Prussian blue and green, mixed. Paint the
inner tail feathers with the chrome green. The back of the wing should
be greenish-blue, made by mixing chrome green and cobalt blue. Paint the
tail itself with a first stroke of Vandyke brown, then one of white, and
another of Chinese vermilion. Around the eye draw a circle of light

brown, made of white, mixed with Vandyke brown. A fine brush may be
used for this. The same directions would aoply for large or small parrots.
Crayon Painting— Portraits.

Portrait painting is a branch of " Brush and Palette " entirely distinct
from the decorative methods we have been considering. Portrait painting
should not be attempted without either a natural talent or instructions by

a competent teacher, yet crayon portraits are frequently made by persons
who have had no training whatever. The work is much simplified by the
use of solar prints.
Having secured a good photograph of the subject you desire to paint,
send it to any first-class photographer with orders for a solar print, being
careful to state the size you wish the picture enlarged to. A solar print is
a shadow picture without details.
The solar print secured, the following instructions for treatment will
be found to yield satisfactory results. It is from the methods of one of the
most successful portrait painters, and we submit it to our readers, feeling
certain that it will be of far greater value than a half-dozen lessons from an
inferior teacher. Practice, patience, perseverance, observation, are watch-
words that should ever be borne in mind. Without them it were better not
to attempt portrait painting.
" First, as to materials required. For finishing in monochrome or black
and white, finely powdered pumice powder will be required to give a tooth
to the paper. Some paper stomps of various sizes, with at least six stip-
pling stomps, a stick of crayon sauce, and Conte crayons, Nos. i, 2 and 3.
" Have the print mounted upon good stout cardboard and well rolled
—not buniished. Pin it to a smooth drawing-board, and sprinkle lightly with
the pumice powder. With a circular motiort rub the surface of the print
all over, till there is an even tooth over the surface of the print. Take a
little crayon sauce and mix some of the pumice powder with it, in propor-
tion of one of pumice powder to two of crayon sauce. Put this upon a
piece of cardboard, to forma palette, and rub the tips of two fingers into it,
BRUSH AKD PALETTE. 2%1
and rub on the print,upon the background, over the shoulders. Never mind
its going into the drapery or face; it can be removed. With vignette pot-
traits a light, cloudy effect over each shoulder is best, making it a trifle
darker where it approaches the lighted side of face, and lighter on the
shaded side, to give contrast. Make it darker than you intend it to remain
to allow for the after treatment with the pumice powder.

" When you have got in the effect of light and shade sprinkle a little
of the pumice powder all over the picture, and lightly rub all over. This
loosens the crayon and gives softness and Take the Conte crayon
distance.
No. 3 and go over the deeper shades of the drapery, marking them in very
strongly; then soften them with the fingers,
graduating them where it may be wanted.
"Next take the Conte crayon No. i, cut it to
a rough point with a knife, and finish upon a piece

of No. I emery cloth. With this deepen the line
of the eyelash, the marking of the nostrils, the
division between the lips, the eyebrows and mark-

ing of the hair, softening where you think it nec-
essary with one of the small stomps or the fingers.

"Take Conte crayon No. 2, make a point in
'/wV'^^^the manner already described and deepen the
pupils of the eyes and the lines around the eyes.
Mark in the shadows in the ear and under it,
FIG. 274. around the chin and upon the neck, under the
chin and under the eyebrows, and down the shadow side of the nose and
forehead, and any other shadow which needs strengthening, softening
and graduating where necessary.
"Now pause and go back over the whole work. You will see that,
startingwith a strongly printed solar print, the whole work has been
nothing more than deepening the photographic shadows and graduating
them into the lights. If this has been done carefully there will be no loss
in resemblance, and the picture has gained vastly in strength.
It is now time to add finish, and that is done by filling up with the
point of an H H lead pencil any breaks in the graduation of the shadows,
and in taking out the highlights. This part is done by making a fine point
with the emery cloth, and working out any spots with a light circular rub-
bing touch. As you go on with the finish you will find, perhaps, that your
shadows want deepening. This can be done best with the stomp and
crayon sauce for broad effects, and the No. 2 Conte crayon for decisive
touches.
" For taking out highlights a piece of hard ink-eraser will be wanted,
mounted in a porte crayon, and cut to a flat point. The lights to be taken
out are upon the forehead, down the nose, upon the cheek bone, and upon
the chin. Clean off with the ink-eraser white drapery or white collar, and
with a fine point take out the highlight on the eyes. Sometimes on light
hair a few judicious touches with the ink-eraser upon the highest lights
will effect a great improvement.
For the finishing touches go carefully over the face, filling up any
breaches in the graduations, deepening, if necessary, with a stippling stomp
and crayon sauce, the upper lip. Shape the lower one with the point of the
stomp, and deepen the shadow under it. Round the lower part of the chin,
and put a little delicate shadow on the light side of the forehead and the
shadow which is upon the cheek from the ear to the curve of the nostril.
Keep the ear back by keeping it in soft, delicate shadow. Go over the half-
shades of the hair with the same stomp and crayon sauce, and when all
these delicate half-tints have been attended to, finish by a few vigorous
touches with Conte crayon No. 3 upon the darkest shade of the drapery, the
pupils of the eyes, the deepest shadows of the hair, the shadows under the
eyebrows and down the nose, the nostrils and under the chin.
" This treatment is for vignettes of a half or three-fourths length.
"The background will want somewhat different treatment. The crayon

sauce and pumice powder may be utilized all over the background, keeping
the lightest side of the figure darkest in the background, making the lower
part of the background graduate darker as it gets lower, and finishing by
broad hatching with the stomp and crayon sauce. Keep the lower part of
your picture lower in tone altogether than the upper part, so that the con-
centration will be upon the face as the powerful part of the picture and let
all your touches be more and more undefined as they recede from it. All
the sharp, crisp touches should be upon or near the face."
There is no form of art work that yields better returns for time and
—
skill required thaii Crayon portrait painting. An expert artist easily paints
three to four full-length portraits in a week, and the average price ranges
from Sio to S25 per picture. The solar prints cost $i.SO to $2.00 each, so it
can be seen that it will repay the time spent in learning how to work with
the crayon. Again orders can be secured for portraits when all other paint-
ings are a drug on the market. We do not pretend to have exhausted the
subject, but merely to have pointed out the road to follow in order to reach
success.
Painting on Birch Bark.
The inner layers of birch bark offer a beautiful background for sepia
painting. Sepia is a beautiful dusky brown, very powerful and harmonizes

perfectly with the tawny color of the bark. It is diluted with water and
used like any of the water colors.
The bark should be selected and prepared with great care. Three
thicknesses will be sufficient to leave together, while if it be more finely
subdivided it will not have sufficient body for making into ornamental
articles. This dividing and splitting must be done when the bark is first
pulled from the tree, and it should be immediately pressed flat under
weights in order to prevent the edges from curling. As the bark from
young trees is the most desirable, it follows that the pieces secured are in
small sections, therefore the designs selected must be reduced to miniature,
which can be done by means of the pantagraph.
To paint: Place the bark on the drawing board, carefully secured at
the corners. Place the board in a slanting direction, and sponge the bark
over with clear water. This is done in order to make the bark take the
color.
Small landscapes are best suited for this background and should be
painted in regardless of small details. Cover the principal outline with
the sepia, carried in a No. 2 brush. A larger brush may be used for c'oud
effects, which should be put in with Chinese white for the light ones and
warm sepia for the dark ones; the natural bark will serve for the general
sky tint. If the shadows are too deep absorb the superfluous color by press-
ing over it a bit of blotting paper. Aside from landscapes, floral designs
very simple in arrangement — are exquisite painted on the bark. Follow
the directions given for water color painting. The decorated pieces of bark
59<3 DAINTY WORK. FOR PLEASURE AND PROFlt.
can be made up into numberless pretty trifles — as a cover for tablets, an
inlaid panel on a blotting pad cover, a telegram holder, or a pretty easel
picture can be made by placing the bark in the center of a square of ecru
rice board or leatherette. To mount
the bark slit the leatherette or board in
two diagonal lines near each corner, and

slip the edge of the bark through.
Scorch Painting.
This form of painting is enjoying a
revival of popularity and bids fair to
become a popular craze. It is a revival

of the ancient art of pyrography, and, as
DETAIL A, Fia 275. ^^s name indicates, is done by burning detmL b, Fia 275.
the design on wood with a hot poker or platinum point.
Scorch painting offers teachers an almost unexcelled opportunity for
forming classes at profitable prices, as the work is fascinating in the doing,
beautiful and artistic when done, and easily learned. Aside from the profit
of teaching, well-executed designs find ready sale.

Very little is known of the method of doing scorch painting, and the
field is practically in the hands of the energetic artist who chooses to give the
timetopaint- ing samples
and forming classes; sam-
pies are all that is nec-
essary to en- thuse the
most conser- vative.
The outfit n e ce ssary

for scorch painting
consists of a machine
called the "Vulcan,"
which supplies the heat
necessary for FIG. 275. heating the

platinum points or pencils, and regulates the intensity of heat desired. Its
manipulation is very simple and easily learned. In addition to the " vul-
can," points of platinum, which come in a box of assorted sizes, and patterns,
will also be necessary. The entire outfit, consisting of the vulcan, assorted
platinum points and benzoline, can be procured for $5.00, and there the
expense for materials ends. Of course, the article to be decorated is not
included.
The woods best suited for scorch painting are holly, sycamore, lime and
even bass wood. This latter wood is cheaper than the others, and is best
adapted for practice work. Other wood may be used with good results, as
oak, ash, elm, chestnut, cedar and teak. Sycamore is by far the best for
fine, delicate work.

The platinum points should be used with extreme care, as they are the
most costly part of the outfit.
The designs for scorch painting may be floral, landscape, animal or
figures, either natural or conventional; the detail should not be minute, but
rather the design should be clear-cut and expressed by sweeping strokes.

The design may be stamped on the wood by means of perforated pat-
terns, where the worker does not draw —
and indeed for purposes of class
work it is by far the better plan to stamp the design at once.
Full instructions for using the vulcan and points are supplied with the
outfit. When starting the scorching, the point must be heated in the spirit
lamp, but afterward it will not be necessary to repeat the operation, as the
bellows maintain and regulate the heat.
In teaching oneself or others the mode of scorch painting, it is excellent
practice to make strokes, oblique, straight, circular, etc., with the different
points, as they will show gradations of tone and will give ideas for treating
rounded surfaces and backgrounds. The strokes must be bold and firm.
The background may be either dark or light, but if light, then the design
must be dark, and vice versa.
Effective results are obtained by burning away the background deeply,
leaving the design in low relief.
Scorch painting will occupy a high place in decorative work, as it
can be used for so many architectural details, as paneling for dining room or
library, frieze for hall or library, while tops of tables, pianos, etc., can be
rendered beautiful by its employment.
The teacher who intends to undertake scorch painting for profit,
must be thoroughly prepared at all points. First, she must have become
proficient in the different strokes; the use of the different points, and the
20
manipulation of the vulcan, all of which can be learned without other aid
than here given, if perseverance and common sense be brought to bear upon
the subject. The learner's best aid first, last and all the time, is patient
practice, coupled with observation.
As will be seen, beautiful effects can be obtained by light and shade, in
the scorching, so that attention should be paid to this part of the work.
High lights and shadows should be sharply accented, otherwise the work
will present the appearance of flat lines, scorched on a flat surface.
Simple outline designs should be tried first, after the various strokes
have been practiced, and the burning in of shadows should be approached

gradually. The same rule for perspective, roundness and body given for oil
painting obtains in scorch work, and should be applied, or else the work
will not have been brought to its best possible state of perfection, and half
its artistic beauty will be lost. In preparing for a class, the teacher should
see to the selecting of the practice wood; in fact, the better plan is to sup-
ply each pupil with a piece of clean wood for the purpose of practicing the
strokes, and another piece on which has been stamped a simple landscape
design — a road, a tree, a bit of fence answering admirably. Such patterns
are kept in stock by the best pattern houses. Do not supply pupils in the
same class with the same design, as the work will become too monotonous.
In addition to the two pieces of the wood the teacher should also supply
the outfit of tools for the work, where at all possible, as by this means all
the pupils will be uniformly accoutred for work, and there will be no hitch
or delay because some pupil has forgotten to supply herself with some part
of the outfit.
The usual price for a course of five lessons in scorch painting is $6.00,
and a teacher can do full justice to a class of six pupils at one sitting.
Tapestry Painting.
Tapestry painting is one of the most practical of the decorative arts, as
larger schemes of decorative work can be carried out by its use than by any
other form of painting within the reach of the masses. In this chapter no
exhaustive details can be gone into, but in the few pages devoted to the
subject sufficient instruction will be clearly given to enable one who has
had some experience with the brush in either oil or water colors to prosecute
the work successfully without other aid; while for the woman who has
never used the brush the hints here given will save many and much
dollars
time and, it may be, some discouraging failures in experimenting, either
alone or with the aid of the teacher. We advise personal instruction for
the novice to the extent of a few hours at least, yet the pupil should go as
far as possible alone, using the instructions here set down. In cases of rare
art talent further aid might not be needed.
Tapestry painting, as its name implies, is painting with specially pre-
pared dyes on wool or silk ribbed canvas, to imitate the old woven tapes-
tries. It is used for furniture covers, wall hangings and screen panels.
The designs are usually landscape, figure, or large floral, fine details
and miniature designs not being suitable. His-

torical scenes are by far the most satisfactory de-
signs for this work — as Queen Mary of Scot's
meeting with Elizabeth in the garden after the
signing of the death warrant, scenes from Riche-
lieu, Romeo and Juliet, the Chase, showing hun-
ters and dogs, etc., are all As very
effective.
few, if any, perforated patterns are made for this

form of work, the old engravings and wood prints
to be found in French journals and books will
serve as excellent studies. A simple subject
should be selected first, and the engraving or cut
transferred to the canvas by means of the panta-
graph, and this should be done with the utmost
care so as to secure an exact tracing. For the
beginner it will be safer to transfer the picture the FIG. 276.
desired size to good bond paper first, after which the lines can be pricked
through with afine pointed needle, which will give a perforated pattern, by
means of which the design can be stamped on the canvas, using the powder
for this purpose.
Canvas for Tapestry Painting.
There are various kinds of canvas sold for tapestry painting, but the
best will be found to be Binant wool canvas. This canvas can be had in
WINDOW DRAPERY OF WABAIM NETTING OVER LACE,

various widths and for various prices. The following table, from an art
supply catalogue, will be of assistance in selecting canvas.

No. I, 84 inches wide, coarse thread, best quality, per yard, $6.15; No.
I, 122 inches wide, coarse thread, best quality, per yard, ;$8.00; No. 2, 84
inches 'wide, fine thread, best quality, per yard, S6.15; No. 5, 56 inches wide,
coarse, dark, best quality, per yard, S3.75; No. 7, 36 inches wide, fine, best
quality, per yard, $2.00; No. 8, 84 inches wide, fine, best quality, per yard,
$4.00; No. 9, 54 inches wide, medium, best quality, per yard, S3.00; No. 14,
50 inches wide, silk, ecru color, per yard $8.00.

There are other widths and qualities made which any dealer can
procure.
Nearly all art stores have small pieces of these tapestry canvases ready
stretched in stretchers, which will be found cheaper to commence on than
to purchase by the yard, as in this case the whole width must be paid for
whether one has use for it or not.
For large subjects the coarse vanvas will give best results.
To prepare the canvas for painting is a most particular part of the

work. For small pieces the canvas can be stretched in an embroidery
frame exactly as for a piece of embroidery; see chapter on " Implements."
If the subject is large a pair of light quilting frames may be utilized. The
frames must of course be clamped to the desired size. Tack the canvas to
the ends and lace it to the sides. Secure the corners firmly in place before
lacing.
Dyes.
The dyes used for tapestry painting are French dyes, but there are
different methods of preparing them, and this constitutes the difference in
their artistic values. M. T. Wynne advises the use of the Grenie dyes, and
having used them in our own work with uniform success we endorse the
opinion of our esteemed confrere.
The Grenie dyes are advertised as indelible, and so far as our expe-
rience goes we have found them to possess this quality. There are thirteen
colors, indicated by numbers, from one to thirteen inclusive, as follows:
indigo, ultramarine, rose, vermilion, cochineal, Indian yellow, burnt sienna,
brown, gray, violet, green, gray green, black.
The Grenie dyes are a little more expensive than others on the market,
but knowing that the best is ever the cheapest, in painting materials at
least, we do not mention others. The cochineal and indigo are sold, for jc
cents a bottle, while the other colors are only 20 cents. There is a medium
for mixing the colors that is indispensable; it is sold in pint bottles, and
costs 40 cents per bottle.
Brushes.
Next to the colors in importance is the question of brushes. It means
absolute failure to attempt tapestry painting with the ordinary brushes.
At least one dozen brushes, assorted sizes, from No. i to No. 12, made
especially for this purpose, should be procured. They are made of stiff
bristles, and cut in the shape of a chisel. For large surfaces a double var-
nish brush, cut down a little to stiffen it, is recommended by artists for
skies. Glass palettes should be procured, and also several glass jars for
mixing the colors; two or three of a larger size, for mixing large washes in.
Mixing tlie Dyes.

The dye colors are exceedingly crude in the pure state, and therefore
should be toned down with complementary shades. The colors that are
made by mixing are: brown, made by mixing indigo, burnt sienna and vel-
low; gray, made by mixing indigo, cochineal, yellow and a little burnt
sienna; gray green, made by mixing indigo, yellow and cochineal. The
shade required of each of the foregoing colors must, of course, be deter-
mined by the proportion of the mixture.
All colors in which a sediment settles in the bottom of the bottle must
be shaken before being used.
No color should be used without first mixing it with some of the me-
dium, and a certain amount of water. A pen knife and steel eraser, not too
sharp, and rounded at the points, are necessary and important articles of
the tapestry painting outfit.
When the painting is finished, Wynne strongly insists upon the neces-
sity of steaming the work, either at home, over a specially constructed
steamer, or failing in this method, advises sending the work to a regular
dying establishment. Doubtless this procedure would add to the indeli-
bility of the work, but in our experience we have found the following much
more simple and quite satisfactory:
Place the painting on the table, face up; wring out a thin woolen cloth
in cold water and place it smoothly over the work; over this again place a
dry cotton cloth, then with a hot iron go over the whole until the woolen
cloth is thoroughly dry. This method serves to subdue, soften and mellow
the dyes, taking away the crude and glaring effect that is sure to be felt by a
person of artistic susceptibilities, unless this subduing process is resorted to.
Flesh Colors.
As figures are largely used as subjects for tapestry painting, a few
remarks on flesh painting will be acceptable to the amateur, at least; and as

our own knowledge has been gained by a close following of the
of the art
method employed by Wynne, we cannot do better than introduce the

reader to his method for flesh, skies, foliage, etc.; adding from time to
time points that have been learned from that best of all masters, "expe-
rience." To proceed, then:

Flesh Painting.
The brushes for painting flesh colors should never be used for any
other purpose, as the entire work depends upon their being free from even
a suspicion of other colors, and they should occasionally be cleaned with
soap and water. The colors used for painting flesh are, burnt sienna, rose,
yellow and indigo; the palette is extremely simple, but other color or colors
must never be substituted for those given.
Place on the palette two shades of burnt sienna. For fine work use the
finest brush, and put in clearly and with a firm hand the deepest markings
of the eyes, nostrils, lips, ears and fingers. Then with a large brush wash
in the broad shadows, using the paler shade of the burnt sienna. Be care-
ful not to touch the broad highlights. If the eyes are brown they may be
put in with burnt sienna, also. This part of the work is called modeling,
and after it is quite dry the local tone is washed over all the flesh, including
shadows, using again the burnt sienna, but so much diluted as to merely
tint the medium, which should be added to it without any water. For a
dark, sallow complexion, befitting an Othello or a Spanish knight, add a
touch of yellow to the sienna. In applying this local wash it should be
scrubbed into th^ canvas until every thread is thoroughly colored. The
shadows must be counteracted with green made of indigo and yellow.
LIGHT DRAPERY FOR PORTIERES.

Make two shades of the green of about the same relative strength as the
two shades of burnt sienna used for putting in the shadows. Before apply-
ing the green, tint the cheeks with rose. Do not allow the greens to run
beyond the shadow color.
If the red in drying works up too much, add more green; but if the
green is too strong, work in more burnt sienna.
The sharp markings must not be painted in until the previous washes
are nearly dry, or the color will spread.
When the first flesh painting is you must be sure about
perfectly dry, and
this, add a touch of rose for the lower lip, model the highlights by scraping
very gently with the rounded point of the knife or eraser. This gives the
picture artistic finish, and is effective, as the color still remains in the ribs
of the canvas, while the knife removes only that color lying on the surface,
giving a stippled effect. You are now ready for the second flesh wash.
Put on the glass palettes the four colors previously given for flesh painting,
and apply. Make another tint by mixing green and red together. This
mixture will be needed only for touching up and delicate modeling. The
markings of eyes, ears, lips, nostrils and fingers must be strengthened.
The use of the knife between the shadows and highlights will produce the
pearly tints necessary for softening the flesh tones and blending massed
light and share.
Hair and Drapery.
In painting hair, lay in the color in broad masses of light and shade.
For golden hair, make a palette of a pale yellow and a very small amount
of rose. The shadow color is made by mixing yellow and brown and a
little rose with these colors. Any shade of hair, from light flaxen to golden
brown, can be made by simply varying the proportions of the same color.
While Hayward advises the use of brown, yellow and rose for the shadow
color, yet in our own work we frequently omit the rose, finding the yellow
and brown sufficient; but in case there is difficulty in getting just the satis-
factory proportions of each color, the addition of a very little rose will
often solve the difficulty, and give the exact shadow required. It will mod-
ify the greenish effect caused by too great preponderance of yellow in the
first mixture. For dark hair, mix the burnt sienna with the medium, and
much or little water, according to the shade required. If nearly black hair,
add a little indigo to the brown, and for the local wash add gray to the
brown.
For painting in draperies, we have followed the method laid down by
Wynne for beginners. It was the one first practised in our work, and hav-
ing always given satisfaction we see no reason to change it in our later
work: Model all the shadows before putting in the local tint. Put in the
darkest shadows first, then the next tone, leaving the delicate half-tones to
be added when the local wash is nearly dry. Lay the local tint over both
light and shade. This will complete the first painting. There remains only
to accentuate the shadows and scrape the highlights wherever needed, to
give brilliancy. There are no definite rules laid down to guide the artist in
regard to the coloring of draperies; the harmony of colors must, of course,
be considered, but we will say in this connection that all kinds of fabrics
may be reproduced in tapestry painting by simply giving attention to the
falling of lights, as all the difference lies in the fact of their being soft or
sharp. All the tapestry dyes can be mixed with each other, and the most
satisfactory method is to mix and mix, strengthen and weaken trying the —
colors on a bit of canvas — until the desired colors and tones are secured.
We will append here the result of a few experimental mixings.
Colors for Draperies, Greens, Earth, Marble, Stone, Sky, Fore-

grounds, Trees, etc.
Blue .—Y.oz'sX wash, indigo diluted until very pale. For shadows, indigo
blue, gray and a little orange. Make the orange with burnt sienna and
yellow.
Salmo?i Pi/ik. — (This is a color very effective for draperies, slashings,
etc.) For the local tone use rose diluted with medium and water until very
pale, to which a very little green has been added. For the shadows use
brown, to which has been added a little rose.
White. — For shadows, gray; the canvas will do duty for highlights.
Violet.— lôcdA wash, rose and ultramarine; for shades and shadows,
indigo and cochineal, with a touch of burnt sienna in the shadows.
Yellow. —Use a mixture of brown and yellow for shadows; use pure yel-
low for local wash.
Pale Lavender. — Light wash ultramarine and rose; shadows, ultrama-

rine, rose and burnt sienna.
Heliotrope. — Ultramarine and rose, and burnt sienna for shades; for the
local wash omit the burnt sienna.

Terra Cotta. — Brown, rose and yellow. Use less brown for the local
wash.
Sapphire Blue.— Indigo, rose and ultramarine.
Olive Green.— Burnt sienna, yellow and indigo.
Turquoise Blue. — Emeraude green and ultramarine much diluted for the
local wash; for the shadows add ultramarine and orange.
Ashes of Roses. — Local wash, rose diluted with water to a mere tint; for
the shadows mix brown, rose and gray.

Greenish Gray. — Indigo, yellow and cochineal.
Mahogany. — Mix brown, yellow, burnt sienna and rose. For the high-
lights omit the brown; add a little indigo for the darkest shadows. The
effect of polished mahogany can be obtained only by paying attention to
the reflected lights.
CrimsoJi. — Cochineal for local tone, adding a little rose for highlights
and brown in the deepest shadows.
Golden Brown. — Mix brown, yellow and rose for the shadows, and yel-
low and rose for the local tint.
Gray Green. — Mix indigo, cochineal and yellow.
Deep Crimso7i. — Use cochineal, adding a very little rose, for the lights,
and brown in the deepest shadows; if too warm soften with indigo.
To Paint a Sky.
In painting in a sky the methods of different teachers vary. That

recommended by Hiller will perhaps be more readily comprehended by
the beginner. "Select a large brush and commence at the right-hand cor-
ner of the canvas, and with indigo mixed with the medium and nmch
diluted with water, soak the canvas thoroughly. Be very careful about
putting in the first wash; scrub it into the canvas thoroughly and evenly,
DRAPED MANTEL.
otherwise it will dry with a spotted appearance. Carry this deepest shade
as far down as necessary, then dilute it a little and carry it a few inches
further down. With a clean brush wet the canvas a little below the hori-
zon line with medium and water. Some workers omit the medium for pur-
poses of economy, using the water only; but this is a policy that will not
answer; satisfactory results cannot be obtained without the use of the

medium. Soak the canvas thoroughly. Dilute yellow to a pale shade,
also a little rose; place each in a glass by itself. Begin a little below the
horizon line and paint in the yellow. Do not carry this tint as far as the
blue. Next paint the rose color into the yellow, carrying it above the yel-
low, and blend it with the blue. The above will give the rosy, purple
shade seen in sunset skies.
DECORATIVE PAINTING FOR PROFIT.
In the chapter on " Dainty Work for Profit " the subject of decorative
painting is not touched upon for the reason that it more properly belongs
under the head of "Brush and Palette," and is of sufficient importance for a
more exhaustive consideration than could have been given elsewhere.

The ideal art bazaar or "fancy goods" store is not complete without
a good assortment of artists' supplies, painted decorative articles, etc., and
yet, strange to say, we rarely find the two combined. The stock is more
easily handled, the profit greater, and the loss from out-of-date supplies
less than in a needlework stock, yet women who enter the decorative busi-
ness fight shy of it.
This state of affairs probably arises from the fact that, as a rule, women
are better posted on needlework than on painting. The latter art is en-
shrouded with a good deal of mystery, from the fact that artists treat the
subject technically, and the poor layman or laywoman is terrified by the

sound of unfamiliar terms, and at once conceives the idea that painting is an
art to be attempted only by fortunates especially endowed by the gods with
a "peculiar genius."
This may be all very well from an ideal art standard, but from a deco-
rative point of view is sheer nonsense. Any woman with brains enough to
run an art bazaar or store, has talent sufficient for doing a line of profitable
decorative painting. A good eye for the harmony of colors and a steady
hand, trained to follow outlines, is all that is necessary for this branch of
work.
Lack of knowledge in the art of drawing has always been the great
stumbling block to endeavor in this direction, but the beautiful artistic de-
signs gotten up in perforated patterns does away with this obstacle and
opens the wide field of decorative painting to the dealer in art supplies.
The dealer who can use the brush has at her command an infinite
variety of ways in which left-over scraps of silk, linen, ribbon, etc., can be
worked up into saleable novelties with the least possible outlay of time and
money. The decorative painter need never be at a loss for fresh and at-
tractive window display, and her show case will be filled with small novel-
ties that find ready sale at good profit in their respective seasons. Classes
in decorative painting are always a powerful factor in drawing trade, and
stimulating interest in fancy work generally. Many ladies who would

never think of embroidery are easily enthused on the subject of painting.
A word of warning may not come amiss at this point: Do not make
the mistake of undertaking too ambitious flights in the realm of art but con-
fine your efforts to simple decorative painting, which will leave no room for
criticism.
The instructions given in this chapter are sufficient to give the dealer
or teacher full command of the best and easiest methods of doing the dif-
ferent styles of painting. In giving lessons the different methods of deco-

rative work with the brush should be kept carefully distinct from each other.
Thus pupils in a class of water color painting on fabrics should be kept
faithfully to that subject, and not allowed to talk about Paris tinting or oil
painting on celluloid.
In the present chapter will be found illustrations of several beautiful
novelties that will repay the dealer who will make them up and put them
on exhibition in show case or window.
The amount of painting supplies to be carried in stock will, of course*
depend entirely upon the extent and kind of trade each dealer has, but the
following are staples and will be needed by all. Other novelties can be
added from time to time, as the demand for this kind of work increases:
Oil Paints in Tubes —A good assortment of Winsor & Nevvton's oil

colors should be carried in stock. Those colors given in the preceding
lessons will be found practicable. It will not be found sound business
policy to induce customers to purchase a large line of made colors, when
three or four will answer as well, provided a little instruction in mixing
them is given, and this should be givcji, for the less expense attached to
any kind of decorative work, the more of that work will be done, and small
profits and quick sales is the surest and best policy always, especially
is this true in a trade that depends upon women for its best patronage.
Water Colors — The moist colors that come in little pans will give
better satisfaction than those put up in cakes. The necessary colors for a
varied line of decorative work are as follows; Antwerp blue, burnt umber,
burnt sienna, Chinese white, chrome yellow, chrome orange, emerald green,
gamboge, ivory black, yellow ochre, terra vert, Vandyke brown, Venetian
red, vermilion, brown madder, carmine lake, crimson lake, scarlet lake,
purple lake, lemon yellow, pink madder and sepia.

For Paris Tints — Outfits consisting of the tints in bottles, with the
diluting medium.
Lustra Paints — Brocades, powders and flitters, as given under the
head of "Lustra Painting."
English enamels, gold paint in leaf and powder, gold size for mixing
the gold powder, poppy oil, turpentine, should always be carried in stock,
put up in convenient sized bottles. A good assortment of brushes, flat and
round sables, from No. i to No. 12; a few badgers, palette knives, easels,
palettes and brush cleaners should be included also.
If any interest is manifested in tapestry or fabric painting, then supplies
for that work should be added, the colors and materials for which will be
found under the head of "Tapestry Painting."
A small
supply of ivorine, glassine, celluloid, parchment, bristol board,
leatherette, eggshell board, chamois, ooze leather, glass and wood, should
be kept constantly on hand, as nothing so much conduces to a falling off in
interest on the worker's part as being obliged to wait while the dealer sends
to some distant city for supplies with which to prosecute the work. A
small assortment of china and porcelain placques, easel stands for small
DRAPED EASEL.
BRUSH AND PALETTIl. 30^^
pictures, a few plush frames, etc., decorated, will make a most attractive
display for little outlay of money. A very fair artist's supply or stock can
be put inforfrom$75 to $100, and can be made to yield a profit of nearly, if
not quite, 50 per cent, and this aside from money obtained from teaching,
and profits accruing from the ability to work off out-of-date fabrics for
needlework.
In addition to the above enu-
merated articles it will be a profit-
able investment to add a choice

selection of designs, perforated,
especially suited for decorative
painting. Designs for painting
FIGURE277. are somewhat more expensive
than those for needlework, but the dealer receives more for stamping from
them than from the ordinary designs. If the
business is exclusively devoted to artist's sup-

plies a more complete line of artists' materials
must be carried in stock than where decorative

needlework supplies are combined with it.
Chapter XVII will supply all necessary in-
structions pertaining to that subject.
Samples of decorative painting are a great

stimulus to trade, and should be such as to
appeal to the average woman, because there are
more average women than there are exceptional
'
ones, and it is from the former class that the figure 278.
dealer receives the larger share of patronage. A pamtcd plush-bordered

table cover, a pair of painted pillow shams, a parasol cover delicately
painted, a paper holder of celluloid also painted will appeal to ten women
where a beautifully painted landscape would not appeal to more than ten
women out of a hundred, and this is not because of a vitiated taste in art
matters so much as a feeling that the lower form is within the compass of
their talents, while the greater work seems so far away and beyond their
grasp.
A variety in the painted samples and a frequent change is desirable.
3o8 DAINTY WORK FOR PLEASURE AND PROFIt.
Tapestry painting is most attractive when well done, as also tinted
articles which have been described on previous pages.

Flower and fruit painting seem to be quite within
the artistic grasp of most women, and as they make
pretty bright bits of decorative work, it is well to
have a few studies of fruit and flowers.
In leaving this subject we must remind our read-

ers that the subject of decorative painting has been
by no means exhaustively treated, rather merely
introduced to your notice, but in so practical a form
that the industrious, intelligent woman may make
herself proficient in those forms of painting treated
of and at the same time make progress on the
road leading to the higher forms of art work. If the
words written shall but inspire one woman to try
issue with the beautiful, the writer will feel amply

repaid for her labor in this FIGURE 279. direction, not alone
because of the added profit to the dealer, but because of a wider knowledge
of Art, which will be disseminated through her advocacy of it.
li*fe%.' ~^ -
CHAPTER XV.
LACE STITCHES AND DESIGNS.
HE FASCINATING work of lace-making has

become quite the rage during the past fevl
years, and as knowledge of the work becomes

more general its beauty and great value will in-
duce many ladies to undertake its manufacture

who could never be induced to investigate the
mysteries of other forms of decorative work.
In the following pages we have attempted to
give detailed instructions, profusely illustrated,
for making the stitches most commonly em-
ployed in this work. The designs of patterns given for handkerchiefs, cen-
ters, borders, ends, etc., may be transferred to thetracing cloth, enlarged to
any size desired, by means of the pantagraph, and form a very valuable feat-
ure of this chapter, as the perforated designs are quite expensive. The
enlargement of the designs in this chapter should be four times the size
here given, each way, for the best effect. There has been but little printed
on the subject of lace making in this country. Mme. Guyon, a French lady,
brought out a few years ago, a small pamphlet on the subject, and from its
pages nearly all the magazine articles on " Lace Making" have been
taken, in a form so incomplete and mutilated as to be of little practicable
value.
The instructions necessary for a beginner are simple, and must be exactly
followed. Deftness of manipulation can be acquired only by patient prac-
tice, and this practice must be gone through with, as exactness of detail is
absolutely necessary for the securing of beautiful results.

iio DAINTY WORK FOR PLEASURE AND PROFIT.
PLATE 1,
LACE STITCHES AND DESIGNS. 311
Point lace and Honiton lace are made on a foundation design of braid
which is sewed to the outlines of patterns, and the spaces are then filled in
with the various lace stitches. In brief this is all of mystery of lace making
there is about the work, yet how much is covered by these brief words.
Materials for lace making are simple, and consist of tracing cloth, a
foundation of soft oil cloth, such as is used for table and shelf covers, or
leather will answer, but is more expensive, braids of various styles and sizes,
lace threads and designs.
Figures i, 2, 3, shows several of the braids used in this work. As will
be seen they are of varying sizes and styles and are designated by numbers.
Each manufacturer using a different number. The numbers given below
can be readily placed from the accompanying illustrations.
No. 4722, 420, 402, 347, 652, 145, 697, 4886, 52, 505, 503, 388, 287, III,
128, 564, 155, 319, 510,416, 344, 384, 367, 368, 414, 365. The prices for which
the best English braid can be secured ranges from 7 cents to 50 cents per
piece of six yards.
The thread for working the lace stitches should be of the best linen,
and is sold in balls. The threads are of different sizes, indicated by num-
bers, 300 to 1500. No. 300 indicating the coarsest thread used and No. 1500
the finest. These threads should not cost more than 5 cents per ball, as
that is the price usually charged by the large establishments carrying a
line of lace-making materials.
Tracing cloth is made 18 inches wide and may be purchased by the yard,
the usual price being 25 cents.
Designs: special designs for point and honiton lace may be had from
the stamping pattern houses. They are made on good strong tracing cloth,
which is all ready for tacking to the oil cloth foundation previously men-
tioned. The designs are the most expensive part of the outfit. A hand-
kerchief pattern costing 50 cents, a design for infants cap 35 cents, a collar
35 cents, a fischu 75 cents, a deep border $1.00, and so on. Therefore it
will be seen that where good lace designs can be copied from books or
magazines a considerable saving will be effected.
Laying the Braid.
Outlining the design with the lace braid is the most particular {)drt of
ihc work as upon the neatness with which it is done depends the entire
effect of the finished piece. When possible, piecing the braid should be
avoided; sometimes it is absolutely necessary, and great care must be ex-
ercised in this operation. To join: stitch the braid together firmly, open
the seam and turn back the edge,
stitch the edge down separately.
In passing the needle from one part
of the braid to another run along
the center of the braid, keeping the
stitches as nearly invisible as possi-
ble. commencing the laying of

In
braid make a few stitches, leaving
the end of the thread on the wrong
side and cutting it off afterward. In
fastening the finishing make a tight
buttonhole stitch, run on two or
three stitches, take the needle to the
HANDKERCHIEF CENTER. back of the work and cut off.
Time, care and patience must be given to this work.

