,,the ,,library ,,of ,,work ,,and ,,play ,,carpentry ,,and ,,woodwork ,by ,edwin ,w4 ,foster ,,electricity ,,and ,,its ,,everyday ,,uses ,by ,john ,f4 ,woodhull1 ,ph4,d4 ,,gardening ,,and ,,farming ,by ,ellen ,eddy ,shaw ,,home ,,decoration ,by ,charles ,franklin ,warner1 ,sc4,d4 ,,housekeeping ,by ,elizabeth ,hale ,gilman ,,mechanics1 ,,indoors ,,and ,,out ,by ,fred ,t4 ,hodgson ,,needlecraft ,by ,effie ,archer ,archer ,,outdoor ,,sports1 ,,and ,,games ,by ,claude ,h4 ,miller1 ,ph4,b4 ,,outdoor ,,work ,by ,mary ,rogers ,miller ,,working ,,in ,,metals ,by ,charles ,conrad ,sleffel ,illustration3 ,photograph by ,mary ,g4 ,huntsman4 ,the ,last ,step is ,making the ,buttonholes ,,needlecraft ,,by ,,effie ,,archer ,,archer ,needlework ,editor of well-known magazines4 ,connected with ,new ,york ,public ,schools1 ,y4 ,w4 ,c4 ,a41 and ,arts and ,crafts ,club ,illustration3 ,title ,page ,,garden ,,city ,,new ,,york ,,doubleday1 ,,page ,,company #aiaf ,,all ,,rights ,,reserved1 ,,including ,,that ,,of ,,translation ,,into ,,foreign ,,languages1 ,,including ,,the ,,scandinavian ,,copyright1 #aiaa1 ,,by ,,doubleday1 ,,page ,,company ,,contents ,,chapter ,,page ,i4 ,what ,you ,should ,have in ,your ,work ,box--,sewing on ,buttons--,basting--,darning #c ,,ii4 ,back-stitching--,over-casting--,creasin g a ,hem and ,hemming--,rolling a ,hem--,french ,hemming--,sewing on ,tapes and ,hooks and ,eyes #ab ,,iii4 ,gathering--,sewing on ,bands--,a ,practical ,sewing ,apron--,hemmed ,patches--,gussets and ,tucks #bf ,,iv4 ,a ,doll's ,skirt--,sewing ,case--,bindings--,doll's ,bed ,linen--,pin ,case #da ,v4 ,making ,buttonholes--,cutting from a ,pattern--,a ,doll's ,dress #eh ,,vi4 ,a ,lesson in ,stencilling #gd ,,vii4 ,what ,can ,be ,done with ,one ,skin--,cut ,leather ,bags1 ,belts1 ,book ,covers1 etc4 #hc ,,viii4 ,tooled ,leather and ,tools ,necessary #ia ,,ix4 ,the ,simplest ,stitches in ,embroidery--,chain-stitching1 ,outlining1 ,herring-boning1 ,cross-stitching1 ,soutache1 ,coronation ,braiding #ih ,x4 ,smocking--,feather-stitching--,lazy-dai sy ,stitch #aab ,,xi4 ,couching--,shadow-work--,turkish ,stitch--,how to ,stamp ,designs #aba ,,xii4 ,buttonholing and ,wallachian ,embroidery #acj ,,xiii4 ,roman ,cut-,work--,fancy ,buttonholing for ,borders--,bermuda ,fagotting #ach ,,xiv4 ,satin-,stitch and ,marking #adg ,,xv4 ,eyelets and ,french ,knots--,bullion ,stitch1 and ,other ,fancy ,stitches #afj ,,xvi4 ,long and ,short--,kensington ,embroidery--,ribbon ,work for ,simple ,flowers #agf ,,xvii4 ,hardanger ,embroidery for ,squares1 ,pin ,cushions1 and ,spreads #aij ,,xviii4 ,appliqu on ,linen and ,other ,materials--,hedebo ,embroidery #aih ,,xix4 ,hemstitching for ,handkerchiefs and ,collar and ,cuff ,sets--,simple ,drawn ,work ,stitches #bjg ,,xx4 ,easy ,lace ,stitches--,fagotting1 ,single ,mesh1 ,double ,mesh1 ,spiders1 ,fan1 ,maltese ,cross1 ,twisted and ,buttonhole ,bars1 ,picots for ,simple ,edge #bbg ,,xxi4 ,simple ,baskets #bdb ,,xxii4 ,raffia ,baskets and ,napkin ,rings #bej ,,xxiii4 ,raffia ,hats #bfb ,,xxiv4 ,knotting for ,dolls' ,hammocks1 ,shopping ,bags and ,other ,purposes #bga ,,xxv4 ,simple ,bead ,chains on ,single ,strings--,a ,homemade ,loom--,woven ,chains--,belts and ,purses #bgh ,,xxvi4 ,braiding and ,weaving ,four and ,six ,strands--,weaving on ,looms #bie ,,xxvii4 ,simple ,crocheting--,stitchery for ,edges and ,shawls #cjf ,,xxviii4 ,pattern ,directions for ,making ,doll ,caps and ,capes1 ,jackets1 and ,child's ,bedroom ,slippers #cbj ,,xxix4 ,irish ,crochet ,lace #ccc ,,xxx4 ,knitting1 ,plain and ,purling--,wash ,rags--,fancy ,stitches for ,shawls #cea ,,xxxi4 ,doll's ,cap1 ,hood1 ,leggings1 and ,jackets #cfj ,,xxxii4 ,embroidery ,suggestions for ,boarding ,school ,girl #cgb ,,illustrations ,the ,last ,step is ,making the ,buttonholes ,frontispiece ,,facing ,,page ,the ,right ,way to ,darn #aj ,a ,single ,motif ,being ,used on a ,stencilled ,scarf #gf ,many a ,happy ,hour is ,spent ,embroidering #afd ,it is ,jolly to ,make a ,raffia ,work ,bag #bej ,sewed ,raffia ,baskets ,make ,attractive ,gifts #beh ,the ,fascinating ,task of ,making ,bead ,chains #bhd ,a ,cushion ,top ,can be ,woven on a ,simple ,hand ,loom #bif ,her ,first ,knitted ,shawl #cef ,,needlecraft ,i ,,what ,,you ,,should ,,have ,,in ,,your ,,work ,,box1 ,,sewing ,,on ,,buttons1 ,,basting1 ,,darning ,you will find that you are happiest when doing things for those you love2 and what greater help can you give than by learning to do things for yourself that now those who love you best do for you8 ,the little everyday things that appear to be so simple1 yet take so much of the mother's time should be the things first to learn4 ,there are so many things that one could do if one only knew how1 that it seems a shame to waste time4 ,dolly needs new clothes1 mother always needs help with her sewing2 and then1 too1 the numerous birthdays and ,christmases follow so quickly one on top of another1 that there is hardly a chance to save up for one before the next is here4 ,many a hard problem for the little mother will be solved in this book4 ,it is lovely to have a little work-box fixed up with thread1 needles1 and scissors1 all of your own1 and if you ask mother1 ,i am sure she will give some of her threads to help you start one4 ,if you take a card and shape it like a ,maltese cross you will have space for four colours of threads4 ,you will need a card for the white alone because you will find you use so much more of it4 ,you must have a little thimble and always use it or your finger will look cramped when working4 ,have you noticed how pretty ladies look when sewing8 ,well1 you must do as they do1 tap your needle with the thimble to send it through the material 7,figure #a74 ,illustration3 ,fig4 #a4 ,the way to use your thimble ,have you ever wondered and wondered why it is that buttons have the horrid habit of dropping off just when you wanted to dress quickly or take ,sally ,ann walking8 ,well1 ,i will whisper the reasons for this3 the first is1 that the thread might have been worn out from active service2 or the thread used might have been weak2 or lastly1 which is probably the true cause1 the button might have been sewn too close to the material and came off the first time it was used4 ,mother may not be around to help you when the accident happens1 and would you not feel proud to sew it on for yourself8 ,to sew a button on securely you should make a pin-hole where the button is to be placed4 ,a four-hole white button is the easiest to work on4 ,thread a ,no4 #g needle with a length of ,no4 #dj white sewing cotton1 bring the ends together and make a knot4 ,the right length thread is measured from the tip of the thimble finger to the elbow4 ,when a thread is used double it should be twice the length of this4 ,a neat knot is made by holding the threaded needle in the right hand and by taking the end or ends1 as the case may be1 between the thumb and first finger of the left hand4 ,keep the thread tightly stretched1 wind it around the top of the first finger1 then move the finger down the thumb1 carrying the thread with it about half an inch4 ,now with the nail of the second finger bring the knot thus formed to the end of the thread4 ,a large ungainly knot is a disfigurement to a piece of sewing4 ,you are now ready to adjust the button2 place the knot on the upper or right side so that it will be concealed2 after adjusting the button put a pin across the top and sew securely through the holes1 crossing the threads4 ,sew not less than three times through each hole4 ,remove the pin4 ,insert the needle from underneath1 then bring it out between the button and cloth close to the centre of the button4 ,wind the thread tightly around the neck of the button three or four times4 7,the neck is the threads between the button and material47 ,wrapping the threads around protects the stitches and allows room for the buttonhole to lie under the button4 ,take the thread through to the wrong side and take up three stitches1 make a short stitch on the material and cut the thread close 7,figures #b and #c74 ,illustration3 ,figs4 #b and #c ,when a three-hole button is used the stitches form a triangle on the top of the button4 ,a shoe-button should be sewed with a ,no4 #b needle and coarse black thread4 ,the stitches are taken through the shank of the button4 ,fasten off the thread after sewing on two buttons1 for if they are all on one continuous string or thread and that breaks1 all the buttons are apt to come off4 ,if each button is securely fastened the thread may be passed1 however1 from one to the other4 ,illustration3 ,fig4 #d4 ,even basting ,illustration3 ,fig4 #e4 ,uneven basting ,now ,i know you want to do some real sewing2 it must not be big or you will get very tired and think sewing is not as pleasant as you fancied4 ,the simplest stitch in sewing is basting4 ,this is used to hold materials together until you are ready to make firmer stitches4 ,in the following illustration the even and uneven basting stitches are shown 7,figures #d and #e74 ,they must be straight4 ,even basting stitches should be taken about a quarter of an inch apart and in the running stitch which is fine basting about an eighth or a sixteenth of an inch4 ,pretty huck pillows can be made of even and uneven basting or running stitches4 ,a leaf1 star or a figure cut out and traced on a piece of muslin will make a nice design for running stitches 7,figure #f74 ,illustration3 ,fig4 #f4 ,a simple design in running stitch ,if you will examine different kinds of materials before they are cut1 you will note that the threads run in two directions4 ,the threads running lengthwise must be the stronger1 as they have more strain on them4 ,they are called the warp4 ,the warp is set up first before the weaving begins4 ,the threads running crosswise are called the woof4 ,it is the weaker thread and forms the edge or selvage4 ,if you will take a card three inches square and prick a line of dots half an inch from the top and bottom edges and prick a line a quarter of an inch apart you will have a little loom4 ,the dots must be directly under each other4 ,a piece of coloured worsted and a large-eyed crewel needle ,no4 #b will be required4 ,make a knot at the end of your thread and start from the upper right hand hole on the wrong side4 ,bring your thread up through the hole and down through the lower right-hand dot4 ,the needle must now come up through the next hole at the bottom and the thread be again stretched across the card4 ,when every hole has been filled and you have several rows of straight lines1 fasten off the worsted in the back4 ,another shade of wool should be selected so that you can distinguish the warp from the woof4 ,the thread you are now going to use is the woof2 commence at the top and go straight across to the left line1 up over and down under each thread and so on till the row is completed4 ,in weaving the next row1 pick up the threads of the warp that you went over last time4 ,alternate rows agree 7,figure #g74 ,when finished1 the little piece can be used as a doll's mat4 ,to darn your stockings is almost as simple a matter as this weaving4 ,instead1 however1 of starting the thread of the warp on an even line1 as on the card1 start some higher than the others4 ,the reason for this is that an even line will be apt to make an uncomfortable seam in your stocking4 ,the woof threads are always connected to the stocking4 ,a darning ball should be used under the hole4 ,in darning cashmere or woollen stockings it is best to allow the warp to be very slack as wool shrinks considerably in washing4 ,wool should be used for darning woollen stockings4 ,illustration3 ,fig4 #g4 ,weaving with worsted ,illustration3 ,fig4 #h;,a4 ,the first step in darning ,illustration3 ,photograph by ,mary ,g4 ,huntsman4 ,the ,right ,way to ,darn ,have you ever belonged to a sewing club8 ,if not1 try to start one and see how much fun there is in it4 ,the club should meet either on ,friday or ,saturday afternoon1 after the school work is finished4 ,every girl should bring her stockings to darn and another piece of work1 so that when the darning is over she will have something to work on4 ,if there are more than four in the club it is a very hard thing to keep up4 ,three is the ideal number for it4 ,it is better to have a small number--three1 for instance4 ,a large club is apt to be distracting1 but three or four little girls1 with the right helpful spirit1 will find such meetings very instructive and entertaining4 ,illustration3 ,fig4 #h;,b4 ,the second and last step in darning ,,ii ,,back-,,stitching1 ,,over-,,casting1 ,,creasing ,a ,,hem ,,and ,,hemming1 ,,rolling ,a ,,hem1 ,,french ,,hemming1 ,,sewing ,,on ,,tapes ,,and ,,hooks ,,and ,,eyes ,illustration3 ,fig4 #i4 ,the right way to hold your scissors ,stitching is witching1 the song book says1 and it is true1 for after we know that stitch there are a hundred and one things we can do4 ,some people call it back-stitching and we must try to remember that1 so that we shall understand of what they are talking4 ,get mother to give you a piece of material to practise on that has a stripe in it4 ,now take your scissors 7,figure #i7 and cut out two three-inch squares4 ,baste the two squares together a quarter of an inch from the edge4 ,hold the square over the first finger of the left hand ready for the back-stitching4 ,let the basting run up and down over your finger4 ,start from the top and make a small stitch backward1 on the right side of the material1 instead of forward as you did in running 7,figure #aj74 ,pass the needle under until you have a stitch twice as long on the wrong side as that on the right4 ,take the next stitch backward close to the end of the last one on the right4 ,illustration3 ,fig4 #aj4 ,back-stitching ,remember that the stitch you take backward is only half as long as the one you take forward4 ,stitching always looks very different on the wrong side1 but on the right side it ought to look like machine stitching4 ,this stitch might be called the lion stitch1 because it is so strong4 ,it is used to join two edges together1 as for the seams in bean-bags or cushion covers4 ,in places where there will not be much strain we use a quicker stitch1 which is called the half-back stitch 7,figure #aa74 ,this is very much like the stitching of which ,i have been telling you4 ,the wrong side will look about the same1 but on the right side instead of the stitches touching there will be a space1 then a stitch of equal length4 ,illustration3 ,fig4 #aa4 ,the half-back stitch ,the next stitch to learn is the combination-stitch1 which is made up of both the running and the back-stitch 7,figure #ab74 ,it is a stitch that is greatly used for sewing long seams1 as on underwear4 ,by this stitch we can cover the distance in about half the time that back-stitching would take4 ,illustration3 ,fig4 #ab4 ,the combination running and back-stitch ,whenever you can avoid making a knot1 do so1 because it spoils the look of your work on the wrong side4 ,you can start your work1 if it is a seam1 for example1 by making two or three stitches on top of each other4 ,follow the thread of the warp or woof of the material as much as possible4 ,after fastening your thread1 make two fine running stitches forward and one back4 ,keep the stitches the same length4 ,illustration3 ,fig4 #ac4 ,over-casting ,over-casting is used on unfinished or cut edges to keep them from fraying 7,figure #ac74 ,the stitches all slant from right to left4 ,take the stitches one eighth of an inch deep and one quarter of an inch apart4 ,illustration3 ,fig4 #ad4 ,over-handing ,over-handing is fine over-casting and used to connect two finished edges together 7,figure #ad71 as when sewing lace on ruffles1 or joining selvages4 ,what is the selvage8 ,it is the edge of the warp4 ,the next time mother goes shopping ask her to take you with her4 ,when she tells the salesman she wants so many yards of goods1 whether it is for kitchen towels or a dress for herself or for you1 notice how the goods is measured4 ,the salesman will measure along one of the finished sides of the goods4 ,these finished edges are called selvages4 ,illustration3 ,fig4 #ae4 ,the seam opened ,make the stitches in over-handing as small as possible1 keeping the stitches even4 ,sew through both pieces of the material4 ,hold your work between your thumb and first finger4 ,here again it is not necessary to make a knot4 ,let a half-inch of the end of your thread lie on top of the material toward the left side2 the over-handing stitches will cover this end4 ,when the over-handing is finished run your thumb-nail along the stitches on the right side4 ,if your stitches are too deep there will be a seam on the wrong side1 whereas if the instructions have been followed carefully the material will lie perfectly flat 7,figure #ae74 ,now we are ready to help mother hem the new kitchen towels4 ,first see that the edge you are to hem is straight4 ,if it is not1 pull out a thread so as to mark a line to cut by4 ,you must take a thread that runs the entire way across the end of the towel4 ,cut carefully along the space out of which the thread came4 ,get a piece of card that has two smooth or straight edges and make a notch one-half inch from the corner 7,figure #af74 ,a half-inch hem is the one commonly used on a towel4 ,illustration3 ,fig4 #af4 ,a notched card ,if mother likes to have her towels with a wider or narrower hem1 notch the card the size she wishes4 ,turn the material back one-quarter inch and crease it down with your thumb-nail4 ,a second fold is made the width of the hem4 ,take your measuring card and1 placing the end of it on the double edge1 see if your hem is exactly the width desired4 ,baste along the first folded edge to hold the material together for hemming 7,figures #ag and #ah74 ,hold the edge to be hemmed toward you4 ,do not knot your thread4 ,insert the needle at the extreme right of the hem4 ,pull the needle through1 leaving a little end1 as in over-handing1 to be fastened down with the hemming itself4 ,illustration3 ,fig4 #ag4 ,the first step ,illustration3 ,fig4 #ah4 ,the second step ,your needle should slant as shown in the diagram 7,figure #ai74 ,take a stitch right through all the thicknesses of the material4 ,be sure that it goes through to the other side4 ,the fewer the threads taken on the needle at the same time1 the neater the result will be4 ,the stitches should slant from right to left4 ,the stitches must be close together if we want fine hemming4 ,let each stitch be the same size as the other and slant in the same direction4 ,the right side of the hem looks like a row of short dashes4 ,illustration3 ,fig4 #ai4 ,the way the needle should slant ,if your needle gets sticky when you are sewing1 you should pass it through your emery-bag till it is shiny and sharp again4 ,the needle is apt to get that way if your hands perspire4 ,ladies who like to keep their sewing looking fresh and white1 as if hands had never touched it1 find it a good plan to wash their hands in a little vinegar1 or lemon and water4 ,it is very necessary to sit so that the light falls over your left shoulder4 ,a little straight-back chair is another good help in sewing4 ,do you know that many of our ,english great-grandmothers had very straight backs8 ,when they were little girls they had to sit on a very straight1 tall chair1 an hour or two every day4 ,a foot-stool was placed under their feet1 and their shoulders strapped against the chair4 ,of course they did not sit there idle1 but a piece of fine sewing was given them to work4 ,you see they did not have the opportunity to run around and play as you have4 ,their chief recreation was their dancing lesson4 ,illustration3 ,fig4 #bj4 ,a corner basted ready for hemming ,the towel finished1 the next thing to learn is how to turn a corner and hem it4 ,shall we make a cover for ,sally ,ann's bed or a dust-cloth for mother8 ,in either case cut a piece of material eighteen inches square and turn a hem and baste it as you did for the towel4 ,the next side is folded the same as the first4 ,the corner should form a perfect square 7,figure #bj74 ,sometimes the material is very thick and the hem wide2 in that case it is wise to cut a little oblong piece out of the corner as shown in the illustration 7,figure #ba74 ,illustration3 ,fig4 #ba4 ,the material cut from a corner ,napkins and table-covers should be sewed with a ,french hem4 ,make a turn about a sixteenth of an inch deep4 ,the second turn should be about three sixteenths of an inch wide4 ,fold the hem back so that it touches the right side of the material4 ,the hem is connected to the material with tiny over-hand stitches4 ,open the hem1 when finished crease with the thumb-nail till it lies perfectly flat4 ,illustration3 ,fig4 #bb4 ,whipping ,a pretty new way of finishing a handkerchief is to roll the material for the edge instead of folding it4 ,over-cast or1 as we sometimes say1 whip it with delicate-coloured cotton1 7,figure #bb74 ,the nicest material for handkerchiefs is fine linen1 but lawn is cheaper for practice work4 ,hold the wrong side of the material to you4 ,then roll about one eighth of an inch between the thumb and first finger of your left hand4 ,do not roll more than an inch of the hem at a time4 ,take a needle and thread it with a piece of coloured cotton4 ,in this case it is permissible to make a knot4 ,insert the needle at the beginning of the roll4 ,over-cast or whip the rolled edge4 ,the stitches should encircle the roll and not go through it4 ,when the rolled inch is over-casted1 roll another inch and repeat in this manner till the whole handkerchief is worked4 ,if you desire1 when you have finished one side1 you can whip in an opposite direction toward the point at which you started1 thus forming a cross with each return stitch 7,figure #bc74 ,illustration3 ,fig4 #bc4 ,a pretty finish for handkerchiefs ,lace is sewed to raw edges by rolling and whipping the material and connecting the lace at the same time4 ,illustration3 ,fig4 #bd4 ,a rolled hem ,illustration3 ,fig4 #be4 ,one end creased one quarter of an inch ,illustration3 ,fig4 #bf4 ,the tape open flat on material ,tapes should be on all towels and on all your skirts and dresses that are to hang on nails or pegs4 ,take a piece of fine tape about five inches long4 ,crease one end down one quarter of an inch 7,figure #be74 ,if the tape-loop is to be sewed on a towel find the direct centre of the top edge of the towel4 ,lay the tape with the creased end open flat on the towel 7,figure #bf74 ,sew along the creased line with back-stitching4 ,fold the other end of the tape over1 baste it down so that it entirely covers the stitches already made and with small hemming stitches connect the tape to the material 7,figure #bg74 ,there should be two tape-loops on your dress or separate skirt4 ,there is usually too much weight for only one loop4 ,place a loop in each armhole of the waist or dress4 ,for the skirt1 measure the waist-band and place the loops so that the band is divided in thirds4 ,illustration3 ,fig4 #bg4 ,the tape finished ,do you know that very few people sew on hooks and eyes properly8 ,yet there is no difficulty in sewing them correctly and they look much nicer4 ,take the eye1 connect it to the material with two stitches that make a cross4 ,with the same thread pass the needle to the left-hand loop4 ,insert the needle in the material so that the eye of the needle is within the loop and the point of the needle comes just outside4 ,see that the thread passes from left to right under the point of the needle4 ,draw the needle through and repeat in this manner until the two loops of the eye are firmly connected to the material4 ,sometimes it is necessary to cover the upper part of the eye4 ,in that case cover the metal with fine over-and-over stitches as shown in 7,figure #bh;,b74 ,illustration3 ,fig4 #bh;,a4 ,the eye firmly sewed ,illustration3 ,fig4 #bh;,b4 ,a covered eye ,the loop of the hook is sewed on in a very similar manner at the base1 while the top of the hook is caught with eight or nine over-and-over-stitches 7,figure #bi74 ,these stitches are taken under the hook portion and connect the under side only4 ,measure accurately just where every eye goes and place the hook so that when it meets the eye it will be straight4 ,a sixteenth of an inch out of the way spoils the appearance and is apt to pull the material crooked4 ,another point to remember is that it is not a good plan to place the eyes on the extreme edge4 ,a margin of some size is most necessary to extend beyond the eyes4 ,sometimes it is necessary to sew a piece of material so that it extends one inch beyond the eyes if the eyes are sewed on the extreme edge of the finished garment4 ,this piece is called the fly piece4 ,illustration3 ,fig4 #bi4 ,the hook ,,iii ,,gathering1 ,,sewing ,,on ,,bands1 ,a ,,practical ,,sewing ,,apron1 ,,hemmed ,,patches1 ,,gussets ,,and ,,tucks ,though ,i know you don't like making samples1 ,i am going to ask you to make a little apron for a doll1 as a model1 before we make a real big one4 ,get a piece of muslin five by nine inches and a ,no4 #i sewing needle4 ,thread it with a piece of ,no4 #gj cotton4 ,baste an eighth of an inch hem on both of the five-inch sides1 and a three-quarter of an inch hem on one of the nine-inch sides4 ,the basting of the three sides being finished we will now start to gather the fourth side4 ,thread a ,no4 #h needle with ,no4 #ej thread4 ,use a thread a trifle longer than nine inches4 ,make a good-sized knot in the thread so that the end cannot slip through the material4 ,start from the right-hand side of the piece and insert the needle on the under side4 ,let the knot come on top of the narrow hem about one quarter of an inch from the raw edge4 ,the needle is now in position on the right side of the material4 ,take up several stitches on the needle before pulling it through 7,figure #cj74 ,the stitches are nothing more than running stitches4 ,when the running has been worked across the nine inches of the material1 take the needle out and make a knot in the thread4 ,illustration3 ,fig4 #cj4 ,gathering the apron ,put a pin1 vertically1 close to the last stitch4 ,take up only a few threads of the material on the pin4 ,draw up the running thread so that you have about three and a half inches of gathering4 ,wind the thread that extends beyond the gathering over the top and under the point of the pin a number of times1 crossing the thread at the middle of the pin so that it forms an eight 7,figure #ca74 ,to allow the gathering to fall evenly1 it will be necessary to stroke it4 ,use a ,no4 #b needle for this purpose4 ,with the right side of the work toward you begin at the left-hand edge4 ,hold the work between the left thumb and forefinger1 keeping the thumb below the gathering thread4 ,put the point of the ,no4 #b needle under the gathering thread1 holding it obliquely4 ,press the needle toward the thumb1 bringing the little plait under the thumb and drawing the needle downward4 ,pinch the little plait down lightly with your thumb4 ,continue in this way1 putting the needle under each stitch 7,figure #cb74 ,illustration3 ,fig4 #ca4 ,gathers ready for stroking ,let us now put a band and strings on our apron4 ,cut two strips of material ten inches long by two inches wide4 ,these are for the strings4 ,baste an eighth of an inch hem on the two long sides of each strip4 ,make a three-quarter of an inch hem on each string4 ,over-hand the ends of the broad hem4 ,all the hems that are basted on the strings and the material itself should be hemmed with fine stitches4 ,illustration3 ,fig4 #cb4 ,gathering ,strokes ,cut another strip two and a half inches wide by five inches long4 ,this is the band4 ,turn down one eighth of an inch