Fig. I, plate 2, illustrates the method of outlining design with braid. The
illustration shows the pattern stamped on tracing cloth, which, in turn, is
tacked to a foundation of oil cloth. Commence the design by running on
a straight line of braid across the bot-

tom of the pattern, (some teachers in-
struct pupils to run the braid on in the
center, and this method is shown in the

figure, but the safer rule is to fasten
each edge with the tiniest imaginable
over-stitches.) Commence to lay the
braid from left to right. For the circles
in the design take another piece of

braid and lay it in position by running
stitches through the center being care-
ful to keep the braid as smooth and handkerchief square.
even as possible. There will be no trouble with the outer edge, but the
inner edge will present some difificulty to a beginner.
PLATE 3.
In order to make the inner edge lie even and smooth thread a No.
9 needle with No. 500 lace thread, fasten the needle at one point and take
a few running stitches aloiig the edge of the braid, as a fine gathering, and
draw the thread up slightly, this will force the braid into position. The
same method must be followed by laying braid on a curve or half circle
and two or three fastening off stitches should be taken. When each curve
or circle is finished the gathering thread 7nust remain on the work,
LACE STITCHES.
Having illustrated the method for laying the foundation of a design,
the next step in the work is naturally the stitches to be used for fiUing-in.
No large or important piece of lacework should be attempted until the
stitches have been thoroughly mastered by persistent practice on small
samples.
The stitches used in point lace are divided into four sections, as fol-
lows: stitches proper, or points; finishing edges, connecting bars, wheels,

rosettes. As there are over 100 stitches used in making old point lace it
will be seen that much study and many copies of old point must be gone
through with to master all the beautiful varieties of stitches, and in a work
of this character all that can be successfully attempted is to instruct the
novice in the simpler methods, illustrating the principal stitches, and the
proper application of same. Sufficient knowledge may be obtained from
this chapter to enable any lady to manufacture beautiful specimens of old
point and hoaiton lace.
The finer the braid used in the work the more value will the finished
piece possess. And here comes in a liice point for discrimination, viz.:
where to use the coarser braids? It will be readily seen that lace for per-
sonal use needs to be of finer texture than that employed for purely decor-
ative purposes, hence for handkerchiefs, fichus, collars, lace edgings, etc,
the finer braids and most delicate and lacy stitches should be employed.
For bed spreads, shams, dressing case sets, etc., the heavier and coarser
braids will be found more effective as well as more appropriate. The finest
threads should be used with the finer braids always, while for ornamental
articles thread as coarse as No. 300 may be employed.
The fipBt stitch to be practiced in lace making is the Brussels point.
This stitch is the foundation of nearly all the many lace stitches, and is
21
3i6 Dainty work for pleasure and PROFit.
26— Raleigh Bars. 27— Baleigh Bars*
PLATE 4.
worked as an edging or in rows backwards and forwards to fill spaces, or

as a ground work. Brussels point consists of a simple buttonhole stitch
worked loosely and evenly. Fig. 2, plate 2, shows method of working clear-
ly. Fig. 3, plate 2, shows the stitch worked in rows; Fig. 4, plate 2, the Ven-
ice point. This stitch is worked from left to right as is also the Brussels
point. Work one loose buttonhole stitch, and in this again work four but-
tonhole stitches tightly drawn up: next work another loose buttonhole
stitch, and four more buttonhole stitches in it as described for the first
stitch. This operation must be repeated to the end of the row and the
thread fastened off. This will be found to make a most useful filling stitch.
Figure 5, plate 2, illustrates Little Venice point, which is adapted

for filling small spaces. It is worked in the same manner as the Venice
point, the only difference being that one tight buttonhole stitch only is
worked into each loose one,

Spanish point is worked from left to right as follows: insert the needle
in the edge of the braid, keeping the thread to the right, bring out the
needle inside the loop, (see figure 6, plate 2.) The needle must
pass from the back of the loop through it. Pass the needle under the
stitch and bring it out in front, by this means twisting the thread twice.
This operation gives the stitch the desired cord-like appearance. The
thread must be fastened to the edge of the braid at the end of each row.
Return to the opposite edge without breaking the thread by sewing back,
inserting the needle once in every open stitch.
Figure 7, plate 2, shows Close Spanish point which is worked inexactly

the same manner as the regular Spanish point, but so close are the stitches
worked that the needle can but just pass through in the next row. Fasten
this stitch also at the end of each row and sew back to opposite row. Be-
gin the work at the left and proceed to the right.
Figure 8, plate 2, illustrates still another variety of the Spanish point

stitches. It is called Treble Spanish point and is worked in the same man-
ner as the two preceding stitches. The arrangement forming the distinc-
tive features; begin at the left, work three close stitches, one open, three
close to the end of the row; fasten off and run back to the left edge. In the
second row begin with one open, follow with three close, then one open
to the end of the row, fasten off and sew back. Repeat as many rows as
3i8 DAINTY WORK FOR PLEASURE AND PROFIT.
are necessary to fill the desired space being careful to alternate the begin-
ning of each row as indicated above. Great care must be observed to see
that the close and open stitches follow each other in regular order. Va-
rious patterns may be formed with this stitch, as stars and diamonds.
Grecian Point is illustrated in figure 9, plate 2. This stitch is worked
from left to right, working backwards and forwards. To begin, make
one loose Brussels point and follow with three close Spanish point stitches,
then one Brussels point stitch and repeat, alternating the stitches to the
end of the row. Work back in the same manner, only commence the sec-
ond row with the three close Spanish points instead of the loose Brussel
point. This is the first occasion, so far given, where two stitches are com-
bined to form a pattern, but these combinations are largely used in all pat-
terns, and lend variety to the work. We shall have more illustrations of
combinations further on.
Valenciennes stitch, figure 10, plate 2, is simple when understood though
at first may appear a little difficult. To work:
it ist row, commence at the
left hand and make six Brussels point stitches at equal distances, every al-
ternate stitch must be larger. Second row: upon the first large stitch work
nine close buttonhole stitches, follow with one short Brussels point stitch
under the one above; repeat nine close stitches and so on to the end of the
row, (right to left.) Third row, work five close buttonhole stitches in the
nine of the previous row, follow with one short Brussels point, two close
buttonhole stitches in the Brussels point, one short Brussels point, five
close buttonhole stitches, one short Brussels point, two close buttonhole
stitches, one short Brussels point, five close, one short, two close, one short,
repeat. Continue the rows in the order given until the desired space is
filled.
Point d'Alencon is a lace stitch used to fill up narrow spaces where

lightness is necessary to a good effect. This stitch is worked over and un-
der in alternate stitches, as in hemstitching.
Figure 12, plate 3, shows the Turkish stitch. This is an easy stitch and
equally effective for large or small spaces. The thread should be varied
in size according to the size of the space to be filled, even in the same por-
tions of a design. To work first row: work a loop bringing the thread from
right to left, pass the needle through the twist, and through the loop, draw
up tight and repeat. Second row: one straight thread from right to left.
Third row: work in same manner as described forfirst row, using the straight
thread in place of the braid, Pass the needle through the loop of previous
row.
Point de Reprise is a stitch much used and will be found illustrated
and described in the chapter on " Applica-
tions of stitches."
Net Groundwork Stitch is effective for
ground work where Brussels net is not imi-

tated. To work: commence in the corner
or crosswise of the space to be filled, work
a loose Brussels point, fasten it to the braid,
passing twice through the braid as shown in

figure 2, plate 3. Work in rows backwards
and forwards as follows: one Brussels point
before making the next stitch, pass the need-
le tinder the knot, over the thread and again
imdcr it, see illustration. This stitch fills up
space rapidly, figure 13, plate 3, thus shows
the stitch applied as a filling or ground work
over which is worked a few point de reprise
stitches.
Point de Tulle. This pretty stitch is used

as a ground work for very fine work. It is
made by working in rows backwards and

forwards, using open Spanish point stitch.
See figure 14, plate 3. When this part of the
work is completed it is worked over a sec-
ond time, as follows: insert the needle under

one twisted bar, bring it out and insert again
at * and bring out again at the dot. This

makes a close double twist which when done
with fine thread is very effective.
LACE COLLAR.
Mechlin lace stitch, see figure 23, plate 3.
This is one of the prettiest stitches used in lace work and is also one of the
most difficult. Work a number of diagonal bars in buttonhole stitch, on a
single thread, in one direction. Then in the opposite side begin in the
same manner and work five or six stitches past the spot where the two
lines cross each other. Pass the thread around the cross twice, under and
over the thread, to form a circle, work in buttonhole stitch half of one
quarter, make a dot by putting a fine
pin in the loop instead of drawing the
thread tight, and in the loop held open
by the pin, work three buttonhole
stitches; take the pin out and continue
as befor». The dot is the difficult
point in the work and it will be better

for a beginner to omit this until the
plain wheel can be worked smoothly
and evenly. Mechlin wheels are effec-
tive worked in rows upon horizontal
and parallel lines of thread.
WHEELS, ROSETTES, BARS, ETC.
We come now to the introduction of

combinations in our work, and will
commence by introducing to the worker
the Sorrento wheel. The method
of working this stitch is clearly shown
in figure 24, plate 4. The thread is put in
the space to be filled at the points in-
dicated by letters. Commence at a

and fasten the thread, carry it to b,
twist back upon the thread to the cen-

ter of it and fasten at c\ carry to center
again by winding around or twisting ^^ce insertion.
around and so on until all the lines are in, as marked in figure 24.
itself,
Figure 25 shows method of forming wheel, which is very simple; the thread
is worked over and under the crossed threads, repeating the operation un-
til awheel the desired size has been obtained; see plate 4 for figures 24 and 25.
A very pretty wheel called spider web is shown in the chapter on

"Application of Stitches."
The various stitches used to connect the different parts of point lace
work are called bars, and upon the suitability of the bar to the special place
it is made to fill depends the beauty of the work.

The Sorrento bar is one of the simplest used, and consists of a single
thread carried from right to left and fastened in the edge of the braid; the
return row is made by simply twisting back to the starting point on the
thread just carried across. These bars are usually made in groups of three
placed close together, with an equal distance between each group. Figures
15 and 16, plate 3, show two applications of the Sorrento bar.
Point d'Alencon bars are useful, but as they have been referred to be-
fore, we will pass on to the Venetian bar, which, while so simple as to
hardly need description yet has an important place in lace making. Fig-
ure 17 shows this bar applied to a small space. It consists of two sti'aight
threads worked over in reverse directions with buttonhole stitch. Figure

18 shows the bar applied to the veining of a leaf which is worked upon sor-
rento bars. See plate 3.
Figure 19 shows Venetian bars worked to form squares, triangles, etc.,
in buttonhole stitch upon a straight thread. The arrow in the illustration

points to the direction for working the next.
Venetian bars edged. Figure 20, plate 3, illustrates this method of
working. Begin at the right and carry a thread straight across to the oppo-
site side; fasten off in the edge of the braid with a tight buttonhole stitch.
Upon this thread work a succession of tight buttonhole stitches. In every
third stitch work a Venice point stitch.
We come now to the dotted lace bars, and a very important feature of
bar is this dot.
Dotted Venice Point: Stretch the thread across the space to be filled
from right to left. Upon this thread work five tight Brussels point stitches.
In the fifth stitch insert a pin to hold it, open and loose; pass the needle
under the loose stitch and over, the thread as shown in figure 21. In this
loop work three tight Brussels point stitches; work five more tight Brussels
points on the thread and make another dot; repeat to end of row.
1*
MAPLE LEAF PLATE DOYLEY.

Raleigh Bars are worked over a foundation of net work, made of coarse
thread, twisted in places so as to
more easily fall into the desired form.
Figure 25 shows a figured diagram for placing threads; and by following
the numbering from i to 21 in the diagram, a square space may be easily
filled. Portions of the arrangement can also be applied to any shaped
space. Upon the groundwork make tight Brussels point stitches, and upon
these the dot must be worked. To work the dot either of three methods
may be followed. First method: work five tight Brussels points, one loose
Brussels point; pass the needle under the loop and over the thread, as
shown dotted Venice bars; draw up, leaving a small open loop as
in the in
tatting. Work five tight Brussel points and repeat.
Second method of making dots: Proceed as described for first method,
but instead of continuing the tight Brussels point work two or three tight
buttonhole stitches in the loop thus formed.
Third method of making dots or picots: work four tight Brussels
points and one loose; through the loose stitch pass the needle point, wind
the thread three times around the point, press the thumb tightly on this,
and draw the needle and thread through the twists. This method very
closely imitates the real Spanish lace.
Figures 27 and 30 represent two very beautiful fancy filling stitches,
which are so simple that they can readily be copied from the illustrations.
Figure 27 is called Point d'Anvers, and figure 30 Greek point.
Many of the lace filling stitches are susceptible of other uses than
making lace, for instance the most beautiful drawn work is that wherein
occur many lace stitches, also in conventional embroidery they are espe-
cially useful for filling large surfaces.
The lace insertion on page 320 will require 3 yards of Honiton,

and 39 yards of point lace braid. This material will make apiece one yard
long.
For the collar shown on page 319 there will be required braid as follows:
Honiton, 2%. yards: point, 17^ yards; purling, 4^/2 yards.
MAGNOLIA PLATE DOYLEY.

CHAPTER XVI.
KNITTING AND CROCHETING.
O OTHER form of "Dainty Work" is so

conducive to sociability and a general feeling
of bonhomme as a piece of knitting or cro-
chet work. It occupies the fingers, yet leaves
the mind free for "idle converse the while."
Aside from every other consideration this
form of fancy work offers a means for decor-
ative efforts in different directions that
would otherwise be beyond the ability of
limited resources to compass. One has
first to try what can be accomplished with
a ball of linen or silk crochet thread and a
crochet needle to have a proper respect for
the day of "little things." Women, even of
the most limited financial means, have leisure
hours, or it may be minutes, which can be utilized in making trimmings for the
garments of the wee mites who demand so much of a loving mother's thought
and care, or articles of more absolute necessity, as petticoats, sacques,
stockings, dresses, etc., can be fashioned from a few cents' worth of wool. In
this day of cheap Hamburg embroideries it is a relief to see underwear
decorated with fine linen thread lace, either knitted or crocheted, and
the possession of a variety of such hand-trimmed garments betokens a
refined taste in the possessor. Aside from articles of actual use, there are
many others of mere ornament that add much to the home-like comfort of
one's rooms, such as toilet sets, scrap bags, bracket covers, table covers, etc.,
that can be made by means of knitting or crocheting, and these can be man-
ufactured so cheaply, and in the odd minutes that would not otherwise be
employed, that the cost is not appreciated.
In the chapter devoted to this subject, no attempt at originality has
been made, but much time and labor have been expended in securing the
prettiest and most useful, as well as most ornamental articles that could be
found in two continents. The many friends of the writer in the United
States — from Maine to California, and from British Columbia to the Gulf
Coast — have been laid under requisition, and most generously have they
yielded their treasures to her insatiable demands for "more," and she
wishes here to thank the ladies who so kindly came to her assistance, send-
ing samples for illustrating, and instructions for making so many of the
articles here given. To friends in England, Scotland and France she is
also indebted for like favors.

The idea in preparing this chapter has been to give such instruction as
could be most generally adapted to the greatest number of purposes. No
effort at classification has been made; the different articles have been edited
and grouped just as they were received, and form a very good index of what
women are doing in this line all over the country.
For the benefit of those among the readers who do not understand
knitting and crochet work, we append here the abbreviations used in giving
the instruction for making the different articles, together with their meaning.
Some ladies have a deep-seated conviction that they cannot learn any-
thing from printed instructions. This is nonsense. If the instructions are
given clearly and concisely, there will be no difficulty in following them.
Staring at the cold type with an I-never-can-do-it expression will not do it,
certainly; the only way to reduce printed instructions to knowable quantities

is to prove them. Take a crochet needle and a piece of coarse thread and
proceed to follow the instructions as given below, beginning at the first one
and proceeding to the last. Never give up trying until the correct result
has been obtained. You will then be prepared to use the terms whenever
you meet with them in the succeeding articles, illustrated in this chapter.
Having disposed of the terms for crochet work, proceed to solve the
difficulties of those given for knitting. Once actually at work, practically
trying to follow instructions, you will be surprised to see how easily diffi-
culties that seemed insurmountable melt into nothinsfness.

KNITTING AND CROCHETING. 327
TERMS USED IN CROCHETING.

Ch.— Chain: a straight series of loops, each drawn with the hook through the preced-
ing one.
SI. — Slip stitch: put hook through the work, thread over the hook, draw it through the
stitch on the hook.
Sc. — Single crochet: having a stitch on the hook, put the hook through the work,
thread over the hook, draw it through the work, thread over, draw it through the two
stitches on the hook.
Dc. — Double crochet: having a stitch on the hook, put thread over the hook, then put
hook through the work, thread over and draw it through two stitches, thread over, draw it
through the two remaining stitches.
Tr. —Treble crochet: same as double crochet, except that the thread is thrown twice
round the hook before inserting the hook through the work. The stitches are worked off
two at a time, as in double.
L. t. c. — Long treble crochet: twine the thread three times round the hook, work as in
treble, bringing the thread through two loops four times.
Picot: made by working three chains, and one single crochet in first stitch of the chain.
CI. ch. St. — Close chain stitch: insert the hook in the loop of preceding row, and
draw thread through it and the loop on the needle at the same time.
Half dc. — Half double crochet: like double crochet, only pass the cotton through the
three loops on the needle, instead of passing it through two loops twice.
EXPLANATION OF ABBREVIATIONS AND TERMS USED IN

KNITTING.
K. — Knit plain.
N. — Narrow, knit two stitches together.
P. — Purl or seam.
PN. — Purl or seam two stitches together.

S. and B. — Slip and bind, slip one stitch, knit the next, and pass the slipped stitch over.
O. — Thread thrown over as about to purl. if
S. — Slip the stitch off without knitting.
Round. — When the work done with four needles in a tubular web, this expression
is
describes one circuit of the web from the first stitch of the first needle to the last stitch of
the third needle inclusive.
Row. — This term is made use of only when the work is done on two needles in a flat
web.
Repeat. — This word, following a description of round or row, means that the same
work is to be done again, not only once, but throughout the round or row. In other places
the word implies a repetition of all rows or rounds preceding it in that rule.
Cast off. —This is done by knitting two stitches, passing the first one over the second,
and repeating as required.
CROCHETED DRESS FOR CHILD.
The top and skirt are crocheted separately, yet each is made of stripes
of crochet, afterwards joined together. For the skirt 15 such stripes sloped
off in the width are required. Figure 282 shows the widest part of each
» stripe at the lower edge of the skirt, and figure 280
the upper narrowest part where begun. The era

chet is made in rows, backwards and forwards, the
firm center on the right side being made directly
with the scollop points, while the left side can only
be crocheted in one with the inner chain scallops
(see figure 280); the other scallops follow later on, as
shown in figure 282, on page 329, but also here each
picot Scallop is finished separately. Only a few
directions for the stitches will be required, as the
designs very clearly show the way the work is
made. 9 ch. are always to be worked for the rings,

FIG. 280. into each of which is crocheted i sc, i half high
dc, 10 dc, I half high dc. and i sc. Then follow 10 long stitches each
separated by i ch. Each scallop on figure 282 is crocheted over, later on, with
sc. and picots requires 8ch. The smallest part
of the scallop consists of 3 rows of scallops (3
rows of scallops) then follow scallops of 4 rows
;
and lastly i scallop of 5 hole rows. The

stripes are joined by catching together the
picots in the hollows of the scallops; this is
done by adding a ring crocheted separately, as

seen in figure 281, at the upper edge of the top.
The ring consists of 18 ch,, round which are
worked 24 sc, interrupted after 3 sc, by a picot fig. 281.
of 4 ch. The upper edge of the skirt is secured by i row of ch. and dc,
this drawing the width into about 25^ inches, and i open dc. row(i
dc, I ch.) For the back on the left side a stripe 6 scallops long is required,
and each scallop here, as everywhere else, on the top worked of 3 hole rows.
These six scallops give a length of about g% inches. On the second stripe
I scallop more is worked for half the shoulder strap (the stripes are joined
as on the skirt), to this follows a stripe of only 5 scallops to form the arm-
ftole, on which the scallops are narrower above, so that the top becomes
somewhat tighter. A stripe of 8 points is now made to complete the shoul-
der; the two shoulder stripes are then sewn together. The middle of the
top, which is now finished in an opposite direction, is reached after a stripe

again of 6 scallops. The two middle stripes are only to be joined to the
shoulder straps at the tops of the points; the rings are left out here, as
ribbon is afterwards drawn through the openings. An extra stripe is made
on the right back for the button fastening, but this is finished at the back
edge of the top only with the inner row of scallops, as seen in figure 280.
The above mentioned stripe is put below

a little over the first one on the left back,
before sewing the top and skirt together.
The sleeves require each 7 to 9 pointed
scallops, the picot edges of these being
made on one side only. The upper edge
of the top is finished with small picot
rings and scallops like those seen in figure
281. For the tabs holding the sash at the
sides, a stripe 4 or 4^ inches long is to
be crocheted with only one scallop on
each side, as seen in figure 28O. Figure
284 shows the dress completed.
PURSE.
Materials: 3^ ounce knitting silk and
a fine steel hook. Make 36 ch., and i row
FIG. 283-4
of dc. 2d row; i ch., 2 dc. in back edge
of the first and last dc. of the foundation, a dc. in each stitch between.
3d row, I ch. and a dc, to end of row; 4th row to 32d rows, like second
and third alternately; 33d row, like third; 34th row, dc. across row, missing
the first and last stitches; 35th to 65th rows, like thirty-third and thirty-
fourth rows. This completes the center part. For each of the side pieces
make 28 ch.
1st row, dc. turn the work, i ch., dc. in back edge of foundation stitches;
4 dc. in last stitch of foundation, 27 dc.

3rd row, turn the work, i ch., then dc.
to end of row, widening in the center of
the work as required.

4th to I2th rows, like the preceding,
join the pieces together on the wrong
side with dc.
These purses can be made of any color, fig, 285.
garnet and brown being the most popular. They are also extremely pretty
when covered with glittering steel beads, one being placed on every stitch.
KNITTING AND CROCHETING. 3^T
A novel idea is to carry one of these little purses worked in silk exactly
matching the dress, and many delicate shades are produced in silk;
as so
this can very easily be done. A

monogram in initial letters worked on one
side in beads, is also a very pretty device, adding much to the beauty ot
the purse.
BABY'S SACQUE.
Materials: 4 ounces knitting silk, and three yards satin ribbon No. 4.
The yoke of the sacque is in reversible spider stitch.

1st row, take 5
ch., to turn, make]

loops on the first 5
ch., draw the silk
through 6 loops, then

through 2 *, Take up 1
3 loops on side of
spider and 2 loops
through ch., draw the
silk <^hrough 6 loops,
then through 2. * Re-
peat.
To Widen. — Take
up five loops with the
one on needle, then
repeat, makmg two
spiders over one, be-
ing careful to finish fig. 286.
the two spiders at the end of the one spider of last row.
2d row, 15 plain, widen twice, i plain between; 3d row, 15 plain, widen
twice, 2 plain between; 4th row, 15 plain, widen twice, 3 plain between.
5th row, 15 plain, widen twice, 4 plain between; 6th row, 15 plain,
widen twice, 5 plain between; 7th row, 15 plain, widen twice, 6 plain between.
Work the front and back separately, leave sixteen spiders for front,
seven spiders for arm-holes, the rest for back. Make six rows on each.
All the yoke is worked back and forth, making a reversible spider stitch.
Skirt of Sacqiie. — This is worked crazy stitch; on the first row join the
back and fronts together at the side, ist row, repeat first of baby's hood,
on page 338, making a crazy stitch pattern over every spider, which pro-
duces the fullness required for the skirt. Make 38 rows as above.
Sleeve. — Make 17 crazy-stitch patterns round arm-hole; being at the
joining of back and front, turn the work at the end of each row and work
backward, which will produce the raised appearance of the stitch. Narrow
the ninth row in the center of the side of sleeve by taking the top of two
shells together and working as if they were one. Make twenty-four rows
alike, except the last one, where you put 2 tr. instead of 3 for spider. 25th
row. — * 2 dc. into every spider. * Repeat for 4 rows. Make 5 shells round
sleeve.
For —* dc, miss 2 into 10
Shells. i 3, tr. into same, miss 2, i dc; * repeat.
Last Row. — Turn over needle twice. Repeat last row of Baby's Hood,
on page 338.
For Shells around Cape. — Repeat instructions for shells, also same for
collar. Make i row of spiders between yoke and skirt for an edge. Make
two rows of holes with i ch. between.
For Neck. — Make shells for collar between these rows. Place a tied
bow of ribbon on each shoulder, a bow with long loops where yoke and
skirt join in front, and a small bow on sleeves.
BABY'S SHIRT.
Materials: 2 ounces "pure thread" knitting silk, and steel needle, Nos.
17 or 18. Cast on 164 stitches.
2nd row, p.; 3rd row, knit plain; 4th row; si. i, n., k. 2, * thread
over, k. i, thread over, k. 2, n. 2, k, 2; repeat from * across the needle.
5th row, p.; 6th row, like the 4th; 7th row, p.; 8th row, like the
4th; 9th row, knit plain; loth row, p.; nth row, k.
This makes one row of shells. Repeat until you have four rows, then
p. 2 and k. 2, 30 times across. Now divide the stitches, putting 82 on
a third needle (as you must knit up the two halves separately), and k. 2,
p. 2, 26 times across. Then narrow on each end of needle for shoulders,

knitting once plain between each narrowing. Knit the shoulder any length
you desire. Knit up the other side like this; then taking the stitches on
one needle, begin on the wrong side, knit across, then purl across, then knit
across, k. 2, thread over, narrow; * k. 2, thread over, narrow; repeat
from * to the end of needle; knit back, purl across, and cast off.
The row of holes around the neck are to put a ribbon in to draw it up.
Sleeves. — Cast on 64 stitches. For short sleeves k. 3 rows of shells
like the body. For long sleeves k. 2, p. 2, 26 times across; then put in
fine needles and k. 2, p. 2, about 10 times across. Cast off.
LADY'S VEST.
Materials: 6>^ ounces "pure thread" knitting silk, 2>^ yards of
pink satin ribbon about one inch in width, and 2% of very narrow pink
satin ribbon to run in the neck. Two steel needles. No. 17, twelve inches
in length, one fine steel crochet hook and one small skein of pink filo floss,
for sewing the seams. The knitting silk is too hard a twist to sew with,
and if used will make an uncomfortable seam to come next the skin.
The directions for making this vest are very simple.
made in two It is
pieces, frontand back, which are knit perfectly straight up and down upon
two needles, until the neck is reached, where shaping begins, as directions
will show. When
the front and back are completed they are joined by a
seam under each arm. The narrow strips which pass over the shoulder and
form the sleeve are joined by crocheting. The hip or lower part of vest is
widened by gussets, which are knit separately, one being placed in each
side seam. The neck, sleeves and hem of vest are finished with crochet
edges.
Formula. — Cast on with two needles, loosely, 200 stitches. This is the
lower edge of vest. In second row across arrange in ribs of threes and
twos. Every sixth row is purled all the way across. Continue with this
pattern until you have a straight piece twenty-four inches long; here arrange
the work so that in beginning to knit the wrong side of the fabric will be
next you. Now knit off in the usual way for 50 stitches, using an extra knit-
ting needle. Leave the remaining 150 stitches on another needle; secure
them by placing a small cork on each end of the needle. For the present
this needle of 150 stitches and you continue the pattern with the 50
is left,
stitches, thus shaping the neck and the short sleeves of the vest. Each
time the edge is reached ( the one which comes next the neck, not the
outer sleeve edge), narrow once by knitting 2 stitches together. Repeat
till you have the stitches reduced to 20. Upon these knit the pattern for
six inches, then cast off.
This makes a long slip, which is to form the sleeve or shoulder band
Next cast off loosely 100 stitches from the extra needle of 150. Upon the
remaining 50 stitches knit a strip to correspond to the strip already
described. Narrow only on the side next the neck.
One half of the vest is now completed. For the other half of the vest,
knit exactly as for the half already described. The lower part of the neck
between the shoulder-bands is filled with a pattern crocheted as follows,
beginning in the lower right-hand corner: Raise itr. ; make 5 ch., i tr.,
repeat to left-hand corner. In making the tr., arrange so as to bring i tr.
each side of every rib of 3 stitches. Break the silk at the Jnd of every
row already described.
Now with a fine crochet hook fill in the space between 'SiTie two long
strips with a square open-work pattern, described below and shown in
the accompanying illustration. Do likewise with the other half of the vest.
To make the open-work with which
this space is filled, upon the row already
made, work another row same as first,
except that eacn tr. is worked midway of

each ch. of 5 of preceding row. So alter-
nate for 9 rows; but in beginning and

ending each row you increase a ch. of 5
and I tr. This will be readily seen in
working. If you do not increase, the

space will not be entirely filled. Now
join the strip over the shoulder in this
way: Make a ch. of the required length
to reach over the shoulder from front strip

to back strip and secure. Then upon this
work a ch. of 5 and i tr. clear across. Now

pjg ^g_ to this add another row same as first,
except bringing each tr. midway of ch. of 5 of previous row. So alternate

for 5 rows and you will have a pattern the same as the space is filled in
with for the front and back described; also will have formed the sleeve oi
band. The other strips are joined just the same. Now work around the
edge next the neck i row of tr., setting them close together. To this row
add another, which work as follows, viz.: Make i tr. into each of 2 stitches
or tr. of preceding row; 5 ch.; pass over 5 tr.; repeat.
To this row add another by working thus: i tr. into each of the 2 tr. of
last row; i ch.; 4 tr.; each separated by i ch. into the third of 5 ch.; i ch.;
repeat.
Next add another rov/. i tr. into each of the 2 tr. of last row; i ch.;
4 tr.;each separated by 1 ch. into the center; i ch. between the tr. of last
rows; I ch.; repeat. Repeat this last row once more.

Now to this add a row of scallops, making about 15 tr. into i stitch for
each scallop. Fasten down by i sc. to tr. of previous row. So work all
'around the neck. Add a similar row of scallops to outer edge of strip-band
or sleeve. This completes the working of the band or sleeves. Run rib-
bons through holes and tie in pretty bows

Next sew up the seams in front.
under the arms, leaving a space on the lower part of each seam for inser-
tion of gusset, say about five inches.
Gussets. — Cast on loosely 50 stitches on 2 needles; knit in ribs of threes

and twos as you have for the other part of vest. Make this pattern for
about one inch. Then narrow once at the beginning of every row; that is.
each time you turn the work. This narrows the work off to a point, or one
stitch. When the gusset is finished, make one more for the other side.
Sew into seam at lower or hip part of vest. These gussets are only neces-
sary for persons of large size. Now add to the edge of vest open-work
and scallops, as made above. This completes the work.
These garments are often knitted in cream white, pale pink or pale
blue silk, and will be found to be durable and elastic, fitting very neatly to
the figure.
LADY'S BASKET PATTERN VEST.

Use the same materials as given above. Begin by casting on iii
stitches for bottom of front of vest, and work for the border: always slip
the first stitch of every row: 1st row, plain; 2d row, p.; 3d row, plain;
4th row, si. I. *make one, k. 3, si. i, k. i, pass the slipped stitch over; k. 2
together, k. 3, make i, k. i; repeat from * to the end.

5th row, p; 6th row, same as 4th row; 7th row, plain; 8th row, p.;
gth row, plain; repeat from the 4th to the 9th row.
i6th row, k. 2 together, k. i, k. 2 together, * k. 2 together, k. 9, and
repeat from * till within 7 stitches of the end of the row, when k. together,
k. 2, k. 2 together, k. i. Now the border is finished, and there are 98

stitches on the needle.
Work for the Basket Pattern as follows: ist row, k, 5., p. 3, * k. 7, p. 3,
and repeat from * to the end; 2nd row, k. 3, p. 7, and repeat, and end with
p. 5 only.
3d row, same as the first row; 4th row, plain; 5th row, p. 3, k. 7, and
repeat, and end with p, 5 only.
6th row, p. 5, k. 3, * p. 7, k. 3, and repeat from * to the end. 7th row,
same as the 5th row.
8th row, plain. Repeat these 8 rows till you can count 18 blocks of
the basket pattern, 144 rows; or 21 blocks of the basket pattern, 168 rows;
according to the length required.
Then for the Shoulders: ist row, k. 5, p. 3, k. 7. p. 3, k. 7, p. 3, k. i, cast
the last stitch but one over the last stitch, and continue casting off till 26
stitches remain on the left-hand needle, then k, 3, p. 3, k. 7, p. 3, k. 7, p, 3.
2nd row, k, 3, p. 7, k. 3, p. 7, k. 3, p. 2, p. 2 together.
3d row, k. 3, p. 3, k. 7, p. 3, k. 7, p. 3; 4th row, k. 24, k. 2 together.

5th row, k. 7, p. 3, k. 7, p. 3, k. 5; 6th row, p. 5, k. 3, p. 7, k. 3, p. 5, p. 2
together.
7th row, k. 6, p. 3, k. 7, p. 3, k. 5; 8th row, k. 22, k, 2 together.
9th row, p. 3, k, 7, p. 3, k. 7, p. 3; lOth row, k. 3, p. 7 k. 3, p. 7, k. I, k.
2 together.
nth row, p. 2, k. 7, p. 3, k. 7, p. 3; 12th row, k. 20, k. 2 together.

13th row, k. 3, p. 3, k. 7, p. 3, k. 5; 14th row, p. 5, k. 3, p. 7, k. 3, p. i, p.
2 together.
15th row, k. 2, p. 3, k. 7. p. 3, k. 5; i6th row, k. 20; 17th row, k. 7, p. 3,
k. 7, p, 3; i8th row, k. 3, p. 7, k. 3, p. 7; 19th row, k. 7, p. 3, k. 7, p. 3; 20th
row, plain; cast off.
Now work upon the other shoulder, beginning inside the neck ( the
first row being already knitted ).
2nd row, k. 2 together, p. 7, k. 3, p. 7, k. 3, p. 5; 3d row, k. 5, p. 3, k. 7,
p. 3, k. 7, p. I.
4th row, k. 2 together, k. 24; 5th row, p. 3, k. 7, p. 3, k. 7, p. 3, k. 2.
6th row, p. 2 together, k. 3, p. 7, k. 3, p. 7, k. 3; 7th row, p. 3, k. 7, p. 3,
k. 7, p. 4-
8th row, k. 2 together, k. 22; 9th row, k. 5, p. 3, k. 7, p. 3, k. 5.
lOth row, k. 2 together, p. 3, k. 3, p. 7, k. 3, p. 5; nth row, k. 5, p. 3, k.
7. P- 3. k, 4.
I2th row, k 2 together, k. 20; 13th row, p. 3, k, 7, p. 3, k. 8.
14th row, p. 2 together, p. 6, k. 3. p. 7, k. 3; 15th row, p. 3, k. 7, p. 3, k.
7; i6th row, k. 20; 17th row, k. 5, p. 3, k. 7, p. 3, k. 2,
18th row, p. 2, k. 3, p. 7, k. 3, p. 5; 19th row, k. 5, p. 3, k. 7, p. 3, k. 2;
20th row, plain. Cast off.
Knit another similar piece for the back of the vest. Sew the shoulder
pieces together, and sew up the sides of the vest, from the bottom, leaving
space for the armholes.
For the Sleeves. — Cast on 69 stitches, and work 15 rows of the border,
the same as at the bottom of the vest, but doing i additional plain stitch
at the beginning and at the end of each row.
i6Lh row, plain knitting, and take 2 stitches together once in the course
of the rowj to bring 68 stitches on the needle. Now knit 8 rows of the
basket pattern, and cast off loosely. Make a little gusset by casting on 16
stitches, and knitting 26 plam rows, and cast off. Knit another sleeve and
another gusset in the same manner. Sew up the sleeves, taking care that
the gussets are placed properly. Crochet a dainty edge around the neck,
having first a row of holes to run in ribbon.
BABY'S HOOD.
Materials: i >^ ounces knitting silk and a steel crochet hook of mod-
erate size. Make 25 ch.
1st row, * I dc. into ist ch., 2 ch.; 3 tr. into same ch., miss 2, 2 ch., i dc.
into 3d,; * repeat.

2nd row, * 3 ch., 3 tr. into first dc. of last row, i dc. into 2 ch, of last
row. * Repeat, making 25 rows which form crown of cap. Break off and
fasten on at the ch. stitches, which must form back of cap, and make a
mesh as follows:
To begin, make 5 ch., take up one loop as for a tr., putting the needle
in third. ch„ then, still holding the loop on needle, take another loop, put-
ting the needle in first stitch, draw the thread through 2 loops at once until
only one is left on the needle. 2nd mesh, make i tr. into every 3 ch., 2 ch.
between each mesh, making it wide enough to take satin ribbon No. 4; work
mesh around the crown.
Top of Head. — Repeat second row^
working every mesh until twelve rows are
done. Repeat row for mesh.
Repeat 2nd row three times. Make
I row of dc. round neck of cap.
Cape. — Repeat 3d row of Baby's
Sacque, on page 331, making 7 rows.
8th row, repeat 2nd row of Baby's
Sacque, on page 331, taking up three loops
on each side instead of two. 9th row,
repeat 7th row. Round the front of cap
make shells to meet those already made,
^!^^^g3^^™'^^^^" making a double front.
Edge. —* Make 10 tr, for shell, turning over the needle twice into third
ch., I dc. into next third ch. * Repeat round the cap and round cape, miss
two cross-stitches into third.
Last R0W.-1 ch. and a dc. into every tr., missing the dc. between the shells.
Under Cap. — 25 ch., 25 tr., for five rows, then making tr. round the
crown all but the neck for head. Make 7 rows. Sew in with silk. The
woolen lining makes the cap warmer, but if preferred, a wadded silk lining
can be used, made separate from the cap, instead of the woolen under-cap.
Split zephyr or Shetland is used double.
FANCY BAG.
Materials, i
J^ ounces knitting silk, i yard silk, satin or plush, and 4 J^
yards of ribbon 1% inches wide. To make the large rosettes, make 13 ch; join.
1st round, 3 ch., i tr. in first stitch, 4 ch., 2 tr. till there are seven points
to the star; join.
2nd round, 2 ch. and a row of str. around the star by making 4 str. in
each loop, and 2 str. on the upper edge of the points of the star; join.
3d round, 3 ch., i tr. in first stitch, 2 tr., 3 ch. and 2 tr. in every fourth
stitch to end of round; join.
4th round, 2 ch., 4 str. in each loop and 4 str. on the upper edge of the
tr. to end of row; join.
5th round, 3 ch., 2 tr. in first stitch, 4 ch., 2 tr. in the third and fourth
stitches to the end of the round; join.
6th round, 2 ch., 4 str. in loop, and 2 str. in upper edge of tr. to end of
round; join. 7th round, 3 ch., i tr. in first stitch, 6 ch., 2 tr. in fifth and
sixth stitches to end of round; join.
8th round, i str. between the tr. in the foundation, 8 tr. in each loop to
end of round.
To make the small rosettes, make 13 ch.; join, ist round, 2 ch., i tr;
in every first stitch, 4 ch. and 2 tr. till there are seven points in the star; join.
2nd round, 3 ch., i str. in every first stitch, 4 str. in loop, 2 str. on the
upper edge of tr. to end of round; join.
3d round, 6 ch. in every third stitch to end of round.

These rosettes are arranged upon the bag as
illustrated, and after making a row of ch. stitches,
and a row of tr. with 2 ch. between them, on the
lower edge of the second row of rosettes, a less
number of rosettes is placed below on the gathered
end of the bag, as shown in the cut. The rosettes
should not be crocheted too loosely. The width of
the satin or plush forms the length of the bag, and
the hem above the gathers on the upper end may be
lined with satin of a contrasting color, matching the
rosettes. Fawn color or light brown on blue, or
cardinal and old gold on brown velvet, are very
elegant combinations.
FRINGE.
This fringe is designed for the ends of pillow
scarfs, dressing-case scarfs and towels, made from
silk-finish embroidery which come in widths
linen,
from 18 to 80 inches. The fringe can be made from

cotton thread, but is much handsomer made from
the Bousfield Scotch linen thread, while some ladies are so extravagant as
to use knitting silk.
Make a chain of 35 stitches.
1st row, 3 dc. in fourth stitch, 3 ch., 3 dc. in same stitch; fasten to next
third stitch of chain, 6 ch., miss 6 ch., 3 dc. in seventh, 3 ch., 3 dc. in same;
fasten to next third chain, 6 ch., miss 6, put 3 dc. in seventh, 3 ch., 3 dc. in
same; fasten to next third stitch; 6 ch., miss 6 ch., 3 dc. in seventh stitch
of chain, 3 ch., 3dc, in next chain stitch, 5 ch. stitches and turn.
2nd row. 3 dc. around next chain of three, worked between the last 3
dc. in preceding row, 3 ch., 3 dc. around same; fasten around first stitch of
next chain of six, 6 ch., 3 dc. around next chain of three, 3 ch., 3 dc. around
same chain, fasten, 6 ch., 3 dc. around next chain of three, 3 ch., 3 dc.
around same chain, fasten, 6 ch., 3 dc. around next chain of three, 3 ch., 3
dc. around same, work 6 ch.; turn.
3d row, 3 dc. around next chain of three

of second row, 3 ch. 3 dc, around same chain,
fasten, 6 ch., 3 dc. around next chain of
three, 3 ch., 3 dc. around same chain, fasten,
6 ch., 3 dc. around next chain of three, 3 ch.,
3 dc. around same, fasten, 6 ch., 3 dc. around

next chain of three, 3 ch., 3 dc. around same,
fasten in first stitch of chain of five of last
row.
4th row, 5 ch., 3 dc. around next chain of
three of third row, 3 ch., 3 dc. around same,
fasten, 6 ch., 3 dc. around next chain of three,
3 ch., 3 dc. around same, fasten, 6 ch., 3 dc.
around next chain of three, 3 ch., 3 dc.

FIG. 290.
around same, fasten, 6 ch., 3 dc. around next
chain of three, 3 ch., 3 dc. around same; work around next chain of six, *
2 dc, 3 ch. *. Repeat five times, stopping before 3 ch. Fasten by i sc in
last third dc. of first row.
5th row, turn, * i sc, 3 dc, i sc. around chain of three, *. Repeat four
times; 3 ch., 3 dc, around next chain of three of last row, * 3 ch., 3 dc.
around same, fasten, 6 ch., 3 dc. around next chain of three, repeat to the
end of the row.
Finally, make 5 ch. instead of 3.
Begin again from 2d row.

For the heading, fasten the silk to the end of the work, then crochet
I sc. in every stitch of the edge.
The second row of heading is worked as follows:
Turn, * 3 dc. in next sc. of last row, miss next sc, fasten in following
sc, miss I, * repeat to the end of the row.
PINE APPLE EDGE.

Make a ch. of 24 stitches; turn.
1st row, I dc. into the sixteenth, i sc into each of 2 next stitches; turn.
2nd row, 9 tr. under loop of ch., 2 ch. 9 tr. under same loop of ch.; turn.
3d row, 3 ch. I tr. into each of 9 tr, 3 tr. under 2 ch. 2 ch., 3 tr. under
same 2 ch., i tr. into each of 9 tr., pass over 2 ch., i sc. into each of 3 next
stitches; turn.
FIG. 291.
4th row, 2 ch. I tr. into first stitch, 2 ch., i tr. into next stitch *, 2 ch.,
pass over i stitch i tr. into the next, repeat from * 4 times more, 3 tr. each
separated by 2 ch. under 2 ch., 2 ch. i tr. into the next tr. *, 2 ch., pass
over I stitch i tr. into the next, repeat from * 5 times more, 2 ch. i tr. into
end stitch; turn.
5th row, 3 ch., 2 tr, under each 2 ch., repeat all round, work 3 instead of
2 tr. under the 2 ch. on each side the center tr., i sc into each of the 3
next ch.; turn.
6th row, 4 ch., pass over i stitch, i sc into each of the 2 next stitches;
repeat all round.

For the heading:
1st row, I tr. into the end of first row of scallops *, 2 ch. i tr. into end
of next row, repeat from * to the end of the row.
2nd row, i tr. into tr. of last row, 2 ch., repeat to the end of the row.
INSERTION CROCHET.
Make a ch. of 13 stitches, turn back and work i dc. into the seventh,
3 ch., pass over 2 stitches, i dc. into the next, 4 ch., one dc. into end
stitch; turn.
2nd row, 3
ch., II tr. under
loop of 4 ch.,
turn; 3d row, 3
ch., I tr, into
third of II tr., i
FIG. 292.
^ i. . u • 4.
tr, I ch. into
each of 8 tr. of last row; turn.
4th row, 4 ch. I dc. between 2 tr. (see figure 292), 3 ch., i dc. between
2 next tr., repeat from * 5 times more, 4 ch. i dc. into end stitch, repeat
from second row for the length required.
When commencing the last row of next and following patterns, join to
preceding pattern by working 3 ch. i sc. into second loop of 3 ch. (see
figure 292), 3 ch., i sc. into first of previous 3 ch,
BORDER CROCHET.
Commence with i of the oblongs. Make a ch. of 16 stitches, work 14
rows backwards and forwards with i dc. into the back horizontal loop of
each stitch; for the oblong forming the point, work 17 dc. at one side of the
first oblong (see figure 293), work 13 rows; for the third oblong, work 16
dc. into the side of the last worked oblong, 3 ch., work backwards and
forwards on the ch, and the dc. for 14 rows; do not break off the cotton,
but commence the next pattern with 16 ch. as you did the first.
For the heading:

1st row, I dc. into a point (see figure 293), 21 ch., i dc. into fifteenth,
3 ch., I dc. into the sixth, 2 ch., i dc. into side of oblong (see figure 293),
8 ch., I dc. into the third, one sc. into each of 3 ch. before second picot, 9
ch., I dc, into the third, 2 ch., i sc. into side of next oblong (see figure 293),
8 ch., I dc. into the third, i sc, into each of 3 next ch., 6 ch., i dc. into the
first, I sc. into each of 3 next stitches, 11 ch. repeat from the beginning of
the row.
2nd row, i tr. into a stitch, i ch., pass over i stitch and repeat.
3rd row, I tr. into each stitch; 4th row, i tr. into a stitch, i ch., pass
over I stitch and repeat.
For the edge:
1st row, * I double
tr. into the fifth stitch
at side of oblong, 2 ch.,
pass over 2 stitches, re-

peat from * 15 times
more, at the point work
7 instead of 2 ch., and
do not pass over a stitch
(see figure 293).

2nd row, i dc. into
each of 9 stitches, 4ch.,

I sc. into the first, i dc.
into each of 3 stitches,
9 ch., work back with

I sc. into the third
stitch before the picot,
under the loop of 9 ch.
work 2 dc, * 4 ch., i sc.
into the first, 3 dc. un-
der 9 ch., repeat from * pj^ 30^.
4 times more, i dc. into each of 7 next stitches of last row; work 4 more of
these scallops on the vandyke.
TRIMMING CROCHET.
Make a chain the length required.
1st row, I dc. into each of 19 stitches, 9 ch., pass over 8 stitches, and
repeat from the beginning of the row. 2nd row, i dc. into the second and
16 following dc. of last row, 3 ch. 2 tr. separated by 4 ch., into center of 9
ch. 3 ch., repeat from the beginning of the row.
3rd row, I dc. into the second and 14 following dc. of last row, 2 ch. 6
tr. each separated by i ch. over the 2 tr. and 4 ch. of last row (see figure
294), 3 ch.; repeat from the beginning of the row.

4th row, I dc. into second, and i into each of the 12 following stitches
of last row, 2 ch., 9 tr. each separated by one ch. over the tr. of last row; 2
ch.; repeat from the beginning of the row.
5th row, I dc. into the second and i into each of the 10 following dc.
of last row, 2 ch. 10 tr. each separated by i ch. over the tr. of last row, 2
ch.; repeat.
6th row, I dc. into the second and i into each of the 8 following dc. of
last row, 2 ch., 13 tr. each separated by i ch. over the tr. of last row (see
figure 294), 2 ch.; repeat from the beginning of the row.
last row, 2 ch. 14 tr., each separated by i ch. over the tr. of last row (see
figure 294), 2 ch.; repeat from the beginning of the row.
FIG. 294.
8th row, one dc, into the second and i into each of the 4 following dc.
of last row, 2 ch., 17 tr. each separated by i ch. over the tr. of last row, 2 ch;
repeat from the beginning of the row.
last row, 2 ch. 18 tr. each separated by i ch. over the tr. of last row, 2 ch.;
repeat.
loth row, I dc into each of the 3 dc. of last row, keep the top loops on
the hook, draw through all together, 3 ch. 20 tr. each separated by i ch. over
the tr. of last row, 2 ch.; repeat.

iith row, I dc. between 2 dc, 4 ch. 20 tr. each separated by i ch. over
the tr. of last row, 4 ch.; repeat.
I2th row, I dc. into first ch. between 2 first tr., 3 ch. i dc. between the
third and fourth tr. *, 4 ch,, i dc. into the second, i ch. i dc. into the ch.
between 2 next tr., repeat from * 14 times more, 3 ch. i dc. between 2 next
tr.; repeat from the beginning of the row.
iCNIttlNG AND CROCHETING. 345
KNITTED SQUARE FOR COUNTERPANE.

D. M. C. knitting cotton No. 10, and pins No. 13 are a nice size to use
for a counterpane. The squares are sewn together when all are worked,
and the counterpane is finished with a knitted border, or with fringe.

Commence with the raised patterns, cast on 3 stitches.
FIG. 295.
1st row, k.; 2nd row, si. i, by knitting the horizontal thread
make i
lying under next loop (all the increases at the beginning and end of each
alternate row are made in this way), knit the next stitch, make i, k, i.
3d row, si. I, k. to end of row, the first stitch is slipped in every row.
4th row, si. I, make i, k. i, cotton over the pin, k. i, cotton over the pin,
this commences the first raised pattern, k. i, make i, k. i.
5th row, si. I, k. 2, p. 3, k. 3; 6th row, si.make

i, i, k. 2, cotton over
the pin. k. 3, cotton over the pin, k. 2, make i, k. i.
7th row, si. I, k. 3, p. 5, k. 4; 8th row, si. i, make i, k. 3, cotton over the
pin, k. 5, cotton over the pin, k. 3, make i, k. i,
9th row, si. I, k. 4, p. 7, k. 5; lOth row, si. i, make i, k. 15, make I, k. 1.
nth row, si. i, k. 5, p. 7, k. 6; 12th row, si. i, make i, k. 5, k. 2 together

at the back, k. 3, k. 2 together, k. 5, make i, k. i,
13th row, si. I, k. 6, p. 5, k. 7; 14th row, si. i, make i, k. 6, k. 2 together

at the back, k. i, k. 2 together, k. 6, make i, k. i.
15th row, si. I, k. 7, p. 3, k. 8; i6th row, si. i, make i, k. 7, k. 3 together,

k. 7, make i, k. i; 17th row, si. i, k. to end of row.
i8th row, si. I, make i, k. 3, cotton over the pin, k. i, cotton over
the pin, k. 9, cotton over the pin, k. i, cotton over the pin, k. 3,
make i, k. i.
19th row, si. I, k. 4, p. 3, K. 9, p. 3, k. 5; 20th row, si. i, mak*^ i, k. 4,
cotton over the pin, k. 3, cotton over the pin, k. 9, cotton over the pin, k. 3,
cotton over the pin, k. 4, make i, k. i.
2ist row, si. I, k. 5, p. 5, k. 9, p. 5, k. 6; 22nd row, si. i, make i, k, 5, cotton

over the pin, k. 5, cotton over the pin, k. 9, cotton over the pin, k. 5, cotton
over the pin, k. 5, make i, k. i.
23rd row, si. I, k. 6, p. 7, k. 9, p. 7, k. 7; 24th row, si. I, k. 35,

make i, k. i.
25th row, si. I, k. 7, p. 7, k. 9, p. 7, k. 8; 26th row, si. i, make i, k. 7, k.
2 together at the back, k. 3, k. 2 together, k. 9, k. 2 together at the back, k.
3, k, 2 together, k. 7, make i, k. i.
27th row, si. I, k. 8, p. 5, k. 9, p. 5, k. 9; 28th row, si. i, make i. k. 8, k.
2 together at the back, k. i, k. 2 together, k. 9, k. 2 together at the back, k.
I, k. 2 together, k. 8, make i, k. i.
29th row, si. I, k. 9, p. 3, k. 9, p. 3, k. lo; 30th row, si. i, make i. k. 9, k.
3 together, k. 9, k. 3 together, k. 9, make i, k. i.
31st row, si. I, k. to end of row; 32nd row, in this row 3 raised oatterns
are commenced. Si. i, make i, k. 5, cotton over pin, k. i, cotton over pin,
k. 9, cotton over pin, k. I, cotton over pin, k. 9, cotton over pin, k. i, cotton
over pin, k. 5, make i, k. i.
Continue to work the 3 raised patterns as described for the preceding,

stillmaking the increase at the beginning and end of each forward row.
In the 44th row you complete the 3 raised patterns.
45th row, si. I, k. 46; 46th row, si. i, make i, k. 7 *, cotton over the pin,
k. I, cotton over the pin, k. 9, repeat from * 3 times more, except that in
the last repeat, you k. 7 instead of 9, make i, k. i.
Continue to work the 4 raised patterns as described for the previous

raised patterns.
For the second half of the square, in the first forward row after the
raised patterns are finished, knit 2 together at the beginning and end of
the row.
2nd row, purl without decrease; 3d row, knit, decreasing at the begin-
ning of the row.
4th row, purl without decrease; 5th row, k. 2 together, * cotton forward,
k. 2 together, repeat from * till within 2 stitches of end, k. 2 last stitches
together.
6th row, knit without decrease; 7th row, purl, decreasing at the
beginning and end of row.
8th row, knit; 9th row, purl, decreasing at the beginning and end of
row; loth row, knit, without decrease.
Then repeat from the first row of second half until 3 stitches only-
remain, then cast off.
WHEELS FOR TOILET SET.

Make a chain of 10, join with s. s.; ist row, ch. 4, 24 dc. into ring, join
with s. s.
2nd row, ch. 5, i dc. into joining S.0^^^:

stitch of preceding row, * ch. i, i dc.
into second stitch from preceding, ch.i,
I dc, in same stitch as before *, repeat

from * to * until there are twelve coup-
lets, which should bring one back to
starting point; ch. i, join with s. s.
3d row, * ch. 2, I dc. into center of
first couplet, ch. 4, join with s. s. into

stitch from which ch. 4 starts, ch. 4,
join in same way in same place, ch. 4,
join in same way in same place, ch. 2, join with s. s. into ch. i between first
and second couplet of preceding row *. This forms a picot.

23
Repeat from * to * until 12 picots are made. When this is done a small
wheel is completed.
To make the large wheel, go on from this point by making a ch, 4 and
fastening it in center loop of first picot from the back with a s. s.
4th row, ch. 7, join in

center loop of second
picot with s. s. ch. 7, join
in center loop of third
picot with s. s., and so on
until starting point is
reached, when there should

be96 stitches; join with s.s.
5th row, ch. 4, I dc.
into each of 96 stitches;

join with s. s.
FIG. '97-
6th row, ch. 5, i dc.
into joining stitch of preceding row, * ch. 2, i dc. into fourth stitch from pre-
ceding, ch. I, I dc. into same stitch as before *, repeat from * to * until there
are 24 couplets, which should bring one back to starting point, ch. 2; join
with s. s.
7th row, same as 3d row, except there will be 24 picots mstead of 12.
The wheels may be joined while making, or afterwards, as one chooses,
EDGING.
1st row, dc. into 7th stitch of ch., 3 dc. fhto next 3 stitches, * ch. 2, dc.
into third stitch *, repeat from * to * 4 times, 6 dc. into next 6 stitches,
repeat from * to * 2 times, 3 dc. into next 3 stitches; turn.
2nd row, ch. 3, 3 dc. into last 3 dc. of previous row, (the ch. counts as
I dc. whenever used for turning, so that there will always be 4 dc. upon 4
dc. at this point,) * ch. 2, dc. into third stitch *, repeat from * to * once, 3
dc. into next from * to * 7 times, 14 dc. into loop; turn,,

3 stitches, repeat
(Throughout the further rows "from * to *" will mean the same as in these
two rows.)
3d row, ch. 3, 7 dc. into next 7 stitches, ch. 5, 4 dc. into 4 stitches imme-
diately following the 7 stitches; repeat from * to * 3 times, 6 dc. into next
6 stitches, repeat from * to * 2 times, 3 dc. into next 3 stitches, repeat from
* to * 3 times, 3 dc. into next 3 stitches; turn.
4th row, ch. 3, 3 dc. into next 3 stitches, repeat from * to * 5 times, 12
dc. into next 12 stitches, repeat from * to * 3 times, 14 dc. into loop; turn.
5th row, ch. 3, 7 dc. into next 7 stitches, ch.
5, 4 dc. into next 4 stitches,
repeat from * to * 4 times, 12 dc. into next 12 stitches, repeat from * to * 5

times, 3 dc. into next 3 stitches; turn.
6th row, ch. 3, 3
dc. into next 3 stitch-
es, repeat from * to

* 3 times, 6 dc. into
next 6 stitches, repeat
from * to * I time, 6
dc. into next 6 stitches
repeat from * to * i
time, 6 dc. into next

6 stitches, repeat
from * to * 3 times,
14 dc. into loop; turn.
/th row, ch. 3, 7
dc. into next 7
stitches, ch. 5, 4 dc.
into next 4 stitches,
repeat from * to * 3
times, 12 d c. into
next 12 stitches, re-
peat from * to * 2 FIG. 2q8.
times, 12 dc. into next 12 stitches, repeat from * to * 2 times, 3 dc. into
next 3 stitches; turn.
8th row, ch. 3, 3 dc. into next 3 stitches, repeat from * to * 2 times, 12
dc. into next 12 stitches, repeat from * to * 2 times, 12 dc. into next 12
stitches, repeat from * to * 4 times, 14 dc. into loop; turn.
9th row, ch. 3, 7 dc. into next 7 stitches, repeat from * to * i time, 7
dc. into next 7 stitches, repeat from * to * 4 times, 6 dc. into next 6 stitches,
repeat from * to * i time, 6 dc. into next 6 stitches, repeat from * to * i
time, 6 dc, into next 6 stitches, repeat from * to * 3 times, 3 dc. into next 3
stitches; turn.
loth row, ch. 3, 3 dc. into next three stitches, repeat from * to * 5 times,
12 dc. into next 12 stitches, repeat from * to * 5 times, 13 dc. into next 13
stitches; turn.
nth row, ch. 3, 7 dc. into next 7 stitches, repeat from * to * i time, 6
stitches, repeat from * to * 5 times, 3 dc. into next 3 stitches; turn.

I2th row, ch. 3, 3 dc. into next 3 stitches, repeat from * to * 2 times,
3 dc. into next 3 stitches, repeat from * to * 3 times, 6 dc. into next 6
stitches, repeat from * to * 4 times, 13 dc. into next 13 stitches; turn.
dc. into iiext 6 stitches repeat from * to * 7 times, 6 dc. into next 6 stitches,
rfepeat from * to * 2 times, 3 dc. into next 3 stitches; turn,
14th row, cli. 3, 3 dc. into next 3 stitches, repeat from * to * 3 times, 6
stitches; turn.
dc. into next 6 stitches, repeat from * to * 2 times, 6 dc. into next 6 stitches,
repeat from * to * 5 times, 3 dc. into next 3 stitches; turn.
i6th row, ch. dc. into next 3 stitches, repeat from * to * 3 times, 6
3, 3
stitches; turn.
17th row, ch. 3, 5 dc. into next 5 stitches, ch. 5, 4 dc. into next 4 stitches,
repeat from * to * 5 times, 6 dc. into next 6 stitches, repeat from * to * 2
times, 3 dc. into next 3 stitches; turn.
i8th row, same as 2nd row, etc.
DIAMOND EDGING.
Make a chain of 50 stitches; ist row, 5 dc. into sixth stitch, * ch. 2, 5 dc.
into third stitch from preceding *, repeat from * to * 4 times, ch. 2, 2 dc. into
third and fourth stitches from preceding, repeat from * to * 6times, ch. 2, 2 dc.
into third and fourth stitches from preceding, ch. 2, i dc. into last stitch
of ch. 50; turn.

2nd row, ch. 5, 4 dc. into the 4 stitches immediately preceding shell *,
ch. 2, 5 dc. into next ch. 2 *, repeat from * to * 4 times, ch. 2, 6 dc. into the
6 stitches following the shell, repeat from * to * 5 times, join with s. s. to
second dc. of last shell; turn.
3d row, ch. 3,
* 5 dc. into ch. 2, ch. 2 *, repeat from * to * 3 times, 10
dc. into the 10 stitches following the shell, ch. 2, repeat from * to * 4 times,
6 dc. into the first six stitches following shell, ch. 2, 3 dc. into third stitch of
loop; turn.
4th row, ch. 5, 8 dc. into the
8 stitches immediately preced-

ing shell, * ch. 2, 5 dc. into ch.
2 *, repeat from * to * 2 times,
ch. 2, 14 dc. into the 14 stitches
following the shell, repeat from

* to * 3 times, join with s. s. to
2 dc. of last shell; turn.
5th row, ch. 3,

* 5 dc. into
ch. 2, ch. 2 *, repeat from * to *

once, 18 dc. into 18 stitches fol-
lowing shell, ch. 2, repeat from
* to * 2 times, 10 dc. into first 10
stitches following shell, ch. 2, i
dc. into third stitch of loop turn. ;
6th row, ch. 5, 12 dc. into

the 12 stitches immediately pre-
ceding shell, ch. 2, 5 dc. into ch.
2, ch. 2, 22 dc. into 22 stitches

following the shell, ch. 2, 5 dc.
into ch. 2, join with s. s. into
second dc. of last shell; turn.
7th row, ch. 4, 4 dc. into

last dc. of last shell in preced- fig, 299.
ing row, (the 4 dc. with ch. 4 make the shell of five, as usual,) ch. 2, 5 dc. into
first dc. of last shell, ch. 2, pass over 4 stitches and make 18 dc. into next 18
stitches, ch. 2, 5 dc. into last dc. of shell, ch. 2, 5 dc. into first dc. of shell,
ch. 2, pass over 4 stitches and make 10 dc. into next 10 stitches, ch. 2, i
dc. into third stitch of loop; turn.

8th row, ch. 5, 8 dc. into the first 8 dc. of preceding row, * ch. 2, 5 dc,
into first dc. of first shell, ch. 2, 5 dc. into ch. 2, ch. 2, 5 dc. into last dc. of
last shell, * ch. 2, pass over 4 stitches and make 14 dc. into next 14 stitches,
repeat from * to * once; turn.

9th row, ch 4, 4 dc. into last dc. of last shell, * ch. 2, 5 dc. into ch. 2,
ch. 2, 5 dc. into ch. 2, ch. 2, 5 dc. into first dc. of third shell, ch. 2 *, pass over
4 stitches and make 10 dc. into next 10 stitches, ch. 2, 5 dc. into last dc. of
first shell, repeat from * to * once, pass over 4 stitches and make 6 dc. into
next 6 stitches, ch. 2, i dc. into third stitch of loop; turn.
lOth row, ch. 5, 4 dc. into first 4 dc. of preceding row, * ch 25 dc. into
first dc. of first shell, ch. 2, 5 dc. into ch. 2, ch. 2, 5 dc. into ch. 2, ch. 2, 5 dc.
into ch. 2, ch. 2, 5 dc. into last dc. of fourth shell, * ch. 2, pass over 4 stitches
and make 6 dc. into next 6 stitches, repeat fiom * to * once; turn.
nth row, ch. 4, 4 dc. into last dc. of last shell,
'•'
ch. 2, 5 dc. into ch. 2 *,
repeat from * to * 3 times, ch. 2, 5 dc. into first dc. of fifth shell ch. 2, qass
over 4 stitches and make 2 dc. into next 2 stitches, cli. 2, 5 dc. into last dc.
of first shell, repeat from * to * 4 times, ch. 2, 5 dc. into first dc. of fifth shell,
ch. 2, pass over 4 stitches and' make 2 dc. into next 2 stitches, ch. 2, i dc.
into third stitch of loop: turn.

I2th row, same as 2nd row, etc.
FERN TRIMMING.
The heading of this trimming is worked shortwise, and the scallop edge
lengthwise.
Make a chain of 7 stitches, join round, ist row, 5 ch., 8 tr. under the
ch.; turn.
2nd row, 4 ch. *, pass over i tr., i tr. into the next, i ch., repeat from *
3 times more, 4 ch., 8 tr. under 5 ch.; turn and repeat from second row for
the length required.
For the edge, which is worked lengthwise:
1st row, I dc. into a point of heading, 6 ch., i dc. into next point;
repeat to the end of the row.
2nd row, i tr. into a stitch, i ch., pass over one stitch and repeat.
3d row, I dc. into each of 13 stitches, 5 ch., pass over 5 stitches, i tr.
into each of 3 stitches, 5 ch., pass over 5 stitches- repeat from the begin-
ning of the row.
4th row, I dc. into each dc. of last row, 4 ch., i tr. into last of 5 ch. and
each of 2 next stitches, 3 ch., i tr. into same stitch last tr. was worked into
and I into each of the 2 next stitches, 4 ch.; repeat from the beginning of
the row.
5th row, I dc. into the second of 13 dc. and i into each of 10 following
stitches, 4 ch., i tr. into each of 3 next tr., i ch., 3 tr. into center of 3 ch., i
ch., I tr. into each of 3 tr., 4 ch.; repeat from the beginning of the row.
6th row, I dc. into the second and each of 8 following dc, 3 ch. *, i tr. into
each of 3 tr., i ch., repeat from * once more, 3 ch., i tr. into same stitch the
last tr, was worked into and i into each of 2 next stitches, i ch., i tr. into
each of 3 next tr., 3 ch.; repeat from the beginning of the row.
FIG. 300.
7th row, I dc. into the second and each of 6 following dc, 3 ch. *, i tr,
into each of 3 next tr., i ch., repeat from * once more, i ch. 3 tr. into center
of 3 ch., I ch.. I tr. into each of 3 next tr., i ch., i tr. into each of 3 next
tr., 3 ch.; repeat from the beginning of the row,

8th row, I dc. into the second and each of 4 following stitches, 3 ch. *, i
tr. into each of 3 next tr., 2 ch., repeat from * once more, 2 tr. into next
stitch, I into the next, 3 ch., i tr. into same stitch last was worked into, 2
into the next *, 2 ch., i tr. into each of 3 tr., repeat from last * once more,
3 ch.; repeat from the beginning of the row.
gth row, i dc. into each of 3 center stitches of dc, 2 ch. *, i tr. into
each of 3 tr., repeat from * 6 times more, working the center 3 tr. into cen-
ter of 3 ch., 3 ch.; repeat from the beginning of the row.
lOth row, * I tr. into each of 3 tr., 2 ch., repeat from * twice more, 2
ch., 2 tr. into next tr., i into the next 2 ch., i tr. into same stitch last worked
into, 2 into the next *, 2 ch., 2 tr. into each of 3 next tr.; repeat from last
* twice more, then repeat from the beginning of the row.
nth row, I dc. under first i ch. of scallop *, 4 ch., i dc. under the next
I2th row, 6 dc. under each 4 ch. of last row.
On the other side of the heading stripe work 2 rows like the 2 first
rows of edge.
CROCHET TRIMMING.
This trimming is worked lengthwise. Make a chain the length
required.
1st row, I tr. into a stitch, 2 ch., pass over 2 stitches and repeat.
2nd row, i dc. into each stitch of previous row.
3d row, I sc. into each of 6 stitches, 16 ch., work down the chain with
I sc. into first stitch, i dc. into next, i half tr. into each of 10 next stitches,
I tr. into each of the next stitches, pass over i stitch of last row, then
FIG. 301.
Turn the work, and work a row of points at the back of the last row
in exactly the same way as already described.
4th row, turn the two points which lie together, one to the right, the
other to the left, and interlace them, as shown in the illustration, work i sc.
into 2 points together, 7 ch.; repeat from the beginning of the row.
5th row, I dc. into each stitch of last row.
6th row, I dc. into each of 9 stitches of last row, 11 ch., pass over 9
stitches and repeat from the beginning of the row.
7th row, I dc. into each of the 7 center stitches of 9 dc, * 2 ch., pass
over I stitch, i tr. into the next, repeat from * twice more, 3 ch., i tr. into
same stitch last tr. was worked into, * 2 ch., pass over i stitch, i tr. into
the next, repeat from last * once more, 2 ch., then repeat from the begin-
ning of the row.
8th row, I dc. into each of 3 center stitches of 7 dc, 4 ch., pass over 4
stitches, I dc into the next, * 4 ch., pass over 2 stitches, i dc. into the next,
repeat from * 5 times more, 4 ch.; repeat from the beginning of the row.
NARROW EDGING.
The edging is worked backwards and forwards as follows: 14 ch., turn;
1 sc in the ninth, ch, (the last stitch is reckoned here and afterwards as
the first stitch), 7 ch., i sc. in the 14th ch.; turn; * 7 ch., i dc. in the sixth
of these 7 ch., i ch., i sc, in the fourth of the next 7 ch., 4 ch., i dc. in the
last but one of these 7 ch., i ch., i sc in the fourth of the 8 ch.; turn.
8 ch., I sc. in the first of the 4 ch., 7

ch., I sc. in the first ch. of the following
ch. curve beside the top of the dc, 13 ch.;
turn.
Loop on to the last ch. beside the fig. 302.
foot of the dc, i ch., i si., i sc. and i dc. in the second-fourth ch., 2 ch., in
the course of the work loop here on to the last picot of the foregoing curve,
2 ch., 1 sc in the last dc, i ch., i dc (this like the following dc. are worked
into each of the next ch.), i picot (here and later on of 4 ch., and i sc. in
the last dc), i ch., i dc, i p., i ch., i dc, i p., i ch., i dc, i p., i
ch., I dc, I sc and i si. in the next 2 ch., 4 ch., i dc. in the last ch. but one,
I ch., I sc in the fourth of the 7 ch., 4 ch., i dc. in the sixth of the same 7
ch., I ch., I sc. in the fourth of the 8 ch.; turn; 8 ch., i sc. in the first of the
4 ch., 7 ch., I sc, in the first of the next 4 ch., turn, and repeat from star.
BROAD EDGING.
The scallops of the wide cotton braid are to be laid over each other as
seen, and in the straight edge thus made are crocheted alternately i dc.
and I ch.
24
2nd row, repeat constantly i dc. in every second dc, 3 ch. and 4 do.
round the single dc.
3d and 4th rows, like the first row, the single dc. being caught into the
first of the a dc.
FIG 303.
5th row, alternately i sc, in the first of the 4 dc. and i ch; 6th row,
alternately i dc. and i ch.
The lower, curved edge fulled somewhat, requires: ist row, alternately
I tr. in the braid curve turned over, and 13 tr., separated by i ch. in the
next curve not turned over.

2nd row, round each single ch. i tr., and between these 2 ch,; 3d row,
round each of the 2 ch. 2 tr,, and between these groups of dc. a picot of 4
ch. and i sc. back into the last dc.
NARROW CORAL EDGING.

This edging is worked of 10 ch., i sc, back into the ninth ch., il ch.,
I sc. in the third last but one of the 10 ch., i ch., i dc, in the last of the 10
ch., * t 5 ch. loop on to the sixth of the 11 ch. (the stitch to be looped on
had better be slipped off first, the hook inserted into the link required, then
the stitch taken up again and both stitches now on the hook meshed
off, putting the cotton over once), 5 ch., i double long tr. in the dc, 5 ch.,
loop on as before, 11 ch. again loop on as before, 5 ch. f, loop next on to

the first sc, later on always at the place
where the 6 ch. were slung on, 9 ch,, loop on
to the sixth of the ii ch. left hanging; turn,
5 ch., I dc, work three times 2 ch. and i
FIG. 304. dc. (these 4 dc. are worked into each of the
second of the 9 ch.), 2 ch., i sc. worked, first into the first sc, later on again
after the 6 ch., turn.
5 picots of 4 ch. and i dc. back into the last sc, between the picots 1
sc. always in to the dc. after the last picot, i sc. in the sixth of the 11 ch.
already caught up, 11 ch., i sc in the ch., before the double long tr., i ch.,
I dc. in this double long tr.; repeat from cross to cross, then loop on to the
sc, after the last picot, 6 ch., loop on to the sixth of the 11 ch., 11 ch., i sc,
in the last ch. before the double long tr., i dc. in the double long tr., and
repeat from star,
RETICELLA CROCHET.
The pattern here given is at once beautiful and of practical service as
it can be varied in width and used for many different purposes. Figure 306
shows the design as a border, and figure 305 shows it used as an insertion
for trimming dinner cloth in place of drawn work. This crocheted lace
has this great advantage over the same amount of drawn work, that it
requires less than one-quarter the time to make, is comparatively no tax on

the eyes, and looks equally well; made of fine Scotch crochet linen thread
it anyone wishes a narrow insertion one row of the
will last a life-time. If
square and stars bordered by an edge will be very pretty.

This trimming is not difificult, yet requires some practice in crochet.
One row of the three pattern shapes of which the trimming is composed
give alone a pretty insertion, and are crocheted separately, beginning in
the middle, yet must be joined In the course of the work, see the illustra-
tion. Each square is begun with 12 ch, closed to a ring; then follow: 5 ch,,
1 tr. in the last ch., which finishes the ring, * 5 ch., 2 tr., meshed off looping
the cotton over once, in the first ch., 7 ch., i sc, in the next ring-ch., 7 ch,,
2 tr, meshed together looping cotton over once, in the next ring-ch, and
repeat three times from star.
CROCHETED RETICELLA LACE. FIG. 306.