of the material all around the band4 ,crease the band in half1 lengthwise1 so that the edges1 just folded1 are inside4 ,find the centre of the gathered material and the centre of the opened band4 ,holding the wrong side of the apron toward you1 pin the middle of the apron to the middle of the band4 ,pin the gathered side of the apron to the band1 three quarters of an inch from each end of it4 ,wind the gathering thread around the left-hand pin1 drawing the thread up to fit the band4 ,with the point of the needle adjust the gathers so that the fullness is evenly distributed along the band4 ,holding the gathers toward you1 baste with small stitches a little above the gathering thread4 ,turn up the band and on the right side of the apron hem the band in it1 catching up a gather with each stitch4 ,some people prefer to stitch along the basting line instead of hemming 7,figure #cc74 ,illustration3 ,fig4 #cc4 ,taking up a gather with every stitch ,baste the other side of the band down1 and hem as on the right side4 ,insert the strings in the band4 ,hem in the same way as on the band1 first the right side and then the left side1 and now your little apron is completed 7,figure #cd74 ,would you not like to have a sewing apron that you can use as a bag when you are not wearing it8 ,it is such an easy thing to make that after you have one for yourself you will be making them for your friends for ,christmas4 ,illustration3 ,fig4 #cd4 ,the apron completed ,get mother to measure you from the waist to the knees4 ,the material for the apron should be one and a half this measurement4 ,turn one third of the material back4 ,baste the double edges together and sew with fine combination stitches4 ,turn this piece inside out4 ,crease back one eighth of an inch edge of this pocket1 as it were4 ,baste a piece of beading over this raw edge right around the back of the apron4 ,be careful not to sew up the pocket4 ,the beading on the back must be the same distance from the bottom as the beading in front2 that is1 we must keep a straight line4 ,sew on the extreme edges of the beading with fine running stitches1 to connect it to the material4 ,now as the ribbon we are to run in the beading must serve as a draw string1 as well as for decoration1 it will be necessary to put two pieces in4 ,so get a narrow ribbon about one half the width of the openings in the beading4 ,each piece of ribbon must be long enough to go once around the apron and enough of the ends left to tie double bows--one for each side4 ,start one piece of the ribbon at the right-hand side of the apron and the other at the left4 ,the top of the apron or single piece is finished with a piece of beading which is sewed on1 as on the pocket4 ,a ribbon long enough to go around your waist and to tie a bow in the back is run through the beading 7,figure #ce74 ,illustration3 ,fig4 #ce4 ,the apron ,when the apron is not being worn your work can be placed in the large pocket and the single section folded within the pocket4 ,the ribbons are then drawn up tight and bravo6 you have a work bag fit for a queen 7,figure #cf74 ,illustration3 ,fig4 #cf4 ,the work bag ,there are so many kinds of rents or holes that may happen to your clothes that it is worth the while to know how to mend the various kinds4 ,there is an old adage that says1 ,waste makes want1 and we would spend a small fortune in clothes if every time a wee hole made its appearance we discarded the garment4 ,if it is a circular hole in a dress or underbody1 as often happens1 under the arms1 we will use the square patch4 ,cut a piece of the same kind of material1 three inches square1 or larger if necessary4 ,turn a fold of one eighth of an inch on the four edges of this square4 ,crease it lengthwise and crosswise4 ,illustration3 ,fig4 #cg4 ,the patch hemmed to the material ,crease the material on which the patch is to be laid lengthwise and crosswise through the tear4 ,pin the small piece or patch on the wrong side of the large piece1 or garment1 so that the creases run in the same direction4 ,the warp must run the same way in both pieces4 ,one sixteenth of an inch from the edges run a basting thread4 ,hem the four sides on the patch to the material 7,figure #cg74 ,illustration3 ,fig4 #ch4 ,the pin in each corner of the patch ,on the garment side make a crease half an inch wide1 from the hemming1 on the four sides4 ,four little squares will be formed in the corners4 ,crease along the diagonal of each square4 ,place a pin one eighth of an inch from each corner1 within the patch 7,figure #ch74 ,cut the garment from the centre of the tear to the pins4 ,repeat this on each side1 cutting along the crease which you made1 one half inch from the hemming4 ,turn in one eighth of an inch and baste4 ,hem all around 7,figure #ci74 ,illustration3 ,fig4 #ci4 ,the garment side of the patch ,in patching material such as checked or striped ginghams1 percales1 or other materials1 the stripes or the checks must match so that the patch is not too apparent 7,figure #dj74 ,illustration3 ,fig4 #dj4 ,matching the stripes ,have you ever noticed how the slit or placket of a petticoat or side opening of drawers is finished8 ,a piece of material is put in of an odd shape to strengthen the openings4 ,this is called a gusset4 ,suppose that you were making a petticoat4 ,join the skirt up the back from the bottom1 but leave eight inches open at the top4 ,this top opening is the placket4 ,but let us take a small piece of material and practise making the back of a skirt4 ,we will put a hem and a few tucks at the bottom of the material first4 ,illustration3 ,fig4 #da4 ,basting the tuck ,make a measuring card of a straight strip with an eighth1 three eighths1 and three quarters of an inch notches4 ,crease and fold a wide hem 7three quarters of an inch71 using the measuring card as a guide4 ,over-hand each end of the hem4 ,now baste along the hem4 ,the over-handing must be done before the basting4 ,now hem this wide hem4 ,again1 using the cardboard measure1 on the right side of the model fold a crease three quarters of an inch above the hem4 ,begin at the right-hand side to crease and baste 7,figure #da74 ,with a fine1 even1 running stitch1 an eighth of an inch below the crease1 make the tuck 7,figure #db74 ,measure every few stitches to keep the seam straight4 ,illustration3 ,fig4 #db4 ,making the tuck ,if a second tuck is desired1 measure from the tuck instead of the hem4 ,now we are ready for the slit which is in the centre top4 ,on the wrong side start at the top with an eighth of an inch hem1 but decrease it to almost nothing right to the bottom 7,figure #dc74 ,fold the other side in the same manner4 ,in hemming the two sides1 start at the top4 ,illustration3 ,fig4 #dc4 ,the placket hemmed ,now let us practise making gussets on a piece of paper4 ,cut a piece of paper three inches square4 ,fold it from corner to corner and cut 7,figure #dd74 ,turn the straight or short edges of the paper one eighth of an inch and fold along the two shorter edges 7,figure #de74 ,illustration3 ,fig4 #dd4 ,the triangle ,hold the paper with the straight edge down1 measure it from the two points one quarter of an inch4 ,now cut a piece of material the size of the paper and fold like model4 ,illustration3 ,fig4 #de4 ,the short edges folded ,cut off the two points one quarter inch from each corner on the thread of the goods 7,figure #df74 ,turn these two straight ends and the bias edge of paper one eighth of an inch 7,figure #dg74 ,turn point of paper down one eighth of an inch from bias hem and crease 7,figure #dh74 ,illustration3 ,fig4 #df4 ,with points cut off ,now cut the muslin gusset and fold just like the paper one4 ,illustration3 ,fig4 #dg4 ,all sides are now creased4 ,illustration3 ,fig4 #dh4 ,the point folded over ,hold the model or skirt with right side toward you1 and turn up point of gusset4 ,holding the wrong side of the skirt toward you1 twist left side of gusset to left side of placket and over-hand to creased line1 half way up the gusset 7,figure #di74 ,illustration3 ,fig4 #di4 ,the gusset over-handed half way ,over-hand right side4 ,turn bias edge of gusset over to right side1 pin1 having straight edges parallel to warp and woof threads and then hem 7,figure #ej74 ,gather the top of the skirt and put on a band on each side of opening about the same width as the one used on the apron 7,figure #ea74 ,illustration3 ,fig4 #ej4 ,gusset hemmed ,illustration3 ,fig4 #ea4 ,the gusset model completed ,,iv ,a ,,doll',s ,,skirt ,,and ,,sewing ,,case1 ,,bindings1 ,,doll',s ,,bed ,,linen ,,and ,a ,,pin ,,case ,let us suppose that ,sally ,ann measures twelve inches from the crown of her head to the soles of her feet and that you would like to make her a gored skirt like mother's4 ,would you not feel happier if you made the pattern and then cut the skirt yourself8 ,take a piece of paper twelve by nine inches wide1 mark every inch on both the long sides of the paper4 ,lay a ruler so that it touches the centre of the space between the first and second dots on the upper edge1 and between the second and third dots on the lower edge4 ,this will form the half of the front gore of the skirt4 ,mark it1 half of front4 ,now draw a line from the second dot on the upper edge to the centre of the space between the fourth and fifth dots of the lower edge4 ,connect the sixth dot on the upper and lower edges1 mark this section side gore4 ,connect the eleventh dot on lower and upper edges and mark this section back4 ,the remaining inch mark belt4 7,figure #eb74 ,illustration3 ,fig4 #eb4 ,the pattern drawn ,cut the pattern apart along the lines drawn4 ,take a piece of muslin twenty-four by nine inches4 ,tear off two inches of the muslin on the length for the band and then ten inches for the back of the skirt4 ,fold the remaining piece of muslin with the two short edges together so that the doubled piece measures six inches by nine4 ,place the straight edge of front of skirt pattern on the fold of the material and the edge of the side gore on the other edge4 ,pin the pattern down securely and cut through both thicknesses of the material 7,figure #ec74 ,pin the skirt together1 placing a straight edge of a gore to a bias4 ,baste a quarter-inch seam along the finished edges of each gore1 holding the bias edge toward you4 ,sew the seams up with combination stitches4 ,press open the seams and over-cast each one to keep it from fraying4 ,illustration3 ,fig4 #ec4 ,the back1 side gore and front ,fold a hem at the bottom of the skirt an inch and a quarter wide4 ,baste the hem so that seam comes to seam4 ,on the front gore there will be a fullness4 ,gather this fullness in with fine running stitches and baste4 ,use a separate thread for the gathering4 ,now hem around the whole skirt4 ,cut the placket two inches down through the centre back4 ,turn a hem on the right side one half inch wide and on the left one eighth inch4 ,sew the hem4 ,lap the wide hem over the narrow at the bottom of the placket and stitch across the wide hem two rows of stitching one eighth of an inch apart4 ,turn in the strip you cut off at first for the band one quarter of an inch on the two short sides and on one of the long sides4 ,illustration3 ,fig4 #ed4 ,the skirt ,fold lengthwise1 find centre of band and crease2 one inch from this1 crease again4 ,place and pin band in the same way as for the gusset described in the last chapter1 placing the middle crease at the middle of front of skirt4 ,then pin the band also at the creases on either side of centre4 ,gather each side of the skirt that is left4 ,draw in the thread to fit belt4 ,spread the gathers so that most of the fullness is in the back4 ,over-hand the ends and hem second side of the placket4 ,this finishes the skirt 7,figure #ed74 ,a basket or box of some sort is very nice to have1 as we have said above1 for your sewing1 but suppose you were going to sew with another friend and you wanted a handy case in which to carry your sewing implements8 ,a cloth case that can be folded or rolled is very much more convenient and may be carried in the large pocket of your apron4 ,one made of denim is inexpensive1 wears well1 and is highly practicable4 ,one yard will make you a case4 ,cut a piece of green denim sixteen by fifteen inches long4 ,turn up four inches of the material1 baste down both sides4 ,baste a four-inch pocket on the left-hand corner of your case4 ,the rest of the case divide in two4 ,this will hold your darning cotton that comes on cards4 ,we have a pretty way of finishing this case1 which is not only ornamental but strong1 and that is to bind it4 ,get a piece of tape long enough to go around the whole case4 ,crease it lengthwise so that one edge comes slightly below the other4 ,open it and lay it on denim and then neatly back-stitch the right side and hem the wrong4 ,the hemming should be just below the back-stitching1 and must not be seen on the right side4 ,allow enough tape at the corners to make a good angle4 ,both sides of the corner must be treated alike4 ,illustration3 ,fig4 #ee4 ,the material caught from side to side ,it will be well to have a needle case to match the sewing case4 ,cut a strip of material thirteen inches long by three and a half inches wide4 ,cut this strip in four parts4 ,get a piece of cardboard that is not too thick or of such kind that will break easily1 as some of the cheaper grades of brown cardboard are apt to do4 ,cut four pieces1 three inches wide by three and a half inches long4 ,thread your needle with a piece of ,no4 #dj cotton and put a big knot at the end4 ,take one of the pieces of denim and a piece of the cardboard4 ,catch the material from side to side with stitches about one quarter of an inch apart 7,figure #ee74 ,after sewing these two sides sew the third and fourth in the same manner4 ,cover each piece of the cardboard in this way 7,figure #ef74 ,take two of the covered pieces and over-cast them carefully together4 ,illustration3 ,fig4 #ef4 ,the four sides of material caught together ,you should have leaves of flannel to stick your needles in4 ,pink the edges of the flannel4 ,pinking is snipping out the edge in little points and can be done with scissors4 ,connect the two pieces of the needle case with two tiny bows1 or a heavy thread can be made to answer the purpose4 ,the flannel sheets are tacked through the centre like the pages in a book 7,figure #eg74 ,the third or middle compartment between the spool case and darning thread can be used for a miscellaneous pocket to hold the tape-measure1 emery-bag1 small scissors and other necessary articles4 ,illustration3 ,fig4 #eg4 ,the flannel sheets tacked through the centre ,a piece of tape stretched down on the denim with just enough spring for the package of needles to pass through is a handy way to carry them 7,figure #eh74 ,it is rather dangerous to travel with a pair of scissors with the points unprotected4 ,in ,canada and the states that border it the ,indians sell the little sweet grass protectors4 ,a cork1 however1 that comes in small bottles such as you get from drug stores will protect the points of the scissors as well as the sweet grass protectors1 if not as elegantly4 ,if the scissors are too large to put in the pocket a piece of tape could be stitched down to slip them in lengthwise4 ,the case should be folded in three parts when it is not in use and a piece of tape the same colour as the binding tied around it 7,figure #ei74 ,illustration3 ,fig4 #ef4 ,the four sides of material caught together ,now that you have your sewing apron and a work box1 you will love to be sewing every chance you get4 ,suppose we plan a set of bed things for ,sally ,ann4 ,first let us make a mattress4 ,the mattress on your bed is covered1 probably1 with ticking1 but this is too harsh for your fingers to sew1 so let us select percale or zephyr1 and half-inch tape for the binding2 the filling can be cotton1 hair1 or feathers4 ,if it is impossible to get any of these three1 newspapers chipped up very fine will make an excellent padding4 ,many people use newspaper chippings to fill pillows for summer use4 ,illustration3 ,fig4 #ei4 ,the case folded ,measure the bedstead and cut two pieces of percale or zephyr exactly the same size4 ,now cut a stripe of the material1 one inch wide1 long enough to go around the four sides of one of the pieces of the material that you have just cut4 ,illustration3 ,fig4 #fj4 ,the narrow strip to the large strip ,baste the long narrow strip around one large piece4 ,lay the wrong side of the strip to the wrong side of the material 7,figure #fj74 ,the edges must be even4 ,use the combination stitch of one running stitch and one back-stitch just below the basting4 ,when the strip has been securely sewed to the four sides of the material1 join the two ends together on the wrong side4 ,now take your tape1 which may be white or the colour of the figure in your material1 and bind the edges by first running one side down and then the other 7,figure #fa74 ,illustration3 ,fig4 #fa4 ,binding the mattress ,the other piece of material is sewed in the same manner--the wrong side of the strip to the wrong side of the material4 ,do not sew1 however1 around the entire four sides but leave about six inches open through which the filling may be passed4 ,after basting the strip with combination stitching fill with cotton or whatever material you have on hand4 ,do not fill the mattress so that it will be bumpy4 ,put a little stick in and flatten the filling at the top4 ,now sew the opening up and we are ready to quilt the mattress4 ,thread a large needle with two pieces of heavy cotton floss or wool4 ,push your needle through to the other side1 letting a short end extend above the mattress4 ,bring your needle back again close to where it came out 7,figure #fb74 ,unthread the needle and tie the ends tightly4 ,cut off what is left and repeat again two and a half inches over4 ,it is best to quilt in rows2 that is1 to start two inches in from the long side and make a row parallel with the tape4 ,the next row is made two and a half inches farther over and the next row of knots should come in between the first row of dots4 ,illustration3 ,fig4 #fb4 ,quilting ,this mattress is made just like yours and the pillow is the next article we will make4 ,the pillow should be half the width of your mattress1 as we will use two on the bed4 ,take a piece of material twice the length desired for the pillow4 ,use the same kind of material as that used for the mattress4 ,fold the piece in two with the wrong side out4 ,join the two long edges and one of the short sides with the combination stitch 7,figure #fc74 ,make the stitches one quarter inch from the edge4 ,now turn the case inside out and fill with cotton4 ,turn in the edges of the open end and over-cast them together 7,figure #fd74 ,as ,i have said before1 it will be necessary to make two pillows4 ,illustration3 ,fig4 #fc4 ,the pillowcase ,illustration3 ,fig4 #fd4 ,overcasting the open end ,the pillowcases can be made of lawn1 cambric or muslin4 ,cut the material a little larger both in length and width than the pieces used for the pillow4 ,the seams of the pillowcases will have to be felled4 ,along the one short side and the long side make fine running stitches1 one quarter of an inch from the edge4 ,cut the raw edge from one side so that the other is about an eighth of an inch wider4 ,now fold the wider edge over like a hem so that it completely covers the cut edge and hem neatly to the material4 ,the open end has a wide hem of say three quarters of an inch4 ,when the hem is finished turn the case with the work inside4 ,for the sheets cut two pieces of muslin or lawn large enough to cover the mattress and to turn under4 ,the selvage edge of the material should run the length of the sheet4 ,turn in a quarter-inch hem on the two long sides of each sheet and hem4 ,now turn a one-inch hem at the top and bottom of each sheet4 ,this completes the sheet 7,figure #fe74 ,illustration3 ,fig4 #fe4 ,the sheet ,a blanket is of course very necessary to have and it can be made of a piece of an old blanket or of canton flannel1 cashmere1 or plain flannel4 ,if a piece of blanket is used1 finish the edges with the blanket stitch which is described in ,chapter twelve of the book4 ,the flannel1 cashmere1 or canton flannel is finished by turning the edges over a quarter of an inch and herring boning or cat-stitching them to the material 7,figure #ff74 ,for cat-stitching see diagram in ,chapter nine4 ,illustration3 ,fig4 #ff4 ,the blanket ,no bed is complete without a counterpane of some sort and this can be made as fancy as you desire4 ,a pretty one is made of strips of insertion joined together by fine over-casting or fagotting4 ,fagotting is explained in ,chapter twenty4 ,a row of edging will have to be sewed like a ruffle around the two long and one short sides to complete the counterpane4 ,illustration3 ,fig4 #fg4 ,the crow's foot and spider on checked gingham ,if a very fancy counterpane is desired get a piece of checked gingham of some light colour4 ,the check should be a quarter of an inch square4 ,with your needle threaded with white or a shade deeper than the darkest check make spiders on the dark squares and crow's feet on the light4 ,directions for making a spider are given in the chapter on ,lace ,stitches4 ,a crow's foot is made by taking one stitch on the diagonal of the square and two on each side of it1 the stitches on each side of the first one being a trifle shorter than the previous ones 7,figure #fg74 ,a counterpane like this is very attractive and does not require a great deal of time to make4 ,illustration3 ,fig4 #fh4 ,the envelope opened ,a dainty little pin case that will make an acceptable little gift for a friend that is going to travel is the envelope pin case4 ,take a piece of material such as linen1 cretonne1 or silk and another piece of different coloured material for lining and shape one end as shown like the flap of an envelope 7,figure #fh74 ,a good size is nine inches long by four inches wide4 ,cut a piece of stiff paper a half inch smaller than the pieces of material4 ,baste the material which will be outside over the paper so that the edges are folded back one quarter on the paper4 ,turn a similar fold on the lining and hem it to the material as shown on the flap of the envelope opened4 ,illustration3 ,fig4 #fi4 ,the envelope case closed ,now take two papers of pins and place them in the case so that they look like leaves of a book4 ,be careful to see that the heads of the pins are on top4 ,now catch the pins to the case with several long stitches which are taken below the points of the pins4 ,stitch a ribbon to flap of envelope and one at the bottom4 ,close the case and tie the ribbons and you have a handy pin case 7,figure #fi74 ,v ,,making ,,buttonholes1 ,,cutting ,,from ,a ,,pattern1 ,a ,,doll ,,dress ,to make a good buttonhole is an accomplishment that any girl can be proud of1 as it is the hardest thing in sewing4 ,the thread should be almost double in length to that you usually take1 as a joining is very clumsy in a buttonhole4 ,a buttonhole is a worked opening in a piece of material or garment through which a button is to be slipped4 ,the friction caused by buttoning and unbuttoning necessitates that the worked edges should be firmly and well sewed4 ,illustration3 ,fig4 #gj4 ,the first step in buttonholing ,before we make a real buttonhole1 let us see how the stitch is worked4 ,draw a line one inch in length with the straight of the material4 ,take two stitches one inch long over this line4 ,at the extreme right of the stitches insert your needle1 threaded with ,no4 #dj cotton4 ,take a stitch about a sixteenth of an inch below the line4 ,while the needle is still in the material--you are working from left to right--7,figure #gj71 carry the thread under its point from the left1 to the right side of the needle4 ,the enlarged cut showing this stitch is very plain4 ,the needle is then drawn through the material toward the chest and then straight from it4 ,the next stitch and every other stitch must be identical with the first1 the difference being that each stitch is then a little farther to the left4 ,every stitch must be the same length4 ,now let us prepare to make the stitch on a fold4 ,fold a band in three equal parts4 ,pass the needle between the folds and bring it out on the edge4 ,hold the end of the thread with the left thumb4 ,carry the needle to the back of the fold and insert the point through the fifth thread of the material from the edge4 ,the double thread at the edge of the needle is brought around the point of the needle from left to right and drawn out4 7,figure #ga74 ,a tailor's buttonhole is made slightly different4 ,the needle is placed in the same position as in the ordinary buttonhole4 ,the thread is brought from the top of the stitch and the doubled thread is brought around under the point of the needle from right to left 7,figure #gb74 ,illustration3 ,fig4 #ga4 ,the position of the needle in buttonholing ,illustration3 ,fig4 #gb4 ,a tailor's buttonhole ,the corners of the buttonhole are worked in two ways1 either barred or rounded4 ,the round corners are worked in the same buttonhole stitch1 only it is twice the depth of the buttonholing along the two edges4 ,five or seven stitches will be sufficient for a corner or the ridge of the buttonholing will be too crowded4 ,the bar or braced end of the buttonhole is a little more difficult4 ,it is necessary to bar a buttonhole for heavy woollen materials such as men's coats1 or your own cloak1 or outer wraps 7,figure #gb74 ,generally the first end of the buttonhole is rounded and the last end barred 7,figure #gc74 ,illustration3 ,fig4 #gc4 ,the buttonhole with one end rounded and the other barred ,work around the buttonhole end when the last stitch has been made1 turn the material so that the work lies across your forefinger4 ,pass the needle over the extreme left of the stitch1 7,figure #gd74 ,work four stitches the same length as those of the two sides of the buttonhole1 and then insert the needle through the ridge of the first buttonhole stitch4 ,the ridge of the bar faces the buttonhole4 ,this bar should be just the width of the buttonhole4 ,nine stitches are usually sufficient for it4 ,illustration3 ,fig4 #gd4 ,barring the buttonhole ,tailors run two or three strands at the base of the buttonhole before working the nine stitches4 ,the stitches are not taken through the material but only over the threads4 ,a buttonhole is fastened off on the wrong side at the base of the stitch4 ,the most important step is to cut the buttonhole straight4 ,the buttonhole should be a trifle longer than the button4 ,it should be cut in the opposite direction to which the strain will be4 ,for instance on the back of the waist the buttonholes should run crosswise1 for the movement of the shoulders spreads the buttonhole lengthwise4 ,on the bands around the waist buttonholes are made lengthwise4 ,a sharp pair of scissors or a penknife should be used for cutting the holes4 ,insert the point of the scissors or knife through the centre of the buttonhole4 ,cut one side1 then the other1 along a thread of the material4 ,the thread is fastened securely on the wrong side of the left-hand corner4 ,use ,no4 #dj sewing cotton for buttonholes1 unless on very fine material1 when ,no4 #fj should be used4 ,sometimes it is well to over-cast the raw edges before working the buttonhole4 ,a thread should always start at the extreme lower left-hand corner4 ,the backs of yokes should be fastened with loops and fine buttons4 ,to make a loop1 span the thread across the edge of the material in a loop large enough to slip the button through4 ,let the last stitch be on the right-hand side4 ,now place the threaded needle under the strands of thread letting