In repeating for the third time after the second 7 ch. pass over with
3-4 si. the first group of bars and the next 2 ch., then, as a foundation for
the thick edge, work 8 ch., i dc. in the third of the 5 ch., therefore beside
the last si., * 7 ch., work always twice 2 meshed together, looping cotton
tr.,
over twice; the first group of bars is worked into the third of the first 7 ch.,
the second into the fifth of the next 7 ch., 7 ch., i dc. in the third of the
5 ch., 5 ch., I dc. again in the third ch. and repeat from star. After the
last 7 ch. I si. in the third of the 8 ch. with which the row was begun. 2
rows of sc. are now crocheted stitch for stitch, and for the corners 3 sc.
always worked in the third of the 5 ch. A row of i dc, i ch. completes the
square, 2 dc. being always worked in each corner mesh.
The rosette-like shapes are begun with a ring of 8-10 ch. into which are
worked after 3 ch. (in place of first dc.) 23 dc. Then i si. in the third ch.,
3 ch. (in place of first dc.) and 1 1 times 3 ch. and i dc. in every second dc, 3
ch., I si. in the fourth ch., * i sc. round the 3 ch., 4 ch., 2 tr. each meshed
together looping the cotton over once, 3 ch., again 2 such tr., 4 ch., and i sc,
these and the group of bars round the same 3 ch., as also the i sc, repeat
II times from star. Work up to the top of the first scallop with si. here
work I sc. round the 3 ch., then 12 times 7-9 ch. and i sc. round the 3 ch., i
si. in the i sc, round each scallop 4 sc, i p., (4 ch. and i sc. back into
the last sc.) 3 sc, i p., 4 sc, then loop on to the first sc, fasten the
thread and cut off carefully.

The third star-like shape begins with a ring of 8- 10 ch., in which are
worked 24 sc. Now follow i si. in the first sc, * 9 ch., i sc. in the third
following sc. but one; repeat from star; the last sc. is caught into the si.,
then work 5 si. in the next 5 ch.,

* i p., 13 ch., i sc, in the foot of the picot
I p., I sc. in the fifth ch., which catches up the last si., 5 ch., i sc. in the
fifth ch., I p., 5 ch., I sc. in the foot of the picot, i p., i sc. in the fifth ch.
already caught up, 5 ch., i sc. in the fifth ch., and repeat from star. The
first row at the lower pointed edge is worked backwards the whole length.
To each square are joined 4 scallops of 6 ch., i p. turned downwards, 6 ch.

and I sc. (see figure 306), while above each star shape the following stitches
jre crocheted: 5 ch., i sc. in i p., 4 ch., i p. turned downwards (see figure
306), 4 ch., I sc. in I p., again 8 ch. separated by i p., again i sc, 5 ch., and
the first sc. in the corner of the square. Beginning with the small point,
this is now completed separately, and in rows backwards and forwards, as
already mentioned above. Round the chain curves are worked 6 as also 12
sc, where they are not interrupted by a picot, yet where this takes place
after figure 306, 4 !Si5as
sc. are worked be-

fore the picots and
between, and after
these always 3 sc.
The curves on
the large pointed
scallop are each of
6 ch., I p. turned
downwards, and 6
ch. They are cro-
cheted where the
picots are wanting,
with 7 and also 14
sc, while 4 sc. al-
ways go before,
separate, and fol-
low the picots.
Figure 306 ex-
plains the upper
edge, therefore it
is only necessary
to add that the
small leaf-curves,
each separated by
I sc, are of 4 ch.
and I dc back into
the first ch. worked

twice. TABLE COVER. FIG. 305.
The above description has been very carefully verified and there will
be no trouble in following. When used as an insertion for table cloth, it
should be set in with a double hem on the outside with a row of hemstitch-
ing on both edges.
CROCHET TOP PETTICOAT FOR CHILD. FIGURES 307-309.

Crochet pattern of bodice, figure 307. Materials: i}{ pound of red
wool, and a few skeins of white Berlin wool.
This petticoat is to be worn under the dress, and is not at all difficult to
crochet. The work is begun at the neck-opening with a foundation of 129
ch., then working forwards, after 2 ch., more, alternately 4 dc, separated
in the middle by 2 ch., in the last foundation mesh and each fourth follow-
ing mesh but one, so that 33 groups are made on the whole. The whole
bodice is crocheted, going backwards and
forwards, in this simple pattern, but from here
the 4 dc. are worked round the 2 ch. in the
former row. Each row is begun with 2 ch.
In the 2nd row the worker has to increase
the meshes for the width of the shoulder at
the fifth group of dc, and to crochet instead
3 times 2 dc. always separated by 2 ch. round
the 2 ch., this being repeated at the loth, 24th
and 29th groups, the row is finished with 4

further groups.
With the 3d row which has 37 groups
of dc. on account of the increase, the shoul-
der strap is completed.
In the 4th row 11 ch. are cast on for ^^^- 307-
the armhole after 5 groups of dc, and then 7 groups of the former row
passed over; when 13 groups of dc. have been
crocheted 11 stitches are again cast on for the
second armhole and 7 groups passed over.
5th row, a fresh group of dc. is always
worked in the fourth and eighth foundation
mesh after 5 groups of the same and this is
repeated after 13 groups; this row is of 27

groups including the next following 5 groups.
DETAIL OF WAIST. FIG. 308.
The 6th to 13th TOWS havc the samc uumbcf
of groups and complete the bodice. For the waistband follow i row of sc,
and over each group of dc come 5, over the first and last always 4 sc.
these being caught into the upper link of each mesh and i row of dc. into
the whole link; each of these rows has 133 meshes. The skirt is now
begun and requires larger groups of dc, increased gradually in size going
downwards, as seen in the full size on figure 307.
1st row, I dc. in the first mesh, 3 dc. in the following one, again i dc.
in the next mesh; this group is repeated 26 times passing over 2 meshes
every time.
2nd to 4th row, like the ist; the three dc. are each worked into the
second of the 3 dc. of the former row. As the skirt slit is now long
enough, the crochet is worked round from
this time.
5th to 7th row, like the former one.

8th row, alternately i group of 5 dc. and
I group of 6 dc, 2 dc. being always worked
at the last one of these into the three middle
dc. of the former row.
9th row, only of groups of 6 dc, these
being caught alternately into the 3 middle
meshes of the 5-part group, and into the
2nd-5th dc. of the 6-part group.
DETAIL OF SKIRT. FIG. 309. loth to 15th row, groups of 6 dc, like the
last described; i6th row, groups of 7 dc, which catch up the second dc.
singly, the 3rd-5th dc. always in twos.
17th to 22nd row, like the i6th row of groups of 7 dc, the first, fourth
and seventh dc. being caught into the second, fourth and sixth dc. of the
former row, the second and third dc. into the third dc. of the same, and the
fifth and sixth dc. into the fifth dc. The skirt is now finished and picots each
of I sc, 5 ch., I sc back into the second ch. and i ch., are crocheted on at the
edge with white wool. Curves each of 2 sc, i half dc, i dc, i half dc. and 2
sc, the latter being each caught round the ch. are also worked with white
wool round the neck-opening and back edges of the bodice. An edging of
2 rows is worked round the sleeve.
ist row, groups of dc. like those on the bodice; 2nd row, 4 to 5 sc. each
made round the 2 ch. between the dc. The petticoat is fastened at the
back with strings.
CROCHET TASSEL.
This illustration shows in the proper size, and without tassels, a
trimming for bordering small tables. It is crocheted with German wool in
three shades of brown. The left side of the work is turned to the outside
when the trimming is used, and enriched with gold tinsel. The upper
scallops are made first with the middle shade and in constant repetition, as
follows: 5 ch. and in these going backwards and leaving the last unworked,
I
FIG. 310.
I sc, I half tr., i dc, and i tr. At the foot of the points the next row is
worked with the darkest wool: i si. in the hollow of a scallop, * 12 ch.,
passing over the last, back into the iith-7th ch., i sc, 3 dc. and i sc, 6 ch. i
si. in the second next hollow of a scallop but one, 13 ch., take the hook out
of the thread loop and put this from below to above through the sixth ch.,
5 ch., I si. in the next hollow of a scallop and repeat from star.
The 3d row now follows with the lightest wool, leaving the second row
at the back untouched: * In the hollow of the scallop, which is not caught
up by the darkest wool, 5 dc, 6 ch. in the fourth of the 7 ch. which form a
ring of the darkest wool, 6 si. each separated by 5 ch., 6 ch. and repeat from
star. Chain stitches of tinsel thread border the upper scallops and the
ovals in the second (darkest) row; the rows of chain above the same being
wound over several times with tinsel thread, after which, starting from the
left side, the middle mesh in the group of bars in the lightest row is united
invisibly with the darkest by a few stitches, fastening at the same time
both ends of the tinsel thread. The half rosettes of the light wool are then
ornamented with long star-like stitches of the latter, and the chains of the
two dark shades united by twisting them several times with the same. To
make tassels to susqend from each of the points, take about 40 threads,
each from 4^ to 5}^ inches long of the middle shade; twist over very
tight in the middle with black thread, and then about ^ inches
from below with tinsel thread. Fasten each tassel on the left of the light
half rosette by drawing a loop of wool through the black thread.
DAISY CROCHET LACE.

Commence with the circles which form the heading, * 4 ch., i sc, into
the second, repeat from * 7 times more, draw through the first ch., 3 ch. to
take the place of a tr., * 5 ch., i tr. between 2 next picots, repeat from last *
6 times more, 5 ch., draw through third of first 3 ch.
In working the next and following circles, draw through the center of
one of the 5 ch. Continue to work the circles until you have the length
required.
For the ist straight row of heading, work i double tr.^ into center of 5
ch. at left hand of a circle (see figure 311), i double tr. in center of 5 ch. of
next circle, 6 ch., i tr. into center of next 5 ch., 6 ch., repeat from the
beginning of the row.
2nd row, i tr. into a stitch, i ch., pass over i stitch and repeat. Work
2 rows like these on the other side of circles.
3d row, I tr. into a stitch, 2 ch., pass over 2 stitches, and repeat.
4th row, I dc. into each of 16 stitches, 9 ch. pass over 6 stitches, and
5th row, I dc. into the second and each of 13 following dc, 2 ch., pass
over the first of 9 ch., i tr. into each of 3 next stitches, 2 tr. separated by 2
ch. into the next, i tr. into each of 3 next stitches, 2 ch.; repeat from the
6th row, I dc. into the second and each of 11 following dc, 2 ch., i tr., i
ch. into the second and each of 2 next tr., i ch., 2 tr., 3 ch. under 2 ch.,
1 ch., I tr. into each of 3 tr., 2 ch.; repeat from the beginning of the row.
7th row, I dc. into the second and each of 9 following dc, 3 ch., i
tr., I ch. into each of 4 tr., i ch., i tr. into next stitch, i ch., 2 tr. separated
by 2 ch. into the next stitch, i ch. i tr. into next stitch, i ch. i tr. into each
of 4 tr., 3 ch.; repeat from
the beginning of the row,
8th row, I dc. into the
second and each of 7 fol-
lowing dc, 4 ch., 22 tr.
over the tr. of last row the

2 center tr. are worked
into, I stitch, and are sep-
arated by 2 ch., 4 ch.;
repeat from the beginning

of the row.
9th row, I dc. worked
into each of the 3 center
dc. of last row, 5 ch., 24 tr.
each separated by i ch.
over the tr. of last row,

the 2 center tr. are separ- FIG. 311.
ated by 2 ch. are worked into i stitch, 5 ch repeat from the beginning of
the row.
loth row, I sc. into center of 3 dc, 6 ch., i sc into first tr., 3 ch., pass
over 3 stitches, i dc, into next stitch, 3 ch., i sc. into the first, 4 ch., i sc
into last sc, 3 ch., i sc. into last sc, i dc. into next stitch of last row, 3 ch.,
pass over 2 stitches, i dc. into the next, * 7 ch., i sc. into the fourth, 4 ch.,
I sc. into last sc, pass over 2 stitches of last row, i tr. into the next, 3 ch., i
sc. into the first, 3 ch., pass over 2 stitches and repeat from * 4 times more,
cluster of scallop, 6ch.; repeat from
then work another cluster like the first
the beginning of the row.

CROCHETED GUIPURE LACE.
This design is suitable for border for table cover or bedspread. To
work, use Scotch linen crochet thread, No. 70. It is also effective crocheted
with coarse cotton and gummed, after which pin it out on a board to dry;
CROCHETED GUIPURE LACE. FIG. 312.
when dry and stiff, coat with gold paint. This will make a most novel and
effective drapery for brackets, wall baskets, etc.

Commence in the center of the pattern with a chain the length that
you wish the finished work to be.

1st row, work i dc. into each of 22 stitches, 4 ch., pass over 3 stitches,
the beginnin,g
3 tr. into the next, 4 ch., pass over 2 stitches and repeat from
of the row.
2nd row, i dc. into the third and each of the 17 following dc, 3 ch., 3
tr. into the last of 4 ch., 4 ch., 3 tr. into the first of next 4 ch., 3 ch.; repeat
from the beginning of the row.
3d row, I dc. into the third and each of 12 following dc, 3 ch., i tr.
into each of 3 tr., 3 ch., 3 tr. into center of next 4 ch., 3 ch., i tr. into each
of 3 next tr., 3 ch.; repeat from the beginning of the row.
4th row, I dc. into the third and each of 7 following dc, 3 ch., i tr.
into each of 3 next tr., 3 ch., 3 tr. into next tr., 3 ch., pass over i tr., 3 tr.
into next, 3 ch., i tr. into each of 3 next tr., 3 ch.; repeat from the begin-
ning of the row.
5th row, I tr. into the second and into each of the 5 following dc, 3
ch., I tr. into each of the 3 next tr., 4 ch., i tr. into each of 3 next tr., 3 ch.,
3 tr. into 3 ch., 3 ch., I tr. into each of 3 next tr., 4 ch., i tr. into each of
3 next tr., 3 ch.; repeat from the beginning of the row.

6th row, 9 ch., i sc into center of dc, 3 ch., i sc into fourth of 9 ch.,
3 ch., I second of 9 ch., i double tr. into each of 3 next tr., keep
sc. into
the top loop of each on the hook, and draw through altogether, 6 ch., 3
double tr. worked like the last into next tr., 3 ch., 3 double tr. worked as
before into next tr., 4 ch., pass over i tr., 3 double tr. worked as before into
next tr., 3 ch., 3 double tr. worked as before into next tr., 6 ch., 3 double tr.
worked as before into next tr.; repeat from the beginning of the row.
7th row, I double tr. into second cluster of double tr. (see design), 5
ch., I tr. into next cluster, 7 ch., i tr. into next cluster, 5 ch., i double tr.
into next cluster, 6 ch., work one quadruple tr. into fifth of 6 ch., work ofif
two loops, work a double tr. into same stitch, work 2 double tr. into corres-
ponding stitch of next scallop, work off the rest of the loops of the quad-
ruple tr., 6 ch.; repeat from the beginning of the row.
8th row, I tr. into a stitch, i ch., pass over i stitch and repeat.
Commence the other half on the other side of the foundation chain; it
is worked exactly like the first half.
For the edge:

ist row, I double tr. into a stitch, i ch., pass over one stitch and repeat.
2nd row, 3 tr. into a stitch, 4 ch., pass over 4 stitches, i dc. into each of
II stitches, 4 ch., pass over 3 stitches; repeat from the beginning of the
row.
3d row, 3 tr. into first of 4 ch., 5 ch., 3 tr, into next ch., 3 ch,, 7 dc.
over dc. of last row, 3 ch.; repeat from the beginning of the row.
4th row, I tr. into each of 3 tr., 3 ch., 3 tr. into center of ch., 3 ch., 3 tr,
into tr. of last row, 3 ch., 3 dc. into center of dc. of last row, 3 ch.; repeat
5th row, I dc. into the first tr., 5 ch., i dc. into the second, i ch., i tr.
into third tr., * 7 ch., i dc, into the third ch., i tr. into next stitch, repeat
from * four times more, 2 ch., i dc. into the last tr., 2 ch.; repeat from the
CROCHETED TABLE COVER.
This cover is about twenty-four inches square and crocheted with cream
linen thread No. 70. The center and edging are worked of the same trans-
parent star design, and are separated by a thick band, one and one-half inches
wide. The work is begun with the single stars in the center, afterwards
united by a guipure ground.
Each row of stars requires: 2 ch., i picor, 2 ch.,
I picot, 8 ch., I picot, 2 ch., i picot, 2 ch., i sc.
in the top of the last sc, i picot, 2 sc. in the 2
next ch., i picot, 4 sc. in the next 4 ch., * 4 ch., i
picot, 2 ch., I picot, 2 ch., i sc. in top of the last sc,

I picot, 2 sc, in the 2 ch., i picot, 4 sc. in the 4 ch.
Repeat once more from star, so that then three rays
of a star are finished.
Then follow: 4 ch,, i picot, 2 ch., i picot (a half
ray), 11 ch., i picot, 2 ch., i picot, 8 ch., i picot, 2
ch., I picot, 2 ch., I sc. in the last sc, i picot, 2 sc. in
the 2 ch., I picot, 4 sc. in the next 4 ch., by which
again one ray of the second star is finished; two
more following are made exactly like these.
The worker must then repeat from double dot
until the number of stars required for one row are
—
made on the pattern cover there were eight — yet in
FIG, 313. crocheting the last star seven rays instead of three
are made, one after another, and the half-star then completed, going for-
wards as follows: * 4 sc, in the next 4 ch., i picot, 2 sc, i picot, 2 sc, 7
ch., 2 sc, I picot, 2 sc, I picot, 4 sc.
Three rays now follow these meshes, which are repeated from star,
until the row is finished.
The rows of stars are crocheted together, beginning with i sc. worked
into the point of the last finished ray, and require: 11 ch., i sc. in the fol-
lowing point of the ray, * work twice 11 ch. and i sc. each in the next ray,
EDGE FOR TABLE COVER. FIG. 314.
8 ch,, I sc. in the fourth of the 7 ch. between the stars, 8 ch. i sc. in the
next ray of the second star.
Work four times 2 ch., ana i picot, then loop i ch. on to the sc. which
are caught into the last ray of the foregoing star before the first 8 ch., going
forwards i sc. into the i ch., then work four times i picot and 2 ch.; now
repeat from star until the whole row is bordered round.
At the end of the row, as at the beginning, three times ii ch. and I sc.
in the point of the ray.
For the second row crossing the just-described one, the thread is again
put on at the point of the first ray for the second row of stars and the cro-
chet continued thus: ii ch., i sc. in the next point of the ray, work four
times 2 ch. and i picot. The illustrations will make this quite clear.
Then i ch.,loop
on to the sc, which
catch up the last ray
but one of the first
row of stars, going

forwards i sc. in the
1 ch., four times i
picot and 2 sc. in the

2 ch. (the picot bar
thus made is caught

up later on between
the second and third
picot by one sc. of
the first row of the
band), * 8 ch.; loop
on to the 3 ch. of
&Z&^SItL'9SSSSSS>SSASilS&S£f>SliîiSJ:!&!^'SSBS!^ the opposite chain
''5t^'y^{^^«^^^^T^T^^'^^^^^^^S'^''^'^^'S^^^'^f-^ length of the for-
CROCHETED TABLE COVER. FIG. 315. mcr rOW, 3 ch., I SC.
in the point of the next ray, 3 ch., loop on to the 3 ch. of the
opposite chain of the former row, 8 ch., i sc. in the next ray point, twice 2
ch. and i picot, then i ch., loop on between the second and third picot of
the whole picot bar of the former row, going forwards i sc. in the i ch.,
twice I picot and 2 sc. in the 2 ch., 8 ch., i sc. in the fourth of the seventh
ch., 8 ch., I sc. in the next ray point of the following star, twice 2 ch. and I
picot, then i ch., again loop on between the second and third picot of the
above-mentioned picot bar, going forwards i sc. in the i*ch., twice i picot
and 2 sc. in the 2 ch.; repeat from star until the row is finished; at the end
of the same a whole picot bar must be crocheted, as at the beginning, which
is again to be looped tight to the first star row.
It must be remarked that at the outer edge of the first and last row of
stars, the first uniting row through a half-picot bar is required at each cor-
ner of the cover (see figure 315).
When the center is finished the band is crocheted, beginning at one of
these half-picot bars at the corner: i sc, in this * 11 ch., i sc. in the third
last ch. but one of the next ii ch. of the center, 5 ch., i sc. in the third ch.
of the following ii of the center, 11 ch., i sc. between the second and third
picot of a whole picot bar.
Repeat from star.
In the second row i dc. comes alternately with i ch., in the corner
meshes 3 dc. are always to be crocheted.
Now follow 10 rows of sc, worked into each hind mesh link, and in
each corner mesh again 3 sc.
The last open bar row (double) is shown, figure 314, with the edging.
For this two rows of stars are to be set together (see figure 315).
Figure 314 shows clearly how the row margining the edging inside is
joined at once to the band.

Figure 313 gives the corner of the same always made of three half-picot
bars; also the execution of the outer part of the edging offers no difficulty
after figure 315.
PETTICOAT: KNITTING AND CROCHET.

Materials required: 12 ounces of peacock German wool, one pair wooden
pins, No. 12, ;ind one pair No. 10, steel.
This petticoat is very convenient to work, being knitted in stripes,
eight of which are needed. The stripes are sewn together, and the border
is worked separately, and is sewn on to the edge of stripes.
Commence at the bottom of the stripe; cast on 40 stitches, with pins
No. 10.
1st row, k. 5, p. 4, * k. 2, p. 3; repeat from * 5 times more.

2nd row, the stitches that were purled in the previous row are to be
knitted, and those that were knitted purled.
3d row, like ist row; 4th row, like 2nd row.
5th row, k. 5, p. 5, * k. 7, p. 3; repeat from * to end of row.
6th row, knit the purl, and purl the knitted stitches of previous row.
7th row, like 5th row; 8th row, like 6th row.
Repeat from the ist row until you have worked 16 inches, then begin
the decrease by knitting 2 together in the basket patterns, leaving the
broad knitted and purled stripe the same width throughout; the decrease
is made in every 4th row, until you have
only 3 of the purl squares in a row;
work without decrease until the petti-
coat is long enough, after reckoning

for the border, then cast off.
Sew all the stripes together, stitch

by stitch, with a needle and wool.
For the border, cast on 30 stitches
with pins No. 12.
1st row, knit; 2nd row, purl; these

2 rows are repeated twice more.
7th row, purl.
8th row, knit, repeat from 7t hrow
twice more, then repeat from the 1st
row until you have worked a length suf-
FiG. 316. ficient to go around the lower edge

of petticoat. Sew the border to the petticoat and work an edge of crochet
scallops: 5 trebles into center row of one stripe, i double into first row of
next stripe; repeat from the beginning of row.
Leave the two back stripes of petticoat unjoined for about 12 inches,
bind the edge of opening with a piece of satin ribbon, then sew the top
of stripes into a silk band, and fasten with a button and buttonhole.
TRIMMING: CROCHET AND BRAID.

Materials required: Linen thread, No. 80, a narrow point lace braid, and
a fine crochet hook.
Commence in the center of a rosette with 3 ch.; join round.
1st round, 12 dc. under the ch.
2nd round, 2 dc. into each stitch of last round.
I
3d round, i dc. into a stitch, 3 ch., i dc. into next stitch; repeat from
beginning of round.
4th round, i dc. into center of 3 ch., 5 ch.; repeat all round.
5th round, i dc. into center of 5 ch., 9 ch., i dc. into the fifth *, 5 ch., i
dc. into the second, repeat from * twice more, i sc. into fourth of g ch., 3
ch.; repeat from the beginning of the round.
6th round, i dc. between second and third picots of a loop of last
round, * 5 ch., i dc. into the second, repeat from * 4 times more, then repeat
from the beginning of the round, pin to first stitch of round, break off the
FIG. 317.
thread and fasten securely at the back of the work; when working the last
round of the next and following rosettes join to previous rosette by draw-
ing through a picot on each of two scallops — see figure 317.
For the heading:
1st row, hold the rosettes in the left hand, work i dc. into the center
picot of first scallop after the joining of second rosette *, 12 ch., i dc. into
the eighth, 5 ch., i dc. into next picot, 12 ch., i dc. into the eighth, 2 ch., i
dc. into the center of 5 ch., 11 ch., i dc. into the seventh, 12 ch., i dc. into
second picot of next scallop before joining of the first rosette, 3 ch., i dc. into
fourth of 12 ch., 4 ch., i dc. into fifth of 12 ch., 4 ch., pass over i picot of
same scallop, i dc. into next; break off the cotton and fasten neatly at the
back of the work.

2nd row, i dc. into center picot of the first of top scallops of first
rosette (see design), 11 ch., i dc. into the seventh, 2 ch., i dc. into second
picot of next scallop, 13 ch., i dc. into the ninth, 2 ch., i dc. into center of
loop of 9 ch. (see design), * 12 ch., i dc. into the eighth, 2 ch., i dc. into
third stitch past next picot, repeat from * once more, 12 ch., i dc. into the
eighth, 2 ch., i dc. into the center picot of next scallop of following rosette;
repeat from first * to the end of row.
3d row, I dc. into fifth of 12 ch. of last row, 12 ch., i dc. into the eighth,

4th row, like 3d row.
5th row, I dc. into fifth of 12 ch., 7 ch.; repeat from the beginning of
the row.
6th row, I tr. into each of 11 stitches, 4 ch., i dc. into the first; repeat
For the vandyke take a length of point braid, fold it as shown in the
illustration, sew with a fine needle and cotton by the folded part to the
stitches between two picots.
7th row, work 5 sc, into the folded braid at the other side of vandyke,
7 ch., I dc. into the fourth, 3 ch.; repeat from the beginning of the row.
8th row, I tr, into each stitch of last row.
INFANT'S KNITTED JACKET.

Materials required: 2^ ounces knitting silk, 2 knitting needles,
double pointed (size 8), 2 yards satin ribbon.
This jacket is a most useful little garment for infants to wear under
cloaks, or even under robes in very cold weather.
Commence at the bottom; cast on 94 stitches on one needle.
1st row, k.; 2nd row, k. 2, p. 2 throughout the row. These 2 rows are
each repeated 9 times more.
2 1st row, k. I, * silk forward, k. 2 together, repeat from * to end of
row, knitting the last stitch.
22nd row, k.; 23d row, k. 14, k. i and p. i, in the next stitch, k. 24,
k. I and p. i in the next stitch, repeat from the beginning of the row once
more, end with k. 14.
24th row, k,; 25th row, like 23d row, with the exception that you k. 15
instead of 14, mentioned in 23d row.

26th row, k., continue to increase with a plain row between, until you
have increased 9 times in all; then increase only in the back, until you
have increased at the back in all 13 times; now work 4 rows on all the
stitches. Then for the right front, work on 35 stitches.
1st to loth row, k.; nth row,
leave 8 stitches on another pin, and
for the shoulder on the remainder of
the stitches, k. 2 together, k. to end
of row in each alternate row for 5
times; k. 10 rows without decrease,

then cast off.
Work the other shoulder in the

same way as described for this.
Take 13 stitches from each side of

back stitches, work on the remaining
42 stitches, 10 rows, then decrease
at the beginning and end of each
alternate row for 18 rows more, sew fig. 318.
up the shoulders, pick up i stitch at the end of each ridge of both fronts,
and knit across in a row with the 24 stitches of the back to form
the neck.
1st row, k.; 2nd row, silk forward, k. 2 together throughout; repeat
the ist row 3 times more, then cast off. For the sleeve commence at the
wrist; cast on 27 stitches.

1st row, k.; 2nd to 20th row, k. 2, p. 2 throughout.
2ist row, k. I and p. i, in the first stitch, k. 25, k. i, and p. i in the
last stitch.
22nd to 26th row, k., repeat from the 21st row 5 times more, work 8
more rows without increase, then cast off; sew up the sleeves, and sew into
the arm-holes. Run ribbon into the holes at the neck and waist.
MOSS EDGING: CROCHET AND BRAID.
For the edge, work as follows, using No. 8o linen thread:
1st row, work i dc. into 2 picots together, 5 ch.; repeat; 2nd row, 2
tr. into center of 5 ch., 4 ch., 2 tr. into same
stitch last tr. was worked into; repeat from the
piQ 219. 3^ ^"^w, I dc. between the little scallops,
6 chain; repeat. See figure 319.
FERN EDGING: CROCHET AND BRAID.

For the edge, work as follows use linen thread No 70:
1st row, I dc. into 2 picots together, 2 ch., 2 tr. separated by 4 ch.; into
next picot, 2 ch.; repeat from the beginning of
the row. ^2^^^
2nd row, 2 dc. under 2 ch., * i dc. under 4
ch., 4 ch., I dc. into first, i dc. under same 4 ch.
the last was worked under, repeat from * 3 times ^^^- 320.
more, 2 dc. under next 2 ch.; repeat from the beginning of the row.
For the heading: i dc. into a picot, 2 ch.; repeat.
FRENCH EDGING: CROCHET AND BRAID.

For the edge, work as follows with linen thread No. 80:
1st row, work 2 tr. separated by 3 ch. into 2
picots of braid together; repeat from the begin-

ning of the row.
2nd row, i dc. between 2 tr., 5 ch.; repeat.
P^G. 321. For the heading:
I tr. into each of 3 picots of braid, 5 chain, pass over i picot and
repeat.
EDGING: CROCHET AND SERPENTINE BRAID.
Into a length of serpentine braid work a row of cross tr., as follows: Work
as for a double tr. into i point of braid, draw ^
through the first loop, work a tr. into next point
of braid, work off all the loops, one at a time; 2;
ch., I tr. into center of cross tr., 2 ch., repeat ^^^- 322.
from the beginning of the row; 2nd row, i dc. under a ch., 3 ch., i dc,
under next ch.; repeat; 3d row, i dc. under 3 ch., 2 ch.; repeat.
EDGING: CROCHET AND FANCY BRAID. No. 1.
This fancy braid has a long loop, with three small picots at the top.
Work I dc. into the last picot of one cluster and
first of next cluster together, under the center
picot work 3 dc, 3 ch., i dc. into the first, 3 dc.
under same 3 ch. the last dc. were worked under,

repeat from the beginning of the row. ^^^' ^^S-
For the heading: work 2 dc. into picot on the other side of braid 2 ch.;
repeat. See figure 323.
EDGING: CROCHET AND BRAID. No. 2.
1st row, 3 tr. into i picot of fancy braid, i ch., pass over i picot and
repeat.
2nd row, I dc. under i ch., 5 ch.; repeat.
For the heading:

I dc. into a picot, 2 chain; repeat. See fig. 324
FIG. 324.
SHELL TRIMMING: CROCHET.

1st row, I tr. into 26th, 2 ch., 2 tr. separated by 3 ch. into the 21st, * 2
ch., pass over 4 stitches, 2 tr. separated by 3 ch., into the next repeat from
* 3 times more; turn.
FIG. 325.
2nG row, 3 ch., 7 tr. under each 3 ch. of last row, 5 tr. under ch. at the
end of the row, 3 ch., i tr. under same ch.; turn.

3d row, 5 ch., I tr. under 2 ch., i ch., 2 tr. separated by 3 ch. into center
of 5 tr.,
* 2 ch., 2 tr. separated by 5 ch. into center of 7 ch., repeat from * 4
times more; turn.

4th row, like 2nd row, except that there will be i more cluster of 7 tr.
5th row, like 3d row, repeating from * 5 instead of 4 times; 6th row,
like 2nd row, with 2 more clusters of 7 tr.
8th row, like 3d row, repeating from * only 3 times; repeat from the
2nd row for the length required. See figure 325.
PALM TRIMMING: CROCHET.

Commence with the oval in the center of pattern, make a ch. of 14
stitches.
1st row, work down the chain with i half tr. into the last stitch but one,
I tr. into each of 11 next stitches, i half tr. into the next.
2nd row, i dc. into
stitch last half tr. was
worked into, i dc. into
the next and each of

12 following stitches,
2 dc. into each stitch at
FIG. 326. end of oval, i into each

stitch at the other side, i sc. into the end.
3d row, I dc. into first stitch at side, * 10 ch., i sc. into the 5th, 4 ch.,
pass over 2 stitches, repeat from * 10 times more; work i sc. into the first
stitch of row.
4th row, 7 ch., 6 half tr. under each loop of ch. of last row, 5 ch., i sc.
into the second and each of 5 next stitches of 7 ch., * i dc. into first half tr.,
4 ch., I dc. into the last of 6 half tr., repeat from * 10 times more.
Work as many patterns as are needed for the length of trimming.
Then to work the edging row and to join patterns, work i dc, 6 half tr.,
and I dc. under each loop of 4 ch., 12 ch.; repeat from beginning of the row.
When working the next and following patterns, draw through the center of
3 first scallops of previous patterns, when working corresponding scallops.
See figure 326.
KNITTED HOOD FOR CHILD FROM ONE TO TWO YEARS OLD.

This little hood is knitted with white Saxony wool, and trimmed with
inch-wide white satin ribbons.
Figure 328 half of crown and 329 half of front.
Prepare a stiff paper pattern, according to figures 328, same size as
shown, and 329 — 6^x7 inches in size — cutting each piece on the double.
Begin at the lower edge of figure 329, using coarse needles. Cast on the
required number of stitches (44 in the model), and knit to and fro as follows:
1st row, * k. i; out of the next stitch work 3, namely, i k., 1 p. and i k.;
repeat from *.
2nd row, knit plain throughout.

3d row, right side of the work; alternately
knit I, and knit 3 together crossed (for crossed,
insert the needle at the back and downward
instead of from the front and upward).
4th row, purl throughout.
5th to 7th rows, knit so that all stitches ap-
pear purled on the right side.
8th row, purl throughout.
Continue to repeat the 1st to 8th rows,
widening or narrowing as the pattern requires.
Begin the crown at the lower edge of figure
328 with the requisite number of stitches (32 in
the model), and knit in the same pattern as the
front.
For the cape begin at the top, casting on 50

FIG. 327.
stitches, and knit to and fro, first 9 rows of plain
knitting, then 3 rows in which all stitches appear purled on the right side,
then 14 rows of plain knitting, after which cast off. Turn down the last 13
rows on the wrong side, and catch the cast-off stitches to the foundation
stitches.
Edge the front and bottom of the cape with a crochet edging of 5 rows
as follows:
1st row, by turns, 2 dc. separated by i ch. on the following edge stitch,
I ch., pass 2; widen at the corners as required.

25
2nd row, 2 dc. separated by i ch. around every chain separating a pair
of dc. in the last row, and i ch. between.
3d row, 3 dc. around the ch. separating a pair of dc; i ch. between.
4th row, 3 dc. on the middle one of the
next 3 dc. in the last row, i ch., i sc. around
the following ch., i ch.; repeat.
5th row, I sc. on every stitch.
_ For the frill at the front edge make

I \ ^ chain 32 inches long, turn, and for the ist
row pass 5, i dc. on the next, then by turns
I ch. and i dc. on the following second
stitch. All the other rows are begun at the
same end and fastened off at the other.
2nd row, on the middle 26 inches of the

32, work like the first row of the edging.
3d row, like the second row of the edg-
ing, but make it 3 patterns longer at each
end than the last.
The other rows are worked full length;

the 4th to 6th are like the preceding row,
and the 7th to gth like the 3d to 5th of the
edging.
On the other side of the foundation
chain on the middle 16 inches work two
rows like the ist and 2nd of the edging,
then work at full length two row3 like the
last two of the edging.
Turn down the front on the wrong side
along the dotted line, join it to the crown,
then join the cape to both.
FIG. 328. Knit a lining in plain knitting according
to figures 328 and 329, but work the front only from the front edge to the
plain line. Set in the lining, then crochet two rows of dc. around it, and
on these at the front edge set the frill, as illustrated, box-pleated at the top.
Trim the hood with narrow ribbons as illustrated.
i
CROCHETED HOOD FOR CHILD FROM 2 TO 3 YEARS OLD.

This hood is crocheted with white zephyr wool. It is worked in three
pieces —the side of the crown, the back, and the frill which surrounds the
edge.
For the side prepare a stiff
paper pattern from figure 331, di-
mension 9^x5^ inches at the wid-

est point and 95^x4^^ inches at the
narrowest point. The illustration
shows shape. Cut it on the double.

Begin at the lower edge with a chain
of the length required, and crochet
back and forth as follows:
1st row, 3 ch., take a loop each
through the second and first of these
3 ch., take a loop each through the

next 2 ch. stitches of the foundation, fig. 329.
pull a loop through all the loops now on the needle, work off this loop by
pulling another through it, * with a loop on
the needle, take up 4 loops, the first through
the mesh above the group of loops pre-
viously worked off, the second through the
back mesh of the last of the 4 preceding
loops taken up, and the third and fourth
through the next 2 ch. of the foundation,
pull a loop through all the loops now on the

needle, work off this loop; repeat from *.
2nd row, i ch. to begin, then by turns i
sc. on the next worked-off loop, and i si. st.
into the back mesh of the following stitch.
Continue to repeat these two rows in
turn, widening or narrowing as the pattern

requires.
FIG. 330. For the back of the crown make a chain
of 28 stitches, which forms one side edge, and work back and forth in the
same stitch as the side, 4 patterns deep.
For the frill around the edge make a foundation of 14 ch., and work in
the same stitch as the rest, making a strip three yards long, which edge
along the outer side with a row of scallops, as follows: * i sc. on the next
siitch on the edge, i ch., on the next second stitch work 4 dc, with a picot
between every two of them (for a picot 3 ch. and i sc. around the upper
perpendicular meshes of the preceding dc); repeat from *. Underlay
the back of the crown with foundation muslin, and join the side and back;
fulling the side from the middle to *.
Work a lining for the hood, which consists of a band and a loose crown
piece; for the band make a chain of 70 stitches, and work 5 rows in tricot
or afghan stitch, which is the well-known stitch

in which loops are taken up going forward and
worked off coming back, the two forming one row
of the stitch. After the last of the 5 rows work
a row of si. St., one into every perpendicular
mesh of the last row, and on the foundation chain
work chain scallops, 2 sc. on the next 2 stitches,
6ch.
For the crown piece of the lining make a
chain of 36 stitches, and work 18 rows in tricot
stitch, but with a slight variation in the stitch;
when taking up the loops going forward take
them through the horizontal meshes at the back of
FIG. 331. the chain stitches of the preceding row instead of
the perpendicular meshes on the surface.
Join the crown piece to the band of the lining, gathering the crown at
the middle as needful, then set in the lining. Set the box-pleated frill
around the outer edge, as illustrated. Cover a piece of ribbon wire with
white silk flannel binding, and set it around the inner edge of the hood; at
the front run it into the chain scallops at the front edge of the lining, and
at the back let it cover the edge of the lining.
Trim the hood as illustrated, with twisted bands and bows of white
watered ribbon an inch wide. The two hoods described on pages 379 to 381
may be made of knitting silk instead of wool in which case the linings
should be knitted in a light weight Saxony yarn.

SQUARE FOR PILLOW SHAM OR BEDSPREAD.

This bedspread is made in squares, joined to each other, having four
leaves and four rosettes. See figure 332.
The squares are joined to the picots by means of a slip stitch.
For each one of the leaves make a chain of 20. Going back on them,
work as follows:
Miss I ch. St., 18 sc. in the next 18 ch. on one side of the chain, 3 sc, in the
first ch., then 16 sc. in the 16 remaining chain loops on the other edge of
the chain, * i ch.; turn the work. Going back on the preceding stitches,
make 17 sc. in the back loops of the next 17 stitches. All sc. will be made
in passing the hook in the back loops of the stitch. Make 3 sc. in the
middle one of the last 3 sc. coming together; 16 sc. in the next 16 stitches;
repeat 6 times from *, and then repeat once
more until the 3 sc, worked in one loop,
have been reached.
Fasten the thread and break it.
The remaining three leaves are made

in the same manner. At the end of the
fourth leaf, in order to fasten the leaves
together, make i ch., i cl. ch. in the stitch
of the next leaf; repeat this four times.

Each rosette is worked as follows:
make chain of 4;
i join with i cl. ch. fig. 332.
1st round, 2 sc. in every ch.; 2nd round, 2 sc. around every sc. of the
last round.
3d round, 8 ch., the first 3 will serve as the first dc; alternate 7 times,
I dc. around the second stitch of the last round, 5 ch.; finally i cl. ch. in
the third of the first 3 ch. of this round.
4th round, * 3 ch., i dc. in the middle one of the next 5 ch. of the last
round, i cluster of 3 picots. (The picot is made in 5 ch., i sc. in the last
worked dc.)
Make 3 ch., i sc. around the next dc; repeat 7 times from *. Fasten
the thread and break it.
Then work around the edge of the four leaves: * i sc in the thirteenth
sc, counting from the middle end of the leaf; f i ch., i picot (making 5 ch.,
and I sc. in the first of them; i ch., i sc. in the next point of the leaf; repeat
four times from f, but when coming to the middle stitch of the third picot,
join to the middle stitch of the next picot of the rosette.
Work next i ch., i picot, i ch,, i sc. in the same point in which the pre-
ceding sc. has been worked.
1 1 ch., I picot, I ch,, I sc. in the next point; repeat 3 times from f, join-
ing the ninth picot to the next picot of the next rosette.
Make i ch., i picot, i ch., i sc. in the following fourth stitch; 2 ch., i picot,
joining it to the following picot of the same rosette; repeat 3 times from *,
joining at every repetition the third picot to the next picot of the same
rosette which has been joined last; and at the last repetition, join the ninth
picot to the last picot of the rosette which has been joined first.
In this way one square is already made. Each next square is made in
the same manner, joining the picot of the square to the corresponding picot
of the rosette, as is shown in figure 332,
Then a picot pattern is also worked in the center of the four rosettes,
coming together, as follows:
Starting from the middle stitch of the picot of a rosette, make f 2 ch.,
I picot, 2 ch.; join to the picot of the next rosette (see figure 332); repeat
three times from f. At the last repetition, make i cl. ch. in the stitch from
where one started first, instead of making a slip stitch.
The picot on the point of the leaves has to be joined by another picot
to the corresponding picot on the point of the leaf belonging to the
other square. To do this, start from the middle stitch of the first picot
mentioned, make 2 ch,, then join by i si. st,, 2 ch. and i cl. ch. in the stitch
from where one started. Then work from the next point of the leaf, i ch.,
3 picot, I ch.; join to the cluster picot of the rosette; 2 ch,, i picot, 2 ch,;
join to the opposite cluster picot of a rosette; i ch,, 3 picot, i ch,; join to
the corresponding picot of the leaf belonging to the opposite square; 2 ch.,
I picot, 2 ch., I cl. ch. in the stitch from where one started.
This pattern is very effective carried out in dainty colored Scotch linen
crochet thread No, 70, or in knitting silk, while if cheaper materials are
required, fine macrame cord will give very pretty effects.
If a bedspread and sham of this pattern be considered too much work
it can be utilized for making toilet sets.

KNITTING AND CROCHETING. — 385
TABLE MATS.
The set consists of six mats three sizes of two each and look best — —
when crocheted with No. 9 macrame twine. The directions given are for
the smallest size.
For the next size commence with 20, and the largest with 24 stitches.
1st row, make a chain of 16 stitches; miss the i6th ch. stitch; work i
sc. in next 14 ch, stitch; 2 sc. in next 15th; i sc. in following 14 stitches on
the other side of the ch.; fasten in first sc. of this row.
2nd row, turn; i ch, stitch, i sc. in last sc. of last row, passing the hook
in the back loop of the stitch; 2 sc. in next; i sc. in following 12 sc; 2 sc.
in 13th.; I sc. in next sc; 2

sc in the following one; i sc,
in next sc; 2 sc in following

sc; I sc. in next 12 sc; 2 sc.
in 13th; I sc. in 14th; fasten
in first sc. of this row,

3d row, turn; i ch, stitch;
1 sc in next 2 sc; 2 sc. in
third; i sc. in following 13
sc; 2 sc in 14th; i sc. in next

2 sc; 2 sc. in third; i sc, in f^g, 333.
next 2; 2 sc, in third; i sc. in next 13; 2 sc in 14th; i sc in next 2; fasten
in first sc. of this row.
4th row, turn; i ch. stitch; i sc. in next 3 sc; 2 sc. in fourth; i sc. in next
14; 2 sc. in 15th; I sc. in next 3; 2 sc. in fourth; i sc. in next 3; 2 sc. in
fourth; i sc. in next 14; 2 sc. in 15th; i sc. in next 3 sc. Fasten as before.
Continue working the following rows in the same manner, always wid-
ening with 2 sc. in one of the sc. belonging to the last widening,
BORDER TO MAT.
1st round, make 2 ch. stitch, which will serve as i dc; i dc in next
stitch. Alternate to the end of round; 2 ch. stitch; 2 dc in third and fourth
stitch of the edge of the mat.
2nd round, work 6 dc. around the chain of 2 of last round, fastening
every time in the middle of the 2 dc. of last round.
CROCHETED DOLL.
Materials: double zephyr; bone hook, as small as can be conveniently
used.
Commence at the waist with thirty-six chain stitches; dc. the ist row;
turn and work three more rows.

5th row, dc. 10 stitches, increase in the nth stitch, dc. 16, increase, dc.
10; 6th row, work without increasing.

7th row, similar to 5th, except that you knit 11 instead oT 10. Con-
tinue thus until you have 46 stitches, 5 widenings under each arm. [You
will see after knitting that two rows form a sort of stripe. See that these
are uniform. A row across and back make this stripe, as the stitches are
taken through the two loops of the chain, not the single one, as in ordinary
crochet.]
Divide in three parts for the back and two fronts, 12 stitches on each
front and 16 across the back; 3 are left under each arm. For the back,
work four rows without increase.
5th row, add one at each end of the row; 6th row, without increase.
7th row, as the 5th; 8th row, without increase.
9th row, increase as the 5th, making 22 stitches lOth row, without increase.
;
For the front work four rows on the twelve stitches.
5th row, add one stitch at the arm, keeping the front edge straight.
6th row, without increase.
7th row, add i, making it 14; 8th row, without increase.
9th row, add i; loth row, without increase.
Commence at the front and work across both fronts and the back, join-
ing them at the shoulder. Crochet back; narrow at each shoulder at the
14th stitch (counting from the front edge) every other row until you have
27 sfitches.
For the collar crochet a row across and back, leaving two stitches each
side of the front.
For the skirt commence at the waist, work a row across the whole waist
then back to the center of the back; work back again 12 stitches; next row
knit 11; each row one less until you have 6 (observe that this narrowing is
at one side —the center is kept straight). Work the other side of the skirt
similarly.
For the sleeve commence at the wrist with 12 stitches — four rows with-
out increase. Add i stitch at each end of every other row until you have
24 stitches and 16 rows, not stripes. [A stripe is two rows.] Work 6 rows,
leaving off 2 stitches at each end; this adds 3 stripes to the 16 for the long-
est part of the sleeve. Crochet the sides together on the wrong side and
sew in the arm-hole. Crochet a row around the wrist with black, with pale
pink or flesh-colored single zephyr. Work the hand in the form of a small
mitten: work two or three rows; divide in half and narrow it off in two
places every row. Close at the end, join together as in a mitten.
The jacket is worked in red. Now, with black, work a row all around
the collar fronts and skirt. It is best to cut a doll down to fit; slip the
jacket on, crochet together down the front; sew three small gilt buttons on
each side, two at the back and one on each sleeve.
For the pantaloons make 36 stitches for the waist; work back and forth
as in the jacket.
1st row, widen one stitch at each hip and in the center of the back;
2nd row, without increase.
3d row, similar to ist; 4th row, like 2nd.
5th row, increase two stitches in the center of the back only; 6th row,
without increase.
7th row, like the 5th. Continue thus until you have 50 stitches. Make .
14 rows. Break the wool and tie it at the hip; work 20 stitches; work back
18, leaving one off at each end. Next row, 16 and back 14. Tie the wool
in front, work a row across all around, taking in the slope formed by the
added rows; work back.
For the leg, divide in the center of the seat, 25 stitches on each leg.
Work three rows; narrow at each end of the 4th row; work 3, narrow; thus
until you have 20 stitches. The leg is 24 rows or 12 stripes long. Crochet
together on the wrong side, turn them on the right side; with black double
zephyr crochet a row around. Thus with red single zephyr you make the
stockings; you can stripe them, if preferable. Make 10 rows; reduce from
20 to 18.
For the boot take black double zephyr. Work two rows without in-
crease; in the 3d row you widen two stitches each side of one center stitch.
You proceed thus until you make the foot as long as you require, say eight
26
38S DAINTY WORK FOR PLEASURE AND PROFIT.
rows; then work one row without increase. Join the two sides together;
work a row of black above the red stocking.
It is better to use a doll's body instead of stuffing the crocheted form,
as it prevents stretching and is much more durable. A rubber or china head
can be used, as preferred.
KNITTED TORCHON LACE.
Cast on i8 stitches. Knit back plain.

1st row, si. I, k. 2, over twice, p. 2 together, k. 5, narrow, over, k. 3,
over, k. 3.
The 2nd and alternate rows are alike: i. e. knit plain until there are
only 5 stitches on the left needle; then over twice, p. 2 together, k. 3.
3d row, si. I, k. 2, over twice, p. 2 together, k. 4, narrow, over, k. 5,
over, k. 3.
5th row, si. I, k. 2, over twice, p. 2 together, k. 3, narrow, over, k. i,
narrow, over, k. i, over, narrow, k. i, over, k. 3.
7th row, si. I, k. 2, over twice, p. 2 together, k. 2, narrow, over, k. 1,
narrow, over, k. 3, over, narrow, k. i, over, k. 3.
9th row, si. I, k. 2, over twice, p. 2 together, k. i, narrow, over, narrow,

k. I, over, k. 5, over, narrow, k. i, ever, k. 3.
nth row, si. I, k. 2, over twice, p. 2 together, k. 2, over, narrow, k. i,
over, narrow twice, over, k. i, narrow, over, k. i, narrow, over, k. 3.
13th row, si. I, k, 2, over twice, p. 2 together, k. 3, over, narrow, k. i
over, narrow, k. i, narrow, over, k. i, narrow, over, narrow, k. 2.
15th row, si. I, k. 2, over twice, p. 2 together, k. 4, over, narrow, k. i,
over, si. I, narrow, slip the slipped stitch over the one last knitted; then
over, k. i, narrow, over, narrow, k. 2.
17th row, si. I, k. 2, over twice, p. 2 together, k. 5, over, narrow, k. 3,
narrow, over, narrow, k. 2.
19th row, si. I, k. 2, over twice, p. 2 together, k. 6, over, narrow, k. i,
narrow, over, narrow, k. 2.
2ist row, si. I, k. 2, over twice, p. 2 together, k. 7, over, si. i, narrow,

draw the slipped stitch over the one last knitted; then, over, narrow, k. 2.
Repeat from first row.

SMALL COMFORT FOR LOUNGE.

Take knitting needles No. 5 and double zephyr wool, in any pretty
contrasting colors. The comfort is knitted in stripes which are crocheted
or sewn together.
Cast on eleven stitches for each stripe.
1st row, k. 3, make one, p. 2 together, k. i, p. 2 together, wool forward,
k. 3. The 2nd and other intermediate rows are all purled.
3d row, k. 4, make i, p. 3 together, wool forward, k. 4.
5th row, k. 3, p. 2 together, wool forward, k. i, make i, p. 2 together,
k. 3. The 7th, 9th and nth rows are like the 5th.
13th row, k. 3, make i, p. 2 together, k. i, p. 2 together, wool for-
ward, k. 3.
15th row, like the 13th. Repeat from the ist row.
PORCUPINE STITCH.
Cast on in twelves, ist row, plain.
2nd row, * over, k. 2 together, repeat from *.
3d row, purl; 4th row, plain; 5th row, purl.

6th row, si. I, k. 2 together, pass the slipped stitch over, k. 4, over, k. i,
over, k. 4; repeat.
7th row, p. 3 together, p. 4, over, p. i, over, p. 4; repeat.
8th row, like 7th; gth row, like 6th; loth row, like 7th.
Repeat from second row. Very pretty.
DIRECTIONS FOR MAKING WHEEL.

Make a ch. of 12 stitches, join with si. stitch, 3 ch., 47 dc. into ring,
join in top of three ch. with si. stitch and break off thread.
For the squares, make 9 ch., i sc. into any stitch of the circle, holding
the wrong side of the wheel towards you, * turn and work back and forth
upon the 9 ch., making 8 rows of sc, always taking up the back thread of
stitch, to make the ridge, i ch. at the end of every row. When the 8 rows
are finished, make 9 ch., i sc, into the eighth stitch of the circle from that
last worked into. Repeat from * until there are six squares, join the cor-
ner of the last square to the corner of the first with si. stitch, and break off
the thread.
the point of a square, 9 ch., i tr. between the
1st round, (I sc. into
of round. There should be
squares, 9 ch.) 6 times; si. stitch into first sc.
12 loops of 9 ch., making 108 ch. in all.
stitch; turn.
2nd round, i sc. into every stitch of last round, join with si.
FIG. 334.
into every stitch of last round, taking up back part of

3d round, I sc.
stitch, join with si. stitch; turn;

4th round, like 3d, but do not turn the work when the round is finished.
5th round, 4 ch., *, skip one stitch, i dc. into next stitch, i ch. and repeat
* all around last row, join with si. stitch in third stitch of 4 ch. at the begin-
ning, making 54 spaces around.
6th round, 3 ch., i dc, 2 ch., 2 dc, into first space, * ch. of 5, skip 2
spaces, 2 dc, 2 ch., 2 dc. in third space and repeat from * all around, join
with si. stitch in top of 3 ch. at the beginning.
7th round, 3 ch., i dc, 2 ch., 2 dc. in middle of shell made in row pre-
vious, * 3 ch., catch with sc in middle of 5 ch., 2 dc, 2 ch., 2 dc. in middle of
next shell and repeat from*; when finished there should be 18 shells around.
8th round, like 7th row. When done fasten and break off the thread.
CROCHET: PETTICOAT FOR CHILD FROM 1 TO 2 YEARS OLD.

Materials: J^ pound German yarn, a medium size bone crochet hook
and one yard of ribbon.
Commence at the waist, make a chain 25 inches in length, work in shell
pattern.
Shell pattern is worked as follows: Draw up a loop through each of
5 successive stitches, draw through all the loops on the hook, close the
cluster with one chain, * draw up a loop through last chain, another through
back perpendicular loop of last stitch, and one through each of the two
next stitches of chain, draw through all the loops on the hook together,
close with one chain, repeat from * to the end of row.
The wool is broken off at end of each row, and every row is commenced
from the same side. Work 5 inches without increase or decrease, that is
until you reach the under part of arm-hole.
For the left half of back, work on one-quarter of the stitches for 3
inches, then decrease for the shoulder, by working all but the last shell at
the end of each row for i^ inch more. Work across the front for 3 inches,
then decrease at the beginning and end of each row for 15^ inch more.
The right front is worked like the left, but the decrease is made at the
beginning of the row instead of the end.
For the sleeves, make a chain 8 inches in length, work in shell pattern
for 8 inches, shape the top of the arm by leaving one shell pattern on each
side unworked for three rows. Sew the sleeve together on the wrong side,
sew up the shoulders, and sew in the sleeves.
For the skirt: ist row, into the edge of bodice work 2 tr., separated
by 2 ch., into every other stitch.
2nd row, 2 tr. separated by 2 ch. under 2 ch.; 3d and following rows,
2 tr., 2 ch., and 2 tr. under
2 ch., I ch.; repeat from
the beginning of the row.
When the skirt is the
length required, for the
edge, into the last row,
work I dc. into a stitch *,
3 ch., I dc. into next stitch,
4 ch., I dc. into next stitch,
3 ch., I dc. into next

stitch, repeat from * to
end of row. A row of

scallops is worked round
the neck and wrist. Sars-
net ribbon, about i inch
wide, is run through the
work at the neck and
waist. Sew two buttons
to the left side of back,
^^^
Fi<j-
^^- and in the same place '
335'
on the right side, press the stitches apart and work two buttonholes.
CROCHET: BORDER AND CORNERS FOR TABLE COVERS, &c.
Materials: Scotch crochet linen No. 70 and medium-sized crochet hook.

This border is suitable to edge table covers, toilet cloths, etc. The
rosettes are joined when working the last row of each.
Commence in the center of a rosette with 4 ch., join round.
1st round, 6 ch., 7 tr., each separated by 2 ch. under 4 ch., 2 ch., draw
through the fourth of 6 ch.
2nd round, 2 dc. under 2 ch., 4 ch., draw through the top of last dc, 2
dc. under same 2 ch. the last were worked under, i dc. into top of tr.; repeat
from the beginning of the round 7 times more.
3d round, 9 ch. *, i tr. between 2 picots, 5 ch., repeat from * 6 times

more, join to fourth of 9 ch. with i sc.
4th round, 10 dc. under each 5 ch. of last round.
In working the next and following rosettes work i half tr. into 2 scal-
lops of previous rosette when working last round (see figure 336). The
FIG. 336.
method of joining the rosettes to form the corners will be clearly seen from
the illustration.
For the heading, work i tr. into center of the first scallop at the top of
rosette, 4 ch., i tr. between 2 scallops, 6 ch., i double tr. between 2 next
scallops, 12 ch., I sc. into each of 2 next stitches of scallop, 5 ch., i sc. into
seventh of 12 ch., 5 ch., i sc. into each of 2 stitches between 2 scallops of

4

next rosette in the corner, 4 ch., i sc, into first of 5 ch„ 5 ch., i sc. into
each of 2 stitches in depth between 2 scallops of next rosette (see figure
336), 5 ch., I sc. into seventh of 12 ch. and each of 2 following stitches, 4
ch. *, 3 tr. separated by 5 ch. into next rosette (see design), 5 ch., i quad-
ruple tr. into depth between 2 scallops, work off 2 loops, i double tr. into
next stitch but i, work off 3 loops, work 2 double tr. into corresponding
place of next rosette, work off all the loops, 6 ch., repeat from last * until
you reach the next corner, which must be worked as directed for first
corner.
2nd row, i tr. into a stitch, i ch., repeat.
CROCHETED SKIRT.
The design shown here is one of the prettiest, as well as the best fitting
we have seen. As it is fitted to the figure there is no extra fullness about
the hips and waist, and it is light and warm.
Materials: Germantown wool —
skeins of blue and 4 of drab; coarse
tricot needle.
Yoke — Make a chain of 55 stitches;

* with the blue and work 3 rows in
afghan-stitch. Next work one row

with drab to the eighth stitch from the
end of the row, which forms the top
of skirt, then one row to the 19th stitch
from the top in drab. Repeat from *
until there are 33 stripes of drab. Fin-

ish with 3 rows of blue.
Flounce — Make a chain of 75
stitches; * with drab wool; work 8 rows;
then work 2 with blue, 2 drab, 2 blue
and 2 drab. Next work 8 rows with
FIG. 337. blue, 2 drab, 2 blue, 2 drab and 2 blue.
Repeat from * until you have 6 broad stripes of drab and 6 of the blue, and
then join together. In making the flounce, the following directions must
be exactly followed: (See page 382 for afghan stitch.)
1st row, plain tricot; after that make i chain at beginning of each row
to form an extra stitch, and leave off a stitch at end of each row, keeping
the same number of stitches all the time, but giving the flounce a bias
appearance. Fasten yoke to flounce with chain of 5 stitches, caught first
in the flounce and then to the yoke.

Through the openings made by these chains of 5, a blue ribbon No. 7,
may be run and tied in a bow.

At the waist finish off the skirt with one row in dc, putting i ch.
between. Through this a cord and tassel may be run. The opening at
back of yoke may be finished with a scallop.

Border of Flotmce — i row in drab shells of 5 stitches, 2 rows of blue, 2
of brown and 3 of blue; the last blue row having 6 stitches in each shell.
INFANT'S BOOT: KNITTING.

Materials: Three balls knitting silk and three skeins wash twist
embroidery silk, four steel knitting needles No 18, and a yard of narrow
ribbon.
Commence at the top of leg, cast on 40 stitches on 3 needles, that is
14 on each of 2 needles, and 12 on the third.
1st and 2nd rounds, k.; 3d round, bring the wool forward, k. i in the
front, I at the back, and again i in the front of next stitch, making 3 stitches
in I, put the 3 stitches back on the left-hand pin, knit them, put them a
second time back, and knit them, bring the wool forward, k. 3; repeat from
the beginning of the round.
4th round, k.; 5th round, cast off 4, k. 3; you will have 4 stitches on
right-hand needle; repeat from the beginning of the round.
6th round, k.; 7th round, k. 2 before beginning the raised pattern as
described in 3d round, this makes the patterns lie between those of 3d
round; end the round with wool forward, k. i. Continue to work as
described, until you have 9 raised patterns in a diagonal line.
For the next round, k. 5, make i by bringing the wool forward, repeat,
this increases the number of stitches to 46 in the round.

For the ankle, k, 22 rounds plain. For the heel, ist row, k. 28; turn.
2nd row, k. i, p. 26, k. i. Repeat these 2 rows until you have worked
18 rows.
—

19th to 22nd rows k.; this forms 2 purl ridges; 23d row, k. 19; turn.
24th row, k. 10, this leaves 9 stitches each side of heel; 25th row, k. 9,
k. the next stitch, and i of the side
stitches together, repeat this last
row until all the side stitches are
worked in, leaving 10 stitches only
on the heel needle.
Now pick up 13 stitches down
each side of heel, k. for 24 rounds.
25th round, k. the stitches for
top of foot, k. 5 of the sole-stitches,
k. 2 together, k. 22, k. 2 together, k.
5, k. 3 rounds without decrease.

In the next round decrease
again at the same places, but there
will be only 20 stitches between the
two decreases this time; continue to
decrease 4 times more with 3 plain

rows between each decreasing row;
then at the top k. i, p. i across (for
.the remainder of the boot) reversing
the stitches in each alternate round,
but continuing the decreasings at
sole for another 4 times, making in
all 10 decreasings on each side.

Turn the boot inside out, put 2
stitches from each side of sole
stitches to the top stitches, k. to-
gether, from the top, and i

I stitch
stitch from the bottom, then 2 from
the top, and i from the sole (cast-
FiG. 338. iflg off each time) across the whole
stitches, until there are left but i top and i bottom, k. these 2 together,
and cast them off.
For the crochet trimming round the top work with wool:
1st round, i double into a stitch, i ch., pass over i stitch, 3 tr. each
separated by i ch. into next stitch, i ch., pass over i stitch and repeat all
round.
2nd round, with silk, i double into each stitch. For the line below the
scallops, with silk, work i double into each stitch.
For the rosette, with silk, make a chain of 14 stitches, turn, work i
double, 3 tr., and i double into each of 3 stitches, i double, 4 tr., and i
double into each of 4 stitches, i double, 5 tr., and i double into each of 5
stitches. Roll the work round, with the smallest scallops in the center,
sew securely at the back of work, and sew to the toe of boot. The ribbon
round the ankle is sewn to the boot at the back, and is tied in front.
CROCHET MOP FOR DUSTING PICTURES.

The above mop may also be used for washing pictures, and is com-
posed of a wooden or cane stick one and a half inches thick, and any length
desired, covered with a strip of crochet. One hole is
made at lower end of this stick, through which is run a

red ribbon and tied in a bow; and two more holes, one
and five-eighths inches apart, for fastening on the mop
itself, at the upper end. The crochet ismade of knit-
ting cotton. No. I, in red and white. The crochet for
the stick is begun with 4 ch. closed to a ring, into which
are worked 2 si. st., 3 sc. and 5 dc, the crochet is then
continued in this manner the desired length (three
rows of white come alternately with one of red); the
work is then drawn over the stick and again closed
with I sc. The single strips, for the mop part, which
are four and three-quarters inches long, are each
worked in two rows, on each side of a foundation of
18 or 20 ch. In the second row, however, each sc. is
worked over the foundation chain and the front link of
the sc. lying underneath; way the strip becomes in this
a little rounded and firmer. Twenty red and the same

number of white strips must be made and then strung fTg^3Q
in pairs of each color on a piece of thick cord, put through the two holes
already mentioned, and twisted around the stick, the ends being fastened at
these holes,
CROCHETED NOVELTIES.
Many pretty little articles are made by crocheting forms, and then
stiffening them with glue or gum arabic. Bottle covers, slippers for
watch cases, scarf bags, and boxes are made in this manner. Very pretty
covers for square bottles may be made from almost any design given in
this chapter. A piece, large enough to go around the bottle, is made from
fine linen crochet thread. Stretch it on a board, and paste with gum arabic.
When dry, paint with gold powder, wet in a medium. The edges should now
be joined together, and a piece of silk gathered into the bottom, when
the cover is ready for the bottle. Small baskets are made in the same
manner. Very pretty effects are obtained by crocheting a pattern of an
open design, and lining with bright-colored silks.
I
CHAPTER XVII.
DAINTY WORK FOR PROFIT.
AVING discussed "Dainty Work for Pleasure" or amateur

home adornment, we will now deal with it from a prac-
tical standpoint, or as a means of producing dollars and
cents. "Dainty Work for Profit" is a subject that will
appeal to the great army of women in our country who
feel the need of adding their mite to the family excheq-
uer, either as wife, mother, daughter, or sister. These
women may be divided into two classes. First: those
who have only a limited portion of time to devote to any
work outside the regular home duties, and who could not
be absent from home for any regularly stated time.
Second: those women who have to assume the support
of families or portion of families, and whose time must
be given to that work, leaving home cares and duties to others. For both
these classes there is a note of hope and good cheer in the words "Dainty
Work for Profit." By this it must not be assumed that all women are fitted
to become dealers or teachers of art work, either in painting or embroidery.

There are some women totally unfitted by previous occupation, as well as
inclination and natural taste or aptitude for this kind of work, and it is
manifest that such would not make a success; but these cases mark the excep-
tion to the rule, and need hardly be considered, as they would be far from
likely to adopt decorative art work as a means of livelihood.
We will discuss first "Dainty Work for Profit" for the
Stay-at-Homes.
There are hundreds of homes of wealth in the country that have not
within them the means of artistic decoration. It may be the mistress has
passed the period of life when "fancy work" had a charm, she may be a
woman of "ability" who scorns the "little trifles" of life, or it may be
the mother and daughters have, by years of pinching economies, helped to
upbuild that elegant home of brick and mortar, and so have not had time
to give it the home-look of habitations where womanly love and care pre-
sides over all departments. It would be unjust to say that the inmates
of these bare-looking homes do not desire beautiful pictures, graceful
draperies, pretty nick-nacks and all the little touches that help to make
the real home. They do desire these things, as the orders daily received by
the leading upholstery houses in the large cities attest, and here is the
opportunity for the woman who has a love for making beautiful things, and
the time to give to it. She can exchange her brain work, her artistic abili-
ties for the dollars and cents of her wealthier neighbors by taking orders
for making their homes beautiful, "and filling them within the shelter of her
own home."
The First Start.
To make a beginning is the hardest part of the battle, and as so much

depends upon the right kind of a start we will here give a few general hints,
which, while they may not fit each individual case, can be modified to meet
almost any requirement for doing work at home, generally called "order
work," sometimes including "teaching."
In the place the woman who intends to do "order work" to make
first
it pay, must know what she can do, and must have absolute confidence in her
ability to do it and do it well. People do not care to pay for art work or
decorative work unless it is what it claims to be, therefore the very first step
to take on the road to success is thorough preparation. It is absolutely nec-
cessary that the worker should understand hem-stitching, Roman embroidery,
Kensington embroidery, satin stitch and novelty stitches; she should be
capable of making up the different articles after the work of embroidery
has been completed.
Understanding all the above requirements she should carefully con-
sider her territory, go over every inch of the ground mentally and decide
what articles will be most likely to find sale. The next thing to consider is
the question of
JDAINTY WORK FOR PROFIT. 401
Commenced Samples.
This is a very important point and one upon which depends much, if not
the entire future success of the worker. The item of expense of these
articles is one of serious moment, and in many cases offers almost unsur-
mountable obstacles, but very little can be accomplished without them, and
the difficulty might as well be met first as last. However, there are relative
degrees of cost and some very attractive samples can be gotten up with
little outlay of money, and it is here the writer wishes to give some very
practical words of advice. Stamp a?id cofwneficc only such samples as you think
there is a reasonable chance of selling. For instance: in your mental survey of
the field of possible customers, you have decided that Mrs. A., who has a
"craze" for decorated table linen, and cares little or nothing for articles of
mere ornament, will most likely give you an order
for some doyleys or a
center piece. Your wisest course will be to stamp on fine, firm linen a
design for center piece. The design may be Dresden or Roman embroi-
dery or a conventional design filled with fancy filling stitches, in either case
a section should be neatly worked, then on good brown manila paper
stamp twelve different doyleys to go with the center — this saves spending
the money for the linen for the doyleys and will answer as well.
These articles will make a practical beginning for your samples; but you
have provided for the taste of only one class of customers; there is
another class who have an especial pride in bed-room furnishings. To

meet this possible demand stamp two pillow shams — not mates, but one of
two different sets — and treat each one differently in the sampling. Again,
some ladies have a penchant for hem-stitched hems, therefore one of the
shams at least should be so finished, it may be the means of obtaining
orders for many yards of hem-stitching. Then, as towels with hand-
somely worked initials are dear to the heart of every woman worthy the
name of home-maker, have at least one sample worked, and let the stitches
be set "on honor" every time, as in no other form of decorative work does
the effect depend so much upon the neatness and exactness with which the
design is wrought.
If these instructions have so far been followed the worker will have
as samples: one center piece, 27x27 inches, one set of twelve doyleys
stamped on paper, two pillow shams and one embroidered towel. These sam-
stamped with attractive designs and having a portion of each neatly
pies, if
sampled or commenced, to show how the work will look when finished, will
afford sufficient working capital for a start, and should not cost to exceed
$2.00. This estimate does not include sufficient embroidery threads to finish.
In addition to the above it is a most satisfactory plan to have at hand a

neatly arranged book of samples of different fabrics, as several qualities of
linen, satin damask, scrim, crash, plush, sateen, and any new material that
may be suitable for decorative needle-work; have each sample neatly
labeled, with name, width, and price per yard. In addition there should be a
line of samples of all the various embroidery threads, which will be found
named and described in the chapter on "Materials." Have these threads
arranged so that they can be displayed without much handling, as that will
detract from their lustre and finish. These samples can be procured for an
additional expenditure of $i.
Designs for Order Work.