the thread fall under the point of the needle4 ,repeat in this manner till the strands are entirely covered4 ,the ridge or purled edge of this stitch will be on the outside of the loop4 ,illustration3 ,fig4 #ge4 ,loops made of threads ,hooks are sometimes caught into loops1 but they are made directly on the material instead of sewed on the edge4 ,the strands of thread1 however1 are not as loose as the buttonloops4 ,the diagram 7,figure #ge7 of the two loops will convey a clear idea of how the threads are spanned and covered4 ,the last step in sewing is cutting from a given pattern4 ,an old garment that fits well1 ripped apart makes an excellent pattern and requires very little fitting4 ,press the pieces before using them as a pattern4 ,lay the material so that the selvage runs lengthwise1 that is1 from head to foot4 ,only one half of the garment is necessary for a pattern1 as the material is doubled or folded lengthwise 7,figure #gf74 ,the centre front of the skirt or waist is always placed on the fold of the material and either basted or pinned down before cutting4 ,illustration3 ,fig4 #gf4 ,the centre front on fold ,collars1 cuffs1 bands1 and sleeves are cut with the selvage running their length4 ,cut any part of a garment such as sleeves1 waist1 or skirt through two thicknesses of material so that both sides will be exactly alike4 ,this does not refer to the front gore of a skirt4 ,when the material has a right and wrong side the right sides should face each other before cutting the pattern4 ,handkerchiefs or frills should be cut along a thread so that the edges may be perfectly straight4 ,be sure that the material lies perfectly flat under the pattern4 ,pin the centre first to keep it from slipping before pinning the edges4 ,pin the entire garment before cutting anything1 so that you can be sure that your material will be sufficient4 ,this also gives you an opportunity to see where to put the smaller pieces and economize with the material4 ,a large pair of scissors should be used in cutting4 ,the blunt-pointed blade is next to the board or table4 ,it is well to practise on paper and plan the pattern before using the pattern on the cloth4 ,bias bands should be cut on the bias of the material4 ,cut a square piece of material and fold it cat-a-corner4 ,cut along the fold and you will get a true bias4 ,bands to finish the necks of undergarments or around armholes should be cut on the bias4 ,in fact1 any curved edge that has to be faced should be faced with a bias instead of a straight band4 ,now suppose we make a real dress for ,sally ,ann that will be put together and finished just like one of your own dresses4 ,the style we will select will be on the order of a ,french dress1 that is1 a long waist and short skirt4 ,the pattern for the waist is in seven parts3 they are the front1 side front1 back1 side back1 sleeve1 collar1 and cuff4 ,the skirt is only one piece4 ,three quarters of a yard of material will be sufficient to make a dress for a doll from eighteen to twenty inches in height4 ,in all patterns that are bought only one half is given2 sometimes all the seams--which are a very important part of a dress--are given and sometimes they are omitted4 ,any pattern that is published by a reliable firm tells on the envelope whether you should allow for the seams or not4 ,the pattern is usually of tissue paper and each piece has perforations or holes of different shapes4 ,one shape means this side must be placed on the fold of the material1 another shape or perforation the same shape only grouped differently1 means that the pattern should be placed on a straight thread of the material4 ,still another means gather here4 ,if there are tucks in the pattern they are usually indicated4 ,where the seams join each other1 little notches are made and corresponding notches are placed together and pinned after the pattern is cut4 ,let us suppose the material is forty-five inches wide4 ,place the centre of the skirt on the fold of the material and pin in place4 ,your pattern should be planned and pinned on a flat surface such as a sewing table4 ,place the pins through the tissue pattern and both thicknesses of the material1 letting the head and the point of the pin be visible to the eye4 ,do not cut any piece of your pattern until you have planned and pinned every piece1 as that is the only way you can economize on your material 7,figure #gg74 ,often a pattern cut before each piece is planned comes to grief if an over-supply of material has not been provided4 ,the centre front is also placed on the fold of the material as well as the centre1 back and collar4 ,the sleeves are now fitted in1 so that the perforations rest on the straight thread of the material4 ,the side front and back and cuffs are also pinned to the material4 ,the pattern now pinned1 take a large pair of cutting scissors and holding the blunt part toward the table1 cut close to the tissue pattern1 or if no seams are allowed1 the width stated in directions should be allowed for the seams4 ,illustration3 ,fig4 #gg4 ,the waist pattern pinned to the material ,let us make the sleeve first4 ,take one sleeve and holding with the right side join notches together 7,figure #gh74 ,baste the sleeves up on the seams one eighth of an inch from the edge4 ,when the basting is finished make a row of fine running stitches4 ,turn the sleeves on the wrong side and baste them before working the combination stitches4 ,the sleeves are now ready to be banded4 ,the band is taken and sewed on the short side4 ,the seaming is taken on the wrong side of the material4 ,a little seam is taken on each of the long sides of the cuff4 ,fold the cuff in half4 ,the turns or folds are opened out and now turn the cuff inside out4 ,run a gathering thread at the lower edge of the main part of the sleeves starting the thread one half inch from each side of the seam4 ,place the cuff around the sleeve so that cuff seam rests on the seam of the sleeve4 ,pin into position4 ,it will probably be necessary to pull or adjust the gathering thread so that the lower part of the sleeve be just the size of the cuff4 ,baste the band on after it has been pinned satisfactorily before working the combination stitch4 ,illustration3 ,fig4 #gh4 ,notches of sleeve put together ,turn the sleeve inside out and fold the cuff in the creases4 ,hem the inner side of the cuff to the wrong side of the sleeve4 ,on the upper side of the sleeves run another gathering thread about one inch and a half from the seam 7,figure #gi74 ,we have now finished with the sleeve until the waist proper is ready4 ,illustration3 ,fig4 #gi4 ,gathering the top of the sleeve ,now take the centre back and side back and baste them together4 ,join the pieces so that the notches correspond4 ,work the combination stitch three eighths of an inch from the edge4 ,the side fronts are joined to the backs under the arm and on the shoulders4 ,the front is then sewed to the right side of the waist only4 ,it will be necessary to face the centre front piece and the left side front4 ,take a bias strip of material not more than three quarters of an inch wide and fold an eighth of an inch on each side of this strip4 ,join the shoulder seams together1 one side of the back to the right side of the front and the other side to back4 ,sew with combination stitches1 then make a felled seam as explained for the sleeve4 ,baste the turned fold to the right-hand side of the waist by opening out creased side and placing the two right sides together and stitching one eighth of an inch from the edge4 ,turn the bias over to the wrong side of the waist and slip stitch4 ,slip stitching1 as ,i have explained before1 is somewhat like hemming2 only the stitches are taken back of the folded edge and catch one thread only of the material4 ,the other bias band is basted in like manner to the left-hand side of the waist4 ,illustration3 ,fig4 #hj4 ,the gathers on the upper part of the sleeve ,the sleeves are ready to be put in4 ,measure one and one quarter inches from the under arm seam on the waist1 which is the short seam near the front of the waist4 ,pin the seam of the sleeve to this point4 ,pin the rest of the sleeve so that the gathers are evenly distributed4 ,pin the right side of the sleeve to the right side of the waist4 ,baste securely4 ,remember that the gathers should be thickest on the upper part of the sleeve 7,figure #hj74 ,stitch with fine back-stitching and then overcast4 ,the neck may be bound or may have the collar attached4 ,turn and hem the outer edge of the collar2 a ruffle of lace may be added if desired4 ,baste the collar to the waist1 and try the waist on ,sally ,ann4 ,if it is a satisfactory fit1 stitch in place4 ,it is well to cover the raw edges with a little bias fold4 ,hem the fold down on both sides4 ,the long strip is not joined1 but a half-inch hem folded on one side and then stitched4 ,the skirt is plaited or kilted1 as it is often called4 ,a hem is made on each of the short sides of the strips4 ,now crease the material as if you were going to make a tuck three quarters of an inch deep4 ,a box plait will next have to be planned2 again crease your material as if you were going to make a tuck three quarters of an inch deep4 ,these creases must be exactly three quarters of an inch from the double fold of each piece4 ,measure an inch and a half1 then turn the material under so that a three-quarter inch piece is under the left side of the waist line4 ,this completes the box plait4 ,the plaits from there on are folded toward the left1 while the first two were toward the right4 ,baste each plait down securely4 ,when working on cotton materials that have a lot of dressing1 the creases are likely to stay in without basting1 but while working on it the edges are apt to get turned up4 ,basting 7,figure #ha7 is therefore the surer and safer way to keep the plaits in position1 while for woollen or soft1 sleazy materials it is the only way4 ,when every plait has been basted lengthwise1 take another thread and baste them crosswise three or four times4 ,illustration3 ,fig4 #ha4 ,section of plaited skirt showing how it should be basted crosswise ,join the waist to the skirt1 taking care that the centre of the box-plait is under the direct centre of the front of the waist4 ,a sash will be needed to finish this dress4 ,it can be tacked in place or little straps of ribbon may be stitched at intervals and the ribbon run through the straps 7,figure ,no4 #ha;,a74 ,if this dress had been stitched on the machine it would have been better to make tailored seams on the waist2 that is1 a narrow seam is taken on the wrong side4 ,the material is then turned back so that on one side of the seam it slightly overlaps the other4 ,baste in place and stitch on the edge4 ,tailored seams do not require any extra allowance of material4 ,they should slant toward the right on the right side of the garment and toward the left on the left side4 ,if the seams were stitched to run in one direction the garment would have a very one-sided appearance4 ,illustration3 ,fig4 #ha;,a4 ,sally ,ann's new dress ,press all the wrinkles caused by handling the dress in sewing4 ,it is best to lay a damp cloth over the material rather than place the iron directly on the material4 ,you will need a small iron for this dress4 ,press each plait down carefully4 ,take out the basting threads before trying on the dress4 ,there are good1 bad and indifferent dressmakers1 and ,i know you wish to be one of the former4 ,sew a row of buttons on the left front of the dress and make little buttonholes to correspond on the right side4 ,,vi ,a ,,lesson ,,in ,,stencilling ,what is stencilling8 ,let us see4 ,stencilling is a branch of painting4 ,have you heard the story of the ,baltimore belle in the time of the ,revolution who was most anxious to go to the first big ball that was to be given after the war8 ,the town had been divested of all the beautiful silks and satins that the great ladies were accustomed to wear4 ,our country had stopped importing these costly materials because there was no occasion to use them and no money to pay for them4 ,an invitation had been sent to one of ,baltimore's fairest daughters who was intending to go with her cousin4 ,what were they to wear8 ,both needed the festive garments4 ,at last1 after a careful canvass of the town1 the young man managed to borrow a pair of satin breeches and a flowered coat and all the other articles necessary to make a fine dandy of those days1 except the silk stockings4 ,the girl succeeded in finding a piece of white lawn of the coarsest kind that was sufficient to make a frock4 ,in no way discouraged this clever young lady1 who luckily could paint beautifully1 started and painted little sprays of rose buds on the fifteen or twenty yards required for the gown4 ,this made a very dainty and pretty frock4 ,illustration3 ,fig4 #hb4 ,stencilled curtains ,poor ,george1 her cousin1 was in despair in not being able to borrow or buy a pair of silk stockings1 but clever ,miss ,betty hit on the plan of painting his legs with a thick coat of white and then decorating them with clocks on each side1 so that no one at the dance even suspected that he didn't have on silk stockings4 ,miss ,betty's dress was voted to be the most charming dress of the evening4 ,ever since ,i have heard this story ,i have wished that ,miss ,betty had known how to stencil4 ,what a lot of time she would have saved6 ,i am sure you will agree with me when you know how to stencil4 ,have you noticed the flat gay decorations above the moulding in some houses8 ,well those are stencilled4 ,a painter will cut out a design from a thin steel background2 he lays this on the wall and paints over the open spaces in the design4 ,it is the only true way in which he can keep his pattern4 ,all free-hand designs are bound to show a difference in outline4 ,stencilling for home decoration is used on curtains 7,figure #hb71 portires1 rugs1 couch covers1 table covers1 lunch sets1 pillow tops1 7,figure #hc71 bags1 counterpanes1 as well as for dresses1 parasols1 wraps1 scarfs1 and in fact almost every conceivable object that allows the use of decoration4 ,you can get a stencil board from any artist supply shop1 but the one you can make at home is cheaper even if it is not quite as durable4 ,illustration3 ,photograph by ,mary ,g4 ,huntsman4 ,a ,single ,motif ,being ,used ,on a ,stencilled ,scarf ,in many of the schools1 stencilling in its simplest form is taught in the kindergarten4 ,the children are taught to fold a heavy piece of drawing paper lengthwise and draw half a design so that the centre of it is on the fold of the paper4 ,the design is then cut away1 leaving the background intact4 ,this method is good for very simple motives4 ,sometimes when we do not wish our design to be so set1 we will draw it without creasing the paper4 ,illustration3 ,fig4 #hc4 ,a simple stencilled pillow ,the stencil board that you can buy is very hard for little fingers to cut1 besides being expensive4 ,to make a stencil pattern1 draw a design such as a bunch of violets4 ,let every petal be separated from the other and where the stems should intersect leave a little space between4 ,these little spaces or bridges are what keep the background together4 ,of course1 as a usual thing1 if you buy a stencil outfit1 one pattern or more already cut comes with it4 ,in many of the large shops stencil patterns can be bought separately1 but if one has any idea of drawing it is an easy matter to make a pattern4 ,illustration3 ,fig4 #hd4 ,the cut stencil ,the design can be traced and cut on a piece of heavy manilla paper3 a coat or two of shellac makes the paper stiffer and somewhat waterproof4 ,the advantage of using drawing paper is this1 that it may be cut with a pair of scissors1 while a stencil board requires a sharp penknife and lots of finger strength to cut the pattern4 ,white shellac is the best to use1 as it dries quickly4 ,it can be bought from any paint store4 ,the pattern now cut 7,figure #hd71 you are ready to do a piece of real stencilling4 ,let us choose the cheapest thing we can get for our first attempt4 ,a piece of cheese cloth for a sash-curtain appeals to me4 ,put in the hem so that the stencil will be sure to be straight4 ,lay a large piece of blotting paper over the board or table on which you are going to work4 ,place the cheese cloth on top of that4 ,try your stencil pattern and measure how many times you can repeat it4 ,it is better to plan a pattern with a small space between each motif so that you will not have half or part of the design left over4 ,stick a pin where the centre of each motif should be4 ,lay the stencil pattern in position and thumbtack it down to the cheese cloth and blotting paper4 ,turpentine and oil are the most satisfactory for stencilling1 though there are several patent mixtures sold that are good4 ,the paint can be mixed with the turpentine till it is the consistency of a thick cream or the brush can be dipped into the turpentine and then into the paint4 ,in either case the brush must be wiped quite dry1 as the process is more of a rubbing in one than painting4 ,bristle brushes of four different sizes should be in your stencil outfit4 ,they come round and flat1 7,figure #he74 ,the frontispiece shows a child stencilling with the round brush4 ,illustration3 ,fig4 #he4 ,the brushes ,dip the brush into the mixture and be sure you wipe it off on a soft rag before painting in the design4 ,if the brush is too wet the result is a blurred stencil4 ,use a different brush for every colour4 ,when the first motif is stencilled1 move the pattern and place it over the next pin4 ,if you want to reverse the pattern1 clean it thoroughly with naptha on both sides and let it dry for a couple of minutes before using again4 ,to make a stencilled piece washable it has to be steamed like printed dress goods4 ,this can be accomplished in two ways3 that is1 by holding it over a steaming kettle1 or by laying a wet cloth over the stencilling and pressing with a hot iron4 ,needless to say1 a piece stencilled in water colours should not be treated like this4 ,illustration3 ,fig4 #hf4 ,a stencilled bag ,water colours or crayons can be used when a piece is not desired to be washed4 ,the latter works in as smoothly as paints4 ,scrim1 cheese cloth1 linen1 crash1 burlap1 monk's cloth1 and ,arras cloth can be used for curtains or portires4 ,the cost of them varies from seven cents to one dollar a yard4 ,sometimes a small motif is taken and stencilled all over the material4 ,this gives the effect of a printed pattern4 ,five tubes of paint will produce almost any shade under the sun4 ,they should be blue1 yellow1 red1 black1 and white4 ,blue and yellow make green2 blue and red1 purple2 lavender1 yellow and red make orange4 ,a little black will soften the colours while white lightens the shade4 ,other combinations can be made by mixing three colours together4 ,enough of the paint should be mixed at one time to stencil the entire piece1 as it is extremely difficult to mix a new batch of colour that will be the exact shade as the first4 ,ultramarine blue is the shade of the deep sea4 ,crimson lake is a bright red4 ,venetian red is a terra cotta4 ,emerald green is a blue green4 ,sap green is yellow green4 ,ivory or lamp black are the two blacks to be had in oil paints2 the former is shiny while the latter is dull4 ,flake white is the term for white in oil paints4 ,of course1 you can buy ready mixed in tubes almost any shade you desire1 but it is lots more fun to make your own colour combinations1 as well as very much cheaper4 ,diamond dyes can be used for stencilling by letting one package of dye serve for one pint4 ,the dyes will have to be boiled in the manner stated in their directions4 ,you will find that stencilling is the most delightful of the home crafts4 ,those who are not fond of needlework will find this a real wholesome pleasure4 ,,vii ,,what ,,can ,,be ,,done ,,with ,,one ,,skin2 ,,cut ,,leather ,,bags1 ,,belts1 ,,book ,,covers4 ,,etc4 ,there is nothing so handsome for a library table or cushion in a room of dark rich colouring as leather work4 ,these articles are very expensive to buy and are sold in arts and crafts shops or women's exchanges and some of the department stores4 ,you have doubtless seen the dyed whole skin used on a library table1 but have you ever seen leather appliqu8 ,that is the design cut out of a leather background and lined1 or pieces of leather applied to a background4 ,different kinds of leather may be used for this work4 ,the cheapest and thinnest kind is sheepskin4 ,leather is usually sold by the square foot and one has to buy the entire skin4 ,sheepskin costs about sixteen cents a square foot2 some stores charge more for it1 while it is possible at a wholesale and retail shop to get it for less4 ,the skins come dyed in all shades4 ,golden brown1 dull gray or moss green are the most artistic for general use4 ,many tailors like to trim ladies' suits with leather and for this purpose many beautiful odd shades are dyed4 ,goatskin ranks next to sheepskin and is a trifle dearer4 ,chamois is good for belts or dainty opera bags4 ,it comes in white or cream only4 ,calf is a beautiful substantial skin1 as is also ,russia calf4 ,pebble calf is what its name implies1 very rough with a glazed finish4 ,the other side presents an undyed appearance4 ,illustration3 ,fig4 #hg4 ,a well-planned skin ,if you get a skin you should not expect to get a sofa cushion as well as a large table mat out of it4 ,a skin carefully cut will give you one large piece and the rest of it can be planned for smaller objects1 such as card cases1 pen wipers1 blotter corners1 belts1 picture frames1 possibly a magazine cover or a bag4 ,the diagram of the skin shows how carefully to cut out and plan every part of it 7,figure #hg74 ,let us take the sofa cushion first4 ,a bold conventional design can be used in each corner4 ,one that has each part separate like a stencil design is one that ,i have in mind4 ,cut each part out carefully so as not to impair the background4 ,a cheaper grade of leather of a tone deeper or lighter can be laid under the design1 though velvet is also in excellent taste for this work4 ,broadcloth1 satin1 and sometimes taffeta are also used4 ,if a shaded effect is wanted a different coloured background can be pasted under each different section of the design4 ,it is a better plan1 however1 for the amateur to restrict herself to one colour for the background as the finishing of different pieces is no easy problem 7,figure #hh74 ,library paste is the best means of making the leather and background adhere1 also it does not spot as mucilage does4 ,the majority of leather workers consider that the pasting completes the piece1 while others feel that it is necessary to machine stitch along the extreme edge of the cutting4 ,yet again others prefer to work embroidery stitches such as open buttonhole or couching stitches4 ,both of these are explained at length in later chapters4 ,a pen wiper can be made from a piece cut in circular1 diamond1 or triangular shapes4 ,cut two pieces of chamois leather the same shape4 ,a plain piece of the leather also is needed to back the pen wiper4 ,the chamois pieces serve as leaves on which the pen is wiped4 ,illustration3 ,fig4 #hh4 ,leather appliqu bag ,a card punch will be needed to make a hole through the four pieces for the ribbon or cord which holds them together4 ,it is most necessary to plan the design so that it will be appropriate to the object it is to be applied to4 ,the leather should also harmonize with the colour of the room or gown with which it is used or worn4 ,for those who are anxious to learn how to design1 books on this subject can be obtained from the public libraries4 ,you should bear in mind1 however1 that practice makes all things perfect4 ,the different methods of applying the design had better be gone into before we proceed any further4 ,thick manilla paper or artist linen may be used on which to draw the design4 ,the pattern is then thumb-tacked or pinned on a flat wooden surface1 on the upper edge only1 as it will be necessary to raise the paper off and on during the tracing4 ,an orange stick such as used for manicuring or hard pencil will be needed for the tracing4 ,trace along the pencilled design with a very heavy pressure so that there will be an indented line on the leather4 ,a line once impressed is almost impossible to remove1 so great care must be taken to keep the design true4 ,every time you stop tracing there will be a deeper indentation2 for that reason in tracing a curved line try to draw a full sweep without stopping4 ,a ruler will be an aid in tracing straight lines4 ,it may be found necessary to dampen the leather so that the tracing will be distinct4 ,in that case dampen the entire piece of leather with a wet cloth4 ,dampening in sections only causes water rings4 ,once the whole leather is dampened1 however1 it can be redampened in sections without fear of marking4 ,designs for leather may also be applied by means of a perforated pattern and a stamping powder or paste or a transfer pattern may be also used4 ,the leather for cut-work may be cut with sharp scissors and manicuring scissors for round or curved places or two sharp knives of different sizes4 ,a board of soft wood is the best on which to work4 ,illustration3 ,fig4 #hi4 ,a belt of leather of appliqu underlaid ,the best kind of paste is one that has been recommended by a successful leather teacher and proves satisfactory to all who have tried it4 ,bring to a slow boil a half-pound of flour in two quarts of water4 ,add to this mixture when cool1 an ounce of nitric acid and a dram of boric acid and a few drops of clove oil4 ,the nitric and boric acid1 as well as the clove oil1 can be obtained from the drug store4 ,if knives are used to cut out the design1 thumbtack the leather before commencing4 ,the paste is applied lightly on the wrong side of the leather1 then the lining placed over it4 ,lay the article with the right side up and put it under weights until it dries4 ,any surplus paste that may happen to ooze through can readily be scraped off4 ,a wide range of articles can be made from leather appliqu1 whether underlaid or overlaid1 such as table covers1 bags1 belts 7,figure #hi71 medicine cases1 card cases1 mirror frames1 book or magazine covers1 portfolios1 memorandum pads1 waste baskets1 pocket books1 bill folders1 chair covers1 besides numerous other articles4 ,sometimes it will be necessary to have two tracings of the design1 one on the leather and one on the other background4 ,leather is often applied to heavy crashes for portires1 or pillow tops4 ,a bold conventionalized poppy is an excellent design for portires4 ,paper is often used to line centerpieces or mats4 ,rough tinted cartridge paper can be treated the same as cut leather and the daintiest of candle or lamp shades can be made of them4 ,the design is cut out as in leather and a thin ,china silk lines the whole4 ,each section of the design may then be coloured the right shade of the silk4 ,for instance1 a design of cherries can be painted with orange and red for the cherries and the leaves green1 while the paper is of tobacco brown2 a narrow gold braid finishes the shade at the top and bottom1 while the shade is held together with four tiny gold rivets4 ,,viii ,,tooled ,,leather ,,and ,,tools ,,necessary ,tooled leather is one of the oldest and most beautiful of crafts4 ,instead of weakening the leather it simply makes it more beautiful4 ,a handsome box is made of soft wood or cardboard and covered with tooled or embossed leather and is a possession that a queen might envy4 ,boxes containing tools for leather work can be had for from five to twenty-two dollars for the outfit4 ,twelve tools