There is yet another question, and a most important one, viz.:
Designs. The successful order worker should have a selection of stamping

patterns of exclusive designs, that is she should be careful to supply herself
with such patterns as are not to be had elsewhere in her territory. These
designs should include three center cloth patterns, twelve doyleys, (differ-
ent designs for each) butter, egg, fish, hot-roll and cake doyleys, one lunch
set, three designs for shams, two Dresden designs that can be used for any
purpose, three cushion cover designs — one floral, one conventional and one
Roman — and half a dozen all-over patterns that can be used anywhere, on
large or small articles. •
Do not allow these designs to become common. If you use one design
for a center piece for one customer, do not repeat that design for another
customer in the same neighborhood, or even in the same social circle; no
lady likes to spend money for an article she fondly hopes is the latest thing
in art work, only to find it duplicated on half a dozen tables. The moment
one of yoiir designs is to be had in the shops, discard it. Your only hope
for order work and good pay for same, lies in your ability to give the ladies
something they think cannot be had elsewhere. To keep your designs
exclusive and fresh will require time, care and eternal vigilance, but be sure
it will pay.
DAINTY WORK FOR PROFIT. 403
Soliciting Orders for Embroidery.
Having a knowledge of art embroidery, and being perfectly posted as

to the prevailing "fads" in the decorative line, and in possession of the
commenced articles, and a line of samples, you are prepared to enter the
list with a fair chance of winning a brilliant victory; but there is one
quality we have, as yet, not mentioned, and one without which success is
impossible, viz.: confidence ; confidence, not in your customers, but in your-

self. And here is where failure is likely to stare you in the face at the
outset; but do not give up in despair, if you have not "confidence," then
you must cultivate that necessary quality. It is always better in this work
to make a personal canvas of your customers, taking your samples with you
and soliciting the order in person. In working your samples, you have had
in mind certain persons whom you thought more than probable would be
it
interested to the extent of ordering the sample finished. Call upon such
first; state clearly, without embarrassment or false pride that you intend to
establish a parlor for private order work, that you will furnish only exclu-
sive designs, and that you wish to secure the lady as a patron; show your
samples, which are bound to interest any woman, no matter how much she
maybe determined not to give you her orders, or how much she may think
there is nothing in the world she needs in your line. The ice once broken,
the matter is easy. Interest grows with every word you utter on the sub-
ject. Be sure to lead the conversation, holding it well in hand, and close
to the line of home beautifying; be enthusiastic, talk of what is being used
for thisand that purpose, discuss bed-room furnishings, suggest novel and
pretty ideas for wall and mantel ornaments, a cushion cover, an ottoman,
any and everything in the line of art work. Be decided in expressing
an opinion as to the relative merits of shading, stitches to be used,
materials — in a word, leave upon the mind of your listener the firm impres-
sion that what you don't know about interior decoration isn't worth con-
sidering, and all the while this should be the truth, for you have no business
in the field unless you are posted, unless you do know that your ideas are
bright, original and practical. An hour spent in such conversation with
the right person is "capital well invested."
The first day's work in soliciting may not result in obtaining any
definite orders (this is hardly probable) but a beginning will have been
made. The upon will be sure to talk about the work, the ideas
ladies called
you have advanced, and the samples you have shown, and it will not be
long before the seed sown will bear fruit in more orders for decorative
needlework than one pair of hands can well accomplish.
Teaching Embroidery.
If you have the time, it will pay to interest the ladies to do some of their
own embroidery, and to this end classes should be formed, of two or three
ladies for a class, not more, unless you have been accustomed to teaching.
Induce them to commence some than to work on a sampler;
article, rather
stamp the design clearly, according to instructions given in chapter on

"Designing," and lay out the proper shades and select a suitable embroidery
hoop; all this should be done previous to the hour appointed for the lessons,
so that no time may be lost. Aside from the profit accruing from the
lessons, it will be a certain means of extending your fame as an art needle-
worker abroad, and will not in the least diminish your chances for obtain-
ing order work.
The most embarrassing question connected with this method of doing
business is the one of
What to Charge and how to Collect
and especially is this the case where parties are acquaintances, and may be
friends. The social relation should not be considered in this connection, and
the only successful method is to adopt a rule of procedure to be applied to
all cases, and apply it impartially. Never accept an indeffinite order, as
"my dear Mrs. A. I believe I will have you get me up something for my
dressing case, something pretty!"
"What would you like?"
"Oh, I'm not particular, just anything that would suit you!"
Never be betrayed into filling such an order. Insist upon the name of
the article being specified, the nature of the work, the scheme of color,
the amount of work, cost and nature of materials, and last the price of the
whole when completed. Make a memoranda of the items in the form of
an order, read it to the lady and pass it to her for her signature. This will
preclude the possibility of any mistakes being made, and leave no loop-
hole for misunderstandings to occur when too late to rectify them. Be
sure to fill all orders according to agreement, make out a bill for the work
and present when the work is delivered, and insist gently upon payment at
that time; if this is not possible have a definite time set when you are to
call for the amount, and be punctually on hand. Women, as a rule, are apt
to be careless in regard to the payment of such bills, and allow them to run
into indefinite time, but they will none the less be your customers because
you insist upon your rights in a dignified manner.
Where the parties are not known to you insist upon an advance pay-
ment of at least one half the price when the order is taken, and the balance
upon delivery.
Do not work too cheap, neither be exhorbitant in your charges. Make
the estimate of cost upon the time occupied in filling the order; at the rate
of $1.^0 per day is a fair consideration. When possible furnish the embroi-
dery silks, linen or other threads used in your work; by this means you will
always be certain of having correct shading and then, too, the profit on the
same will be an item worth considering at the end of a year, as you will be
able to make arrangements to secure these materials in small quantities of
the wholesale houses.
The chapters on "Shading," "Designing," "Stitches," "Materials,"
"Art Embroidery," including "Roman Embroidery," "Kensington and
Satin Embroidery," "Application of Stitches," and "Drawn Work," con-
tain all the instructions necessary to thoroughly equip one for "Order
Work," without the aid of a teacher, if even the learner has had no pre-
vious instructions in embroidery, provided she has any natural aptitude for
the work.
Art Bazaars or Fancy Goods Stores.
We come now to the second class of women, who need to earn money,
and have an inclination to turn their energies to interior decoration and
artneedlework. For such the "Art Emporium," "Fancy Goods Bazaar,"
or "Decorative Art Store" offer a field that well repays careful cultivation.
The first consideration for such a departure is that of Capital, usually,
a word of discouraging import to women of ambition, as so few women ever
have anything except brain, energy, pluck, faith and hope, to work with;
but even the want of capital can, in a measure, be overcome by good bus-
iness ability. Of course there must be some ready money, but the amount
actually necessary can be brought down to quite modest proportions, pro-
vided, always, one knows how to go to work, and has a good reputation at
home for integrity and honesty of purpose in all the relations of life.
In opening a store for the sale of any line of merchandise there are
many things to be considered, but most important of all is that of location;
and in no other business is it more important —we had almost said as im-
portant — as in that of decorative art supplies. Women are creatures of
impressions as well as of impulses, and in the matter of patronizing art stores
it is certainly true. A good field for a lucrative trade may be utterly ruined
simply by having the store on the wrotig side of a street, or because it is
located next to some objectionable place, that has been put under the ban
of the fair ones of the town. Then, in selecting a store, give the matter
earnest consideration; stand upon a corner near the location you prefer on
a fine day and watch the pedestrians; note especially the lady shoppers
and the side of the street they affect; note also the particular locality on
the chosen side they longest linger, and most congregate, and there pitch
your tent, if possible, even if the obtainable location there does not offer
half the conveniences to be had elsewhere. Better stay out of business
than locate it on the wrojig side of the street, or on the wrong street, for that
matter. The location secured, the next step to consider is the proper
Store Fittings.
These may be very expensive,or simple home-made affairs, as the purse

of the proprietor can afford. It is a matter of fact in these days of enter-
prise and business push that the richer the furnishings and the better the
impression of business prosperity that can be sent abroad the better the
business is sure to be in point of fact as well as reputation; "nothing suc-
ceeds like success," says Emerson, and a better business motto could not be
adopted. If plate glass and brass-trimmed show cases and handsome wall
cases are out of the question at first, then the general air of well-to-do pros-
perity must be imparted to the store by some other, less expensive means.
A good wall case for the display of large articles is an absolute neces-
sity, as it serves to protect from dust such articles, while it, at the same
time, allows of their examination without handling. Such a case can be
made by any carpenter, and common pine will do for the frame work. The
case should reach almost to the ceiling, and should be lined inside with tar
paper, for the purpose of keeping out moths; brass hooks should be placed
at intervals around the inside of case, and at different heights, for the purpose
of suspending articles. There should be suspended from the top of the
case a few "swings," through which to throw handsome fabrics, embroi-
dered or not. The swings allow of most graceful arrangements, but they
should not be so placed as to interfere with the view of articles hung on
the back wall of the case. The doors should be paneled with glass, and
the frame stained or ebonized. Very pretty show cases, nickel trimmed,
can be purchased for almost any price from ;gi2 to $2^, and of these there
should be at least three, as they help to give an air of "fullness" to the
establishment. For the show windows there should be several side brack-
ets, to fasten to the window frame, one or two small stands that can be
placed in the window for the purpose of displaying scarfs, covers, etc., two
or three swings for each window, and two small easels, which can be pur-
chased for 50 cents each.
The store room should be divided in the rear so as to enclose a space
for a work room. This is quite necessary, and the partition should be strong
and have a door that can he fastened, when necessary. Do not be deluded
into using screens or a curtain draped on a pole for this purpose. The
work room should never be opened to the public — and above all to favored
customers; it should be kept sacred to the "secrets of the trade." It is
here that stamping, embroidery and finishing articles should be carried on,
and the worker should not be subject to the interruptions of the idle and
curious. This partition should be made of good matched stuff and stained,
and will offer a good surface for the display of such articles as will not be
injured by exposure. The wall case should occupy one of the sides of the
room. In front of it should be a couple of chairs or footstools and a small
stand. On the opposite side of the room should be arranged shelves, in
front of which place two of the show cases. Across the end of the room,
in front of the partition, place another case; then the room will be covered
on three sides with show-case display, and the front windows will be
reserved for street display.
This arrangement is especially desirable when the stock to be carried
is limited, and a good appearance is to be made with the smallest possible
outlay of money. The store fittings decided upon, the next question is
the one of
Stock or Goods to be Carried.

This is a question that must be decided by each person for herself,
as the same rule will not apply to hardly any two localities that could be
named. The goods that will find readiest sale and yield best profits
depends entirely on the class of people to be catered to.
If the location has a good farming country tributary to it, then such
goods must be carried as will appeal to that class, and ideas and styles that
are a little old in the cities will find readiest sale. If, however, you intend
to depend upon town trade, almost exclusively, then your stock must con-
tain the latest novelties in work and material; but happy is the dealer whose
trade combines both these classes.
There are certain things that an art store should always be supplied
with, as follows: embroidery needles, hoops or frames, embroidery silks,
all sizes and shades, embroidery linen, embroidery cotton, knitting silk,
wools, gold threads, couching cords, German cord, stamping patterns and
chenilles and arrasenes* if the trade calls for them. These articles are
staple, and are as necessary to the art supply dealer as flour and sugar are
to the stock of a grocer.
In putting in a stock of silk or linen threads select the make that you
wish to carry, and put in a complete line of that manufacture, selecting the
different sizes, and a good variety of shades in complete lines. Thus, if
you buy rope silk in pink, put in the entire line of pink shades; this rule
applies to the rope silks, filo floss and royal floss. In etching and
heavier twist silks close shading is not so necessary, and only such shades
should be carried in stock as are commonly called for, as yellow (different
shades), red, pink, blue, brown, green and white. The same applies to linen
threads. For a description of these materials see chapter on "Materials."
Never allow your stock of embroidery threads, of whatever kind, to become
depleted; keep the shades full and complete. Never allow a customer to
ask for a shade or color that you cannot supply, and at once, without wait-
ing to order from your jobber. And above all things never mix your stock
of silks and linens by adding to it from the stock of other silk and linen
manufacturers than the one you first selected. Their materials may be as
good, the colors as fast, but no two manufacturers ever produce the same line
of shades, and it is fatal to mix them. If for any reason you become dissatis-
fied with the goods you are handling, close them all out before you make a
change, and when you are ready put in a full and complete line of the new
goods.
Art Fabrics.
Art fabrics can be purchased from most of the jobbers in quantities as
small as half a yard. Where the capital will allow, it is a good plan to
purchase 10 yards good fine linen, 40 inches wide; 10 yards same quality, 18
inches wide; 2 yards satin damask, 72 inches wide; 2 yards silk bolting;
2 y^, yards No. 6 and the same amount No. 4 Bargarren art cloth, in cream
white; 25^ yards cotton tapestry; i y^ yards ecru art linen; 2 yards linen
lawn for doyleys; one table cover; i y^ yards square, mail /cloth; one table
cover, same size, of double-faced sateen. As these are high-priced fabrics,
they will give an air of elegance to the stock. The above materials should
be in addition to the commenced or made-up samples.
Ask your dealer to supply you with a sample book of art fabrics, from
which your customers can select, when the goods may be ordered after the
sale is made.
We now come to the dressing of the store —to i\\& samples of work; and
here lies the key-note of success or failure.
Sample and Display Work.

The samples should be completed before the store is rented, or stock
ordered; and this is the more important if you must, from reasons of econ-
omy, do all the work yourself. You should not have the worry of them on
your mind while getting ready for the "opening." As an assistance in
selecting samples that will make the best display with the least outlay, we
append the following list of articles, with their approximate prices.
This list must not be accepted as absolute and arbitrary, as individual
cases may, nay undoubtedly will, require modification; but it will, at least,
be a guide for all and a rule for many cases.
In giving estimates of cost assumed that the prospective dealer

it is
will herself do the work of embroidering and making up the various arti-
cles, and that her purchases for display samples will have been made at
wholesale:
List of Desirable Samples.
One table cover, 54 inches square.

One table scarf, 72 inches long.
One bed spread, 2>^ yards long, 72 inches wide.
One dressing case scarf.
One pair pillow shams.
One embroidered guest towel.
One-half dozen doyleys.
Three center cloths — one square, one round and one long.
Three plate doyleys.
Butter, corn, egg, muffin and fish doyleys — one of each.
One five-o'clock tea cloth.
Three drapes, one toilet set, including bottles, mats, etc.
Six different-shaped toilet cushions.

Three chair rests.
Three sofa cushions.

Two or three mat-covers for small stands, and, if possible, a few made-
up novelties in the shape of calendars, photo frames, pen wipers, hair-pin
receivers, etc.
Materials for Made-Up Samples.

This is a question that must be decided according to the fabrics that
are newest on the market at the time the samples are required. For the
next five or six years the following fabrics may safely be employed, as they
are, and will continue, staple: Linen fabrics are always the correct thing
for table and bedroom sets, and know no "change of style." Portable
scarf and cover, either sateen, mail cloth or Russian tapestry may be used.
For one sofa cushion, plush, for another, faille silk, and for a third, art
linen, in colors. For the pillow sham, good domestic linen; for the bed-
spread. No. 6 Bargarren art cloth, homespun linen or art tapestry; for
the toilet cushions, fine linens and China silk; for the doyleys and center
pieces, good, firm linen of a fine quality; for the tea cloth, satin damask.
Chair rests may be made from soft silk and linen lawn. Dressing case
DAINTY WORi: FOR PROFIT. 411
scarfs should be of hollywood drapery, linens, or bolting silk. Drapes are

prettiest made of soft China or India silk.
In making up the table cover, stamp the corners with a floral conven-
tional design, as these are more popular than the geometric patterns. Work
one cornter complete in short and long stitch with rope silk, being careful
to shade properly — according to directions for Shading given in Chapter VII.
If there is time, and the cost of the extra silk no inconvenience, this piece
should be finished and lined, when it could be displayed on a table or
hung on the back of the wall case in such manner as to show all the work.
The table scarf may be made of Bargarren art cloth, plush or basket
silk. Both ends should be stamped. Work one end in a floral design,
with conventional shading in solid Kensington stitch, the other end may
be treated with a conventional design, outlined, and filled over the surface
with fancy filling stitches. — See chapters on "Stitches" and "Application of
Stitches."
Bed furnishings are subjects in which almost every woman is inter-
ested, therefore the sample bedspread and pillow shams should be under-
taken with much thought and care. We might suggest a number of artistic
and beautiful combinations, both as to foundation fabric and embroidery

threads, that would make a brilliant display, but there is also the question
of utility to be considered, so that one cannot do much better than to

select a cream-white Bargarren cloth. No. 6 mesh, for the spread, or a heavy
Roman twilled linen, if preferred — either fabric improves with repeated
launderings. Stamp a conventional design over the entire spread. No
patterns with many and intricate details should be used, but branching
sprays, with large petaled flowers and generous foliage. Work a good por-
tion of the spread — at least one-quarter—with Bargarren art thread, in out-
line stitch, or short and long stitches; or, if the twilled linen is selected for
the spread, the design can be worked out with rope linen. Finish the side
edges of the spread with a handsome crocheted edge, made of Scotch cro-
chet linen thread No. 50— figure 336, on page 393, in the chapter on "Knit-
ting and Crochet," will furnish a beautiful design for this purpose. Such
an edge will be the means of selling crochet threads of various kinds, in
which there is always a good margin of profit. The shams should be

stamped and sampled to match. If possible, an additional pair of shams
27
should be stamped with Roman embroidery design for the edge, and the center
with Dresden effect, and sampled with linen floss. The material should be
linen. These are not necessary, but make a good show case article. Dress-
ing case scarfs may be made of fine linen* with hemstlLched hem, and
have a few scattered flowers over the surface, worked solid; or, one may be
made of bolting silk, with a scattered design of chrysanthemums over the
entire surface, worked in outline, with one strand filo floss in pale yellow,
white or rose-pink. The edges should be finished with fine, soft lace, and
the scarf should be displayed over a quilted or tufted mat, made to just fit
the top of dressing case. The mat should be made of China silk, the same
color as the threads used to embroider with.
A toilet set of bottles and mats should be made, and for a model for
this purpose see page 84, chapter on "Art Embroidery." Ideas for center
piece, doyleys, mats, cushions, see chapters on "Dainty Trifles" and "Art
Embroidery." The doyleys and mats should be completed, as they do not
show to advantage sampled. The following is an approximate estimate
of the
Cost of Commenceci Samples.
Table cover, 54 inches square, mail cloth ;^3 00
Silks for sampling on corner . 40
Silk for completing embroidery , , i 60
Lining and cord for edge finish i 55
Cost, complete $6 55
Table scarf, 72 inches long, Bargarren art cloth $ . 80

Rope silk, for working both ends short and long stitch and
fancy filling stitches i 20
$2 GO
Bedspread, Bargarren art cloth $2 50

Bargarren art linen, for sampling 60
Crochet thread, for edge 50
$3 60
Shams to match $ 75
Linen thread, for sampling 30
î 05
One Dressing case scarf of linen, with edge and ends hem-
stitched $ 75
Silk, for sampling 25
$1 00
Dressing case scarf, silk bolting, cut to fit top of dresser $1 25

Silk, to finish 50
Lace, to edge i 25
Pad, to place under the scarf i 00
$A 00
Guest towel, with linens for embroidery $i oo

Material for toilet sets and mats of fine white linens and wash
Silk embroidery threads $ 75
Bottles, per pair i 00
$2 75
Materials for six toilet cushions $2 00

Materials for three chair rests of linen lawn, China silk and
domestic linens, with wash silk, to sample 3 00
Cushions (three), plush, art linen and silk, with material to
finish 7 50
Center pieces, satin damask, with wash silk, embroiderd
threads, to complete 2 50
Si 5 00
Materials for working table mats and doyleys, one dozen $ 75

Embroidery silk for working designs i 00
$1 75
Total cost of samples S37 70

This estimate includes sufficient material for finishing complete. For
ideas as to stitches and designs, see chapters on "Art Embroidery" and
"Stitches."
If it can be afforded, there should be in addition one or two picture
throws daintily outlined, and several pieces of work commenced with
Roman embroidery, which would swell the total to possibly $45.00.
Window Display.
In the estimate given for samples, there has been nothing listed that will
not find ready sale, but it is well to have a show piece —that is, a novelty for
show window; also to serve as an indication of the skill of the needlC'
worker. For this purpose there is nothing that will so well serve the pur-
pose as a handsome piece of raised work. A sofa cushion of dark-blue

plush, with a spray of blush roses (double) in ribbon, and foliage of che-
nille, if properly made, will attract crowds of ladies; or, a panel of dark
red plush, on which is grouped two or three calla lilies, will prove equally
irresistible. There is something about the craze for raised embroidery
that is infectious — no matter how much out of date it may be there will
always be scores of admirers for any well-made sample of it. It would be well
to have two or three different samples, so as to change the window at-
traction occasionally. Lessons for making all kinds of raised work will be
found in the chapter on "Raised Embroidery," with amount of material
required for any given design. The samples having been disposed of, the
next question is that of
STOCK.
The question of the quality of stock to be carried must depend upon
the class of customers, to some extent, though a clever dealer will be able
to sell almost anything upon which she sets the seal of her approval. The
amount of stock to be carrieb will depend upon the requirements of the
trade, the amount of capital at her command or the "credit" she may be
able to obtain.
It is better to put in a small line of materials first, and add to them as
the demand is made. A full and complete line of embroidery linen threads,
and the same of embroidery silks, should be carried, and the assortment of
shades should be kept complete. This part of the stock is necessarily ex-
pensive at the start, but it is to an art bazaar what flour is to the grocer, and
must be carried. There is, however, a fair margin of profit on it, and deco-
rative needlework cannot be done without it.
A line of wash silks, including etching.rope, filo floss and royal floss
should be selected with a reference to the probable uses of each kind.

Etching silk is used in Roman embroidery, satin stitch on flannel and cash-
mere, and for outline work principally, therefore the shadings need not be
so close as in silks used for solid' effects. A good line of four shades
of wood-brown, the same of yellow, pink, old blue, terra cotta, olive green,
sage green, white, old rose, baby blue and heliotrope, will most likely be
:
DAINTY WORK FOR PROFIT. 4I5
sufficient for a start. These silks are put up in 5^ oz. bunches to a color,
each Yz oz. containing 22 skeins of etching silks. Thus it will be necessary
to purchase 24 ounces of etching silks to secure four shades each of the
colors mentioned, this, at a rough estimate, will cost ;Si7.20.
Filo floss is used for solid Kensington, long and short stitch, etc., and
more shades will be necessary. The following colors and shades are desir-
able: Yellow, from pale canary to deep orange, twelve shades in all, y^ oz.
of each; old rose, five shades; olive green, six shades; sage green, five
shades; golden brown, seven shades; wood brown, six shades; heliotrope,
five shades; lavender, four shades; baby blue, nine shades; rose pink,
three shades; cardinal red, ten shades; white, three ounces. The outlay
for the stock of filo floss will amount to ^38.00, approximately.
Rope silk will stand next in importance, though the shading need not
be quite so finely graded. The colors should include yellow, from canary
to orange, twelve shades; olive green, six shades; golden brown, seven
shades; lily green, five shades; old rose, five shades; old blue, five shades;
baby blue, four shades; rose pink, three shades; red, ten shades; wood
brown, five shades; white. The stock will cost about $25.60.
If it is decided to carry a line of linen embroidery threads, it will be
necessary to put in a stock of the four sizes, viz.: Bargarren art thread,
rope linen, linen floss No. 4, and linen floss No. 8 (for description of various
embroidery threads see chapter on " Materials"). The cost of a supply of

linen of all sizes will be about as follows, $48.00. Having selected the em-
broidery threads, the most expensive part of the stock will have been se-
cured. There should be added gold thread of two sizes, both in skeins and
on spools, crochet linen thread, knitting silks, yarns, crochet needles, knit-
ting needles, embroidery needles, an assortment of stuffed cushions of
various sizes, and if arrasene and chenille are being used, a limited sup-
ply may safely be carried. An assortment sufficient for the last ten men-
tioned articles can be purchased for about $60.00.
If it can be afforded, there should be carried in stock several qualities
of white linen of different widths, a few yards of each, a square of basket
silk, a few yards of huck-a-buck, a few pieces of drapery silks, in 154 yard
lengths, to the extent of at least $30.00. The estimate up to this point
stands as follows
4i6 DAINTY WORK FOR PLEASURE AND PROFIf.
Store furnishings $ lOO
Commenced samples 38
Stock of embroidery silks 80
Stock of embroidery linens 48
Stock of knitting silks, crochet linens, various needles, stuffed
cushions, gold threads, etc 60
Stock of piece goods, linens, etc 30
Total $ 3 56
Properly disposed, this stock will make a most imposing display.
Empty boxes should fill the top of the case of shelves lining one wall,
while on the lower shelves the yarns, crochet threads, piece goods, etc.,
may be displayed. One show case should be attractively filled with the
various kinds of embroidery silks, one with the linen threads, while the
wall case and one show case should be reserved for commenced samples
and made-up trifles.
The windows should be dressed with such articles as can stand the light,
and that can easily be cleaned from dust. If it is decided to carry a stock
of materials for decorative painting, an attractive display can be made
from that stock; stamped linens, such as shams, tea cloth, doyleys, towels,
etc., will always attract attention, and can be procured at a very small outlay,
while a pretty jardinere of artificial paper flowers will lend a bit of needed
color to the display, and, as mentioned above, a piece of raised embroidery
is a potent factor in attracting attention to the store.
In giving a list of materials for stock, only staple articles have been
included, such as will sell at any season of the year, and every year. There
are, however, novelties brought out each season, by the different manu-
facturers, and it is owing to the introduction of these that interest in fancy
work is kept alive, so one cannot afford to ignore the "novelti'es," though
they must be handled with caution, as a left-over stock of out-of-date
novelties is the saddest sight a dealer can behold. These "introductions"

may be divided into two classes, viz.: Novelties that are destined to have a
run of a few weeks only, and those that will retain their popularity for a
season or two. How to distinguish between the two classes is a question
that vexes often the veteran dealer; how, then, shall the beginner protect
herself ? The surest and, indeed, only safe way is to buy spamigly of any
novelty, no matter how desirable it may seem. It will be found much
DAINTY WORK FOR PROFIT. 41;
easier to order more, than to dispose of it after the "run" is over. In general,
such things as paper flowers, painted novelties, embroidery threads, that
are not in themselves artistic or adapted for artistic work, should be pur-
chased with caution, though in the matter of paper flowers justice compels
us to admit they have obtained such a hold upon the public, that the
materials for making them are carried by all first-class houses. Each
dealer must decide for herself what she can best carry in stock, and she
can decide only by experimenting with her trade, therefore, the best the
writer can do for the beginner is to utter the warning words, which should
be used as a motto when the ever-persuasive salesman is abroad in the
land: "Caution! Buy Sparingly!" Indeed, it would not be a bad idea to
have the quotation printed in large letters and placed in the office desk,
where the eye of the dealer will be sure to rest upon it when making out
orders.
On the other hand, do not be afraid to put in novelties as they come out,
even if only one or two of a kind. It is necessary to keep up with the

times. It is of vital importance that your customers find in your stock
whatever novelty of the day is being written up by the art journals, taught
by traveling teachers, or displayed in the leading stores of your nearest
city. It is not only important that you have the article or articles, but that
you let people know you have them, and to this end consider that judicious
advertising is capital so well invested that it is sure to bring you in the
largest profits. The writer calls to mind an energetic little lady in a far
western town who started a modest art bazaar with limited means, and still
more limited experience. As a matter of course, she stocked up beyond
the capacity of the home trade, and, in consequence, found herself, as she
naively expressed it, "stuck with a lot of stuff, and not a cent to turn
around with." If she had not money, she soon demonstrated the fact that
she had plenty of "mother wit." She had an interview with the publisher
of the local paper, and the result was that each week appeared two columns
of matter on "Fancy Work," describing the most ravishing toilet sets,
daintiest of doyleys, pillow shams, and numberless odds and ends, until
every woman in the county was fired with the determination to do fanc}-
work, or die in the attempt; but the business came in here — each issue
contained a local notice to the effect that Mrs. C was prepared to fur-
4i8 DAINTY WORK FOR PLEASURE^ AND PROFIT.
ni^ materials for making each and every article described in the article on
"Fancy Work," besides many new and beautiful designs not described; also
work stamped and conamenced, with proper shades of silks selected, and
mailed to any address. The result? In three months her stock was reduced,
she had working capital and, better than all else, was known in every corner
of her own county, and in many surrounding towns. All the foregoing
apropos to advertising. Of course, in the limits of the present article,
the writer cannot follow the dealer through all the vicissiti^des of a first
venture; the most that can be done will be to put up warning signs along
the way, wherever pitfalls are likely to trip the unwary.
Stamping Patterns.
This part of the outfit was purposely left out of the list of stock articles,
as we wished to discuss it by itself. Stamping patterns are the most im-
portant part of the equipment of an art bazaar or fancy goods store. There
must be a supply sufficient for a large variety of work, but here must go up
another "warning post" — "Do not purchase too many patterns in a season."
The foundation stock must include designs for doyleys, five-o'clock tea
cloths, tray cloth, caraffe mats, table mats, lunch sets, shams, bedspreads,
curtains, cushions, large and small; dressing case and side board scarfs, and
table covers, but do not purchase for a certain purpose more than three
different patterns. There must be at least three sizes of alphabets and one
monogram, with an assortment of designs for satin stitch on flannel, cash-
mere, etc., including several scallops with corners. Such a supply of designs
can be purchased for $20, together with a large blank book of strong
manila paper. On the pages of this book stamp all the designs and num-
ber them in consecutive order, marking the same number on the pattern.
This book is for your customers to select designs from. They should
never be allowed to handle the pattern itself. In fact, the pattern should
be kept in the work room, spread out flat, without creasing, in a drawer or
^ box. The patterns should be added to, a few each season. As soon as
received, they too should be added to the design book and numbered.
Remember that new designs are always a good investment; also remember
that a few at a time and often will do more good than many and far apart
in the season of their purchase. Nearly all large patterns for bedspreads
curtains, table covers, etc., come in sections, and as many ladies have not
the power of imagining kow it will look when put together, it will be found
a very excellent plan to paste sheets of manila paper together, until a piece
the size of a large table cover has been obtained. On this stamp the design
clearly, and display, either window or wall
in the case. Do not display too
many at one time, but change them frequently. In fact, this advice may
be applied to all the display articles — overcrowding of
window or show a
case is never desirable. A few articles, frequently changed, will be much
more effective; also one or two strong pieces in a show window something —
that can be seen at a glance, that will stand out, strong and distinct —will be
far more attractive than a window crowded with a miscellaneous assortment
of small novelties, no matter hov* pfetty they may be in themselves. The
window should be changed at least once each week, carefully putting out of
sight for a couple of weeks the articles that have been used, when they may
be again brought out.
One of the first problems that will confront the woman who intends
opening a fancy goods bazaar will be the question: Where to obtain the
stock. As a rule women out of business know very little about such things
and other women in the business are apt to be rather non-communicative
on the subject. We cannot name any firms in the pages of this book, but
the manager of almost any large retail dry goods stores will be perfectly
willing to give the needed information. It is better to buy of the manu-
facturers when possible, though for some reasons it is more convenient to
purchase of a general jobber who carries all the different articles needed.
Nearly all wholesale houses have catalogues, which they will send upon
request. Much information can be obtained from them, though it must be
understood that the lowest prices and best terms are never printed in them.
The "getting ready" to begin business should not be rushed through.
Plenty of time should be allowed for getting samples ready and stock
selected, and the venture should be made at the beginning, not at the end,
of a season. The best season for this trade is from the middle of Septem-
ber to the middle of January, and from the 1st of April to the last of June.
The time between the seasons can be profitably filled in by making up fresh
samples, novelties for holiday sales, and the formation of classes in em-
broidery. There need not be a week, nor a day, when the dealer shall not
make a margin of profit, if the right kind of energy is given to the business.
28
Bed draped with five yards china blue Waban netting. The spread,
a section of which is shown, is made of Roman twill linen, the design is a
cowslip blossom resting on a leaf of its own foliage scattered over the sur-
face. Scotch linen floss in three shades of green and three shades of yellow
will be required. Use short and long stitch for the leaves and solid Ken-
sington for the flowers. Finish edge of spread with reticella crochet lace
made of Real Scotch linen crochet thread, No. 36.
The pages of this book contain all the various lessons for making all
kinds of decorative articles needed in a general art store, and any lady who
wishes to open a bazaar for decorative needlework need not spend a dollar
for lessons, nor waste time and money in further experiments, if she will
but study carefully what we with great care have preparedfor her guidance.
For the benefit of that class of women who need actual illustrations of
every step to be taken, we show on pages 257 to 308 several articles that
may be made up to add to window and show case attractions. They will
>)e found ready sellers at any season and afford also a pleasing variety.
Following are the descriptions and numbers of the several articles.
Toilet Set.
Figure 271 illustrates a beautiful toilet set that is easy of construc-
tion and decoration, and not expensive. The cushion is about twelve inches
across, square in shape, and stuffed quite high. The cushion should first be
covered with a plain covering of pale blue satin, or China silk. The four
corners should be finished with large, loose bows of the same colored silk,
fringed at the ends. As the entire effect of the cushion depends upon the
arrangement of these bows, care should be taken to follow the illustration ^s
closely as possible. The bows should almost meet on the four sides of
cushion. For the center, cut a square of bolting silk to just fit the top of
cushion, and over the entire surface paint conventional daisies, as shown in
illustration, painting with gold paint the outlines of the design. The inner,
star-shaped portion of each flower should be painted with two or three
shades of blue in water colors, while the exact center should be of deep
yellow. The same idea should be carried out on the bottles, which are first
covered with the silk and afterward with the painted bolting silk.
Glassine Handkerchief Sachet.

Figure 272 illustrates a beautiful handkerchief case, made of glassine
and silk. A square of glassine, 28x28 inches, will be required. Slash in the
four corners, so as to leave a square in the center 14x14 inches; fold over
the slashed corners and fasten in the center with a large ribbon bow, A
spider web and floral arrangement is carried out in oil colors in pink, green
and gold, but any other design could be substituted. The four corners
are finished by small ribbon bows, and the inside of the case is lined with
loosely tufted pink China, silk, delicately scented, j

Glass Panel Screen.
Figure 273 shows a dainty little three-panel screen, made of glass with
beveled edges. The design starts from the left-hand panel, and extends
across the three. The subjects for decorating these glass novelties should
be a simple floral arrangement. The model was treated with wild roses in
oil colors. The panels are tied together with ribbon bows. These screens
are used on the drawing room or parlor tables, placed before the lamp.
Tobacco Pouch.
Figure 274 shows a tobacco pouch made of chamois skin. The pouch
is four inches wide and eight inches long. The side seam is decorated
with three ribbon bows and the bottom is embroidered with a fringe made
by slashing a piece of the chamois into one-quarter inch strips. To pre-
pare the fringe, select a smooth piece of chamois three inches deep and as
wide as the pouch. Paint it all over with liquid gold, and then slash,
as previously described, to a depth of two and one- half inches. This will
leave a half-inch of material for a heading. The neck of the pouch should
have a draw string of one-inch ribbon. The design in illustration is a con-
ventional arrangement, which will look well carried out in brown, with
a glint of gold and dash of crimson, relieved with touches of deep, cool
green, worked out with oil colors.
Glassine Toilet Set.

Figure 275 illustrates a unique toilet set. The cushion is square. The
top is covered with a puffing of China silk in clover pink, sometimes called
dead rose shade. This top cover must be arranged very carefully, for
while puffed quite full an appearance of clumsiness must be avoided. Each
corner has a narrow scarf of bolting silk, with edges feather stitched in
olive green wash filo floss, gathered exactly on the point of the
corner. Over this is arranged another scarf of China silk, of the same
clover pink shade as is used on the top, tied in a loose bow and ends.
Through the bow is run a cord and tassel of a lighter shade than the silk.
Over the four corners is now placed a half circle of glassine, having the
edges picked out in gold paint, and clover heads painted over the sur-
face in oil colors in natural shades. The effect is wonderfully stylish,

The bottles are first covered with silk in clover pink shades, and over
the bottom portion of each bottle is placed a cover of glassine, painted
with a design of clovers to match the cushion pieces. The neck of each
bottle is finished with a cord and tassel.
Parchment Parasol Catch-Ail.

Figure 276 shows a novel device for holding letters, cards and other
small articles of a like nature. To make the parasol, any material may be
employed that can be folded or creased without breaking. Parchment is,
of course, the best for the purpose, but glassine or silk may be substituted.
In case the latter is used it must be lined and also have an inter-lining of
stiffening — crinoline will answer admirably.

For the handle select a small-sized bamboo rod, or the handle of an old
parasol will answer as well, provided it is of the short style. At the end
bore a hole, and another about half way down the stick, and a third at the
top. Cut the panels or gores out of the parchment, using as a pattern a
section ripped from a discarded parasol. On each panel paint an edge de-
sign with a floral design above, either in oil or water colors, following direc-
tions given under those heads for working them. When the panels are
thoroughly dry they are ready to be attached to the handle.
Gather the top of the panels around the top of the handle, and fasten
them securely by sewing with a strong darning needle, threaded with
to it
hair wire, both through the panels and the hole in the handle; cover this
fastening with a bow of soft faille ribbon of harmonizing color. Now, when
the parasol is suspended, bottom up, the parchment cover will fall straight
out; therefore, it must be secured in position. The illustration shows
the parasol half open. To secure this effect punch a hole through the edge
of each gore,and run through from one gore to another a heavy silk cord
draw it up until the desired effect is produced, and then pass the ends of
the cord through the hole previously bored in the middle of the handle.
Add another ribbon bow at this point. A cord and tassel finishes the bot-
tom of the handle. Parchment is of a rich, old ivory color, and therefore
a most exquisite background for painting.
Traveling Roll.
Figure 277 illustrates a most convenient traveling roll. The roll is
made of ecru satin-finished linen. A piece of material twenty-seven

inches long and twenty-four inches wide, was used to make the model, thus
makmg the roll twenty-seven inches long and twenty-four inches around.
When sewed together the circular ends must be filled in with a little fulU
ness, and they should also be lined with heavy linen canvas or other stiffen-
ing. The edges, where the ends are set in, look best finished with a rich
brown cord sewed on. A handle can be purchased ready made, or one can
be manufactured home by covering a piece of stiffening with soft, brown
at
leather or chamois skin. The design of birds in flight is particularly ap-

propriate, and they should be painted in sepia and warm sepia — see direc-
tions for painting birch bark.
Duster Case.
Figure 278 shows a convenient duster case made of brown linen. To
make like the model will require a piece of linen twenty-seven inches long
and eighteen inches wide. Fold the linen up from the bottom edge, to form
the pocket, seventeen inches, and fasten down both side edges. Fold over the
top for the lap ten inches. Across the top put a row of heavy machine stitch-
ing, but do not sew down the edges of the flap. Bind the entire case with
wide silk braid, matching the linen as nearly as possible. The word
"Duster" on the flap should be painted with sepia, and the design on the
pocket should also be painted with sepia and warm sepia, using the colors
lighter and darker. This will give a harmony in browns very pleasing to
the eye. Some might prefer colors for the design, but for the purpose of
decorating a traveling roll, the quiet, one-toned coloring is far more elegant
and correct. Materials ready stamped for these articles always find sale.
Calendar.
Figure 279 shows an easy way of making a novelty calendar. The ma-
terials required are three strips of ribbon, each one yard long, for the
calendar numbers, one yard ribbon for bow, and one and a half yards cord
and two tassels to suspend by. The celluloid is cut in the shape of a sham-
rock, and inside each oval a square slit is cut out, leaving an open space
through which to run the ribbon, having the days of the week, names of
month and date. These are painted on the respective ribbons with liquid
gold paint. The celluloid ovals are outlined with a broad band of gold
paint, and springing from the center is a straggling design of convention-
alized buttercups, painted in oil colors,

CHAPTER XVIII.
DESCRIPTION OF FULL PAGE ILLUSTRATIONS.
HROUGHOUT the pages of "Dainty Work"

will be found full page illustrations of various
household articles, ornamented and otherwise.
In some cases they bear direct reference to the
subject treated of in the article they illustrate,
and will need no further description here, while
in others they are used merely to give larger
scope to individual fancies — to show in the con-
crete what has been treated of in the abstract.
On page 58 a number of cushions and head

rests are shown which are artistic and inexpensive. The roll shown at
lower left hand corner of page can be used for head rest on large chair. To
make, will require a roll made of stout cotton cloth, stuffed with cotton or
sea moss. The size of roll is a matter of taste. The cotton roll in the model
was covered with old rose china silk, sewed on plain and gathered in a full
frill at each end, the edges of which have been fringed out. The center of
the roll has a band of golden brown satin placed over the silk. This center
cover comes to within three inches of each end, and is decorated with a
conventional vine worked out in several shades of golden brown and rose
pink; the ribbon by which it was suspended to the chair is a pale old rose.
The model for the cushion at the lower right hand corner was a square
of gas green velvet, folded to the center to meet a pale sea-shell pink puff
of India silk. On one of the sections of the square was embroidered a

small floral design, in royal floss silk.
Above this cushion is shown another roll for chair back. Tlic ri>l! In
the niudel was stuffed loosely with sea moss and covered with c:\ar.) col-
ored India silk, tied at the ends with pale lavender ribbons. The design
is a cluster of pansies looped with ribbon. The pansies were worked out
with pansy purples in filo floss, and the ribbon outlined in a shade of pale,
olive green royal floss.
Over the roll head rest first mentioned is an infant's pillow covered
with a slip of dainty white linen lawn edged with soft snowflake lace, and
decorated in one corner with a single spray of lily of the valley; a dainty
conception.
The next cushion in the group is a leaf shaped head rest, made of cot-
ton cloth and lightly filled with cotton wool and then covered with light
golden brown India silk. The center is veined with pale pink, and the
edges finished with short and long stitch in a deep, golden brown with
royal floss.
Page 114 shows four beautiful and inexpensive drapes, suitable for man-
tel or picture frames. They may be made of any soft clinging fabric, but
China silk is at once most satisfactory and artistic.
Page 138 illustrates two drapes and a table doyley. The first figure
shows a doyley made of white satin damask. A circle of pansies are
stamped around the edge. The outer edge of petals are worked in short
and long buttonhole stitch, with pale lavender linen floss. The inside of
petals are filled with the different fancy stitches which are so easy to do,
and so effective when well and evenly worked; the filling stitches should
be of the linen floss, of a darker shade of purple than the edges; at least
three shades should be employed.