are in the box4 ,two modelling tools1 a steel hammer1 two embossing tools1 a punch1 an embossing ball tool1 one cutting or trimming knife1 and four chasing and pearling knives 7,figure #ij74 ,now ,i know that there are not many of you who would care to buy an outfit for five dollars1 but for home use there is a simple little article that can be substituted and yet you can obtain very satisfactory results4 ,a steel nut pick will work wonders and then1 when you feel that you can do very much better work with other tools1 invest in a case of them4 ,all leathers are not satisfactory for tooling4 ,the best and most used is ,russia calf in a heavy quality4 ,one skin is usually the least a dealer will sell4 ,let us suppose we are working on a card case4 ,the design is traced in the manner described in the last chapter1 that is1 by tracing over the dampened leather4 ,illustration3 ,fig4 #ij4 ,a case of tools ,after the design has been traced remove the paper and holding the nut pick firmly in your right hand as you would a pencil1 proceed to deepen the lines4 ,the leather must be kept moist or the tool is apt to scratch and break the outer skin4 ,it is a work over which you may become fatigued1 but you can just lay it aside till the next day and then proceed again4 ,the deeper the tooled line the handsomer the piece4 ,it will take several hours to tool a card case4 ,another form of decorating leather is with the little geometrical die that was used so much in past winters for decorating the background of etched copper articles 7,figure #ia74 ,the little die is placed on the leather with its raised or embossed side downward and one knock from a steel hammer is sufficient to make an imprint on the leather4 ,the entire background is filled out in this manner4 ,hammer with an even pressure otherwise the background will be bumpy4 ,illustration3 ,fig4 #ia4 ,the dies for backgrounds ,sometimes you may prefer to have your background pressed or modelled and the design to stand out in relief4 ,in that case take the bowl or thick part of the nut pick or modeller and press the background in flat4 ,if the leather wrinkles when rubbing it change the direction of working4 ,when the work is completed it will be noticed that the modelled part of the leather is darker and quite shiny4 ,designs such as cherries1 cat-tails1 and most floral forms give a greater opportunity for elaborate working4 ,they can be carried out in relief4 ,this relief is a much more difficult work4 ,in the first place the design is drawn on the finished surface of the leather and then1 after another sponging with water1 hold the leather up from the table4 ,holding the section to be modelled between the first finger and thumb1 work the tool backward and forward under the section4 ,some workers prefer to hold the working side toward them1 contending that a greater pressure can be brought to bear on a downward stroke than an upward one4 ,in that case the design is stamped or traced on the wrong side of the leather4 ,the oftener the rubbing is done and the leather is dampened the higher the design will stand forth4 ,the parts to be worked in relief may be done before the background 7,figure #ib74 ,illustration3 ,fig4 #ib4 ,a magazine cover ,to keep the leather from falling back to its natural shape some workers paste the relief parts4 ,my teacher used a paste that we found quite stiff enough except for large heavy objects4 ,to make this paste an ounce of dextrin is left soaking in water for about sixteen hours4 ,dextrin1 by the way1 is the only paste which will not stain silk4 ,it is a white powder1 and when used as a paste can be dissolved in boiling water till it is the consistency of a thick cream4 ,when used as a modelling wax1 however1 it requires to be thicker than a cream4 ,after the dextrin is dissolved mix in a pint of scrap leather that has been grated to shreds1 and a few drops of turpentine4 ,the scrap leather thickens the paste while water thins it4 ,before applying the paste to the leather the raised side is placed face downward upon the marble4 ,take some of the paste and press it into the hollow places until they are entirely filled4 ,after every space has been filled lay a piece of paper over them and then a cardboard or a piece of board large enough to cover all the design4 ,turn the leather1 paper1 and board right side up on the working table4 ,while the places are being filled in the design is apt to be pushed a little out of shape4 ,with the finer modelling tool or your nut pick go over the flattened places again4 ,let the work remain on the table for four days without touching it so that it may be thoroughly dried4 ,sometimes you will see a beautiful tinted leather4 ,this is usually done by the means of dyes1 or chemicals4 ,for the amateur the former is recommended4 ,the dye is applied to the leather with soft cotton or a sponge4 ,to deepen the shade wet the places desired to be darker two or three times with the dye4 ,to obtain the brightly polished appearance so often seen in a handsome piece of leather rub the piece with your bare palms4 ,a little wax rubbed on your hand greatly aids the work4 ,in all leather work it is necessary to leave a margin about a half inch at least4 ,another paste which may be substituted for the formula given in this chapter is one made of equal parts of sawdust and rye flour with water4 ,the cutting or shaving knife that comes with the outfit is good for cutting the leather4 ,if a deeper indentation is desired than is obtained by tracing the pattern1 a slight slit may be made with the shaving knife4 ,of course cutting the leather weakens it and it should only be done on a very heavy piece of skin4 ,the hammer is indispensable for stamping in the little dies4 ,these dies are not usually included in the outfit4 ,the difference between the modelling 7,figures #ic and #id7 and embossing tools is that the embossing tools are a greater aid in achieving fine bas-relief work4 ,the embossing ball tool is used to make the deep indentations4 ,illustration3 ,fig4 #ic4 ,a modelling tool ,illustration3 ,fig4 #id4 ,a modelling tool ,the punch is to make holes for rivets or through which cords or ribbons may be passed to connect two or more pieces of leather together as on a pad or book4 ,the punch and pearling knives are used in fine carved leather4 ,as one becomes proficient in the art of simple leather work she is tempted to branch out and try more elaborate work4 ,a great many books have been written on this subject which1 though perhaps puzzling to a beginner1 will be interesting and invaluable if the work is taken up as a serious occupation4 ,the best specimens of this work can be seen at the different arts and crafts exhibitions4 ,,ix ,,the ,,simplest ,,stitches ,,in ,,embroidery--,,chain ,,stitching1 ,,outlining1 ,,herring-,,boning1 ,,cross-,,stitching1 ,,soutache1 ,,coronation ,,braiding ,it would be hard indeed to say just how many stitches there are in embroidery1 as so many are combinations of the others4 ,the ones you will hear about are the simplest ones4 ,some years ago ,i had a large class in embroidery in a mission school4 ,every seat was taken and many applicants were refused admittance4 ,the supervisor came in one day and said that there was a little girl who was very anxious to join the class and that she knew how to sew4 ,i did not have the heart to refuse her1 so in marched little ,nellie4 ,she was just seven years old and said that she attended sewing school every ,saturday at her church and that her teacher had taught her all about embroidery4 ,i gave her a little stamped design and told her to chain-stitch it and let me see how well she could do it4 ,about five minutes later ,i happened to turn around and there was little ,nellie frantically waving her hand4 ,teacher1 teacher1 she said1 that is the only stitch the ,lady didn't show me4 ,now1 as ,i am most anxious that nothing like that will happen to you1 ,i will start with chain-stitching as the simplest stitch 7,figure #ie74 ,it is also one of the oldest stitches in embroidery4 ,every museum that exhibits embroidered articles will have some elaborate designs carried out in fine chain-stitching4 ,if the stitches are worked in filo silk or spool silk the effect is like machine work4 ,illustration3 ,fig4 #ie4 ,chain-stitching1 showing how to turn a corner ,draw a straight line on a piece of muslin and thread your needle with a piece of red cotton4 ,no knots should be used in embroidery4 ,fasten the thread by taking three fine running stitches and one back stitch to insure firmness at the end of the line4 ,now with the needle in position at the beginning of the line1 start by taking a straight stitch on the line4 ,bring the thread under and pull the needle through the material4 ,you have made the first loop4 ,put your needle back into the last hole or as near as possible to it1 take another stitch on the line1 repeat until you come to the end of the design4 ,take the same length stitch every time or you will not have a good-looking chain4 ,if you will look at the links in your chain bracelet1 you will see that every link is the same size as the others4 ,suppose you wanted to chain-stitch a square or a triangle3 when you come to the corner do not try to make one continuous line1 but carry the needle down through the material at the end of the loop to fasten the link and start the next row at right angles to it4 ,chain-stitching can be put to many uses4 ,it is a pretty stitch to cover a single line in a conventional design4 ,it is also the quickest kind of padding for large designs4 ,when it is used as a padding1 the rows are worked close to each other4 ,if the work is to be raised very high1 the chain-stitching may be placed in rows one on top of the other4 ,you will1 however1 hear more about padding in a later chapter4 ,illustration3 ,fig4 #if4 ,smooth outlining ,the next stitch we will talk about is the outlining1 7,figure #if74 ,some people think it is simpler than chain-stitching4 ,it was the first stitch ,i learned in embroidery1 but it is not as pretty as chain-stitching4 ,the first thing ,i did in fancy work when ,i was nine years old was a wonderful face cloth with a wild rose on the top1 and under it my name and the motto1 ,cleanliness is ,next to ,godliness1 worked in red cotton4 ,after that ,i made face cloths for every member of the family4 ,outlining makes one think of plain sewing4 ,there are two kinds of outlining1 rough 7,figure #ig7 and smooth1 the difference being in how the thread is thrown4 ,to make the rough outline1 fasten the thread as directed in chain-stitching and on the line take a stitch about an eighth of an inch4 ,then work from left to right4 ,let the thread fall under the needle and be sure to keep it this way4 ,a smooth outline is made by throwing the thread over the needle instead of under it2 this outline can be used as stems for flowers unless a more elaborate kind is desired4 ,illustration3 ,fig4 #ig4 ,rough outlining ,either chain-stitching or outlining is an excellent way to decorate bureau scarfs1 pillow tops1 or table covers4 ,herring-boning is used for finishing seams on a flannel skirt1 or it may be used above hems4 ,the little flannel skirt you intend to make for ,sally ,ann this winter should be finished in this way4 ,here is a stitch for which we do not need guide lines1 though while you are learning1 the lines might be helpful4 ,draw two parallel lines a quarter of an inch apart4 ,take a stitch on the upper line1 about an eighth of an inch long4 ,then make one on the lower line1 letting the thread fall always to the right4 ,when you have made a row between with the lines1 try to work one without lines and see if you can keep the herring-boning straight 7,figure #ih74 ,illustration3 ,fig4 #ih4 ,herring-boning or cat-stitching ,a plain quilt or cover for the baby can be made very attractive1 by working herring-boning around the edge4 ,if the cover is woollen1 use worsted or heavy silk for the stitchery1 but if it is cotton material1 a heavy lustre is recommended4 ,the needle to use depends on the thread4 ,a sewing needle will carry a round cotton thread such as ,d4 ,m4 ,c41 ,madonna1 ,utopia1 ,royal ,society1 or ,peri lustre4 ,a crewel needle1 which is a needle with a long eye1 will be required for silk or worsted4 ,an easy way to thread a ,no4 #b or ,no4 #d crewel needle with worsted is to hold the needle in the left hand and double the thread at one end and run the needle through it4 ,hold the thread between the thumb and first finger of the right hand so that the thread is just visible4 ,gently pull the needle out with the left hand and run the doubled thread through the eye4 ,it sounds a great deal harder than it actually is1 but it will require very little practice4 ,illustration3 ,fig4 #ii4 ,the first step in cross-stitching ,when you went to kindergarten did you have little pierced cards on which you made designs in coloured silks or cottons8 ,well they had these at my school and we made book-marks1 needle-books and all sorts of funny little things4 ,if you remember the cross-stitching of the kindergarten days1 regular cross-stitching will be a simple matter4 ,the nicest material for this work is ,java canvas1 which is very coarse and stiff4 ,it is ideal for book covers or napkin rings4 ,the holes in the canvas are so large that working on it is almost like play4 ,as ,java canvas is rather expensive you will find a coarse scrim a good substitute4 ,a lot of boys that ,i once knew took up this work very enthusiastically1 so simple is it4 ,illustration3 ,fig4 #ajj4 ,the second step in cross-stitch ,do you know that you can make a gingham apron for mother and decorate it with cross-stitching that will last ever so long8 ,get a piece of gingham with squares about an eighth of an inch4 ,cross-stitch it in a shade darker than the gingham or in white or red4 ,the stitches are taken on the diagonal as shown in the diagram 7,figures #ii and #ajj74 ,if there is a great deal of cross-stitching to be done1 the quickest way is to make all the stitches that run in one direction first1 and then come back and cross them4 ,perhaps mother has a small piece of cross-stitching that you can use as a model4 ,simple triangles are easy to make4 ,begin the lower row with an uneven number1 such as seven1 nine1 eleven1 or thirteen4 ,the next row make two stitches less1 dropping one from each end1 and so on till you have one at the top4 ,illustration3 ,fig4 #aja4 ,a good hand design in cross-stitching ,now suppose that you had a little linen or silk bag on which you would like to have a cross-stitch design1 yet this material is not coarse enough for you to use as a guide for the cross-stitching4 ,do not think you cannot do it1 for ,i will show you a way4 ,get a piece of scrim just as coarse as you can find1 and baste it over the place you would like to cross-stitch4 ,work the design on it and when the cross-stitching is all finished pull out the scrim thread by thread4 ,sometimes you will have to snip the thread of the scrim if your needle accidentally gets caught in them4 7,figures #aja1 #ajb1 and #ajc47 ,illustration3 ,fig4 #ajb4 ,a cross-stitch design ,illustration3 ,fig4 #ajc4 ,another cross-stitch design ,a very simple thing to do is to braid a dress for yourself4 ,now that all the large pattern houses are carrying transfer patterns you can get a design for braiding very cheap4 ,a little girl ,i know braided a dress for herself and one for her mother last summer4 ,she used light blue chambray and braided it with white4 ,there are several kinds of braid1 but the easiest to use is soutache1 whether it is cotton or silk4 ,it is a flat braid and varies in width from one to three eighths of an inch4 ,first stamp your design on the material1 or if you have not a transfer pattern you can draw a design on tissue paper1 making it as long as required and then baste the paper in right position on your dress4 ,take a stiletto1 which is a little tool somewhat like a nail that is used in embroidery for piercing holes1 and punch a hole on the line4 ,push one end of your braid through this and fasten the end of it on the wrong side of your material4 ,thread your needle with sewing cotton or silk the colour of the braid and sew it down with little running stitches and an occasional back-stitch to fasten it firmly4 ,when you come to the end of the line or of the braid1 carry the end through as at the beginning and fasten4 ,illustration3 ,fig4 #ajc;,a4 ,a fourth design in cross-stitch ,coronation braid is beautiful1 but oh1 so very much harder to sew on than flat braid4 ,there are two ways that coronation braid may be sewed on4 ,the one that ,i give preference to is stamping the design on the wrong side of the material and holding the braid on the right4 ,a stiletto hole is made on the line and the end of the braid brought through to the back and fastened securely so there will be no likelihood of its slipping4 ,then1 holding the braid with the left hand1 connect it to the material from the wrong side with fine running stitches4 ,the stamped line on the wrong side will serve as a guide for the stitches4 ,you can feel every time the needle touches the braid4 ,now perhaps many of you are wondering what coronation braid is4 ,it is a braid that looks like fat grains of rice all strung together4 ,there are different sizes of the braid1 varying from the quarter inch to the three quarters of an inch size4 ,illustration3 ,fig4 #ajd4 ,coronation braid ,the second way to sew it on is from the right side with little slip stitches4 ,at the small end it would be wise to take a stitch over the braid to hold it firmly4 ,centre pieces1 bureau-scarfs or even towel ends are handsome when decorated with coronation braid1 and do you know it is a very easy matter to make designs for yourself1 as there is nothing prettier than daisies or wild roses for coronation braid4 ,if the petals are too fine to allow you to use the coronation braid1 then you must use one grain for each petal1 cutting off the grains as you require them4 ,coronation braid comes in white1 ,delft blue1 bright green1 or red4 ,the braid is supple enough to turn sharp corners4 ,the daisy1 as ,i have stated before1 is one of the principal designs used for coronation braid4 ,braid the flower with one piece of the braid4 ,it is not necessary to cut the braid but at the beginning and the ending of the daisy4 ,the very largest width of coronation braid will be required for the daisy4 ,two grains will be sufficient for a petal4 ,bring the narrow ends to the centre and connect them to the material4 ,in the centre make a cluster of ,french knots4 ,the effect produced is a daisy embroidered heavily and yet quite different from satin stitch4 7,figure #aje47 ,a belt decoration with five or six coronation daisies is very attractive when used on a light summer dress4 ,sometimes the owner prefers to couch the braid down with blue cotton and to work the centre of the daisy in the same colour4 ,illustration3 ,fig4 #aje4 ,a daisy in coronation braid ,a row of daisies is improved by working a fagotting stitch which is explained in ,simple ,lace ,stitches1 between the petals4 ,see that the braid is sewed on far enough apart that the lace stitches will not be crowded4 ,coronation braid is also used with crochet stitches for the borders of centre pieces and towels4 ,x ,,smocking1 ,,feather-,,stitching ,,and ,,lazy-,,daisy ,,stitch ,smocking is such a fashionable trimming this year that ,i am sure you will not be contented till ,sally ,ann has a smocked dress4 ,why1 one cannot take a walk in the park without seeing several little children and some grown-ups1 too1 wearing smocked dresses4 ,sometimes they are made of fine lawn or pique and then again they are ,china silk1 crpe de chine1 or cashmere4 ,stamped patterns can be had for smocking but they are not at all necessary4 ,nearly every little ,english girl knows how to smock without buying a pattern and why should not you8 ,the simplest form of smocking is the honeycomb or diamond 7,figure #ajf74 ,it can be any size you wish4 ,a good size for ,sally ,ann's dress is the half-inch diamond smocking4 ,the beauty of the work lies in its regularity4 ,to keep it so1 the dots must be spaced evenly4 ,a good way is to have a marking card4 ,take a piece of heavy paper or thin cardboard about six inches long by an inch and a half wide4 ,with a ruler draw a faint line one half inch down parallel with the long edge of the card4 ,draw four other lines below this at quarter-inch intervals4 ,be sure that the space between each two lines is a quarter inch1 no more or no less4 ,along the top line measure in one half inch4 ,from this point make dots at quarter-inch intervals all the way across4 ,each line is dotted in like manner1 letting each dot come directly under the upper one in straight rows4 ,if mother has a card punch ask her to lend it to you and where the dots are make holes4 ,a stiletto will answer the same purpose as the punch2 or an orange stick may be pressed into service4 ,your marking card is now ready4 ,illustration3 ,fig4 #ajf4 ,diamond smocking ,measure the length you wish to make ,sally ,ann's skirt4 ,select a piece of material that will show pencil marks1 such as lawn1 pique1 ,china silk1 or crpe de chine4 ,it will not be necessary to gore the skirt1 as the smocking will form a sort of yoke for the dress4 ,a little frock smocked in blue or red will be nice enough for all occasions4 ,take the material and smooth all the creases out after it is cut the right length4 ,you must allow about the same amount of material for the width of the hem as you do for ordinary skirts4 ,place the smocking card so that the edge of it is on a line with the top edge of the goods4 ,the smocking must be done before the belt is put on4 ,through each of the perforated holes make a dot in lead pencil4 ,after every hole has been dotted1 move the card so that there is only one quarter of an inch space before commencing to dot again4 ,in other words1 place the card so the dots have the appearance of being one continuous design4 ,thread a ,no4 #f sewing needle with a piece of red or blue cotton4 ,make a tiny knot at the end4 ,start from the topmost left-hand dot from the under side of the material4 ,draw the first and second dots together4 ,three stitches on the right side will suffice to hold them together4 ,between the second and third dots let the thread span the material on the wrong side without pulling it4 ,the third and fourth dots are drawn together and then the thread spans the space between the fourth and fifth4 ,do you see how we are working8 ,first a dot1 then a space1 a dot1 then a space1 until the entire line is finished4 ,the second row is worked exactly the same only instead of starting on the first dot of the second row1 start with the second4 ,the third row corresponds with the first and now at last we have formed a diamond4 ,illustration3 ,fig4 #ajg4 ,smocking in points ,if a little more colour is wanted than just the dot alone1 pass a thread along the edge of each diamond under the dots4 ,a suggestion which may prove helpful to you if the material has starch in it is that it is easy to crease each line of dots before starting to smock4 ,if the material is soft the smocking should be stroked or gauged4 ,there is a new term to learn1 gauge4 ,it is the same as stroking in sewing4 ,the ,english women have all sorts of complicated patterns in smocking1 but the one that is most popular is the diamond smocking ,i have told you about4 ,after you know the principle you can make the smocking as deep as you wish and then try and smock in points4 7,see ,figure #ajg47 ,feather-stitching is almost as simple as smocking4 ,it has various other names4 ,perhaps you know it by the name of brier-stitch4 ,the first and simplest form is the single feather-stitching4 ,a thread as fine as ,no4 #fj sewing cotton or a heavy ,germantown wool can be used for it4 ,baby blankets or a blanket for yourself are pretty feather-stitched in wool4 ,illustration3 ,fig4 #ajh4 ,single feather-stitching ,like smocking1 patterns can be had for feather-stitching4 ,but the best embroiderers never use them1 as their mechanical correctness makes the work too much like machine work4 ,i do recommend1 however1 a faint line drawn so as to have something on which to guide your line and gauge your stitches4 ,illustration3 ,fig4 #aji4 ,double feather-stitching ,let us thread our needle with a piece of coarse blue thread4 ,on a little piece of muslin draw a faint pencil line across it4 ,commence from the upper right-hand side of the line4 ,take a short stitch about three sixteenths of an inch on the right of the line1 slanting to the line4 ,let the thread come under the point of the needle in each stitch4 ,the second stitch is taken on the left side of the line the same distance over and the same in slant 7,figure #ajh74 ,illustration3 ,fig4 #aaj4 ,triple feather-stitching ,illustration3 ,fig4 #aaa4 ,four on each side ,double feather-stitching is two stitches to the right1 two to the left and so on till the line is finished 7,figure #aji74 ,in fact you can make three1 four 7,figures #aaj and #aaa71 or five stitches or even more if you wish on each side4 ,the prettiest little border can be made of feather-stitching in circles4 ,take a quarter or a fifty-cent piece and draw a faint line around it on the material about one inch from the edge4 ,move the piece till it overlaps the pencilled circle and draw another circle4 ,repeat as many times as necessary to go around the skirt1 sleeve1 or section you are decorating4 ,a row such as this makes a pretty decoration around the sleeves and neck of a night dress or the ruffles of drawers4 ,marking cotton ,no4 #bj or ,no4 #be should be used for feather-stitching underwear4 ,infants' dresses1 bibs1 or petticoats of lawn or any very sheer material of cotton or linen should be worked in fine marking cotton1 either ,nos4 #be1 #cj1 #dj1 or #ej4 ,just a word about threads4 ,there are several different kinds4 ,the most popular and best known are ,d4 ,m4 ,c41 ,madonna1 ,royal ,society1 and ,utopia4 ,the numbers run about the same4 ,some teachers recommend one certain kind1 but the result obtained from using any of them is almost identical4 ,illustration3 ,fig4 #aab4 ,seaweed-stitch ,there is a pretty little stitch that can be made with a foundation of double feather-stitching4 ,we used to call it seaweed-stitch when we were youngsters4 ,i remember ,i made a white cashmere coat for my doll and used the seaweed-stitch along the hem and above the opening1 and on the cuffs and collar of the coat4 ,it was embroidered in rose coloured filo silk4 ,a row of double feather-stitching was worked in the usual way4 ,at the end of each stitch a little ,van ,dyke point or ,v was worked4 ,try it yourself and see how dainty it is 7,figure #aab74 ,a good way and something new for decoration is the feather-stitchery used like festoons on the hems4 ,the way this is done is to take a compass and make a circle about two and a half inches in diameter4 ,cut it out in heavy paper or thin cardboard4 ,baste the hem in place and then trace one-third of the circle4 ,repeat in like manner till the hem has the appearance of large scallops4 ,along the lines work the single or double feather-stitching in ,no4 #bj marking cotton through the two thicknesses of the material4 ,pull out the basting threads from the hem and then carefully cut away the material within each scallop on the wrong side of the hem4 ,in other words1 the upper part of the under hem is cut close to the stitching4 ,cut right down to the feather-stitching4 ,only thin materials are pretty worked like this1 as the doubled material gives a milk-white appearance1 while the upper or single parts are transparent4 ,a lazy-daisy stitch worked in the centre of each scallop adds further beauty to a feather-stitched hem such as has been just described4 ,the lazy-daisy has been aptly called because it requires a stitch to connect each petal to the material4 ,another name for this lazy-daisy stitch is the bird's-eye stitch 7,figure #aac74 ,it is used to represent clovers1 daisies1 or leaves4 ,the stitch is made1 if for a daisy1 from a common centre4 ,bring your needle up from the centre of the daisy and take a stitch the length of the petal4 ,let the thread come from the left under the point of the needle4 ,pull the needle through the material on the right side4 ,a short stitch at the end of the petal catches it down to the material4 ,the needle is now brought back to the centre and the next petal made in the same manner4 ,any size daisy can be made like this from the quarter to a two-inch size4 ,remember that the larger your daisy is the more petals it should have4 ,as fine thread should be used for the little flowers and the heaviest silk or lustre for the big ones1 it is a wise plan to faintly mark in pencil the daisy4 ,one line will be sufficient for each petal4 ,if you do this1 you can then be sure that each petal will be the same length as the last4 ,illustration3 ,fig4 #aac4 ,the lazy-daisy stitch ,a charming little yoke can be made of groups of fine tucks and rows of the daisies4 ,,xi ,,couching1 ,,shadow ,,work ,,and ,,turkish ,,stitch ,,how ,,to ,,stamp ,,designs ,the more one does of fancy work the more fascinating it becomes4 ,every new piece presents an opportunity for new stitches and colours4 ,we have talked a lot in the first chapters of this book as to the different implements necessary for sewing and by now ,i am sure you have a well-equipped sewing box or basket4 ,now it will be necessary to add considerably to your work box for embroidery4 ,the crewel needle which ,i mentioned in the ninth chapter is the most important implement4 ,get a pack of assorted ,nos4 from #e to #aj4 ,they will answer every purpose unless you need a large tapestry needle for couching4 ,the most unfortunate thing about a crewel needle is that the eye has the bad habit of breaking4 ,this is caused from the steel being so fine at the top that vigorous working snaps it off very quickly4 ,a tapestry needle is like a large crewel needle1 only it is much stronger and the eye is very large4 ,a stiletto of ivory1 bone1 or steel should also be in your box4 ,an orange stick can be substituted for a stiletto in case of emergency4 ,a small pair of scissors1 too1 should be included to cut the ends of silks or pare away the material after buttonholing or making an eyelet4 ,i have kept the most important till the last4 ,that is the embroidery hoop or rings4 ,really you would be surprised to see how many different kinds there are in this world4 ,first there are the black celluloid ones that have their good points1 but they do not stretch over the material4 ,then there are the common wooden ones that have sharp edges that catch and fray the silk on every turn4 ,there are some wooden ones that have a felt lining and whose edges are an improvement on the cheaper kind1 but they also do not stretch over thick fabrics4 ,the kinds that have a spring and may be adjusted to any size desired have their advantage1 but the spring catches the silk also and of course that will never do for fine work4 ,the simplest1 best1 and cheapest kind is the pair that is made at home4 ,get two pairs of the cheapest rings1 even if their edges are rough4 ,one pair should be small enough to set inside of the other4 ,they vary from the smallest to the largest circular kind1 each one setting inside of the other4 ,select two pairs that come next in size to each other4 ,the most convenient size and ones that can be used for all kinds of work are the six inch4 ,take the larger hoop of each pair for your work4 ,now cut a piece of canton flannel in half-inch strips1 or if mother has the coloured selvage left from a piece of flannelette1 get that4 ,the largest hoops should be wound over and over like the hoops they use in schools for fancy drills4 ,the other hoop should be padded before winding it4 ,to pad1 lay strips two or three thicknesses deep around the hoop and then wind thickly like the other hoop4 ,hoops like these never leave marks on the material1 as often happens with the celluloid or wooden hoops4 ,another point is that the sheerest material1 such as chiffon1 can be used in them1 while if a heavy burlap or crash is embroidered over them a little of the winding strips can be removed for the time being4 ,there are other things you might find handy for your box1 but it is no use getting them till you have occasion to use them4 ,now we are ready to make use of some of the things just described4 ,the tapestry needle will be brought into use for our next stitch1 which will be couching4 ,it is a beautiful old stitch that is often used as an outline4 ,it can be made as a heavy thick cord1 or yet again it need only be the size of a fine string4 ,the expression is often used1 ,couch a cord on4 ,cord is used instead of threads and lustre on pieces where only the effect is wanted4 ,illustration3 ,fig4 #aad4 ,couching ,to couch with a number of silk or lustre threads select a ,no4 #b tapestry needle4 ,cut the skein of silk so that you will have the longest length of thread possible4 ,thread your needle with all the strands in the skein1 if the eye will carry them4 ,make a stiletto hole in the cloth on the line of the design4 ,bring the tapestry needle through to the back 7,figure #aad74 ,a crewel needle is threaded with a single strand of silk1 the same shade or lighter or darker if you desire4 ,fasten the silk ends down neatly on the back of the material with the single thread and bring it up one quarter of an inch from the hole and span the cluster of silk threads4 ,the threads are caught down in this manner at quarter-inch intervals4 ,when the end of the line is reached1 the cluster of threads is again taken through to the back of the material4 ,couching is a stitch that you will hear more about in later chapters4 ,the ,turkish or ,ismet stitch is another name for cat-stitching or herring-boning4 ,see ,figure #ih4 ,the stitch is taken vertically instead of horizontally1 as in cat-stitch4 ,turkish stitch gets its name from the embroideries from ,turkey 7,figure #aae74 ,it seems to be the favourite stitch of the ,turkish ladies4 ,illustration3 ,fig4 #aae4 ,turkish stitch ,have you ever noticed how many pieces of ,turkish embroidery are worked on coarse unbleached muslin or tan linen8 ,the colours are generally bright green1 blue1 coral pink1 chestnut brown1 purple and then outlined in black or gold thread4 ,shadow work1 is not that a funny name for embroidery8 ,but you can understand why it is called that when you see a piece worked4 ,it gives the appearance of a design under the cloth1 as all the stitches are taken from the wrong side of the material4 ,the design is drawn or stamped on the wrong side4 ,lawn is usually selected for the background of shadow work because of its transparency4 ,a heavy cotton such as ,no4 #af or ,no4 #bj marking cotton or ,d4 fine lustre is necessary4 ,daisies or chrysanthemums are most popular for shadow work on account of the smoothness on their edges4 ,not that it is impossible to work an indented edge1 but it is more difficult4 ,illustration3 ,fig4 #aaf4 ,the right side of shadow stitch ,to work the shadow stitch1 place your work over your embroidery hoop with the design side up4 ,start to work a petal from the heart of the flower4 ,do not use a knot4 ,the stitch is like cat-stitching 7see ,figure #ih74 ,first you take a stitch on one side of the petal1 then you pass over to the other side4 ,be sure you take the same length stitch every time4 ,the stems are worked in outline stitch4 ,shadow work from the right side looks like back-stitching 7,figure #aaf74 ,it is used on aprons1 shirtwaists1 or bureau scarfs where a good effect is wanted with very little work4 ,there are two ways of working the leaves of daisies or chrysanthemums in shadow work3 ,first1 and the best in my opinion1 is to start and work from the top of the leaf to where the midrib commences in the design4 ,now work from the midrib to the outer edge on the right side of the leaf4 ,the left-hand side is yet to be filled in4 ,start from the base of the leaf and instead1 however1 of putting the needle through the material by the midrib catch one thread upon the midrib and then take a stitch on the left-side edge of the leaf1 up to where the midrib ends4 ,the other way of working a leaf is to outline the midrib first4 ,then start from the base of the leaf and work across the entire leaf4 ,the former way is the better1 because there is not such a wide stretch of thread on the wrong side as in the latter method4 ,batiste1 organdy1 and lawn are the usual materials used in ,america for shadow work1 but in ,england1 where more substantial materials are generally liked1 tea cloths of linen in shadow stitch are often seen4 ,tiger lilies are good for any large piece4 ,the effect of shadow work on linen is as if a padded design was placed on the material4 ,white is the nicest for working shadow stitch on waists1 especially as colour is apt to cheapen the effect4 ,remember that a design drawn out in pencil soils the cottons or silks and necessitates the article being washed before it is used4 ,you can buy patterns for embroidery so cheap and in such excellent taste that it pays one in the end to use them instead of drawing on the material4 ,there is the perforated design that can be had from five cents up4 ,it is the oldest and in some ways the most expensive pattern4 ,the perforated paper is laid1 with the rough side up1 over the material on the ironing table or any other flat surface4 ,an especially prepared powder that embroidery shops sell for stamping designs is the best to use4 ,a pouncet is several layers of felt rolled together1 or a piece of wood covered with felt4 ,rub the pouncet in the powder4 ,see that the pattern is weighted down so that it will not slip while you are working on it4 ,rub the powder in with a circular movement4 ,lift the weights from the lower edge of the paper1 and gently raising the pattern see that the design is well on before removing the pattern4 ,a hot iron will be necessary now to set the powder4 ,every time you use the iron just clamp it down on the design4 ,wipe it off on an old piece of cloth before you press it again on another section of the design4 ,each time the iron touches the powder1 part of it adheres to the iron and the design would be spoiled if the iron was used again before wiping it4 ,after the design has been set1 the iron can be used freely over the whole work4 ,there is another method of stamping with a perforated pattern1 and that is placing the smooth side of the design face upward and using a blue paste that comes in cake form4 ,the pouncet is dipped in kerosene or naptha and then rubbed on the paste4 ,apply to the paper as directed for the powder4 ,this method requires no iron1 but care must be taken not to get the pouncet too wet or the design will run4 ,a third method for stamping is one that requires to be rubbed with the back of a spoon4 ,the fourth and newest method of stamping is by the transfer designs4 ,the patterns are in different colours4 ,place the transfers with the bright or raised surface next to your material and press with a heated iron4 ,some patterns require a very hot iron1 while for others a moderately heated iron suffices4 ,you can make a perforated pattern yourself by drawing a design on a piece of paper and using a sewing machine to perforate along the lines4 ,,xii ,,buttonholing ,,and ,,wallachian ,,embroidery ,embroidery buttonholing is a little different from the buttonhole stitch used in sewing4 ,it is a stitch that is most used to finish the edges of centre pieces1 scarfs1 and1 in fact1 any article where embroidery is wanted to finish the work4 ,you know that it is possible to use a fancy stitch1 such as the ,turkish stitch described in the last chapter1 but in that case the material will have to be turned back and hemmed4 ,the twill or purl of buttonholing1 as the little ridge on the edge is called1 serves as a resistance for the material from fraying out4 ,the buttonhole stitch is the most popular in embroidery4 ,it is the foundation for many other stitches4 ,feather-stitching is really an open form of this stitch4 ,as a usual thing it is necessary to pad before working buttonholing4 ,it raises the work and makes it much more durable as an edge4 ,the padding can be done in either running-stitch or chain-stitching4 ,let us take for our first example the straight buttonholing4 ,it is the simplest form4 ,cover the space between the lines with coarse1 running stitches4 ,let the background be medium weight linen4 ,the padding thread should be ,no4 #af or ,no4 #bj marking cotton1 or two strands of white darning cotton makes an excellent padding4 ,the stitches can be fully one quarter of an inch in length4 ,take up a single thread of the background so that the padding will be all on the top of the material4 ,this keeps the work well raised on the right side and perfectly flat on the wrong side4 ,an extra row or two toward the outer edge of buttonholing raises the edge prettily4 ,chain-stitching is a more rapid way of padding1 but should only be used for coarse work4 ,remember that the wider the buttonholing the more padding will be necessary4 ,the padding should be worked over your embroidery hoops1 keeping the work as near to your fingers as possible4 ,the actual buttonholing gets a rounder effect if done over the finger1 though it is possible1 of course1 to do it over the hoops4 ,again1 no knots in buttonholing4 ,thread your needle with ,no4 #be marking cotton4 ,make three little running stitches and one back-stitch to insure firmness in the starting4 ,let your thread come up slightly under the lower line of the buttonholing4 ,with your left thumb holding the thread down to the material draw your thread to the right1 take a stitch over the padding1 bringing the needle out slightly below the lower line4 ,the thread should fall under the point of the needle in each stitch4 ,the next thing we learn in buttonholing is a scallop4 ,the deeper the scallop the more difficult it is to make a good corner and to keep the slant of the stitches right4 ,when you buy a stamped piece of embroidery1 select a pattern that has a shallow scallop and one where the points are not too sharp4 ,in working a scallop the stitches should slant vertically in the direct centre1 slanting the other stitches toward this point 7,figure #aag74 ,illustration3 ,fig4 #aag4 ,a simple scallop ,the object in carrying the needle slightly beyond the stamped line is that all the stamping may be well covered4 ,a stitch that is taken directly through the line shows the stamping4 ,the diagrams 7,figures #aag and #aah7 show how to work a simple scallop and one with a sharp scallop4 ,a good deal has been written about the cutting of scallops1 but the safest and wisest is to wash the piece before cutting out the scallops4 ,a pair of small embroidery scissors should be used to cut the material away close to the twill of the buttonholing4 ,if a scallop is cut before it is washed it frays so much that the edge has an untidy look4 ,illustration3 ,fig4 #aah4 ,a sharp scallop ,some women work a row of machine stitching close to the lower edge before padding it1 as a preventive from fraying1 while others insist on cutting the material to allow a hem on the wrong side only4 ,try the first way and see if you are not successful4 ,another point to bear in mind in buttonholing is that the stitches should be taken very close to each other4 ,if a piece of buttonholing is well done it is hard to distinguish one stitch from the other1 and yet they must not be made one on top of the other or the buttonholing will be rough4 ,wallachian work gets its name from a little community in ,pennsylvania4 ,it is a ,german word and is nothing more than coarse buttonholing4 ,it is especially appropriate on heavy waists1 centre pieces1 pillow tops or work bags4 ,a finer form of it looks well on sheer waists4 ,the rings or circles are worked from a centre like the spokes in a cart wheel 7,figure #aai74 ,illustration3 ,fig4 #aai4 ,a ,wallachian ring ,illustration3 ,fig4 #abj4 ,wallachian stitch ,the leaves or petals of a ,wallachian figure are worked on the slant1 and here is the difference from ordinary buttonholing and the distinctive feature of ,wallachian embroidery4 ,usually the petals have an indented top and a line running through the centre4 ,begin at the lower right-hand section and take a short stitch on the line as for outlining4 ,the next stitch is taken close to this from the midrib to the outer right-hand edge4 ,the stitches need not be quite as close as in buttonholing and no padding is required4 ,continue in the same slant to where the centre line stops4 ,the stitches from this point radiate till they are in a good slant to continue down the left side4 ,note the stitches in the diagram 7,figure #abj74 ,some people do not slant their stitches and the result is that the work is not as pretty and loses its chief charm4 ,placing your thimble on a piece of material1 make a little circle around it and in the centre make a little dot to practise the ,wallachian ring on4 ,illustration3 ,fig4 #aba4 ,a whisk broom holder in ,wallachian stitch ,you will find that your thimble or spool is a great help to you also in making scallops4 ,draw a line with the ruler just below where you want your scallop to be4 ,inscribe half a circle with the aid of your thimble or spool on the straight line4 ,just within this half-circle draw another half-circle that will touch the upper line of the scallop4 ,a ten-cent piece or in fact any coin can be used like this4 ,embroidered pieces should be washed by themselves1 especially if they are worked in colours4 ,a little girl ,i was teaching some years ago was very slow in working a centre piece4 ,she finished the piece one day just before her term was over4 ,thinking that she would surprise me1 little ,daisy decided to launder the piece herself4 ,her mother knew nothing about embroidery1 so was not able to tell her how to proceed4 ,so ,daisy washed the piece and having seen how mother bleached the linens1 ,daisy desired to give her piece a sun bath4 ,she spread it out in the sun and when she went for it the colour was half out4 ,poor little ,daisy was heart-broken4 ,she would not have had this trouble had she observed the following directions3 ,put the piece to launder in warm water and rub it with a pure soap1 such as castile4 ,ordinary laundry soaps are too strong of lye to be used4 ,if the piece is very soiled let it soak a long time1 several hours4 ,usually washing the piece out in water is sufficient4 ,rub with the hand only4 ,rinse in clean water and lay the piece on a thick cloth or a ,turkish towel4 ,roll the towel up and leave until the piece is almost dry4 ,lay the embroidery1 with the worked side down1 over a heavy padded surface4 ,press with a hot iron quickly4 ,if the centre of the piece puckers1 dampen it again till you have pressed it out thoroughly4 ,if you fear to put the iron directly on the piece lay a thin white cloth over it and then press4 ,many a really beautiful piece is spoiled in the laundering4 ,,xiii ,,roman ,,cut-,,work1 ,,fancy ,,buttonholing ,,for ,,borders1 ,,work ,,bags1 ,,bermuda ,,fagotting ,roman cut-work or ,colbert embroidery is one of the prettiest forms of buttonholing4 ,the right way to work it is to make the stitches so that each one is distinct from the other4 ,some people insist on crowding the stitches as in regular fine buttonholing1 which is quite a mistake1 as its distinctness lies in dissimilarity to the ordinary buttonholing 7,figure #abb74 ,the work is used for centre pieces1 corners of lunch napkins1 coat sets1 as well as on heavy linen dresses4 ,in ,scotland the little girls make the entire yokes of their night gowns in cut-work as well as the top of their night gown case4 ,these cases are placed on top of the bed pillows during the day and are marvels of fine handwork4 ,this custom is not restricted to ,scotland1 but ,italian1 ,french1 and ,german women are also proud of their night dress cases4 ,the design for ,roman cut-work should be bold and not too close together4 ,it should be stamped directly on the material4 ,the ,american way of working it is to run a line of fine stitches on the outline and then work a row of buttonholing4 ,the stitches are a little less than an eighth of an inch deep4 ,the background spaces between the design are then cut away close to the buttonhole edge4 ,do not neglect to wet and press the linen before cutting the buttonholing4 ,keep the twill of the buttonholing on the outer edge of the design so that the background will be bordered with the twilled edges 7,figure #abc74 ,illustration3 ,fig4 #abb4 ,roman cut-work ,the ,european method of ,roman cut-work is to run the thread first and then cut the material so that there is an eighth of an inch extending beyond the running stitches4 ,this is turned under till the running thread forms the edge and then the buttonholing is worked through both thicknesses of the material4 ,this way prevents the linen from fraying4 ,the design is basted over a piece of coloured paper1 letting the basting stitches follow closely the buttonholing4 ,the wide spaces are then filled in with a simple lace stitch such as the twisted bar1 woven bar1 or spiders4 ,sometimes the spider is used in conjunction with one of the former stitches1 and it is an excellent stitch for filling in the corners4 ,marking cotton ,no4 #bj or ,no4 #be should be used for ,roman cut-work1 as well as the lace stitches4 ,illustration3 ,fig4 #abc4 ,a ,roman cut-work centre piece ,to make the twisted bar1 plan the open spaces so that they will be well filled and yet not too crowded4 ,span from one side of the space to the other with the thread1 then return and whip the thread or stitch three or four times4 ,the stitches may be connected and have the appearance of a series of points 7,figure #abd74 ,illustration3 ,fig4 #abd4 ,the twisted bar ,the woven bars are made by working two threads across the space about one eighth of an inch apart4 ,start from one end and weave4 ,take up one thread on the upward and the other thread on the downward pass4 ,continue in this manner till the whole bar is woven4 ,the bars are placed at equal distances apart 7,figure #abe74 ,illustration3 ,fig4 #abe4 ,the woven bar ,the spider is a little more complicated4 ,it is made on an uneven number of threads1 usually seven4 ,they may be double or single4 ,to make the whipped or double-thread spider1 span the space with the thread and then whip back to the centre and connect the thread to the buttonholing again at some little distance from the first stitch4 ,whip back to the centre again and take a stitch directly opposite4 ,continue in this manner till there are five1 seven1 or nine threads around the centre1 then proceed to weave under one and over the next thread until a good-sized spider is made4 ,do not make too large a spider1 as it detracts from the work4 ,an illustration for the single spider is given in the chapter on lace stitches4 ,illustration3 ,fig4 #abf4 ,blanket stitch ,the blanket stitch is a favourite for working the edge of flannel skirts or quilted covers4 ,worsted or coarse silk can be used for it4 ,it is made on the raw or folded edge of the material4 ,two stitches are long and two are short4 ,sometimes they are worked like a pyramid4 ,beginning at the base we increase each stitch till we reach the point and then decrease each stitch in length as we work back to the base on the other side 7,figure #abf74 ,the triangular buttonhole is a pretty stitch for a conventional design that has long narrow sections4 ,it may also be used for working a very large simple scallop 7,figure #abg74 ,the way we were taught in school was to mark the section to be worked in deep points4 ,the twill of the buttonholing must come on the lines4 ,the stitches are not very close to each other4 ,the stitches are taken on the line across to the next line4 ,begin at the longest opening and make every stitch shorter4 ,when the line is covered1 turn the work so that the twill of the buttonholing touches the top of the stitches just made4 ,if this stitch is used on the outer scallop it will be necessary to hem the material1 letting the triangular buttonholing form the edge4 ,illustration3 ,fig4 #abg4 ,the triangular buttonholing ,then there are fancy forms of buttonholing that are used especially in ,mount ,mellick work4 ,the double buttonhole stitch is effective to fill in the large leaves4 ,the stitches are taken in groups of two1 then a little space and two more stitches4 ,continue in straight rows4 ,sometimes one will see a leaf worked one half in double buttonholing and the other half in a close stitch4 ,illustration3 ,fig4 #abh4 ,the honeycomb stitch ,the honeycomb or mesh is a fancy name for another form of buttonholing4 ,work a row of buttonholing about a quarter of an inch apart4 ,the distance may be changed to suit the design you are working on4 ,in the second and all other rows1 the needle is over the buttonhole loop directly above and a short stitch taken a quarter of an inch1 or the distance you have decided on1 below the loop4 ,in starting each row bring the needle up a quarter of an inch1 or more or less as you desire1 below the previous row4 ,the distance must be kept even to achieve satisfactory results4 ,it is not necessary to start from one side always4 ,the first row is worked from left to right1 the second from right to left and so on1 back and forth1 till the space is filled 7,figure #abh74 ,bermuda fagotting is the name of a stitch that gives the effect of drawn work1 when no threads have been drawn4 ,it is used on scroll designs as well as to outline a simple floral pattern4 ,lawn1 dimity1 ,china silk1 handkerchief linen1 or nainsook are the prettiest materials for this stitch1 as it demands a fine1 transparent background to give the right effect4 ,illustration3 ,fig4 #abi4 ,diagram of stitches ,sewing cotton ,no4 #ajj or #aej and a special needle are the only requirements for this work4 ,the needles can be bought from any art needlework shop for five cents each4 ,it is like a large-sized carpet needle with a small eye4 ,a carpet needle can be substituted if it is not possible to obtain the regular needle in your locality4 ,tie one end of the thread to the eye of the needle4 ,while practising this stitch it will be necessary to make guide lines4 ,on each side of the design line make a row of dots an eighth of an inch apart4 ,the dots above the line must be directly over the lower dots4 ,note the diagram 7,figure #abi7 of this stitch4 ,i have numbered the first six dots4 ,take a stitch from one to three and tie the end of the thread under this point4 ,make the stitch a second time from these points1 pulling the material between them closely4 ,pass the needle underneath and connect one and two with two stitches4 ,then pass to point four and connect two4 ,three and four are connected in the same manner4 ,it is only necessary to tie the thread when commencing the work or a new thread4 ,the needle is so large that it makes quite a hole in the material and the thread is so fine that the manner of working is not clear to the average eye unless a detailed explanation is given 7,figure #acj74 ,illustration3 ,fig4 #acj4 ,an enlarged drawing of ,bermuda fagotting ,when working on a curved line or a corner it will be necessary to make an extra stitch on the outer or