The drape at the left hand side of page is made of India silk— pale
cream color. The design Is one of leaves which are first tinted a pale
green with water colors or Paris tints, and then outlined in short and long
stitch with several shades of olive green filo floss, two strands. No two
leaves should be alike. The cloth should be cut away on the ends and
each leaf finished with a tassel of green filo floss.
The second drape is made of pale blue India silk, on each end is a
border of silk bolting, nine inches deep, on which is embroidered in daisy
and outline stitch, a dainty design; for this use pale blue filo floss, one
strand. The edge is then cut out and each point ornamented with a tassel
made of blue and white filo floss. p-
DESCRIPTION OF FULL PAGE ILLUSTRATIONS. 427
Page 141 illustrates four beautiful drapes. The drape shown on the
left hand, upper corner, is of white India silk stamped with a powdered
design of roses and buds with broken bits of foliage. This design should
be very delicately tinted with water colors in pinks, greens and stem
browns, and each part of design lightly outlined with one strand of filo
floss. The stitches must be daintily set and very even; match the silk
against the tinting carefully. Three skeins of filo floss will work the entire
design. The edge should be outlined and finished with green, pink and
brown silk tassels.
The drape on the upper right hand corner is of pale yellow surah silk
of good quality. The design on the ends is a Roman embroidery pattern
worked out with four deeper shades of yellow etching silk; see chapter on
"Drawn Work" and "Lace Stitches" for method of filling in. The edge is
embellished with tassels, made of several shades of yellow royal floss.
The drape at the lower left hand corner is made of pale green India
silk, bordered with a ten inch band of silk bolting, on which is worked a
dainty design of jonquils with foliage wrought with filo floss in white, yel-
low and palest greens. The edge is scalloped, finished with buttonhole
stitch in pale green and ornamented with white, yellow and green silk
tassels.
At the lower right hand corner is illustrated a drape of silver green
surah silk, bordered with a band of silk bolting feather-stitched on. This
band is ornamented with a begonia design which is worked out in four
shades of silver green filo floss; finished with tassels of white and silver
green royal floss.
Page 148 illustrates different methods of draping beds with spreads

and shams, four of which are described as follows:
Figure No. i shows a bed draped in Scotch Homespun, which is a
fabric made of pure hand spun flax, in its natural color. The spread in the
model has a border of poppies, slightly conventionalized, worked out with

linen floss, in two shades of ecru and a rich wood brown. Solid Kensing-
ton stitch is employed for the petals and French knots for the center.
Th€ monogram worked in the same shades in satin stitch,
in the center is
raised by working over a padding. The shams are worked in the same
manner. The flowers could be worked out in the natural shades of poppy
reds with equally good effect. This material offers a beautiful background
for Roman embroidery, and spread and shams decorated in this style of
work are not only very handsome but serviceable.

Figure No. 2 shows a bed also draped in Scotch Homespun. The
pattern is a Dresden design of carnations which should be worked with
solid Kensington stitch in Real Scotch linen floss, size 8. The pillows are
covered with scarf of the Homespun, decorated to match spread. The
ends of the scarf may be further embellished with a border of Roman em-
broidery or drawn work.
Figure 3 is draped with cream-colored Roman twill. The design is a
border of ribbon enmeshed roses. The ribbon is outlined and filled with
darning stitch in lily green rope silk; the roses are outlined with cream-
white rope silk, the centers filled with pale yellow French knots and the
under portion and lower part of petals with a few darning stitches in the
palest shade of lily green. The effect is very light and dainty. The roses
could be done in pale yellow, or pale rose pink, and the ribbon in wood
brown.
Figure No. 4 shows spread and shams of Devonshire art cloth with
design of conventional clematis worked out in solid Kensington with helio-
trope shades of rope silk. Spread and shams are of one piece.
Page 154 illustrates a beautiful cover for a library or dining table. The
material of which it is made is a square of Devonshire Art cloth in real flax
color. The edge is ornamented with an ivy vine worked in outlme stitch
with wood brown Bargarren art linen thread.
The outline stitch should be made very heavy, with a cord-like appear-
ance. Over the surface of the cloth a conventional design is powdered, as
shown in illustration. The leaves of this powdered design are worked in
short and long stitch with rope linen in a lighter shade of wood brown than
that used for the ivy vine. The stem of leaf is made with the darkest
shade of wood brown, in outline stitch. The petals of the design are worked
in short and long stitcsh, for which three shades of wood brown rope linen
are used. The edge is treated in a novel and beautiful manner. A border is
crocheted from linca crochet thread, No. 18, in pure flax color. After the
slicll design has been finished tiny tassels of the same linen are tied into
the edge, forming a heavy fringe.
Page 174 illustrates a caraffe mat which is a combination of crochet

work and embroidery. The center of the mat is cut out of firm white linen
in the shape of an oak leaf. The natural leaf will furnish a good pattern, a
little enlarged. Finish the edge with a row of short and long buttonhole
stitch over German cord No. o; for the buttonhole stitch a pale, green linen
floss may be used; also for the veining in the center of the leaf. The vein-
ing should be done in cord outline stitch. After this part of the work has
been finished the edge should be added. Use cream white linen crochet
thread: start the design in the edge of leaf as a foundation, and work from
the leaf outward, in any design fancied. The wheels may be crocheted
separately and added afterward if preferred. Often several designs may
be combined in a single edge with excellent effect, the chapter on "Knitting
and Crocheting" contains many designs that can be adapted for this purpose.
Page 294 illustrates a beautiful window drapery. It consists of Waban

netting draped over white lace curtains. The material for this drapery
is two lengths that form the long drapery
cut in three different pieces; the
and the length that is draped across the window, which should be disposed
as lightly as possible. The netting can be had in all the art shades, or an
old fish net maybe pressed into service, though not as artistic as the Waban.
Page 298 shows an entire room draped with the same material. The
portiere in the foreground will afford an excellent study for drapery, while
the small door and window in the distance show still other effects. This
drapery material is inexpensive, and gives an idea of airy elegance to the

plainest room. It needs no decoration, and will collect no dust.
Page 302 shows a fire place draped with Waban: this material is the
most appropriate for this purpose for several reasons. If one has a hand-
some mantel which it would be a pity to cover from sight, and yet needs a
little drapery to ease the room from an effect of stiffness, Waban will,
answer excellently for it; as it will drape gracefully, without concealing all the
beauty of the mantel. On the other hand if the mantel is an eyesore it
will kindly drape and conceal many defects, and take from it the
worst
feature of its ugliness. Four yards will be required to drape a mantel as

shown in the illustration; and it must be cut in throe lengths. Page 306
illustrates still another use of this material. Pôr a bamboo or brass easel
no '^rctticr drnpcry cnuld be conceived, It drapes but does not conceal and
DRESDEN PLATE DOYLEY.

—
therefore perfectly fulfills the mission of drapery fabrics; three yards will
be necessary to duplicate the drapery shown.
Throughout the pages of "Dainty Work" attention has been given
largely to the decorative necessities and consequently bed linen and table
linen have received a large share of attention. On page 324 is shown one
of a series of table doyleys. These articles of table luxury offer pretty and
easy work for many an idle moment, and will prove no tax on either the
ingenuity or eyesight of the worker. The doyley in question is called the
"Magnolia" The center is made on fine linen huckabuck; the background
is darned through each mesh with a single strand of pale green royal floss.
The flower is outlined lightly with royal floss silk in a creamy white with a
dash of old pink toward the center of petals. The stem is in green worked
solid. The edge is crocheted with pale yellow linen floss, size 4. Any
design for the crochet may be selected that one fancies, but it should not
be of a character too heavy.
Page 322 illustrates the "Maple Leaf" which is exquisitely dainty. The
leaf is stamped on plain white linen, and outlined around the edges with a
buttonhole short and long stitch over a German cord No. 0, in pale green
linen floss. The veins should be outlined with the same material, and the
edge should be crocheted with crochet linen thread No. 50 in cream white.
The design shown is appropriate and is composed of two patterns shown
in the chapter on "Knitting and Crochet."
Page 430 shows the "Dresden" doyley which is stamped on satin
<iamask. The edges are outlined over German cord with white linen floss.
The Dresden flowers are worked in solid Kensington stitch, with pale blue
and pink linen floss with a bit of brown and green for stems and foliage.
The lace is crocheted into the edge of doyley — following the indentations
with pale, blue linen floss No. 4. The picots forming the very edge of
design will be more effective if another shade of blue, one tone deeper than
that for the inside part of design, be used, or, a combination of blue and
white, or pink and white would be artistic, while pure white is always in
good taste.
COLORED PLATES.
Several colored plates have been prepared to further illustrate the sub-
ject of color work, and below are the palettes for painting them in oil col-
DRAPED CUPBOARD.
ors. The plates will serve as "studies," and they may be enlarged or not as
desired. The author is indebted to an artist friend for the following palettes-
Palettes for Painting in Oil.
The ground for flower painting should be of a creamy white tint, other-
wise most of the colors must be made opaque by the admixture of white, to
cover the tintbeneath; and with the loss of transparency, from the use of
opaque colors throughout the darks and shadows, comes also that of depth
and richness in tone. This is as true of a background as of a flower.
For backgrounds make gray by combining a little of each, rose mad-
der or vermilion, cobalt blue and yellow ocher with a good deal of white
and a very little black. By varying the proportions of colors your gray
will be bluish, greenish, yellowish, or of whatever tone you wish, and eith-
er light or dark, as you choose.
For greens, make with blue and yellow, or use any green you have,
modifying with raw umber, burnt sienna, black, red, or white, as needed.
Lay the tints where they belong, then blend softly to unite their edges.
Let them dry weil before putting in the final markings, for which use a
fine pointed brush, held upright. This rule applies to all the crisp, delicate
lines or dots in leaves, stems or flowers.
Fleur de lis. — Mix
madder or madder lake and cobalt blue
rose
for purple. If you have a creamy white ground to paint on lay in all the
darker tints, some a little reddish, some bluish, and others darkened with a
touch of black, before using any white. Then mix white with any of the
tints already made, using much or little as needed. Match the tints in the
copy, laying them side by side, each in its place, and leave them untouched
until you have finished a flower. Then blend slightly with a dry bristle
brush, just enough to soften the edges of tints together and to break the
lines of brush-marks.
Lay in the white flower and bud with a gray made by adding a little
black to white, using a tint with more black in to shade with. For the
highlights make a creamy tint by adding a little yellow ocher to white.
Make background as illustrated; or one of light yellowish gray for the
upper part, shading down into dark reddish brown at the bottom, is very
efifective.
Oranges. — Draw in with burnt sienna. Pale, deep and orange cami-
um, with any of the browns mentioned above, may be used; or any bright
yellow with vermilion added in the orange parts and white in the high-
lights, will give the desired orange tints, to be shaded with brown.
Poppies. —These can be painted at once with vermilion, rose madder,
white and brown. But much more transparency and beauty of coloring
will be secured by following the method given for the lilies. First, then, a
bright yellow over all except the white or pale pink parts of the red pop-
pies, and when thoroughly dry paint in the reds and browns. Paint the
white poppy with gray of black and white, modeling with the same, as for
fleur de lis, then touch in the other tints.
To darken the lower part of the background add a little brown to your
background gray.
Oak Leaves, Sumac and Golden Rod. — Paint the reds in this plate
of autumn glory as described for lilies and poppies. Add a touch of burnt
sienna or brown, and white if needed, to gray for grasses and stems or
golden rod. For golden rod use any bright yellow and white, with touch
of black: when dry, dot in the delicate touches of color. The strong finai
markings in the sumac '*beds" and oak leaves will require bone brown.
CHAPTER XIX.
SPECIAL ILLUSTRATIONS.
THE FOLLOWING pages show a few dainty household novelties

that will prove a veritable gold mine to the teacher or dealer
in decorative work if properly followed.
CORNERS FOR BREAKFAST DOYLEYS.

FIVE-O-CLOCK TEA CLOTHS.
The Tea Cloth shown here is made of fine round-thread linen. The
edge is finished with a fringe, and each of the four corners should have the
design shown repeated. The arrangement shown in the illustration may be
reversed, if desired; that is, the bow of ribbon may be at the bottom instead
of at the top. It is a matter of choice. The stitch used should be solid
Kensington for the flowers and foliage, outline for the stems, and button-
hole point stitch for the ribbon, which may be green or white.
The figures shown on page 435 are suitable for corners of breakfast
napkins or doyleys, and will look well worked out with outline, short and
long stitch, or solid stitch; or a combination of the three would be quite
effective.
SPECIAL ILLUSTRATIONS. 437
THREE-PANEL SCREEN.
This screen is decorated with a design especially adapted for painting.
The frame good suggestion. Any ordinary carpenter can make it,
offers a
and common from knots and blemishes, will answer. The orna-
pine, free
ments shown near the top can be purchased for a trifling sum from any
wood-working shop. After the frame has been put together treat with two
coats of ivory-white English enamel. The panels in the top should have a
thick coating of copal varnish; while wet sprinkle thickly with broken bits
of colored glass, and treat the whole, when dry. with a coat of varnish.
The panels may be painted on sea-grass matting or on canvas.
43^ DAINTY WORK FOR PLEASURE AND PROFIT.
BUTTERFLY CENTER CLOTH AND DOYLEYS.

Raised butterfly decorations are much used on center cloths and doy-
leys. The above illustration should have the edges scalloped and worked
in buttonhole stitch. The spray on which rests the butterfly should be
worked in one color, in solid satin and outline stitches. The butterfly
should then be worked on the flat in seed, outline and dot stitches, with the
cloth cut away around the edges of the wing, after the manner of Roman
embroidery. The two wings shown on the side of illustration should then
be worked on a separate piece of linen, cut out and attatched to the body
with an overcast stitch. The body of the butterfly should be worked last,
in a heavy satin stitch. The two applied wings will stand up from the cloth,
giving the appearance of a butterfly just alighting. These arrangements
may be varied to suit individual taste. A flight of the pretty little insects,
of different sizes, may be arranged with pleasing effect.
LOUIS XIV DESIGN.
These designs are having a great revival of popular favor. They are
exquisitely dainty, and may be applied to almost any article. The illustra-
tion above is a border for doyley or center cloth. For center cloth it should
be enlarged five times, while the size illustrated is correct for the doyley.
The work should be solid except the ribbon, which may be done in any
fancy stitch preferred.
CENTER CLOTH.
The design shown here is very effective, and simple to work. The
material should be fine linen. The pointed scallops look best worked very-
heavy in buttonhole stitch, with white linen floss. The ribbon should be
worked with a delicate lily green, in buttonhole point stitch; the violets in
three shades of purple linen floss, size 8, in Kensington or satin stitch.
BED SPREADS.-FIG. 1.
The beds shown on this and succeeding page are covered with spreads
made of Roman twill linen, decorated with designs that should be worked
in outline and solid embroidery. Figure i hasthe extreme edges worked
in scallops with heavy buttonhole stitch, with white linen floss. The
design in the center is also outlined with a scalloped edge, worked in the
same manner. The scroll above the border edge is effective worked in
white rope linen, in a heavy cording outline stitch. The ferns in the cor-
ner should be worked solid in two shades of green linen floss, size 8. The
ferns in the center should also be worked in the same manner, and the
knots of ribbon should be outlined with white. The same treatment should
be carried out on shams.
Figure 2 shows a bed spread with a spread having a garland of tiny
flowers arranged as an all-round border. The edge of spread should be
worked with buttonhole stitch in scallops, and the garlands in natural color
of linen floss size 8; for the small flowers and foliage use satin stitch; for
the ribbon, simple outline stitch, filling in with a row of darning stitches if
desired. The designs shown on this spread are very popular, and are
being applied to many uses.
442 DAINTY WORK FOR PLEASURE AND PROFIT,
BEDSPREAD.-FIG. 2.
There are many different methods of decorating bed spreads. The

two given will, however, serve as a guide and stimulus to invention. The
work must be done with exceeding neatness, and the design and coloring
selected with the utmost care. Very good effects may be obtained with
outline stitch alone, when, of course, the work is reduced to a simple prob-
lem of exactness in taking the stitches. For outline work the design
should be selected with reference to the treatment; flowing lines and bold
outlines being necessary to get a truly artistic effect.
ROSE CENTER CLOTH.

The beautiful design shown above is for center cloth, and should be
wrought out in pale pinks, three shades, one shade yellow for center, three
shades green for leaves and stems; cither pink, green, white or yellow may
be used for the ribbons. Solid Kensington and outline, stitches look best
on this design. Enlarge four times for correct working size.
29
BUTTERCUPS. VIOLETS.
DAISIES. FORGET-ME-NOTS.
DOYLEYS.
The four pretty designs for doyleys shown here are one-half the cor-
rect working size. The doyleys should be made on fine white linen, and
the work done in solid Kensington and outline stitches. The effect is also
good when silk bolting is used in place of the linen.

CENTER CLOTH.
The design shown above is especially suitable for a white linen or lawn
center-piece. As will be seen, it is designed on a circle. The edge is fin-
ished with broad shallow scallops which are to be worked with deep, close
buttonhole stitch with white star floss. The ribbon on which the tiny
baskets are suspended is wrought out in pale green etching silk with out-
line stitch for the edge and a row of feather stitch in the center.
SPONGE BAGS.
These little articles are very convenient for use in the bath room or the
toilet table, and for traveling bags are almost indispensable. They are so
easily made, and the materials for their construction so inexpensive that
they will be eagerly sought for Christmas gifts, and will always find a ready
sale, cut and stamped ready for working. The sketch shows back and
front of bag when com-
pleted.
The material may be
linen crash, duck, or other
wash fabric. The two
main sections are first cut
out, and on each side an
outer pocket, half the
depth of the entire bag, is
attached. The whole is
then bound with silk braid,
and loops to hang by are

added. The inner and
deeper pocket is for brush
and comb. One outer
pocket is lined with oil
silk ; this is for the sponge.
The remaining outer pock-

ets may be used for any
other toilet articles de-
sired. The decoration on
the model is a design of
pink clover and leaves,
SPONGE BAG. scattered over the surface.

The clover is worked in crown stitch with filo floss in three shades of pink.
Another dainty sponge bag may be made from thin oiled silk. Cut a
strip of oil silk about fourteen inches long and four inches wide join the ;
two ends together with a pretty ruching of pink satteen, and attach narrow
riboon hangers to suspend by. This arrangement leaves the sides of the
bag open and allows a circulation of air which dries the sponge quickly and
prevents it from becoming musty.
The sides of the oil silk bag may be decorated with some simple design
painted with oil colors.
TRAVELING CASE.
Traveling cases for holding towels, brush, comb, soap, etc., are useful ar-
ticles and may be made as ornamental
as one desires. The model shows a
very pretty case of this kind. To
make, select a strip of gray or ecru
linen canvas, 20 inches wide by 36
inches long. Turn over the canvas at j^....;^:.,. _ , _._ .-^L..,.^.^
o^-^^
one end to form a pocket nine or ten
inches deep — large enough for the
night-robe — above this pocket stitch
on a lap-over about 3^ inches wide,
fasten down to the pocket by means of 7T-
buttons and buttonholes. In the cen-
\r It X
ter arrange two square pockets, one at
each side, fastened also with a lap-

over. Above these two side pockets,
in the center of the width, arrange a
---<
strap into compartments for brushes,
and above that,
tend from edge to edge.

pockets with brown
about six inches from
the end sew on a pocket that will ex-
silk braid
Bind all
and orna-
the
7 traveling case.
ment the hems and edges with a row of coral stitch done in dark brown
etching silk. Scatter over the pockets broken sprays of flowers and work
in outline stitch with two or three shades of brown etching silk. When
in use roll up from the end and fasten with brown satin ribbon.
Pretty traveling medicine cases are made from these materials and in
the same manner, except that the ends and sides lap over and tie in the center.
Inside there is a strip arranged in compartments to hold six medicine bottles.
—

PICTURE FRAMES.
In this day of many photographs and the banishment of the family
album, picture frames have become a necessity, and where the frames have
to be purchased ready-made the expense becomes an item worth consider-
ing. There are many pretty styles of frames
which can easily be made at home. Some are
square with oval openings, or the opening may
be square. There are the round frames, the
frames in two panels, and again in three. The
favorite size is 9x75^ for the single panel
square frame, and 8 inches for the oval and
round frame.
To make any of these frames there will be
"photo frames. required, of very stiff card-board, two pieces
a front piece, having the opening truly cut out, and a plain back piece.
These two pieces are to be neatly covered separately, the picture tacked
into position on the back piece, and the two pieces must then be firmly
glued together. The outer cover is usually made of fine white or ecru
linen, embroidered in Dresden design in either silk or linen, in solid stitch.
If the frame is covered with leather, mole skin or silk, the design will look
best painted. Where the picture is to be used on a table or bracket a
standard should be attached to the back. The front and back boards can
be purchased for 15 or 25 cents, without the standard, and with, for from
25 to 50. Where one has not the patience or ingenuity to prepare the
foundation this will be found an accommodation.
The model shows an oval, eight inches across, covered with white linen
embroidered in forget-me-nots in satin stitch.
Dealers will find a stock of prepared foundations, with and without
standards, a paying investment. In connection with these should be car-
ried in stock the front and back covers, cut to fit, having stamped on them
suitable designs with the work commenced; the necessary material for
finishing should be attached to each in a little paper bag or envelope.
Where several covers are thus prepared just the necessary amount of
embroidery thread, and no more, need be purchased as one skein of a color
may be divided between several covers.
SOILED HANDKERCHIEF BAG.

This dainty little trifle is intended for use near the dressing case, and
is designed to hold soiled
handkerchiefs. The bag is
made of plain white linen and

is seven inches wide by nine
inches long. The outer side of
bag is decorated with a spray
of buttercups, worked solid
with yellow filo floss. The

stems in brown filo floss. The
top is hemmed over a stiffen-
ing, and across one corner is
draped a piece of white fish net,
with edge finished with tassels.

This net can easily be tied
from white Real Scotch linen
crochet thread, No. 12. A yel-
low ribbon hanger is attached
and the bag is complete. This
simple, inexpensive article will
find friends everywhere.
These articles will be found

ready sellers at bazaars or at soiled handkerchief bag.
Christmas time, and a fair profit may be made by the sale of the material
cut into shape having the design ready stamped, and with sufficient em-
broidery thread attached to work the pattern. Where several are to be
prepared in this way it is a good idea to have several designs. We suggest

for this purpose a small spray of eglantine with flowers, vine, leaves and
tendrils. This design may be arranged either in one corner or it may start
from the top of bag and droop gracefully downward. Another appropriate
pattern could be arranged by grouping small sprays of forget-me-nots
over the lower right-hand corner and scattering a few upward over the
surface toward the top of bag.
450 DAINTY WORK FOR PLEASURE AND PROFlt.
GLOVE AND VEIL CASES.
A society girl's dressing case of the present day resembles a bazaar of
fancy work, so many are the dainty trifles considered necessary for actual
use. Among the daintiest and most useful may be mentioned glove and
veil cases. There are many different methods of making these articles,
GLOVE CASE.
but models shown here are among the most practical as well as the latest.
To make the glove case, select a piece of fine yet heavy white linen,
27x36 inches ; hem the sides and buttonhole stitch the ends ; fold the linen
backwards and forwards into four even folds, after manner of creasing
paper for a fan. The folds will
be 9 inches deep; the inside of

each will form a pocket for a
pair of gloves. The ends are
secured by runninginto cut slits
a cord and tassels. The de-

sign is Louis XIV., as indicated,
worked out with two shades of
blue, fine. Real Scotch flourish- veil case.
ing thread. The ribbon
is worked in buttonhole stitch, with linen floss.
A veil case to
match the glove case is made in exactly the same man-
ner and with the same materials, except that the dimensions are smaller,
being 18x14 inches. The motto, "See within this dainty case filmy veils
for thy fair face," is worked in simple outline stitch in bright gold the ;
ribbon is pale yellow and the flowers are worked in delicate pinks and blues
with Scotch flourishing thread. No. 8.
INFANT'S FLANNEL ROBE.

Considerable attention has been paid in previous chapters to decorative
needlework for articles of the wardrobe, for if all other styles of embroidery
should be doomed by a decree of Dame Fashion, that for embroidering baby
clothes would still be with us. French embroidery, commonly called satin
stitch, is usually used for this class of work. Ladies who wish to earn money by
the use of the needle will find a paying field of labor in making infant's tros-
seaux, and as pretty flannel wrappers are considered an indispensable part of
an infant's outfit we show one in this connec-
tion, made of fine white flannel. The yoke is
embroidered with tiny daisies in cream white

etching silk. The petals of the daisies are
to be worked in satin stitch, and the centers
filled with tiny yellow French knots. The
yoke and skirt are joined with a row of fine
feather stitching done with pale yellow etching
silk. A row of the same should be carried
down the front, around the bottom and on
the sleeves. Any other small flower may be
substituted for the daisies. A row of daisies
down the front adds to the beauty of the
wrapper. The model shown illustrates but
one of many dainty and pretty articles for

baby's use. Short jackets made of fine flan-
nel, having the edges finished with fancy
scallops, buttonholed with etching silk, and
spot stitch scattered over the entire jacket,
worked with some dainty colored filo floss, INFANT S ROBE.
are useful as well as pretty additions to baby's toilet. Very pretty little caps
may be made from scraps of white cashmere. Cut a crown the desired size.
Scallop the edge, work with buttonhole stitch with etching silk; cover the
crown with spot stitches worked close together: cut a bias frill for the bonnet,
and scallop the edge, same as for the crown, and cover the surface with
smaller spot stitches than those used on crown,

30
SOFA AND HAMMOCK PILLOW.
Sofa and hammock pillows are always in demand; and as they really are
useful as well as ornamental, they will wear out, thus making room for newer
favorites from time to time. Pillows and cushions should always be
practical, and should look cozy and comfortable, and above all as if intended
for use first and ornament afterward. The model here shown is made of
blue denim, the wrong side is used as the right side for the cushion cover.
SOFA OR HAMMOCK CUSHION.

The design is strictly conventional. The entire design should be
worked out in Real Scotch rope linen in pure white, not cream
white. Work the stems with a heavy outline stitch. The star-shaped
flower in lower right-hand corner should be worked in short and long
stitch, heavier at the tips of petals. The vein in each petal looks best
worked with feather stitch, and a cluster of three or four French knots
should fill the center. The two buds in opposite corners should be worked
alike, i. e., short and long stitch for the outer petals, and French knots
massed close together for the center, which is indicated by heavy shading
in the illustration. The full-blown flower in upper left-hand corner should
be treated as follows: work the petals in short and long stitch, heavier at
the tips. Cover the dots with French knots, large and small as indicated.
The stamens work with fine outline stitch and finish the top of each stamen
with a French knot. This treatment is simple and effective. The cushion
is finished with a frill of the denim made up on the right side. The edge
is scalloped and worked in buttonhole stitch with star floss. These covers
stand innumerable launderings and will wear until one heartily wishes a
change.
IDEAL HONITON.
Ideal Honiton has assumed an importance which bids fair to rival
drawn work. It is equally as dainty in appearance as the finest drawn
work, and has the advantage of being more quickly done and with less
strain upon the eyes.
The designs for

work of this class are
limited; geometric
forms only allowing
the use of the Honi-
ton braids.
Honiton
Ideal
decorations may be
applied wherever
drawn work would be
suitable. The ma-
terials necessary are
two or three sizes of
the Ideal Honiton

braid and fine etch-
ing silk. Illustrations
of this braid may be fig. i. center-piece.

found on page 310, and by referring to the center-piece shown here, the
particular braid, more generally used can readily be seen. To use the braid,
baste around the outlines of the design, then buttonhole each edge to
it
the foundation; make the buttonhole stitches close and firm. Where the
—

braid is used around the edge of any article, like a doyley etc., the material
should be cut away close to the buttonhole stitching. Where patterns are
formed of the braid on the surface of any article which leaves an open
space, the space should be filled with some lace stitch, after which the ma-
terial back of this part of the work should be cut away. This will give a
light and dainty effect not to be obtained otherwise.
The center piece, figure
I will give a very good idea
of the different effects to be
olbtained with Honiton lace
Draid. First a row is button-
holed around the edge and
the material cut close to the
outer edge. The braid is then
placed in the form of a cross ;
as will be seen by studying

the design the braid is not
sewn in a straight line, as on
the border, but is carried
around an imaginary square,
FIG. 2. leaving an open space in the
center. In each arm of the cross a fomr-pointed star is made with the braid
whenever the braid is used remember that both edges must in all cases be
buttonholed to the foundation. The spaces left by forming the pattern are
to be filled with lace stitches. For spaces shown here the most suitable are
English wheel, spider web, Brussels point, all of which are shown on pages
312, 314, 316, and the method is described in "Chapter on Lace Making."
Figure 2, shows a fine linen doyley finished with Ideal Honiton. The
reader will have no difficulty in sewing the braid to simulate the pattern
here shown as the size of each figure is determined by the length of the
loop in the braid — as will be seen by referring to the corner that is shaded
in — each pattern that forms the outside of an open space requires just four
loops of the braid — no more and no less will answer as a loop may not be
divided — on each side there is a pattern formed of three loops only.
Figure 3 shows a small doyley for bread and butter plate. The arrang-
ment of the braid is quite simple. It is car-
ried around the edge, to simulate a scallop,
and for the purpose a braid with small, short

loops should be selected. At intervals around
the edge, inside the scallop, a single loop is
buttonholed to the material, and the dif-
ferent figures in the four corners are made

each with four loops of the braid. In follow-
ing the different designs given for this article
be careful to observe that portion of the pat-
tern which is shown completed, as this part fig. 3.
of illustration indicates exactly how the braid should be put into position,
as well as the effect of the completed work. An ingenious worker will be
able to vary designs shown here, adding a loop or braid here and there.
Figure 4 shows a plate doyley. This treatment is at once effective and
simple. In arranging mark
off the space in each corner
that will be required to al-
low the four loops of the
braid to be put in; then
measure carefully to see if
there will be room enough

between the corners for any
numbers of complete loops
of the braid, then add the
star shape in the center and
two loops of braid at the
top of each corner piece.
The best filling for a design
piG. 4. when only the corners are to
6e so ornamented is the English wheel shown in the chapter on Drawn
Work, as it is more solid than the spider web and gives a better bit of color
where colored silk is used to fill in with.

In arranging designs in Honiton around a border accurate measurements
with the braid must be made so that there shall be no mistake about its
"coming out " all right. A pretty finish for this design would be to button-
hole all the edges, close and firm, with pale green etching silk and then fill
each of the open spaces in the corner with a different stitch, say spike
stitch —shown on each end of figure 265 on page 252 for one space, spider
web, shown in center of same figure on page 252 for a second space and for
third space Brussels point or Spanish point — filling each corner differ-
ently, using pale green etching silk.

Some ladies prefer to do the work with pure white silk, and wherever a
color is used it should be only the daintiest and lightest shade of the color
chosen —yellow, pink, blue, green, violet are all effective.
Figure 5 illustrates a pillow cover for infant's crib, decorated with the
ideal Honiton, ar-
ranged first as
four-pointed stars
in the corner.
Around the edges
a row of the braid
is placed v/ith a
single loop added

between each loop
of the border row.
The space in the

corner where the
Fig. 5. star shapes are
joined should be filled either with spike stitches or spider web. In this
case if the foundation is cut away from back of the corner the pillow should
have an under lining of plain India or surah silk, or satteen would answer
equally well.
We have given sufficient examples to show the beauty and utility of
this braid work, and the ingenious worker will be enabled to arrange other
designs. The amourt of braid required for the various designs shown here
will vary from three to six yards.
INFANT'S CRIB COVER AND PILLOW.