longer side only4 ,the scroll lines or stems of a conventional shirtwaist design are more dainty when made in ,bermuda fagotting4 ,the corners of handkerchiefs or a design on underwear or yokes and collars lend themselves to this style of adornment4 ,,xiv ,,satin-,,stitch ,,and ,,marking ,the more interested we become in embroidery the more we find how much more there still is to be learned about it4 ,there may be embroiderers who are experts in one branch of the subject and yet who will do very unsatisfactory work in another4 ,for instance1 one girl may be very proficient in fancy stitches and yet may not do the simple stitches or vice versa4 ,few ,american girls excel in the satin-stitch1 not because it is hard1 but it must be perfectly accurate4 ,the average ,german1 ,swiss or ,french child can do better satin-stitch at the age of twelve than the average ,american woman does4 ,from the time the children in those countries can hold a needle in their hand they are taught to sew and embroider4 ,illustration3 ,fig4 #aca4 ,a letter in satin-stitch ,satin-stitch is a stitch that is taken over and over across a space4 ,sometimes it is quite heavily padded and at a first glance gives the appearance of a piece of material heavily raised4 ,fine designs should1 however1 be slightly padded4 ,there are three ways in which padding may be done4 ,there is the running or uneven darning1 the chain1 or the filling-stitch4 ,a great deal depends on the smoothness of the padding4 ,the chain-stitch should only be used for coarse work4 ,the padding should not cover the stamped outlines1 for they are needed as a guide for the satin-stitch4 ,the padding is usually worked in a heavier thread than the outer stitches4 ,darning cotton that comes in four strands is often used4 ,one or two strands is sufficient4 ,illustration3 ,fig4 #aca;,a4 ,satin-stitch ,the prettiest satin-stitch is taken straight across4 ,the stitches should not be crowded1 but should be worked so that when the embroidery is finished the stitches are hard to distinguish one from the other4 ,illustration3 ,fig4 #aca;,b4 ,satin-stitch dot ,the ,old ,english letter ,e 7,figure #aca7 shows a good example of satin-stitch and outlining4 ,the latter was used on the single lines4 ,the entire letter may be carried out in satin-stitch by first running the single lines with uneven darning stitches and then covering these with fine satin-stitches4 ,make the padding stitches as close together as possible1 or the satin-stitches will be uneven4 ,the letter ,c 7,figure #acb7 offers an opportunity of combining two colours4 ,after the satin-stitch has been done1 a little back-stitch is worked through the centre of the heavily padded sections4 ,this combination of stitches is pleasing when colour is used1 as the satin-stitch is in one colour and the centre stitches in another4 ,a great many of the regular sewing stitches can be used instead of the embroidery ones4 ,for the very fine lines1 back-stitching can be used1 making the stitches finer than those used in ordinary sewing4 ,illustration3 ,fig4 #acb4 ,satin-stitching and seeding ,the letter ,a of ,figure #acc shows a good combination of satin-stitch and back-stitching4 ,illustration3 ,fig4 #acc4 ,satin-stitch and back-stitching ,satin-stitch can be worked straight across or on the slant4 ,most of the modern work is straight1 though a great many ,germans still prefer to slant their stitches4 ,the work should be held toward you and the needle straight4 ,the padding should be worked lengthwise on the design and the satin-stitch in the opposite direction4 ,the ,chinese do beautiful embroidery1 usually in satin-stitch which is not padded and the finest of silks are employed for the work4 ,another way of marking is to make a row of ,french knots along the outline design4 ,a single line script letter lends itself best to this kind of work4 ,illustration3 ,fig4 #acd4 ,a simple letter in back-stitching ,for bath towels an outlined letter is better than a padded one4 ,the letter on a school bag or a heavy ,turkish towel should be very simple as the wear they get does not warrant the spending of too much time on them4 ,if there is a monogram to be made it is prettier if the initials of the ,christian name be light and the surname heavy4 ,we learned about outlining in the first chapter of embroidery stitches1 but outlining in combination with outer stitches is a little surprise for you4 ,we have the ,german to thank for most of the good combinations of stitches or letters4 ,after the letter has been outlined in white1 we will say1 a thread of colour is taken4 ,starting from the upper left-hand side the needle is passed under the first stitch of the outlining1 up through the second stitch and down again through the third1 till every stitch has been taken up on the needle 7,figure #ace74 ,the threaded needle should not pass through the material except at the beginning and end of each line 7,figure #acf74 ,illustration3 ,fig4 #ace4 ,a pretty combination stitch ,illustration3 ,fig4 #acf4 ,a letter in fancy stitch ,another manner in which a letter may be embroidered1 especially an old ,english letter1 is to work it solid in white and outline it in colour4 ,the ,van ,dyke point is good also where a broad space is to be filled4 ,it is sometimes called the bird's-eye stitch4 ,illustration3 ,fig4 #acg4 ,a simple way to work a letter ,start at the top and on the left side of the letter or space it is to fill4 ,insert the needle on the right side and take a stitch to the centre on a slant like a buttonhole stitch4 ,fasten to the material with a little short stitch4 ,bring needle out at the extreme left and repeat directions until the space is filled4 ,each stitch forms a ,v 7note ,figure #ach74 ,sometimes you will find a very elaborate letter1 the outline of which has been worked in satin-stitch or ,french stemming4 ,little eyelets or satin-stitch dots are worked between the lines4 ,illustration3 ,fig4 #ach4 ,van ,dyke stitch ,when two or more letters intertwine they are called a monogram4 ,it is not every set of letters that will make good monograms4 ,letters that have a good swing should be selected so that though they intertwine each letter should stand forth clearly4 ,it is permissible to use the surname initial a trifle larger than the ,christian initial4 ,when monograms are composed of three letters and one of the smaller letters is placed on either side of the larger one the effect is very pleasing4 ,the smaller the letters1 the finer the thread should be4 ,no4 #ej or #fj marking cotton can be used for letters one half-inch in size4 ,a three-quarter inch letter should be carried out in ,no4 #de marking cotton4 ,a one-inch letter requires ,no4 #ce cotton1 while the two-inch letters take ,no4 #cj and so on4 ,the larger the letter the coarser the cotton4 ,illustration3 ,fig4 #aci4 ,a letter in ,van ,dyke stitch ,illustration3 ,fig4 #aci;,a4 ,seeding ,the beauty of a monogram is to have something original4 ,perhaps you want to work your bag4 ,take a tea cup and place on the material in the position you desire the monogram4 ,run a faint pencil line around the cup4 ,draw a block letter in the centre so that it touches the upper and lower edges of the circle4 ,your two ,christian initials are then placed one on each side of the centre letter4 ,try to fit the letters so as to keep the circle perfect4 ,it may be you will not really draw block letters1 but so much the better1 as the monogram will be more original4 ,if it is impossible to make a complete circle with the letters1 embroider the sections of the circle between the letters in stem-stitch4 ,stem-stitch1 you will remember1 is an outline-stitch covered with the over-and-over or small satin-stitch4 ,a monogram of this sort is especially appropriate for a man's handkerchief4 ,a twenty-five-cent piece1 or a fifty-cent piece if it is a very large handkerchief1 should be used for the circle4 ,seeding 7,figure #aci;,a7 may be combined with satin-stitch in working monograms4 ,seeding is nothing more than a series of little back-stitches4 ,a good effect is obtained by working one letter in satin-stitch and the other in seeding4 ,it will be necessary to outline the outer edges of the seeded letter4 ,you have probably noticed the gold emblems and lettering on the sleeves of army officers' regimentals4 ,they are generally worked in bullion1 though sometimes gold thread is used4 ,bullion comes in gold and silver and at the first glance looks like the ,oriental gold or silver threads4 ,the difference is1 however1 that bullion is tubular1 while the threads are usually composed of two or three strands twisted together or over and over a thread of red cotton4 ,the red cotton makes a strong foundation for the gold threads and1 by the way1 do you know that all silk that comes on spools has a fine thread of cotton running through the centre8 ,the purer the silk the less cotton is used1 but the latter is very necessary1 as the threads will not stand very much strain if they are all silk4 ,now let us get back to emblems in bullion4 ,it is necessary in bullion work to have a fine cardboard foundation which is called the cartoon4 ,trace your design on the cardboard and then cut the design out4 ,baste the cartoon to the background1 which may be of any material you desire4 ,broadcloths1 silks1 satins1 and velvets are the materials usually selected for the work4 ,thread a fine needle with a piece of silk4 ,fasten the thread on the wrong side of the material and bring the needle up through the right side4 ,let us suppose that you are working the block letter ,a4 ,start from the apex of the letter4 ,cut a piece of the bullion just the size of a very small bead4 ,slip the needle through the cut piece of bullion and span the point of the letter4 ,continue in this manner till the cardboard is closely covered with the bullion4 ,each piece of bullion is cut to fit the space it is to cover4 ,in working a five pointed star1 start and pad each section lengthwise1 if it is to be embroidered in silk or cotton4 ,for bullion work the cartoon is always necessary4 ,work each section of the star from the point to the centre4 ,work from left to right1 so that each section that is worked is to the left4 ,papier-mach letters can be bought that may be used as a padding4 ,they are very satisfactory for anything that is not to be laundered1 but continual washings flatten the papier-mach1 while if the padding is made of cotton it lasts as long as the background4 ,handkerchiefs for yourself can be daintily marked in very fine feather-stitching in ,d4 ,m4 ,c4 marking cotton ,no4 #hj4 ,remember to keep the stitches in a pretty slant4 ,there are numerous places that a letter or monogram can be used4 ,a girl ,i know who is at a boarding school has marked all her bed linen and towels4 ,for each pair of sheets and two pillow cases she uses a different style letter or monogram so that her linen is in sets4 ,cross-stitching is appropriate for bath towels1 although face towels are often very attractive worked in this stitch4 ,the question often arises as to which is the right place to put a letter or monogram on a table cloth1 napkin1 pillow case1 or sheet1 and though you may not be interested in any of these articles at present1 it is well to know these little points when helping to mark the household linens4 ,napkins are usually marked with the letter in the direct centre when folded4 ,of course1 like many other things1 there are fads for changing the position4 ,one extreme style is to mark the letter in the direct centre of the napkin4 ,this style necessitates folding the napkin in a fancy shape so that the embroidery will be seen at its best advantage4 ,there are two good ways to mark a table cloth4 ,one is to place the lettering midway between one corner of the table and the hem4 ,when the cloth is on the table the letter is below the top4 ,the second and newer way is to have the letter on the top of the table on a line with the plates4 ,if two sets of letters or monograms are used place them at diagonal corners4 ,on sheets the letters should be placed two and a half inches above the hem4 ,the letter is worked so that when the sheet is folded back the base of the letter is toward the foot of the bed4 ,pillow cases or towels are marked in the centre of one side1 two inches above the hem4 ,again let me impress upon you not to embroider white washable material in silk1 thinking that because silks are more expensive they are better4 ,silks are apt to discolour in laundering4 ,cottons are now manufactured that have a high gloss like silk and yet they never discolour4 ,illustration3 ,fig4 #adj4 ,a handkerchief corner in satin-stitch ,another pretty and new way to mark letters on lawn or fine linen handkerchiefs is one that gives the effect of ,bermuda fagotting and yet it is only hemming with a large needle 7,figure #adj74 ,draw the letter in pencil on the handkerchief4 ,thread a large tapestry or chenille needle with a piece of ,no4 #bjj linen thread4 ,cotton thread may be used but it is very apt to break4 ,tie one end of the thread to the eye of the needle so that it does not slip out4 ,thread another needle with a strand of ,no4 #h marking cotton and pass it to the back at the beginning of the letter4 ,unthread the needle1 allowing a half inch to extend out of the back4 ,let the ,no4 #h cotton follow the lines of the letter and take a stitch into the material with the large needle4 ,work from right to left1 holding the ,no4 #h cotton from you4 ,pull the fine thread tight around the stitch you have taken4 ,now pass your needle around the same group of threads of the material1 holding the stitch over the heavy cotton4 ,work around the entire outside of the letter1 then turn and work the inner line4 ,stitch again through the hole already made1 taking up the same group of threads4 ,sometimes this style is called ladder-stitch1 as the heavy cotton gives the effect of the side of the ladder and the groups of threads represent the rungs4 ,any design that is uniformly narrow can be carried out in ladder-stitch4 ,illustration3 ,fig4 #ada4 ,a simple letter for towels ,,xv ,,eyelets ,,and ,,french ,,knots1 ,,bullion ,,stitch1 ,,and ,,other ,,fancy ,,stitches4 ,the most beautiful of the embroidery stitches is the eyelet1 and it is also one of the hardest4 ,a piece of embroidery that is thickly covered with eyelet-work and possibly a little satin-stitch and buttonholing is commonly termed ,madeira embroidery4 ,one will often see a piece of the ,madeira embroidery so closely covered that it is almost impossible to put another stitch in between the embroidered spots4 ,about fifty years ago it was a matter of impossibility to buy machine embroidery1 and eyelet-work was one of the last things made by machine4 ,it was an easy matter to distinguish the hand-work from the machine-work up to about five years ago4 ,a certain regularity of the stitches and the kind of thread used proclaimed it machine to even the amateur4 ,now-a-days the crafty manufacturers stamp the material to imitate the hand-made embroideries and use a thread of the same quality so that sometimes the professional embroiderers find it hard to distinguish it from the real4 ,if you should ask a boy who has watched his mother working one1 what an eyelet is he will probably tell you that it is cutting holes in the material and sewing them up again4 ,to his mind this is a great waste of time4 ,illustration3 ,fig4 #adb4 ,baby's bootees ,besides being ornamental1 the eyelets often play an important part4 ,they are used to run ribbon through in corset covers1 night-gowns and other pieces of underwear1 as well as on bags1 baby bootees1 7,figure #adb71 caps and carriage covers4 ,no machine beading can impart the elegance that a well-made eyelet does to a personal garment4 ,eyelets can be either round or oval4 ,for a small round one run a tracing thread on the outline4 ,let each stitch take up but one or two threads of the material4 ,use ,no4 #ce or finer marking cotton for small eyelets4 ,with your stiletto pierce a hole in the outlined edge till it is just the size of the stamped eyelet4 ,now with the same thread sew around the opening with close over-and-over stitches4 ,the stitches should only be the width of the stamped line 7,figure #adc74 ,they must be even1 else you will have a ,pig's-eye4 ,illustration3 ,fig4 #adc4 ,the way to work an eyelet ,for the large round eyelet1 as well as the oval1 in all sizes it will be necessary to cut the material within the outline which has first been traced with the running thread4 ,the cuts should be made lengthwise and crosswise1 right to the tracing thread4 ,the cut material is turned under to the wrong side and the eyelet worked as just described4 ,after the embroidery is finished turn the material over and any part of the cut cloth that extends beyond the stitches trim off4 ,your fine embroidery scissors should be used for the cutting4 ,illustration3 ,fig4 #add4 ,the round eyelet ,sometimes you might like to make an eyelet to represent a grape4 ,some embroiderers call it a shaded or padded eyelet4 ,after the eyelet has been traced make another row of tracing or padding below the lower half of the eyelet4 ,start from the centre side of the eyelet and make the second tracing deeper on the lower portion of the eyelet4 ,if any space is left between these two rows of tracings fill in with other rows of uneven darning 7,figure #add;,a74 ,illustration3 ,fig4 #add;,a4 ,a padded eyelet ,when eyelets are used on the outer edge of a design1 they should be buttonholed4 ,illustration3 ,fig4 #ade4 ,a simple centre piece in eyelets ,the next stitch to claim our attention is ,french knots4 ,in ,france they are known as the ,english knot4 ,they are used to fill in the centres of flowers4 ,when working a piece of golden rod the natural effect is best produced by using ,french knots very close to each other4 ,a row worked on each side of a row of feather stitching makes a pretty decoration on babies' dresses1 caps or even on yokes of dresses for yourself4 ,illustration3 ,fig4 #adf4 ,an eyelet design for a pillow ,a heavy thread is good to practise making the knot4 ,the actual size or kind of thread to use should depend partly on the kind of material and partly upon the other style of work or stitches that you intend combining with it4 ,illustration3 ,photograph by ,mary ,g4 ,huntsman4 ,many a ,happy ,hour is ,spent ,embroidering ,to work the knot1 fasten the thread securely on the wrong side and bring the needle through to the right side4 ,now hold the thread down with your left thumb4 ,with the right hand put the needle over and under the thread until there are three or four coils of the thread around the point of the needle4 ,now hold these coils down with the left thumb4 ,turn the needle so that its point will go down through the material as close as possible to the place through which it came 7,figure #adg74 ,illustration3 ,fig4 #adg4 ,french knots ,a pretty idea for making knots for dress trimmings is to thread the needle with two strands of silk1 each of a different colour4 ,bullion stitch is an elongated ,french knot4 ,it is used considerably in ,mountmellick embroidery1 to represent grains of wheat4 ,small leaves and daisies are oftentimes carried out in bullion stitch4 ,to make the stitch we will say that we are working on the conventional daisy4 ,bring the thread up to the base of the petal4 ,insert the needle so that the length of the petal lies on top of it4 7,see ,figure #adh47 ,twine the thread around the needle point until there are as many coils as the length of the petal4 ,the left thumb should hold the coils in place while you are twisting them4 ,the needle is now drawn through the material4 ,it is put through the same hole1 or as near as possible to the one from which it came4 ,keep the left thumb holding down the coils until the stitch has been fastened4 ,another way to accomplish bullion stitch1 which has the same appearance1 but which really is a very much slower method1 is to lay a heavy thread the length of the stitch desired and then neatly wind the cotton over it4 ,it requires a heavy cotton to work this successfully4 ,illustration3 ,fig4 #adh4 ,bullion-stitch ,an embroidery needle should not be used for either ,french knots or bullion stitch1 as the eye is apt to stick when pulling it through the coils4 ,a large sewing needle should be substituted4 ,illustration3 ,fig4 #adi4 ,an elaborate piece of buttonholing and satin-stitch ,any girl can make dainty and original designs for eyelet work if she will invest in compasses4 ,as has been stated before1 eyelets vary in size4 ,the size that is most effective for decorating heavy linen or cotton is an eyelet a little less than half an inch in diameter4 ,a larger eyelet is often used1 but it requires a good deal of patience and experience to keep it in shape4 ,with the compass hundreds of designs may be used4 ,the most popular as well as being the most attractive is the simple daisy4 ,a circle is drawn to represent the centre4 ,a quarter of an inch over from the centre circle1 or less if you wish to1 draw six other circles so that they form a ring around the centre dot4 ,a design such as this can be used on a ruffle of a petticoat or between tucks on dresses while for a whole linen piece there is nothing handsomer for a scalloped or hemstitched centre piece1 doily1 bureau cover and many other articles on which a bold1 open effect is appropriate4 ,the ,wall-of-,troy design is a good one for compass work1 only it is suggested to faintly rule the design then inscribe the circles so that their centres are on the line4 ,for instance1 suppose you want to make a border design about an inch and a half deep4 ,take your rule and keeping on a straight thread of your material draw a two-inch line1 then leave a space1 then draw another line1 so on to the end4 ,an inch and a half above these lines draw another row of lines just over the spaces of the first row4 ,connect the ends of the lines together4 ,plan so that there is a circle at the points or corners of each line4 ,between these dots on the horizontal lines make two more circles1 while on the vertical lines make only one4 ,these instructions are for a circle the size described2 for a smaller eyelet it will be necessary to add more circles to the lines4 ,a still simpler design is one that is made on a square1 that is1 with a dot at each corner and one in the direct centre4 ,the dots must be kept the same distance apart4 ,the ,italian girls will make the most elaborate designs of compass work on strips of firm1 heavy muslin for ruffles for underwear4 ,they are not like the ,american and ,french girls1 who will only wear the sheerest kind of light material4 ,the advantage the ,italian girl has over her ,french and ,american sisters is that when she embroiders a garment it lasts for years1 even if it is constantly used1 while delicate embroidery is apt to have a very short life on account of the background4 ,to the ,american girl this is no drawback1 as she is always craving for new things4 ,sometimes a thimble1 spool1 or even a twenty-five cent piece is used instead of the compass when a large eyelet is required4 ,an edge of eyelets is very handsome on a collar and cuff set or handkerchief4 ,they should be placed so that after they are worked they touch each other4 ,the entire eyelet may be carried out in buttonholing or the lower half may be buttonholed and the top worked in the regular way4 ,after the work has been completed dampen the edge and press before cutting out the material from underneath the lower edge of the eyelet4 ,it is possible to work the eyelet without any buttonhole stitches and yet use it for an edge4 ,in that case a little padding is required and the stitches should be close together4 ,a linen hat that has a simple scallop edge and a simple design on the brim and crown is a treasure that usually only the wealthy enjoy4 ,it is nice to know how to embroider1 but unless we put to use the things we know our knowledge is like a white elephant on our hands4 ,after a careful study of the diagram of the stitches you desire to make and reading the description as to how to make it1 a little child could almost work a hat1 but the mounting of a hat is not so simple4 ,yet1 what is the use of taking time to embroider one if you do not intend to make it up8 ,eyelet work is particularly dainty on a hat as it gives a lacy effect4 ,the material should be a medium weight linen so as not to be too stiff4 ,at one time butcher's linen was thought to be the only kind to be used1 but of later years a softer linen is preferred4 ,lingerie hats have been used for years1 probably long before you were born4 ,every year the shape varies a little4 ,one year it is a narrow brim sailor1 next year it is a wide brim1 then again a high1 next a ,tam-o'-shanter crown4 ,the last four years it has been the mushroom shape4 ,for most faces there is nothing more becoming and girlish than the latter 7,figure #aej74 ,illustration3 ,fig4 #aej4 ,a lingerie hat ,sometimes the mushroom shape is covered with hand-embroidered ruffles1 while again a circular piece having the crown cut out is used4 ,the size of hat varies by what fashion dictates1 so it is hard to say just how large your linen should be cut4 ,a twenty-two or twenty-four inch circle makes a neat little shape4 ,after the embroidery has been worked as described in the first part of this chapter1 the frame is prepared for mounting it4 ,a wire frame is lighter and more satisfactory than a buckram frame4 ,the first thing to decide is1 how are we going to face the hat8 ,tucked ruffling1 net1 dotted swiss1 or fine ruffles of ,valenciennes lace may be used4 ,most people prefer to cover the entire frame with cheap1 fine lawn before facing or covering the hat4 ,this is done by placing the hat on the lawn1 the brim touching the material1 and cutting a circle a trifle larger than the brim4 ,cut a circle out for the crown and slip the lawn over the frame4 ,if the crown is too large to allow the lawn to be slipped over it a wide bias band of the lawn can be used to cover the brim4 ,the bias strip should be just the depth of the brim4 ,for the crown1 cut a circle large enough to cover the top and use a bias band around its sides4 ,tack the muslin to the frame by long basting stitches4 ,it will be necessary to pass under the wire when taking a stitch to keep the material in place4 ,the tucked ruffling can be bought by the yard1 trimmed with a row of narrow lace4 ,the entire thing is banded4 ,to adjust a ruffling of this sort place the band around the edge of the crown and tack the ruffle in position at short intervals and at the extreme edge of the brim4 ,net or dotted ,swiss is pretty shirred or corded or even put on plain4 ,a strip three times the length that it would take to go around the brim plain is cut the depth of the brim4 ,this band is cut on the straight of the goods4 ,a shirring string is run on both sides4 ,the strip is placed in position and pinned taking care to distribute the gathers evenly4 ,the shirring string under the crown is pulled up first and the material over-handed to the frame4 ,the gathering thread on the outer edge of the brim is also adjusted like this1 only instead of over-hand stitches1 fine running stitches are preferable4 ,then a small heading is made on one side of the strip that is to be shirred4 ,the heading makes a pretty1 soft finish at the edge and does not require any great length of time to do4 ,allow three quarters of an inch1 or more1 in the depth of your ruffle if it is to have a heading4 ,turn one edge of the material to the wrong side4 ,the turn should be a little more than a quarter of an inch deep4 ,the gathering thread is run a quarter of an inch from the folded edge of the material4 ,when the thread is pulled up the heading is formed4 ,if the material is to be corded1 baste a narrow round cord like a corset lace inside the material4 ,the cord is placed where it is desired and the material is folded over it as for a tuck4 ,a running thread is worked close to the cord to keep the two pieces of material together4 ,the threads are afterwards drawn up to bring the fulness of the ruffles to fit the outer edge of the hat4 ,three rows of cording are quite sufficient on the edge and the other two rows at equal intervals from the outer brim to the crown4 ,the ruffles of ,valenciennes lace are adjusted by pulling the drawing string on the edge of the lace1 and basting the first row of lace on the extreme edge4 ,the second row just touches the first1 and so on1 filling as many rows of lace in as required4 ,the embroidered piece is then washed and the brim placed4 ,the edge is tacked at intervals while around the crown the stitches are taken very close together4 ,the ,tam-o'-shanter crown is pulled in shape by a gathering thread1 if it is cut in a circular shape and the gathering is all on the edge4 ,cut the circle large enough to make a pretty ,tam-o'-shanter4 ,the embroidery decoration may be in the direct centre of the crown4 ,if the design is a small one it can be scattered over the crown to give an all over effect4 ,there are many ways that a lingerie hat may be trimmed and it is hard to say which is the prettiest4 ,a black ribbon band and a bow is simple but severe4 ,white taffeta ribbon may be used the same way if an all white hat is wanted4 ,in fact any shade of ribbon is attractive used like this4 ,the illustration shows a pretty way of trimming a lingerie hat for a girl of about fourteen4 ,a narrow coloured ribbon is used around the crown and a rosette of leaves with rose buds and forget-me-nots is attractively placed on one side4 ,sometimes coloured linen is used for the hat and in that case the embroidery may be worked in the same shade as the linen2 or white4 ,the hat is then trimmed with white or black4 ,a coloured hat is not as practicable as a white one1 as the former is apt to fade and may not be as becoming as the white4 ,a baby's buttoned hat is made of two circular pieces scalloped out at the edges1 one piece being four or five inches smaller than the other4 ,the large one is used for the brim4 ,the head size is cut out of the direct centre and then bound in tape4 ,three inches from the crown opening sew a circular row of buttons1 a half inch apart4 ,use a washable linen1 lace1 or crochet button for this purpose4 ,one inch from the edge of the crown make as many buttonholes as you have buttons4 ,a pair of daintily hemstitched strings that are attached1 one on each side of the crown opening1 completes this charming little hat4 ,it can be easily unbuttoned and laundered flat4 ,these hats are made of duck1 pique or heavy linen4 ,they are the nicest thing you can make for your little sister for the summer when she wants to play in the sun4 ,,xvi ,,long ,,and ,,short1 ,,kensington ,,embroidery1 ,,and ,,ribbon ,,work ,,for ,,simple ,,flowers ,it is the ambition of every one who starts to embroider to make a piece of flower work and though the floral designs are most fascinating to embroider they are by no means as artistic as the conventional4 ,the way to embroider a piece of flower work and obtain an original colouring is to get a natural flower and place it in a vase in a position that you can clearly see the light and shadow4 ,the best flower to start with is a daisy4 ,note that the petals are not a dead white1 but there is a suggestion of green toward the centre of the flower4 ,get mercerized cotton to work with at first until you become accustomed to the stitch4 ,there is no cut and dried rule in regard to the colouring1 but the art of shading a piece naturally is a lesson that is very essential for the embroiderer4 ,to many people the term embroidery means flower work and only after a course of instruction they discover for themselves how much more artistic and in keeping with most rooms is a conventional design4 ,flower work1 however1 is not to be despised as you will learn more about colour combination and ,kensington stitch in one piece of this style than any kind of embroidery4 ,illustration3 ,fig4 #aea4 ,long and short stitch ,all flower work has long and short stitch on the edge of the petals or leaves that do not turn over4 ,daisies do not have turn over leaves as often as a double rose or chrysanthemum4 ,suppose we draw a very large daisy on a piece of white muslin4 ,with your needle threaded with white lustre start from the right-hand side4 ,take one stitch on the line4 ,place your needle back near the same point from which you started4 ,take a short stitch that goes a wee bit outside of the stamped line past the first stitch4 ,the object of going beyond the line1 is that the stitch completely covers the stamping4 ,the third stitch is taken at the same slant1 only longer4 ,the fourth is a short one and so on1 first one short and then one long until the top of the petal is reached4 ,remember1 though1 these stitches are only on the edge4 ,the left half is worked the same1 but the stitches slant a little differently4 ,a good rule to mention right here is1 that all stitches should slant to the heart of the flower4 ,in leaves they slant toward the base4 ,the inside of the petal1 when the long and short stitches are completed1 should be irregular 7,figure #aea74 ,the ,kensington stitch gets its name from an ,english school of embroidery4 ,it is more like outlining than any other stitch4 ,after the edge of the flower has been worked in long and short stitch1 the ,kensington stitch is used to give the solid effect4 ,the piece must be held all the while in a tight fitting pair of hoops so that it can not sag in the least4 ,if the petal is long1 two or three rows of ,kensington stitch will have to be worked to fill it in4 ,if silk is desired1 two strands are used for the edge and one strand for the ,kensington stitch4 ,the stitches are dovetailed into each other4 ,each row must have an irregular lower edge1 else they will look like bricks laid one on top of the other4 ,the stitches should be so worked that it is difficult to tell where one ends and the other begins 7,figure #aeb74 ,illustration3 ,fig4 #aeb4 ,the ,kensington stitch ,three shades of green are sufficient for the leaves until you are quite expert4 ,in working them embroider on the edge of the lower half of each leaf with the second shade and the upper part with the lightest4 ,work one side first using the second shade under the lightest and the third under the second4 ,work to the midrib only4 ,it is not necessary to work in the veins1 but if they are desired they are put in after the leaf has been worked4 ,do not hesitate to cover the stamped veining on the leaf you are working1 as the next leaf will be a guide to where to place the veins4 ,they may be in the lightest or deepest shade of green1 while sometimes a reddish-brown is substituted4 ,the centre of the daisy may be satin-stitch or a cluster of ,french knots4 ,if the dot is worked from the centre to left and from the centre to right you are more apt to get a perfect outline than when starting from one side and working to the other4 ,as a usual thing the lightest shade is on the outer edge of most flowers1 but there are a few exceptions1 like wild roses and some species of pansies in which the deepest shade is on the edge and toward the centre it is lightest4 ,the stems may be worked in satin-stitch or ,kensington in wood shades or deep greens1 whichever give the more realistic effect to the flower4 ,it is a great mistake to use white for the background of flower work4 ,cream or pale gray make a very much softer and more pleasing effect4 ,sometimes a little of the stem brown can be worked into the leaves4 ,have you ever seen a lace spread or centre piece with flowers embroidered on it8 ,you might think that the worker was more than ordinarily clever1 but really any one who can embroider flowers can do this4 ,baste a piece of fine lawn on the section you desire to embroider and stamp it with a spray4 ,embroider in the usual way and when the spray is finished neatly cut away any of the lawn that extends beyond the flower without cutting the lace4 ,the result is that the piece has the effect of a natural flower resting upon it4 ,the finer the silk used the more delicate shading can be accomplished4 ,there is another way to represent flowers that is particularly beautiful4 ,it is known as ribbon work or rococo embroidery4 ,the ribbons especially made for this work vary from slightly less than one quarter of an inch to a little more than a half inch in width4 ,the colours do not range in such long lines as the silks4 ,in fact it is rare to find a shop that carries more than ten colours4 ,sometimes the ribbons are shaded4 ,they are soft and do not crease quite as readily as an ordinary ribbon4 ,a ,no4 #f crewel needle is about the right size for the narrow ribbon1 while the half inch ribbons need a ,no4 #c4 ,illustration3 ,fig4 #aec4 ,ribbon flowers ,forget-me-nots1 conventionalized small asters1 and little roses are suitable for the narrow ribbons4 ,satin1 moire1 broadcloth1 or heavy silk are used for the background and the daintiest of needle cases1 jewel cases1 handkerchief bags1 belts1 and other little accessories may be evolved from a small piece of silk and a few yards of ribbon4 ,the design is stamped on the background and all the single lines or stems outlined with filo silk4 ,let us imagine we are working on a spray of forget-me-nots4 ,the needle is threaded with six inches of the narrow green ribbon4 ,slip your needle from the under side of the material drawing all the ribbon through but a quarter of an inch4 ,one stitch is generally sufficient for a leaf1 though sometimes the leaves are wider and require two or possibly three stitches4 ,the ribbon serves the same purpose as silk4 ,the one point to remember is that the ribbon should not be twisted4 ,naturally in pulling it through the material several times it becomes so wrinkled that a short piece works to better advantage than a long one4 ,the flower is made in the same way1 one stitch for each petal and when completed a ,french knot is made in the centre of the flower 7,figure #aec74 ,the ends caused from starting and finishing off are fastened or caught down with a piece of fine thread on the wrong side4 ,do not pull your stitches4 ,the work is very much prettier when it lies soft and full on the background4 ,it is well to make use of every piece of fancy work you do and yet sometimes a new thing may strike your fancy and you would like to make a small piece4 ,a card case is acceptable to every girl and it is a good plan to make them to match your visiting dresses4 ,take a piece of material five by ten inches long4 ,three inches from one of the short edges stamp a design that will not occupy a space larger than three inches long and two inches deep4 ,the length of the design must run parallel with the short edge of the material4 ,the bottom of the stamping must be five and a half inches from the short edge of the material4 ,illustration3 ,fig4 #aed4 ,a card case ,a little spray of lilies of the valley on a green silk background makes a dainty case 7,figure #aed74 ,get a piece of stiff tailor's canvas and cut it to measure eight and three quarters inches by four inches wide4 ,a piece of china silk the same size as the satin will be needed for the lining4 ,it is best to select the shade of silk that harmonizes with the outside material4 ,with a green cover a lining lighter or darker is suggested4 ,the latter is preferred as the constant fingering of a light colour is apt to soil it4 ,cut all three pieces so that they are true oblongs2 two and a quarter inches from the short edge make a crease4 ,two and a half inches from the first crease or four and three quarters inches from the outer edge make another crease and cut along it1 thus separating the stiffening in two4 ,illustration3 ,fig4 #aee4 ,the foundation of the card case ,two and a half inches on both sides of the now short edges of the piece that is not creased draw a line from side to side and crease4 ,on the extreme right-hand side measure down one and a half inches from the corner and make a dot2 measure up from the lower corner and make another dot4 ,the space between the dots should measure one inch4 ,take a twenty-five cent piece and place on the space between the dots so that the edge of the material is under the direct centre of the quarter4 ,make a semicircular curve on the canvas around the quarter4 ,cut along the pencil lines 7,figure #aee74 ,illustration3 ,fig4 #aef4 ,the canvas interlining ,the stiffening now ready1 baste it to the lining4 ,see that all creases have been smoothed out of the ,china silk lining before basting4 ,place the two pieces of canvas so that there is an equal margin on all four sides4 ,the cut edges of the canvas must be placed one eighth of an inch apart as shown in the diagram 7,figure #aef74 ,on one side is the four and three-quarter inch piece and the other is the four inch4 ,pin or baste the canvas through the centre to keep it in position4 ,with a threaded needle cat-stitch the silk to the canvas1 care being taken to see that the stitches do not appear on the silk side4 ,cat or catch-stitching is another name for herring-boning1 which is explained in the chapter on feather-stitching4 ,before turning a corner1 cut off a small piece of material to prevent the corner from being bulky4 ,treat each corner in like manner3 when you come to the little curved part1 slash the material so that when it is folded over the canvas it will fit perfectly smooth4 ,fold the canvas and lining along the creases originally made in the canvas4 ,an iron pressed over them will help to make them stay in position4 ,the embroidered piece is then placed over the wrong side of the canvas4 ,a half-inch turn is made on all sides4 ,turn this half inch toward the wrong side of the canvas4 ,sometimes a layer of cotton batting is laid under the embroidery between the canvas and satin4 ,the satin piece is basted to the canvas4 ,the folded edge of the satin and the folded edge of the silk are overcast with tiny stitches4 ,fold back the two sections of the case and over-cast each side 7,figure #aeg74 ,your card case is now completed4 ,illustration3 ,fig4 #aeg4 ,the inside of the card case ,a bill folder is made in the same way1 only that the ends are not stitched together to form pockets as in the card case4 ,it is always well to know how to make pretty1 attractive pieces of needlework that will make acceptable gifts for ,christmas or a birthday4 ,nearly everybody has a hobby4 ,sometimes it is saving receipts1 sometimes keeping newspaper clippings1 and then again it may be keeping theatre programmes4 ,it is well to consider what gift is most suitable for the one that is to receive it2 to make for the faddist an envelope to keep her clippings will be just the thing4 ,illustration3 ,fig4 #aeh4 ,the way to make an envelope ,take a piece of brown linen ten and a half inches by nine and a half inches4 ,fold it in half so that it measures five and a quarter inches by nine and a half inches4 ,stamp a spray of daisies or wild roses on one side and mark what the envelope is supposed to hold1 such as receipts or clippings4 ,brown linen does not soil as easily as white4 ,embroider the flowers and the lettering1 then dampen the linen thoroughly and press on the wrong side4 ,now take two pieces of cardboard that measure eight and a half inches by four and three quarters4 ,cover the cardboard with the linen1 use long stitches as described in the needle case1 except that two pieces of the cardboard are placed side by side on the brown linen4 ,now take two pieces of brown paper the same size as the cardboard and cover the stitches4 ,paste should be used to make the paper stick to the linen4 ,illustration3 ,fig4 #aei4 ,the envelope ,illustration3 ,fig4 #afj4 ,the case completed ,make six envelopes by taking six pieces of paper nine by thirteen inches and cut a two and a half inch square from each corner 7,figure #aeh74 ,one inch over from where the squares are cut make a star4 ,there are eight such points as you note4 ,connect the dot to the corner by a line4 ,cut the paper along the lines4 ,fold the ends in1 then fold the bottom flap over these and paste4 ,fold the top flap over without pasting 7,figure #aei74 ,now1 holding these six envelopes in the case with bottom edges touching the space between the two cardboards1 punch three holes through linen1 cardboard1 and envelopes4 ,take a half a yard of ribbon and run through the holes and tie the ends in a bow on the corner4 ,take another half a yard of ribbon and cut in two4 ,fasten a piece on each side of the cover 7,figure #afj74 ,these two pieces are tied in a bow and keep the base of the case closed4 ,,xvii ,,hardanger ,,embroidery ,,for ,,squares1 ,,pin ,,cushions1 ,,and ,,spreads ,we have to go back to the foreign embroideries to find those that are beautiful and yet substantial enough to last beyond the usual life of a piece of fancy work4 ,there is nothing we have originated in embroidery on this side of the world as rich as ,hardanger work1 and yet it is comparatively little known4 ,the background for this work is a loosely woven material like scrim or basket weave materials such as ,java canvas or the regular ,hardanger canvas which is imported4 ,it is lots of fun working ,hardanger in wool on ,java canvas as it goes so quickly1 and after we have learned the stitches we can work it on as fine a canvas as we desire4 ,the simplest stitch is the block4 ,thread a large tapestry needle with a piece of heavy wool4 ,on your piece of ,java canvas work a little block4 ,the worsted is on the right side of the canvas1 and then taking a stitch over four threads of the canvas bring the needle up on the next opening to the right on the same line as the first4 ,five stitches constitute a block2 a space of four threads is then left and the next block started1 7,figure #afa74 ,a great deal of ,hardanger has these blocks running at right angles to each other with no space between the blocks4 ,mistakes cause a great deal of trouble and sometimes it is necessary to rip out quite a lot of stitches before they can be rectified and for that reason you must be very accurate in your counting4 ,illustration3 ,fig4 #afa4 ,the block ,illustration3 ,fig4 #afb4 ,the star ,the star is another favourite figure in ,hardanger work 7,figure #afb74 ,four stitches are taken over four threads of the material1 side by side1 then five stitches over eight threads of the material and then four again4 ,this forms one side of the star4 ,the second side is made exactly the same only that at the base of the thirteenth stitch the first stitch of the second side starts forming a right angle4 ,the star has four sides as you will note in the diagram of this stitch4 ,now count and see if there are twelve threads on each of the inner sides of the star4 ,if you find any mistake go over it and straighten it out4 ,there must be twelve threads on each side4 ,cut four from each corner4 ,this will leave four threads directly in the centre of each side4 ,with a piece of embroidery cotton about the weight of a thread of your canvas weave the bars4 ,the weaving is very simple1 over one and under the next till the bars are woven4 ,some of these bars have little knots on the outer centre edge of each4 ,they are called picots 7pronounced pe-co7 and they are made somewhat like a ,french knot4 ,the bar is woven half way across and laying the needle on the bar the thread is wound around the needle point4 ,hold each twist down with the left thumb 7,figure #afc74 ,the needle is drawn through and the result is a little knot on the thread near the stitches4 ,a little stitch is taken into the woven part of the bar and the thread carried over to the other side of the bar and another picot made4 ,illustration3 ,fig4 #afc4 ,the picot ,for an ornamental stitch to be used on the material between the stars or blocks make a diagonal stitch like the first stitch in cross stitching 7,figure #afd74 ,pin cushion tops are easy to make and the following instructions are given for cushions about four or five inches square4 ,take a square of scrim or ,hardanger canvas eight inches large4 ,it will be necessary to pull a thread so that the material will be quite straight on the edges4 ,pull out four threads about one and a quarter inches from the edge on each side of the material4 ,turn a quarter-inch fold on one side and crease the material again so as to make a half-inch hem4 ,baste it down so that it just touches the drawn threads4 ,repeat on the four sides4 ,be sure that at the corner the double thickness of drawn threads are exactly over each other4 ,we are now ready to hemstitch the hem4 ,thread the needle with ,no4 #ij sewing cotton4 ,run the thread under the hem and holding the double part of the hem toward you take up four threads of the material4 ,pass the needle again around this group and now into the hem4 ,continue in this manner around the four sides4 ,at the corners it will be necessary to take up both thicknesses of the material4 ,crease the finished square in four4 ,count sixteen threads upon the crease from the hemstitching and with lustre ,no4 ,c or heavy linen thread aa make a little block of four strands of floss over four threads of the material4 ,make a flight of eight blocks each at right angles to the other4 ,now instead of continuing in the same direction turn and work seven more groups down and to the left4 ,turn again to the left and work seven blocks for the third side of the square4 ,six groups to the right of the third row completes the square4 ,illustration3 ,fig4 #afd4 ,a simple ornamental stitch ,illustration3 ,fig4 #afe4 ,a good arrangement of picot ,now with your fine embroidery scissors cut close to the stitches of the three blocks at each corner4 ,the cut threads are drawn out4 ,four more cuttings will be necessary on each side4 ,they should be made against the stitches only2 that is1 the threads that are running in the same direction as the stitches should be cut4 ,figure #afe shows where the cuts were made and the threads drawn out4 ,the remaining threads are woven4 ,a mercerized or dull finished marking cotton is used for the weaving4 ,it may be either the plain weaving or may have picots on each side of the bar4 ,another pretty arrangement of picots is to place them on one side of the bars so that they appear in groups of four each facing the other 7,figure #afe74 ,sometimes a lace stitch is used such as the spider or simple loop stitch4 ,directions for making a spider will be found in the chapter on lace stitches4 ,the loop stitch is made by taking a stitch in the centre edge of each bar4 ,take a stitch just as if you were buttonholing4 ,buttonholing the edge is preferred by many to hemstitching4 ,a pretty stitch often seen bordering a row of drawn work is made in pyramid form4 ,it can be as deep as desired4 ,first take a stitch over two strands of the material then three1 then four1 then five and down again to two 7,figure #aff74 ,this stitch must be worked of course before any of the threads are drawn4 ,illustration3 ,fig4 #aff4 ,the pyramid stitch ,if a little larger and more elaborate square is wanted1 take a piece of material nine or ten inches square4 ,make a star1 skip four threads and work the open squares described for the smaller pin cushion4 ,on the opposite side of the square1 directly across from the first star1 skip four threads and make another square4 ,at the other two corners of the square make a star 7,figure #afg74 ,illustration3 ,fig4 #afg4 ,the ,hardanger square pin cushion ,the ,german peasant girls are proud of their aprons with a border of ,hardanger embroidery4 ,it is a common thing for them to have a border fifteen or eighteen inches deep4 ,often they will make yards and yards of a pattern1 say four inches wide1 and they will insert it above the hems on sheets and towels and cut out the background material4 ,there is no nation on earth as thrifty as the ,germans4 ,a ,german girl ,i know who is only nineteen years old has her entire bedroom fitted up with ,hardanger articles that she has made herself4 ,first there is the bedspread and bolster1 each most elaborately embroidered with an all-over design4 ,then there is a round pillow 7the edge buttonholed7 and a square pillow as well as the bureau scarf and pin cushion4 ,if she bought the articles already worked she would have paid hundreds of dollars for the outfit1 while the actual cost was only a few dollars4 ,nearly all the best of fancy-work shops sell small pamphlets on ,hardanger work that are not expensive and after one is familiar with the foundation stitches it is an easy matter to follow the designs they give4 ,,xviii ,,appliqu ,,on ,,linen ,,and ,,other ,,materials ,,and ,,hedebo ,,embroidery ,appliqu1 or laying one material on another and stitching or embroidering them together is one of the simplest forms of embroidery that even the ,indians years ago knew how to do4 ,how many of you have not seen on an ,indian woman queer shapes cut out of leather and ornamented with beads used for a border on her skirt8 ,there are two kinds of appliqu1 underlaid and overlaid4 ,most of the work is the latter kind4 ,the underlaid is a little more difficult to do4 ,it will be explained at greater length later in this chapter4 ,appliqu is such easy work that you will almost think it a mistake not to have heard about it before1 but after all it is really necessary that we should know the simpler embroidery stitches before we attempt an appliqu piece1 so that we can decorate it in the manner to suit ourselves4 ,the ,european peasants work some of the crudest specimens of appliqu1 yet their colour schemes and choice of material are good4 ,for instance1 ,russian crash1 which is sold at the towel department of many of our large department stores1 from twelve to twenty cents a yard1 and which is very narrow1 usually about sixteen inches wide1 is often employed as the background of their portires4 ,before the ,russo-,japanese ,war it was possible to get ,russian crash as wide as forty inches4 ,it is made by the peasants in their homes from the waste ends left from weaving linens4 ,you have no doubt read of how poor ,russian peasants live in hovels in the same room with the cow1 if they are fortunate enough to possess one1 and their pigs4 ,necessarily the work they do is not very clean but the artistic qualities of the crash overcomes the fact of the dirt4 ,the better class of peasants will take three strips of crash and connect them together with coarse sewing or lace stitches and then apply circles of broadcloth1 or coloured linens on them4 ,other geometrical figures are often applied4 ,i heard of a ,southern family the other day who are so thrifty that they allow nothing to go to waste1 not even the old coats and trousers that have played the double rle of clothing the father and then have been cut down for ,johnny4 ,after ,johnny has had all the wear possible out of them ,grandma again cuts them1 this time in the shape of leaves1 and sews them on a large muslin circle1 one overlapping the other4 ,this forms a mat for the dining room4 ,i am telling you this story not that you may imitate it1 but rather to let you know that after all we have women here that are as clever and thrifty with their needles as the ,european women4 ,illustration3 ,fig4 #afh4 ,a pillow in ,hedebo embroidery ,for appliqu work the design is cut out and the wrong side covered almost to the edge with a paste made of starch and water4 ,when