Dainty crib covers for the wee mites are always in order and will find
a ready sale at bazaars or in art parlors, and enterprising dealers can make
no mistake in having a few constantly on hand, ready stamped and a por-
tion of the work
commenced. These
articles all ready em-
broidered will not be
apt to find so quick
a market for mothers
usually prefer to
make these dainty

accessories of baby's
trosseau with their
own hands. The de-

sign here given is a
Louis XIV and is to
be carried out either
on fine white lawn or
china linen, fine as
cob web and soft as

silk.The designs of
forget-me-nots ar-
ranged in wreaths,
looped with ribbon,
are worked out with
one strand of filo
floss, in two shades

of old blue, in satin
stitch, with a tiny
seed stitch of yellow
floss in the center of
INFANTS CRIB COVER.
each flower. Work
out the stems and foliage in outline and satin stitch in two shades of light
olive green filo floss. The ribbon bows and loops work in outline stitch
with palest yellow filo floss. The cover should be 44 inches long by 36
inches wide. The upper portion should be folded over to a depth of 12
inches to form a sham, and edged with fine white lace. The sides and
INFANT S CRIB PILLOW.
bottom edge are to be finished with a hem-stitched hem. This is a spec-

ially choice design. The little pillow completes the crib set. The pillow
slip in model is made of the same material as the crib cover. The same
design is carried out upon it in exactly the same manner. The frill is three
inches deep, very full and finished at the edge with small scallops worked
in close and heavy buttonhole stitch.
ILLUSTRATIONS.
FIG. PP- FIG. PB.
Devonshire cloth. . 1-12 Grape vine applique 51- 5'd
Embroidery frame 2-16 Design in Kensington stitch 52- 54
" 3-16 Flower head rest 53- 55
Embroidery hoop 4-17 Branch of cherries, filling stitches 54- 66
EmBroidery scissors 5-18 Poppy correctly shaded No. 1 55- 63
Work apron 6- 18 Poppy correctly shaded No. 2 56- 63
Pantagraph 7-23 Poppy correctly shaded No. 3 57- 64
Stem stitch 8-28 Roman embroidery design 58- 69
Three outline stitches 9-28 detail 59- 69
Fancy chain 10-20 Lunch cloth 61-74
Loop outline 11- 29 Napkin 62-75
Kensington stitch, detail 12-30 Doyley 68-75
Kensington stitch 13- 80 Carving cloth 64- 75
Short and long stitch 14- 31 Tray cloth 65-76
Satin stitch, detail 15- 32 Daisy center cloth 66- 77
Satin stitch 16-32 Geranium center cloth 67- 78
Satin stitch 17- 32 doyley.. 68- 78
Buttonhole stitch 18-33 Cruel mat, leaf shape 69- 79
Buttonhole edge .19-33 Set vegetable mats 70- 79
Buttonhole and spot stitch 20- 33 Coflfee cozy 71- 80
Antique embroidery 21- 34 Caraflfe mat 72-80
Persian embroidery 22- 34 Sideboard scarf 73- 81
French knot 23-34 Dresser scarf, Roman emb. design 74- 83
Couching outline 24- 35 Toilet bottle 75-84
Couching groups 25- 35 " 76- 84
Hem stitching 26- 36 Toilet cushions 77- 84
Spanish laid -work 27- 37 Poppy for pillow sham 78- 85
Diamond couching 28- 38 " 79-85
Fancy couching 29- 38 Leaf for pillow shams 80- 86
Fancy couching 30- 38 Splashers 81-87
Brick stitch 31-40 Leaf -bordered lunch cloth 82- 88
Honey comb stitch 32- 40 Dresser scarfs 83- 89
Honey comb applied 33- 40 " 84-90
Simple star 34- 41 Clover doyley 85- 91
Daisy star 35-41 Snowdrop doyley 86-92
Crows' feet 36- 41 Dresden doyleys 87- 94
Grouped star stitch 37- 41 Grape vine center cloth 88- 96
Grouped star stitch No. 2 38- 41 Cherry center cloth 89-96
Darning stitch 39-42 Scroll border 90-98
Cushion 40- 42 Floral center cloth 91-99
Janina stitch 41-42 Dresden book cover 92-100
Janina stitch close 42- 43 Conventional book cover 93-100
Single basket stitch 43- 44 Round cushion 94-101
Double and close basket stitch 44- 44 Cross stitch design 95-102
D'Alencon bars 45- 45 Tablecover 96-103
Spider wheel 46- 46 Stand cover 97-104
ILLUSTRATIONS.
pp. jftG. pr.
Point depriv 47- 46 Darning stitch 98-104
Rosette stitch 48- 47 Darned background 99-105
Spot and daisy loop 49- 51 Screens 100-106
Combination leaf border 50- 52 Applique on net 101-108
Handkerchief corner 102- 109 Trent stitch 152-146
Butterfly design 103- 109 Satin stitch 153-147
Edge for collar and cuffs 104- 110 Cross and long stitch 154-147
Scallop edge 105- 111 Raised Calla lily 155-159
Corner of scallop 106- 111 Raised Japan lily 166-160
Daisy design 107- 111 Raised coxcomb and sumac 157-164
Scallop corner 108- 112 Raised this les and golden rod 158-166
Deep scallop 109- 112 Flat thistles for cover 159-166
Flannel scallop 110- 112 Raised snow balls 160-167
Infant's shawl Ill- 113 Raised cotton plant 161-171
Cross for altar front 112- 116 Pattern for cotton plant 163-172
Jeweled border 113- 118 Memorandum card case 163-176
Raised basket couching 114- 119 Bouquet holder 164-177
Raised basket couching 115- 119 Invalid's writing board 165-178
Wavy couching 116- 120 Footstool 166-178
Battlemented couching 117- 12o t~iper stand 167-179
Brick flat couching 118- 120 Pattern for decoration cf shoe box 168-180
Plain brick couching 119- 121^ Covered shoe box 169-180
Broad couching 120- 121 Sunflower] in cushion 170-181
Diamond couching 121- 121 Folding work basket 171-182
Plain flat couching 122- 121 Hair-pin holder 172-183
Plain flat couching 123- 122 Puff toilet cushion 1V3-183
Bullion knot. 124- 122 Round toilet cushion 174-183
Detail of couched design 125- 123 Chair seat 175-184
Detail of couched design 126- 124 Chair back 176-184
Detail of long stitch design 127- 125 Lamp shade 177-185
Conventional fleur de lis 128- -120 Wall pocket 178-185
Design for chausable 129- 127 Bolster, covered 179-186
Ecclesiastical design 130- -128 Infant's pillow 180-186
Triangle for ecclesiastical work 131- 130 Detail of handkerchief ca'-:e 181-187
Circles for ecclesiastical work 132- -130 Handkerchief case 182-187
Latin cross and anchor work 133- -131 Double photograph case 183-188
Greek cross 134- -131 Single photograph case 184-188
Bullion monograms 135- -132 Night-dress sachet 185-189
Letters 136 -132 Pansy sachet 186-189
Banner 137 -133 Puff head rest 187-190
Border, jeweled 138 -133 Decorated egg shell 183-190
Easter banner 139 -134 Pansy sachet 189-:&1
Easter banner 140 -135 Mending bag 190-191
Bleeding heart, Tlie 141 -13G Ornamental holders 101-102
Passion flowers 142 -137 Paper holders 192-103
Dragon border 143 -140 Handkerchief sachets 193-194
Easy chair 144 -141 Fancy table :94-194
Cross stitch design 14'5 -142 Sunflower pen-wipe 195-195
Cross stitch design 146 -143 Sofa cushion 196-195
Long cross sJtc'.i -143 Limn covered cubhiou 107-ir'j
Persian cross 148 144 Forgct-mr-not to'let cushion 193-196

German stitch 119 144 Fancy wo k basket 199-197
Tapestry stitch 150 144 Spanish foot-rest 300-197
Double Leviathan stitch •
""l -145 Ottoman cushion 301-J98
ILLUSTRATIONS.
FIG. PP. FIO. PP.
Ottoman cushion 202-198 Drawn work in frame 252-241
Owl shaving case 203-199 Prepared corner 253-242
Laundry bag 204-200 Prepared corner 254-242
Pumpkin toilet cushion 205-201 Four corners prepared 255-243
Photograph frame 206-202 Hemstitching 256-243
Photograph envelope 207-203 Duck's tail stitch 257-244
Pin trays 208-203 Hemstitching, No. 2 258-244
Glass handkerchief box 209-204 Hemstitching, No. 3 259-244
Eiffel Tower scrap bag 210-205 Block insertion 260-248
Handy bag 211-207 Detail a. b. of 260-248
Square toilet cushion 212-210 Insertion of border 261-249
Emery cushion 213-211 Detail a. b. c. d. e. f. of 261, 250-251
Artificial butterfles 214-212 Cross border 262-250
Music stand 215-213 Basket insertion 283-247
Scissors case 216-214 Lunch cloth with corner and border 264-240
Crawling rug 217-215 Details of 264— a. b. c. d. e 246-247
Rose doyley 218-216 Block border 265-252
Magnolia doyley 219-217 Cut-in corner 266-253
Center mat 220-218 Pattern to fill cut-in corner 267-246
Centerpiece 221-219 All-over design for drawn work 268-253
Fruit plate doyley 222-220 Detail of 268-253
Shoe box 223-221 Brussels point filling 269-254
Burnt match holder 224-222 Antique border and corner 270-255
Pilgrim toilet cushion 225-222 Toilet set, cushion and bottles 271-261
New England footstool 226-223 Details of a. and b of 271-201
Child's chair 227-224 Handkerchief sachet, glasseine 272-263
Catch-all 228-224 Glass panel screen 273-273
Head rest 229-225 Chamois tobacco pouch 27-1-287
Hanging pin cushion 230-226 Glasseine toilet set 275-290
Fruit pin cushion 231-226 Details of a. aud b. of 275-290
Fruit pin cushion 232-227 Parchment parasol catch 276-293
Infant's crib coverlet 233-228 Traveling bag 277-307
Cross stitch table cover 234-228 Duster case 278-307
Detail cross stitch 235-229 Calendar 279-308
Chicken pen-wipe 236-230 Plate 1, lace braid 310
Branch of fruit 237-231 Plate 2, lace stitches 312
Ladies' dust cap 238-231 Plate 3, lace stitches 314
Sachet bags — crepe paper 239-232 Plate 4, lace stitches 316
Tobacco pouch 240-232 Handkerchief center 313
Tobacco pouch 241-233 Handkerchief square 313
Leaf pen-wipes 242-233 Lace collar 319
Traveling case 243-234 Lace insertion 320
Child's chair 244-234 Detail of crocheted drosi for child 280-328
Water lily caraffe mat 245-235 Detail of crocheted dress f r i hid 281-328
Needle case 246-235 Detail of crocheted dress for child. 282-3C9
Needle case, closed 247-236 Crocheled dress for child 282-4-330
Pocket needle case 248-236 Knitted purse 285-330
Keuijiugtou cusiiiou cover 249-2.57 Baby's sucque 286-331
Nasturtium cushion 250-238 Lady's vest 287-334
Infant's toilet case 251-239 Baby's crocheted hood 288-388
ILLUSTRATIONS.
FIG. PP. FIG. PP.
Fancy spool ba^ 289-339 Corner mantel 114
Fringe 290-340 Table doyley and drape 138
Pine appleedge. 291-341 Picture and easel drape 141
Insertion, crochet 292-342 Bedspreads and pillow shams 148
Border, crochet 293-343 Louis XIV design 150
Trimming crochet 294-344 Cover for library table 154
Square for counterpane 298-345 Calla lily working design 158
Wheels, crochet 296-347 Caraflfe mat 174
Toilet mat 297-348 Point lace braids, plate 1 210
Edging, crochet 298-349 Point lace stitches, plate 2 212
Diamond edging 299-351 Point lace stitches, plate 3 214
Fern edging 300-353 Point lace stitches, plate 4 216
Crochet trimming 301-354 Drawn work 246
Narrow edging, crochet 302-355 Drawn work 247
Broad edging 303-356 Window drapery , 294
Narrow coral edging 304-357 Portierres 298
Table cover crocheted insertion 305-360 Mantel drapery , 302
Reticule crochet 306-358 Easel drape 306
Crocheted petticoat, for child 307-361 Maple leaf doyley - ,
322
Crocheted petticoat, for child 308-361 Magnolia doyley , 324
Crocheted petticoat, for child detail 309-362 Dresden doyley 430
Crochet tassels detail 310-363 Fancy cup board 432
Daisy crochet lace 311-365 Four doyley designs 433
Guipure crocheted lace 312-366 Five-o'clock tea cloth , 436
Detail crocheted table cover 313-368
'
Three-panel screen, , 437
Edge for table cover 314-369 Butterfly center cloth , 438
Crocheted table cover 315-370 Louis XIV. center cloth desig'n 439
Ladie'sskirt 316-372 Violet center cloth 440
Crochet braid trimming 317-373 Bed spreads 441
Infant's knitted jacket. 318-375 Bed spreads , 442
Moss edging 319-376 Rose center cloth 443
Fern edging 320-376 Buttercup, daisy, violet, and forget-
French edging 321-376 me-not doyleys ,
444
Serpentine braid edge 322-376 Violet basket center cloth 445
Fancy crotchet edge, No. 1 325-377 Sponge bags 446
Edging, No. 3 324-377 Traveling case 447
Shell trimming 325-877 Picture Frames 448
Palm trimming 326-378 Handkerchief bag 449
Knitted hood 327-379 Glove and veil case 450
Knitted hood, detail of 328-380 Infant's flannel robe 451
Knitted hood detail of 329-381 Hammock cushion — 452
Knitted hood for child 330-381 Ideal Honiton center cloth 453
Knitted hood, detail of 331-382 Plate doyley 454
Pillow sham, crocheted 332-383 Cup doyley and center cloth 455
Crocheted table mats 333-385 Crib pillow 456
Crocheted wheels . . .334-390 Ci'ib cover 457
Child's petticoat 335-392 Infant's Dresden pillow 458
Crocheted border 336-393 COLORED PLATES.
Ladies crocheted skirt 337-394 Fleur de lis
Infant's knitted bodice 338-396 Oranges
Crocheted dust mop ..339-397 Poppies
Group of head rests 58 Oak leaves, sumac anu golden rod
Roman embroidery, 70
INDEX.
Introduction 6-8 Smyrnasene
Materials. Ribbosene
Linen crash Featherasene
Bleached linen Embroidery cotton
Domestic linen Embroidery wash silks
Bolton sheeting Couching silk
Colored art linen Art cord
Huck-a-buck Real Scotch threads
Linen Bolton sheeting Tyrol cord
Art satin German cord 15-20
Butcher's linen i Transferring and Stamping Designs. 21
Scrim Tracing paper 22
Morris cloth Perforated patterns 23
Frieze Materials for stamping 24
Concordia canvas Directions for stamping 24
Egyptian cloth Conventional Designs 25
Turkish crepe Embroidery Stitches 27
Satin damask Stem or outline
Gobelin cloth Kensington
Russian crash Short and long
Hollywood drapery, Satin
Devonshire art cloth Buttonhole
Bolting silk Spot
Silks Antique
Velvets and plushes Persian
Felt French knot
Satin Couching
Banner Silk Hemstitching
Upholsterer's plush and satin Spanish laid
Sateen Plush
Russian tapestry Filling ,
Basket silk Honeycomb. ...

Mail cloth Brick
India Silk Star
Double-faced sateen 9-14 Daisy Star
Implements and Embroidery Threads Crow's feet
Crewels Grouped star. ... ,
Zephyr Darning
Tapestry wool Single basket
Arrasenes Double basket
Chenille Close basket
V,
.
VI. INDEX.
page. pagb.
bars.
Daisy scarf
D'Alencon
Doyleys, Clover
Spider wheel... »
" Fern
Point de reprise
27-48 " Six Dresden
Rosette
49 " Leaf
Application of Stitches
Cherry
Combination of spot and single Daisy
51 Scroll-bordered center cloth
Loop
52 Floral center cloth
Leaf border
Grapevine, applique 53 Book covers
54 Dresden
Kensington stitch applied
.
54-55 Conventional
Short and long stitch
Designs, conventional shading
56-57 Round cushions
Table covers, cross stitch
Shading
Table covers, darned
Selecting shades
Curtains and portieres
Table of colors
Screens
Proper method of shading
Applique embroideries
High lights
Shadows Embroidered articles of dress.
Conventional shading Handkerchiefs, corner
Parasol
Natural shading
59-66 Dresses
Massing color for effect
Collar and cuffs
Art or Flat Embroidery
Roman embroidery Dressing jacket
Practical embroidery
Corner crepe lise ruffle
Use simple designs and stitches Edge of scallops for crepe lise ruffle.
List of table linen

Embroideries for children's Wardrobe.
Table cloth Scallop for Flannel
Lunch cloth Infant's shawl
Napkin Skirts
Doyley S?,cques 67-115

Carving cloth Church and Bullion Embroideries.
Table runner Materials:
Tray cloth Gold thread

Center cloth Passing. ...
Lunch sets Filo floss
Cruet mats Purse silk
Vegetable mats •
Knitting silk
Tea or coffee cozey Sewing silk
Mat for water service Silver thread
Sideboard scarf Art cords and spangles . . : .
Bedroom furnishings . .
Frames
Needles 115-117
Articles for use in sleeping rooms.
Pillow shams
Stitches for Ecclesiastical Work.
Pillow scarfs
Couching:
Commode scarf Basket
Splashers Battlemented
sets
Brick
Toilet
Combination embroideries Broad
Diagonal .>...,....
Scarf three
INDEX. VIL
Diamond Louis XVL design 151-152

Diaper Single ribbon roses 152-156
Plain Double ribbon roses 156-157
Shell Calla Lily 157-160
Spider Tiger and Japan lilies 160-161
Vandyke Water lily 161-162
Wheel Golden rod 162-163
Wavy Cattail 163-164
Long Coxcomb 164-165
Bullion knot Sumac 165
Chain Thistles 165-167
Outline. 117-123 Snowballs 167-169
Method of using stitches 118-126 Pansies 168-168
Conventional fleur de lis 126 fruit. 169
Method of working 126-127 Cherries igjj
Chasuble 127 Oranges 169-170
Altar frontal, method of working lC7-l;:i8 Strawberries i>jq
Cardboard foundations ^ 130-183 Grapes 170-171
Mottoes 131-134 Cotton plant 170-172
Jeweled borders 133-134 Designs and Instructions 172-173
Bullion embroidery 134-137 Dainty trifles 175
Passion flower 136-137 Memorandum card case 175
Colors for Ecclesiastical work 133 Hanging bouquet holders 177
The bleeding heart 136 Writing board for invalids 177-178
Berlin Embroidery 139 Foot stool 178-159
Method of working 139-147 Paper stand 179
Materials 140-142 Shoe box iqq
Furniture covers 141-142 Sunflower cushion 180-181
Canvas 142 Work basket 181-182
Stitches. Hair pin holder 182-183
Back Small cushions 188-184
Cross Chair back and seat 184
Long cross Lamp shade 135
Persian cross Wall pocket 185-186
Cushion Bolster and pillow . . , 186
Damask Handkerchief holder 186-187
German Photograph or calendar case 188-189
Tapestry Night dress satchet 189
Irish Pansy satchet 189-190
Leviathan Pufi Cushion 190
Double Leviathan Decorated Eggshell IQQ
Treble Leviathan Pansy Satchet 191
Long Mending bag 192-193
Tent Holders 193
Raised Paper holders 194
Satin 14.3-147 Handkerchief holder 194
Dragon border 140 Fancy table 194
Raised Embroidery 149-151 Sunflower pen wipe 195
Ribbon work .... - 151 Sofa cushions 195-196
Vlll. INDEX.
Fancy work basket. PAGE

196-197 Lunch cloth with border and corner. . 245-251
Foot cushion I97 Border for center cloth 251 -252
Ottoman cushion 199-199 Corners 253-254
Shaving paper case I99 Antique border and corner 255-256
Laundry bag 200 Brush and Palette 257
Pumpkin cushion 201 Designs for painting 258
Photograph frame 202 Painting in oils on fabrics 258
Photograph envelope 203 Materials for painting 258-259
Pi" ^âys 203-204 Mixing colors
Glass handkerchief box 204 Blues, browns, buffs, yellows,
Eiffel tower scrap bag
205-206 grays, etc 259-260
Star quilt 206-809 Palettes for
Handy bag 209-210 Daisies
Toilet cushion Honeysuckle
210
Emery cushion 211 Apple blossoms
Butterflies 211-212 Peach "
Music stand 212-213 Tea roses
Scissors case 214 Feathery clematis .
Crawling rugs 215 Violets

For the dining room 216-220 White and purple lilacs
Shoe box ... 221 Pansies
Burnt match holder 222 Morning glories 261-263
Toilet cushion 222-223 Sky effects for backgrounds 262-263
Foot stool 223 Special palettes 263
Child's chair 223-224 Strawberry spray 263
<âtch-all 224-225 Geranium spray 264-265
Head rest 225 Butterflies 265
Hanging pin cushion 225-226 Grapes on black velvets 265
Fancy pin cushions 226-227 Pansies 266
Infant's crib coverlet 227-228 Purple thistles 266-267
Table cover 228-229 Pond lilies 267
Chicken pen wipe 229-230 Purple clematis , 267
Branch of fruit 230-231 Oxheart cherries 267-268
Dust cap 231 Virginia creeper, leaves and berries.. 268
Satchet bags 231-232 Peacocks 268-269
Tobacco pouches 232-233 Golden rod and astors 269-270
Leaf penwipes 233-234 Hollyhock screen panel 270-271
Traveling case , . 234 Washable painting 271
Child's chair 234 Medium 271-272
Mat for water pitcher 235 Water color painting 272-274
Needle cases 235-236 Roses 274
Kensington cover for cushions 236-238 White flowers 274-275
Nasturtium cushion 238-239 Primroses 275
Infant's toilet case 239 Blue flowers 275
Keep a scrap bag 239-240 Convolvulus . 276
Drawn Work 241 Figures in water colors 276-277
Preparing the work 242 Fabric tinting 277-279
Foundation stitches 242-244 Paris tinting 279-280
Basket insertion 245 Painting on celluloid 280
Index. 11.
PAQK.
Lilacs on celluloid in oil 280-381 Greek Point.
Lilacs in water color on celluloid , 281-283 Raleigh bars
Lustre painting 282-384 Point d'Alencon
Kensington painting 284-285 Point lace border
Kensington parrots 285-286 Handkerchief border
Crayon painting, portraits 286-289 Handkerchief Centers
Painting on birch bark 289-290 Collarette 309-821
Scorch painting 290-292 Knitting and Crocheting 325-326
Tapestry painting 292-293 Terms used 327
Canvas for 293-295 Abbreviations 327
Dyes 295-296 Crocheted dress for child 328-330
Brushes 296 Purse 330-331
Mixing dyes 296-297 Baby's Sacque 331-332
Flesh colors 297-298 Baby's shirt 332-333
Flesh painting 297 Lady's vest 334-335
Hair and drapery 298-301 Lady's vest, Basket pattern 835-337
Palettes for draperies, sky. marble, Baby's hood 337-338
stone, etc 301-308 Fancy bag 338-339
Painting for profit 304-308 Fringe 339-340
Point Lace Materials Pineapple edge 841
Braid Insertion crochet 243
Lace thread Border Crochet 843-343
Tracing cloth Trimming crochet 843-344
Ground cloth Knitted square for counterpane 345-347
Designs Wheels for toilet set .
. 347-348
Needles Edging 318-350
Preparing the work Diamond edge. . . 350-353
Outlining designs with braid Fern trimming 352-354
Stitches Crochet trimming 854-355
Stitches proper or points Narrow edging 855
Brussels point Broad edge 855-356
Venice point Narrow coral edging 856-357
Spanish point Reticella crochet 857-360
Close Spanish point Petticoat for child 361-362
Treble Spanish point Crochet tassel 363-364
Grecian point Daisy crochet lace 364-366
Valenciennes Guipure lace, crocheted 366-368
Point d'Alencon Crocheted table cover 368-371
Turkish stitch Petticoat 371-372
Net ground stitch Trimming, crochet and braid 372-374
Point de tulle Infant's knitted jacket 874-375
Mechlin Moss edging, crochet and braid 376
Wheels, rosettes, bars Fern edging 376
Sorrento bars French edging 876
Point d'Alencon bars Edging serpentine 376
Venetian bars Fancy braid edge. No. i 377
Edged Venetian bars Edging, No. 2 377
Dotted Venice point Shell trimming 377-378
Dotted Sorrento bars Palm trimming 378
ZNDBX.
PAGE, PAGE.
Hood for child 379-380 Traveling roll
Hood for child 381-385i Duster case

Pillow shams 383-384 Calendar 420-424
Table mats 385 Description of full page illustrations.
Border to mat 385 Cushions, head rests
Crocheted doll 386-388 Roman embroidery
Torchon lace 388 Star quilt
Comfort for lounge 389 Drapes, doyleys ,
Porcupine stitch 389 Carafe mat

Directions for wheel 389-391 Table covers
Petticoat for child 391-992 Easel drapes
Border and corner 392-394 Portieres
Crocheted skirt 394-395 Mantel drapes
Infant's boot 395-397 Window drape
Mop for dusting pictures 397-398 Magnolia doyley
Dainty work for profit 399 Maple leaf doyley
Work for stay-at-homes 399-400 Dresden plate doyley
The first start 400 Draped beds
Commenced Samples 401-402 Colored plates
Designs for order work 402 Fleur de lis
Soliciting orders for embroidery 403-404 Poppies
Teaching embroidery 404 Oranges
What to charge and how to collect 404-405 Oak leaves, sumac, golden rod 425-434
To start an art store or bazaar 405-406 Descriptions of Special Illustkations.
Location of store 406 Doyley designs
Store fittings 406 Five-o'clock tea cloth
Arrangement oi store 407 Three-panel screen
Stock of goods to be carried. 408-409 Butterfly center cloth
Art fabrics 409 Louis XIV. design
Samples and display work 409-410 Violet center cloth
List of desirable samples 410 Bed spread
Materials for made-up samples 410-412 Bed spread
Cost of commenced samples 412-413 Rose center cloth
Window display 413-414 Four doyleys
Cost of starting a business 414-416 Violet basket center cloth
Quality and kind of stock for different Sponge bag
localities 416-418 Traveling case
Stamping patterns 418-42C Picture frame
Descriptions of articles for stock. » Handkerchief bag
Toilet set Glove and veil case
Glasseine handkerchief sachet Infant's flannel robe
Glass panel screen Hammock cushion
Tobacco pouch Ideal Honiton lace work
Glasseine toilet set Dresden crib cover and pillovir 435-458
Parasol Catch-all
iNDBX OF ILLUSTRATIONS.
ALPHABETICALLY ARRANGED.
FIG. PP. FIO. PP.

All-over design for drawn work 368-253 Carafe mat 72-80
Detail of 268-353 Carving cloth 64-75
Antique border and corner . . 370-355 Catch-all 228-224
Antique Embroidery 31- 34 Center mat 220-218
Applique on net 101-108 piece 231-319
Artificial butterflies 314-212 Chair back 176-184
Baby's crocheted hood 388-338 Chair seat 175-184
Baby's sacque 386-331 Chamois tobacco pouch 274-387
Banner 137-133 Cherry center cloth 89
Basket insertion 263-347 Chicken pen-wipe . 836-830
Battlemented couching 117-180 Child's chair 244-234
Bedspreads and pillow shams 148 " 227-224
Bleeding heart, The 141-136 petticoat 339-393
Block border 365-353 Circles for ecclesiastical work 132-130
Block insertion 360-348 Clover doyley 89-91
Detail a. b. of 260-248 Coffee cozy 71-80
Bolster, covered 179-186 Combination leaf border ... 50-58
Border, crochet 293-343 Conventional book cover 93-100
Border, jeweled 138-133 fieur delis 128-126
Bouquet holder 164-177 Corner mantel 114
Branch of Cherries 54-56 Corner of scallop 106-111
Branch of fruit 337-231 Couching stitches 35
Brick stitch 31-40 outline 24-35
Brick flat couching 118-120 Covered shoe-box. ... 169-180
Broad couching 130-131 Cover for library table 154
Broad edging 303-356 Crawling rug 217-215
Brussels point filling 369-354 Crocheted border 336-393
Bullion knot 134-133 Crochet braid trimming 317-373
Bullion monograms 135-133 Crocheted dress for child 283-4-330
Burnt match holder 324-222 dust mop 389-397
Buttonhole and spot stitch 20-33 petticoat for child 307-361
Buttonhole edge 19-33 308-361
Buttonhole stitch 18-38 detail.. 309-362
Butterfly design 103-109 table cover 315-370
Calendar 279-308 table mats 333-385
Calla lily working design 158 Crochet tassels, detail 310-363
Carafe mat 174 Crochet trimming • . 301-354
XI
.
lNi)fiX OF ILLtSTRATlONS.
PIG. PP. PIG. P^,

Crocheted wheels 334-390 Dresser scarf, Roman emb. design 74-88
Cross and long stitch 154-147 scarfs 83-89
border 262-350 Duck's tail stitch 257-244
for altar front 112-116 Duster case 278-307
stitch design 95-102 Easel drape 306
145-143 Easter banner 139-134
146-143 " 140-135
table «.over 234-228 Easy chair 144-141
Crows' feet 36-41 Ecclesiastical design 130-128
Cruet mat, leaf shape 69-79 Edge for collar and cuffs 104-110
Cushion 40-42 " " table cover 314-369
Cut in corner 266-253 Edging, crochet 298-349
D'Alencon bars 45-45 No. 2 324-377
Daisy center cloth 66-77 Eiffel tower scrap bag 210-205
Daisy crochet lace 311-365 Embroidery frame 3-15
" design 107-111 " 3-16
" star 35-41 " harp 4-17
Darned background 99-105 '
' scissors 5-18
stitch 39-42 Emery cushion 313-211
Darning stitch 98-104 Fancy chain 10-20
Decorated egg-shell 188-190 couching 29-38
Deep scallop 109-112 30-38
Design for chasuble 129-127 " crochet edge, No. 1 325-377
Design in Kensington stitch 52- 54 " spool bag 289-339
Detail crocheted table cover 313-368 " table 194-194
Detail cross stitch 235-229 " work basket 199-197
Detail of couched design 135-123 Fern edging 300-353
126-124 " 320-376
crocheted dress for child. ! 280-328
. . Flannel scallop 110-112
Detail of crocheted dress for child 281-328
. . Flat thistles for cover 159-166
" " " " .... 283-329 Fleur de lis, colored plate
" handkerchief case 181-187 Floral center cloth 91-99
'
long stitch design
' 127-125 Flower head rest 53-55
Devonshire cloth 1-12 Folding work basket 171-182
Diamond couching 28-38 Foot stool 166-178
" 121-121 Forget-me-not toilet cushion 198-196
edging 299-351 Four corners prepared 255-243
Double and close basket stitch 44-44 French edging 321-376
Double leviathan stitch 151-145 French knot 23-34
Double photograph case 183-188 Fringe 290-340
Doyley 63-75 Fruit pin cushion 231-286
Dragon border 143-140 " 232-227
Drawn work 246 plate doyley 322-220
247 Geranium center cloth 67-78
Drawn work in frame 253-241 doyley 68-78
Dresden book cover 92-100 German stitch 249-144
" doyley, full page 430 Glasseine toilet set 275-290
doyleys 87-94 Details of a. and b. of 375-300
.
INDEX OF ILLUSTRATIONS. XllI
riG. pp. FIG. pp.

Glass handkerchief box 202-940 Lace insertion 320
Glass panel screen 273-373 Ladies' crocheted skirt 337-394
Grape vine applique SI-OS dust cap 238-231
" center cloth 88-96 skirt 316-372
Greek cross 134-131 vest 287-334
Grouped star stitch 37-41 Lamp shade 177-185
"No. 2 38-41 Latin cross and anchor work 133-131
Group of head rests, full page 58 Laundry bag. 204-200
Guipure crocheted lace 312-36 Leaf-bordered lunch cloth 82-88
Hairpin holder 172-182 Leaf for pillow sham 80-86
Handkerchief case 182-187 " penwipes 242-233
Handkerchief center 313 Letter. .^
136-13-0
Handkerchief corner 102-109 Linen covered cushion 197-196
Handkerchief square 313 Long cross stitch 147-143
Handkerchief sachet, glasseine 272-263 Loop outline 11-29
rachets 193-194 Louis XIV. design, full page 150
Handy bag 211-207 Lunch cloth 61-74
Hanging pincushion 230-220 " cloth with corner and border. 264-246
Head rest 229-225 Details of 264— a. b. c. d. e 246-247
Hemsiitching 26-36 Hâgnolia doyley, full page 324
Hemstitching 256-243 " 219-217
No. 2 258-244 Mantel drapery, full page 302
No. 3 859-244 Maple leaf doyley, full page 322
Honeycomb applied 33-40 Memorandum card case 163-176
stitch 32-40 Mending bag , 190-191
Infant's crib coverlet 233-228 Moss edging 319-376
knitted bodice 838-390 Music stand 215-213
jacket 318-375
liapkin 62-75
pillow 180-186
Narrow coral edging 304-357
shawl 111-113 " edging crochet 302-355
" toilet case 251-239
Nasturtium cushion 250-238
Insertion, crochet 292-342
Needle case 246-235
of border 261-249 " closed 247-236
Detail a. b. c. d. e. f . of 261 250-251
New England footstool 226-223
Invalid's writing board 165-178
Night dress sachet 185-189
Janina stitch 41-42
" close 42-43 Oak Leaves, Sumac and Golden Rod and
Jeweled border 113-118 Oranges -Colored Plates.
-
Kensington cushion cover 249-237 Ornamental holders 191-192

Kensington stitch 13-30 Ottoman cushion 201-198
Kensington stitch, detail 12-30 202-198
Knitted hood 327-379 Owl shaving case 203-199
" detail of 328-380 Pulm trimming 326-378
339-381 Pansy sachet 186-189
331-382 189-191
" for child 330-381 Pantagraph 7-23
purse 285-330 Paper holders 192-193
Lace collar 319 Paper stand 167-179
XIV INDEX OF ILLUSTRATIONS.
FIG. pp. no. pp.

Parchment parasol catch-all 276-293 Roman embroidery 59«69
Passion flowers 142-137 Rose doyley 218-216
Pattern for cotton plant 162-172 Rosette stitch 48-47
•• " decoration of shoe box.. . 168-180 Round cushion 94-101
to fill cut-in corner 267-246 toilet cushion 174-183
Persian cross 148-144 Satin stitch 16-32
" embroidery 22-34 " 17-33
photograph frame 206-202 " 153-147
" envelope 207-203 " detail 15-32
Picture and easel drape 141 Sachet bags 239-232
Pilgrim toilet cushion 225-222 Scallop corner 108-112
Pillow sham, crocheted 332-383 edge 105-111
Pin trays 208-203 Scissors case 216-214
Pineapple edge 291-341 Screens 100-106
Plain orick couching 119-121 Scroll border 90-98
Plain flat couching 122-121 Serpentine braid edge 322-376
123-122 Set vegetable mats 70-79
Plaie 1, lace braid 310 Shell trimming 325-377
" 2, " stitches 312 Shoe box 223-221
" 3. " " 314 Short and long stitch 14-31
" 4, " " 316 Sideboard scarf 73-81
Pocket needle case 248-236 Simple star. . 34-41
Point de reprise 47-46 Single basket stitch 43-44
'•
lace braids, piate 1 210 '
' photograph case 184-188
" " stitches, " 2 212 Snowdrop doyley 86-92
" " " " 3 214 Sofa cushion 196-195
«' " " "4 216 Spanish foo: rest 200-197
Poppies, colored plate laid work 27-37
Poppy correctly shaded. No. 1 55-63 Spider wheel 46-46
"2 56-63 Splashers.. 81-87
" 3 57-64 Spot and daisy loop 49-51
" for pillov/ sham 78-85 Square for counterpane 298-345
79-85 toilet cushion 212-210
Prepared corner 253-242 Stand cover 97-104
" 254-242 Stem stitch 8-28
Pumpkin toilet cushion 205-201 Sunflower pen-wipe 195-195
187-190 " pincushion 170-181
Puff head rest
" toilet cushion 173-183 Table cover 96-103
Raised basket couching 114-119 " full page 432
115-119 " " crocheted insertion 365-360
Raised calla lily 155-159 " doyley and drape, full page,. 138
" cotton plant 161-171 Tapestry stitch 150-144
*' coxcomb and sumach 157-164 Tent stitch 152-146
Japan lily , .... 156-160 Three outline stitches 9-28
snowballs 160-167 Tobacco pouch 240-232
" thistles and golden rod 158-166 241-233
Reticella crochet 306-358 Toilet bottle 75-84
lioman embroidery , . , . 58-69 " 76-84
INDEX OF ILLUSTRATIONS. XV
FIG. py. F'O. pp.
Toilet cushions 77-84 Trimming crochet 29'i-3'i4
Toilet mat 297-348 Wall pocket 178-'85
set, cushion and bottles 271-261 Water lily carafe mat 245-235
Details of a. and b. of 271-261 Wavy couching 116-120
Traveling bag 277-307 Wheels crochet 296-347
" case 243-234 Window drapery, full page 294
Tray cloth 65-76 Work apron ^ 6-18
Triangle for ecclesiastical work 131-130
-'i^pt^
'ly*^
L'ENVOI.
The sum of human happiness lies in the words "Home making, Home
keeping." Ahome well made, well kept, well guarded is as near paradise
as any earthly thing may be, and should be the subject of greatest impor-
tance in a woman's life from the hour she pronounces the fateful "I will" to
the one in which she yields up her charge and joins the "throng innumer-
able."
The woman who can combine the practical necessary with the decora-
tive necessary, so as to preserve a true balance, is indeed happily endowed,
and blessed is the man who calls her "helpmeet." A man is greatly
indebted to his home environment and influence for his self-respect or
lack of that element. This is also true of children from the hour in which
they enter the school room and mix with their kind, to the day when they
go o.ut into that larger world to win their place in the plan universal.
The man does not live, however insensible to elegance in the abstract,
but feels a thrill of pride, experiences a feeling of importance, an increased
self-respect, as he enters the portals of his home —
if that home bears evi-
dence of thrift, fore-handedness, prosperity. It is his money has procured

this home for his family —
his business sagacity or capacity for earning that
—
renders it possible for his wife to have as good perhaps better than other —
wives in his circle of acquaintance, and he mentally pats himself on the
shoulder and says "What a great man am I," perhaps never giving a thought
to the ways and means adopted by his domestic partner to produce such
satisfactory results, from too often limited resources; but what matters it
to the brave little helpmeet. She has done her part in using to the best
advantage what he has labored to secure, and thus each has performed but
his and her duty, and neither stands indebted to the other. True it is that
a word of loving acknowledgement and sympathy is a sweet morsel to any
woman, coming from the lips of the man she has sought to please by her
housewifely skill, and to the credit of the 19th century man, be it said,
that word is seldom withheld. Firmly imbued with the sentiments here
expressed it has been the aim of the writer, in the pages of "Dainty
Work," to put within the reach of every woman the knowledge and means
of rendering beautiful and elegant her home, whatever position of
in she life
may find her lot cast; to give voice to the sentiment that "the beautiful is good
and the good beautiful", as applied to home making. Whether the task has
been well or ill done the author must leave to the judgment of an indul-
gent public.

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CHICAGO:

THE HOHE MANUAL COHPANY,

HOME MANUAL CO.

PLEASURE AND PROFIT

EDITOR OF " HOME ART," A JOURNAL DEVOTED TO INTERIOR DECORATION

QlA- AND AUTHOR OF

THE HOME MANUAL COMPANY, PUBLISHERS

In the Office of the Librarian of Congress, at Washington.

MRS. POTTER PALMER,

who know her. The dedication is made by special permission.

Introduction — Harmony of Interior Decorations — Beautiful Surround-

Materials for Decorative Purposes — Linen Crash Bleached Linens —

Implements and Embroidery Threads Embroidery Frames — —

— Stem or Outline Stitches — Kensington Stitch

Water Lilies'— Golden Rod— Cattail— Coxcomb — Sumac —Thistles— Snow

Dainty Trifles — How to Make —What to Use— Economic Decoration

Brush and Palette — Designs for Painting — Painting in Oils on Fabrics

Teaching Embroidery— What to Charge — How to Collect — How to Open

E HAVE tried in the following pages to inculcate a

instructions in all things pertaining to the home

ences of dainty environments.

requires the home-making, home-beautifying talent. It needs the exercise

your furnishings let it You can do quitp well in procuring a

more generally used for decorative purposes.

Linen Crash, such as is used for kitchen towels, is a fabric that

manufactured. It is sometimes called workhouse sheeting, from the fact

the price from 25 cents to $1.25 per yard.

tion of the cotton article of that name. It is nearly as heavy as duck or

Scrim is a very useful and pretty material with which to furnish a

Morris Cloth is a beautiful, soft diagonal twill goods, two yards

Frieze is a beautiful English-looking material, very rough as to

and if the piece is small, or expense is no object, silk can be introduced

to seventy-two inches, and costs from 60 cents to $3.00 per yard. It is

It has a decided twill, amounting almost to a rib, crosswise of the material.

covers, table mats and centers for table covers.

wide, in natural linen color — a pure gray. It is a beautiful background for

outlined embroidery or Roman cut work. Price per yard, 50 cents.

Hollywood Drapery is a cotton fabric, made in cream, white and

linen thread in conventional style, and as it needs no lining is an econom.

Devonshire Art Cloth is a beautiful

%.^ is made in squares or checks of different sizes,

one of which we show here. It is a firm, closely

centers to cushions, table covers, wall panels,

Bargarren Art Cloth is a fabric designed especially for "Darned"

material that offers such possibilities for economical embroideries, as large

It can be washed, and is beautiful embroidered in either pure white or

colors. Price per yard, Si. 00.

and Si 5.00 per yard, for best qualities.

Sateen is a satin-faced material with a wool back. It comes fifty-four

up wonderfully, showing several different shades of its own color. It is

Basket Silk is a silk-faced material, fifty inches wide. It comes in

linings and trimmings for fancy articles. It is from twenty-seven to thirty-

inches wide, and can be had for $3.50 per yard.

IMPLEMENTS AND EMBROIDERY THREADS.

HIS IS a subject of vital importance to the needle-

the order of their importance. First, then, the embroi-

dery frames in the inarket by the score, and at prices

ranging from $2. 50 to S7.50 each. We give here an

the frame we have used in all our