a complicated piece of appliqu is to be worked1 stamp your design on the background4 ,then on the right side of the material to be appliqud1 or on the wrong side of velvet1 lay a piece of transfer paper4 ,place the design on them4 ,with a blunt pointed instrument go over the line firmly till you have a tracing of the design4 ,if the lines are not quite clear go over them with a pencil4 ,cut out each piece and paste it to the background4 ,the edges may be machine stitched or satin-stitched or outlined4 ,a cord1 also the couching stitch1 makes a good finish4 ,very clever representations of animals can be made by appliqu4 ,take a duck1 for instance4 ,the breast can be white felt1 the head dark green velvet4 ,the wings dark brown and the back and tail a lighter brown broadcloth4 ,the legs and the bill should be canary-coloured taffeta silk4 ,cut each section so that it slightly laps over the other4 ,appliqu underlaid is accomplished by stamping the design on the wrong side of the material and then cutting it out4 ,the background is left intact like a stencil4 ,a piece of material of a different colour is laid under the cut piece of material4 ,the raw or cut edges may be treated in many ways4 ,the material may be turned back and stitched by machine or the edges may be finished with buttonholing stitches1 couching1 fine satin-stitch or chain stitch4 ,the turning back of the cut edges requires that they be neatly done or the embroidery will not show to its best advantage4 ,hedebo embroidery is in no way connected with appliqu work1 but like the latter it is a branch of needlework that few people in ,america understand4 ,without exception it is the most elaborate form of white work4 ,the stitches give the effect of being very difficult1 but this is not so4 ,the work requires a lot of time and careful planning of the stitches for which buttonhole stitch is usually the foundation4 ,illustration3 ,fig4 #afi4 ,an elaborate design in ,hedebo ,illustration3 ,fig4 #agj4 ,part of a ,hedebo collar ,hedebo is worked on a finely woven linen4 ,the design is stamped directly on the material4 ,a thread of ,d4,m4,c4 ,no4 #be or spool linen thread outlines the figures4 ,within the design1 the linen is cut one eighth of an inch from the running thread4 ,this eighth-inch extension is then turned under the stitches and basted down4 ,a small piece of dark green oilcloth is then laid under the figure to be worked and basting stitches hold the material and oilcloth together4 ,the oilcloth protects the fingers and it is often used by foreigners in making eyelets4 ,a small piece is used and it is moved as many times as necessary4 ,a large piece is too clumsy to hold4 ,on the extreme double edge of the opening of the design fine buttonholing stitches are taken4 ,the stitches are about one thirty-second of an inch apart4 ,a section of a design suitable for a collar is shown here and the stitches will now be explained that have been used on it 7,figure #agj74 ,a bar is formed by laying two or three threads so that they span the opening from side to side4 ,over these threads fine buttonholing is worked4 ,the little triangles are worked by making seven or nine stitches into as many of the buttonhole stitches4 ,the second row is worked into the first1 one stitch from each end is omitted4 ,continue in this way to the point 7,figure #aga74 ,the three large loops that separate the pyramids or triangles from each other in the two outer circles are worked by making two loops that will each take up half the space between the triangles4 ,these loops are whipped two or three times to make them heavier and then they are covered with buttonholing4 ,work the first and half of the second and then make the loop for the third or last and work it also in buttonholing1 then finish the second 7,figure #agb74 ,the centre of the circle is made by connecting the opposite triangles and loops together4 ,gently distribute the threads from the centre to allow a small opening4 ,put a thread around this opening and neatly buttonhole the threads4 ,the middle figure is made by working a row of open buttonholing then running a drawing thread into the loops and buttoning this band with tiny stitches4 ,the stitches of the middle circle are somewhat simpler than the ones just described4 ,a circle of open stitches is made directly under the buttonhole stitches on the material4 ,divide this circle in eight parts and make a large loop at alternate eighths4 ,a connecting thread at the centre base of each loop connects each opposite pair of loops4 ,the triangles are worked from the centre to the outer edge4 ,illustration3 ,fig4 #aga4 ,triangle in ,hedebo embroidery ,the open triangles are made by working a row of open loops around the three sides4 ,the loops are drawn slightly together with another thread4 ,illustration3 ,fig4 #agb4 ,buttonholed loops ,there are many pretty edges that can be used as finishes for work4 ,the linen pieces1 however1 have to be hemmed first and then the fancy edge put on4 ,an edge of pyramids is attractive4 ,an edge of buttonholed loops with a picot in the centre of each bar as described on ,hardanger is also good4 ,sometimes the loop or pyramid may need stretching in shape4 ,take a pin in the lower centre and pull the edges out the desired size4 ,in turning curves an extra little loop may have to be worked so as not to crowd the large points4 ,,xix ,,hemstitching ,,for ,,handkerchiefs ,,and ,,collar ,,and ,,cuffs ,,sets1 ,,also ,,simple ,,drawn-,,work ,,stitches ,drawn work is another of the fascinating branches of fancy work and when used in combination with embroidery it greatly enriches the piece4 ,suppose now that you wanted to make a handkerchief and yet did not want to take the time to buttonhole the four edges4 ,well there is nothing more appropriate than hemstitching4 ,the very expensive handkerchiefs only have two threads drawn before hemstitching them but it will be easiest to hemstitch when more threads are pulled4 ,illustration3 ,fig4 #agc4 ,hemstitch ,handkerchief linen that can be bought from one dollar up per yard is of course the correct thing to use1 but lawn or fine china silk is often substituted4 ,a third of a yard of linen thirty-six inches wide will make three handkerchiefs4 ,a thread will have to be drawn so that the squares will be perfectly straight4 ,a twelve-inch square of linen will make a nice little handkerchief4 ,narrow hems not more than one-quarter inch wide are more generally used at present so we will plan our handkerchief for that4 ,illustration3 ,fig4 #agd4 ,hemstitching1 second step ,measure up from the edge of one side five eighths of an inch and draw out four threads one at a time4 ,the other three sides must also be treated in like manner4 ,after measuring the first side with the tape measure the other sides are more accurately measured by turning up one corner of the side that has the thread drawn so that it forms a right angle4 ,the upper edge of the angle must just touch the drawn threads4 ,crease firmly along the diagonal as shown in the diagram4 ,now with the piece still folded over pull the first thread of the second side of the handkerchief so that the corner when turned back forms a perfect square 7,figure #agc74 ,when the threads of the four sides have been drawn fold back one eighth of an inch1 then make a double fold so that the hem is just one-quarter inch wide4 ,baste it down so that the folded edge lies right under the drawn threads4 ,with your needle threaded with a piece of ,no4 #ajj sewing cotton1 start from one corner4 ,let the end of your threaded needle fall between the two thicknesses of the material4 ,bring the needle through the edge of the hem4 ,work from right to left2 pass the needle under four of the upright threads4 ,now pass again under the same group of four threads1 but this time carry the needle through the edge4 ,hem directly on a line with the fourth thread of the group 7,figure #agd74 ,illustration3 ,fig4 #age4 ,another way to hemstitch ,another way is to hold the material with the hem toward you and work from left to right4 ,pass the needle under four threads letting the thread in the needle fall under the point of the needle4 ,pull the needle through1 thus forming a loop and taking a stitch into the hem in the usual way 7,figure #age74 ,if your thread gives out or breaks1 start the next thread by working over two or three of the stitches4 ,in hemstitching the corners take up four of the double threads4 ,when hemstitching on coarser material more threads can be drawn and also a greater number of threads can be taken up when working4 ,dainty little collar and cuffs sets can be made by hemstitching the hems3 and a quarter of an inch above this work make a row of ,french knots or feather-stitching4 ,illustration3 ,fig4 #agf4 ,double hemstitching ,sometimes when a very open effect is desired it is necessary to double hemstitch the threads4 ,this is very simple4 ,hemstitch in the usual way1 then turn the work and take up each group on the other side of the drawn threads 7,figure #agf74 ,drawn work is worked to perfection in ,mexico4 ,there they have large classes for the mountain children who do most elaborate pieces on frames4 ,hemstitching is not always necessary in doing drawn work4 ,many beautiful borders can be made with simple stitches4 ,the sheaf stitch 7,figure #agg7 is made by pulling the threads for a space of a quarter of an inch or more4 ,decide the width that you desire and then cut the threads perpendicularly4 ,draw the first and last thread to the distance desired1 and then cut opposite end to match the first slash4 ,after the threads have been drawn out neatly buttonhole the cut edges with narrow buttonhole stitches4 ,now place your work in your embroidery hoops1 or1 better still1 if it is possible1 buy a pair of oval ones that are especially made for drawn work4 ,fasten thread in the centre of one of the buttonholed sides4 ,illustration3 ,fig4 #agg4 ,the sheaf stitch4 ,the number of threads to take up will depend on the coarseness of the weave of the material4 ,for medium weight linen take up either six or eight threads using a stitch like that shown in the first step of the second method of hemstitching4 ,pass on to the next stitch and when the row is finished fasten in the second buttonholed side4 ,the thread that passes from sheaf to sheaf should lie straight enough so as not to sag between each group or pucker the material4 ,another pretty stitch that reminds one of a fish bone is worked somewhat like feather-stitching4 ,prepare the space as for the sheaf stitch4 ,connect the thread in the same way4 ,take up six threads on the left hand side placing the thread under the point of the needle as it comes through4 ,now on the right hand side divide the group made by the first stitch in half and take the last three threads and the three next to it that are not worked 7,figure #agh74 ,illustration3 ,fig4 #agh4 ,a simple stitch in drawn work ,a simple stitch is the twist stitch 7,figure #agi74 ,prepare the material in the same way as for the last two stitches and securely fasten your needle in the centre of the bar1 skip the first three threads4 ,take up the next three on your needle2 pass the needle back under the first three4 ,continue like this till the end of the row is reached4 ,illustration3 ,fig4 #agi4 ,the twist-stitch4 ,a dainty all-over effect suitable for yokes or corners of handkerchiefs1 cloths1 etc41 is made by drawing the threads out so that the material left forms squares4 ,pull a quarter inch of threads then leave a half inch of material4 ,repeat in this manner until the space is covered4 ,cross the lines1 forming squares of the material 7,figure #ahj74 ,the double hemstitching1 sheaf-stitch1 fishbone1 or twist stitch can be worked on the drawn threads4 ,you will note that you will have at each corner of the solid squares an open quarter-inch square4 ,they will require an extra stitch such as the spider described in the lace stitches or the loop stitch described in the ,hardanger chapter4 ,sometimes it is hard pulling the threads of linen4 ,if the threads are soaped they come out very easily4 ,do not wet the soap but just rub it dry on the material4 ,some of the finest examples of hand embroidery or drawn work are found in the convents4 ,perhaps you are under the impression that drawn work must be done right with the hem1 but that is not so4 ,i want to describe a beautiful handkerchief to you that ,i once saw in a convent4 ,it was made of the sheerest handkerchief linen and one thread only had been pulled for the hemstitching4 ,a quarter of an inch above the hem another thread was drawn1 but this time1 instead of letting it extend to the hem1 a thread was cut one quarter of an inch from the hem at the beginning and ending4 ,six threads were drawn like this at eighth of an inch spaces4 ,the four sides were treated in like manner4 ,illustration3 ,fig4 #ahj4 ,the threads pulled to form squares ,illustration3 ,fig4 #aha4 ,cat-stitch over the tape ,illustration3 ,fig4 #ahb4 ,five rows of tape cat-stitched ,where the threads intersected at the corner1 the squares were hemstitched all around1 two stitches being allowed to each side of the square4 ,the stitches were taken through to the centre of each square4 ,beyond where the lines intersected the six long lines were treated quite differently4 ,a piece of fine braid not more than an eighth of an inch wide was taken on the space between the first two rows of drawn threads4 ,a regular cat-stitch was worked over this4 ,first a stitch was taken on the drawn threads above the braid1 then1 one below it 7,figure #aha74 ,when the braid was entirely covered with stitches on the first row1 a second piece of tape or braid was placed over the space between the second and third rows of drawn threads4 ,this time instead of catching the thread of both rows1 the stitches are taken into those of the previous row on one side of the tape and into the third row of drawn threads on the other side of the tape4 ,five rows of tape complete the band between the stitches4 ,of course all this work is on the wrong side of the handkerchief4 ,on the right side1 a totally different effect is produced4 ,at first glance you would think that there are five rows of tiny tucks with hemstitching on each side1 until you look again closely and see that it is padded hemstitching 7,figure #ahb74 ,illustration3 ,fig4 #ahc4 ,a handkerchief for an ambitious little girl ,a section of a drawn work handkerchief for some ambitious little girl to own is shown in the illustration on this page 7,figure #ahc74 ,it is like a cobweb4 ,a piece of handkerchief linen twelve inches square is selected4 ,starting from the outer edge of the four sides an eighth of an inch wide space is left1 then the threads drawn for an eighth of an inch4 ,repeat this seventeen times4 ,at the corners the space and drawn threads form squares4 ,now the rest of the space should be divided up in like manner1 so starting from one corner of the solid square in the centre1 draw the threads for an eighth of an inch1 then leave a space the same length and then draw again4 ,continue in this manner on the four sides of the centre square4 ,pull out all the cut threads and you find that you have a deep border of little squares4 ,buttonhole around the four sides of the centre square with tiny stitches1 thus keeping the linen from fraying4 ,to get the pointed edge as shown in the handkerchief1 buttonhole over the line of horizontal threads and four of the vertical4 ,the little filling stitch ,i am going to suggest to you is so simple that really after you have buttonholed the handkerchief your task is almost completed4 ,start in the first point under the solid square and work diagonally across the open space4 ,pass your thread around the centre of the little square also on the diagonal4 ,continue across till you reach the buttonholed edge around the linen square in the centre4 ,skip the next point and work the same stitch in every other point4 ,this stitch and in fact all the rest of the handkerchief should be carried out in ,no4 #bjj sewing cotton4 ,in between the worked points make another stitch which is very similar to the one just described4 ,it is started from the edge and a stitch is taken on the diagonal across four of the squares and half way across the solid squares at the corner of each group4 ,having reached the buttonholing next the linen you turn your work and repeat the stitch over the same square4 ,the stitches now form the figure #h4 ,the design of drawn work in the centre of the square is simple as well as being particularly pleasing4 ,draw the threads for a half-inch space1 one quarter of an inch above the buttonholing4 ,this must be done on the four sides of the square4 ,the corners must be buttonholed before beginning the drawn work4 ,start the first thread for the drawn work in the centre of one of the buttonholed corners4 ,work the sheaf stitch all the way across4 ,now start a second thread1 knotting the first sheaf in three1 the next in two2 so on to the end4 ,these stitches are taken quite close to the linen4 ,both sides of the sheaf stitch are treated the same4 ,the daisy in the corner completes the pattern4 ,the daisy is made on the foundation of cross-stitches caused by the sheaf stitch4 ,a ,maltese cross is made thus forming twelve stitches catching all these together in the centre4 ,now weave a thread around in a circle1 one eighth of an inch from the centre4 ,to form the petals of the daisy start a thread from one of the threads that connect with the buttonholing and catch on the woven circle as you would if you were doing fagotting4 ,wherever threads are drawn so that they intersect at right angles1 as in the case of this handkerchief1 a space is left vacant which is very unsightly if not filled in with some figure4 ,here it was with the daisy which is extremely easy but in the majority of cases it is with the ,maltese cross4 ,the wide strip of drawn work shows a pretty pattern for linen scarfs4 ,it is nothing but right that every girl should take an interest in her bedroom4 ,she may not be fortunate enough to have one entirely by herself but that does not excuse her from trying to make it as attractive as possible4 ,the key-note to beauty and elegance is simplicity4 ,better have a dainty bureau scarf hand made and a few necessary toilet articles than a bureau beribboned and with a lace scarf1 crowded with old visiting cards1 dance orders1 and dainty nothings that only catch the dust and give one a bewildered feeling when one looks at them4 ,the scarf should be worth displaying if it is hand work1 for remember what is worth doing is worth doing well4 ,the butterfly pattern of drawn work 7,figure #ahd7 is simple and pretty enough to please the most exacting and as has been said before is most appropriate for bureau scarfs4 ,the material of the scarf may be linen1 lawn1 or scrim4 ,it is quite unnecessary that the drawn work extend around the whole scarf--three sides1 one long and the two short1 being quite sufficient4 ,illustration3 ,fig4 #ahd4 ,the butterfly pattern in drawn work ,draw the threads out for an inch1 then hemstitch the cloth on both sides of the space2 be sure to take up the group of threads already hemstitched when working on the second side4 ,fasten the thread in the direct centre of one end of the drawn work and catch eight groups of threads to form the sheaf stitch4 ,an eighth of an inch above the centre thread start another thread4 ,divide the sheaf in thirds and knot each section of the first sheaf4 ,pass the thread to the second sheaf and repeat the same thing1 this time under the centre instead of above it4 ,alternate sheaves are divided above the centre line and the remaining sheaves under4 ,a third thread is started beginning an eighth of an inch below the centre and the other side of the sheaf is divided in three4 ,a fourth thread is started one eighth of an inch from the solid material4 ,this time the sheaf is divided in four1 in groups of two4 ,first the top of one sheaf is woven like this1 then the bottom of the next4 ,continue in this manner till the end of the strip is reached4 ,the fifth thread knots the groups on the side of each sheaf that was omitted by the fourth thread4 ,you will notice now that the four threads cross each other in the centre of the space between each sheaf4 ,knot the threads in the centre and weave across the lower four threads until you have made as large a fan as the space will allow4 ,the remaining threads are divided in two1 three on each side1 and two other fans are woven on them4 ,in the next space the fan of four is reversed and is made in the opposite direction to the first group4 ,this pattern is commonly termed the butterfly pattern4 ,drawn work should be worked on frames1 though it is not necessary to use the large square one of the ,mexicans4 ,the nicest kind of frame and one easy to handle is the oval form1 which comes in different sizes4 ,they are particularly convenient to hold a long1 narrow piece1 which can be worked to better advantage than on the round rings4 ,every once in awhile one sees specimens of a new kind of drawn work4 ,there is the ,mexican of which we have had a few of the simplest stitches1 there is the ,hardanger or ,swedish drawn work1 which is described in another chapter1 the ,porto ,rico drawn work which is very intricate and also very trying to the eyes1 but after all none compares in simplicity to the ,bulgarian drawn work4 ,it is so substantial that often after the material of the article on which the work is done has worn out1 the drawn work is as good as new and can be transferred to another piece of material4 ,bulgarian drawn work instead of weakening the material as ,mexican work usually does strengthens it considerably4 ,the work is done in spaces varying from a half inch to three inches in width4 ,it can be done on linen1 huck or lawn backgrounds1 though sometimes scrim is used4 ,personally ,i do not think it pays to work elaborate patterns on scrim as the background is not substantial enough4 ,we will take for example the first towel end shown in this work4 ,illustration3 ,fig4 #ahe4 ,a towel in ,bulgarian drawn work ,draw threads out of an inch and a half space4 ,it is not necessary that the cloth should be hemstitched1 though till you are quite familiar with the work it may be easier for counting4 ,the hem is then turned over and hemstitched4 ,make the double hemstitch on the other side as described in the first part of this chapter4 ,i have found that though there are many threads that may be used for weaving there is nothing quite as satisfactory as ,electro in its finest number4 ,start from the extreme lower left hand corner4 ,weave back and forth over three of the groups with a blunt pointed crewel needle for one quarter of the distance from the hem4 ,now omitting the first group weave across three4 ,you will see that you dropped the first group and took up the fourth4 ,weave to the middle of the space4 ,now drop the second group and weave across to the fifth group until you are three quarters across the space4 ,now drop the third group and weave across to the sixth4 ,weave until the space is filled4 ,without breaking your thread weave the seventh1 eighth and ninth1 then the eighth1 ninth and tenth1 next the ninth1 tenth and eleventh1 then the tenth1 eleventh and twelfth4 ,weaving the eleventh1 twelfth and thirteenth brings you back again to the hem4 ,the woven threads will look somewhat like an arch of blocks4 ,between the arch there are six groups of threads4 ,let us weave that in pyramid effect4 ,start at the hem and weave across the six for a little more than a quarter of an inch4 ,then dropping the first and last groups of threads of the proposed pyramid weave over four threads for another quarter of an inch4 ,again dropping the first and last threads of the four you were weaving1 work across two4 ,fasten your thread by bringing it through the woven stitches into the hem4 ,a new thread is started in like manner4 ,you are now ready to start another arch1 close to one just made4 ,a little more elaborate design is shown in the second towel end1 a detail of which is also given 7,figures #ahf and #ahg47 ,illustration3 ,fig4 #ahf4 ,detail of ,fig4 #ahg ,after the threads have been prepared as has been just described for the first towel start from the lower left hand side and weave across the threads eight times4 ,the weaving is very simple4 ,first you take two groups with needle pointing to the left and then you take the one group that you didn't take up the first time4 ,you work back and forth as it were4 ,now drop the first thread and weave across to the fourth group as in the first towel4 ,each set of three groups will only have eight lines however4 ,continue in this manner till you are one space from the solid material1 then weave across four instead of three4 ,start to weave down on the right side over the three groups under the block of four4 ,now continue weaving over groups of three until the hem is almost reached then weave the last block over four 7,see detail of ,figure #ahg74 ,on each side of these blocks weave a row working over two groups4 ,illustration3 ,fig4 #ahg4 ,a more elaborate design in ,bulgarian drawn work ,the groups of thread within the woven rows are woven into a triangle4 ,bulgarian drawn work is used on pillow cases1 handkerchiefs1 towels1 dresses1 scarfs1 or small square cloths4 ,sometimes coloured threads are used and the result is very effective4 ,use cottons and if they are coloured boil them in salt and water before working with them4 ,,xx ,,easy ,,lace ,,stitches1 ,,fagotting1 ,,single ,,mesh1 ,,double ,,mesh1 ,,spiders1 ,,fan1 ,,maltese ,,cross1 ,,twisted ,,and ,,buttonholed ,,bars1 ,,picots ,,for ,,simple ,,edges ,one of our best authorities on lace has said that there are over one hundred different stitches used in lace4 ,now there are various kinds of laces2 there are crochetted1 bobbin1 as well as needle point laces4 ,it is about two branches of needlework laces--,renaissance and point--that we will talk about in this chapter4 ,renaissance lace is made by basting a flat braid on a given pattern and filling the spaces between with simple lace stitches4 ,point lace is made of very fine plain braid with much finer thread and more elaborate stitches4 ,the basting of the braid is extremely important4 ,sometimes only a single line is given to indicate where the braid will be1 while again a double line is shown4 ,the braid must not be wider than the double lines4 ,it may be basted so that the side held toward you will be the right side of the lace or vice versa4 ,start from one corner of the design1 turn over one end of the braid an eighth of an inch4 ,for coarse work one row of basting stitches through the centre of the braid is sufficient but for fine work baste along both edges of the braid4 ,in basting around a loop the inner edge of the braid will have to be gathered4 ,this may be done in two ways3 the first by pulling a thread or by running a thread on the edge4 ,at a sharp point the braid will have to be turned4 ,illustration3 ,fig4 #ahg;,a4 ,fagotting and feather-stitching on a cap ,the preferred method of working the lace is to have the right side facing you4 ,in starting to braid turn up one eighth inch of braid and start from a point so that the end may be covered later4 ,the braids vary from one cent to fifteen cents per yard4 ,illustration3 ,fig4 #ahh4 ,fagotting ,illustration3 ,fig4 #ahi4 ,single ,brussels stitch ,a simple stitch in lace that greatly resembles the ,turkish stitch in embroidery is fagotting4 ,it is a stitch that is often used by dressmakers to connect bias bands together for yokes and sleeves4 ,for this as well as other lace stitches the beginning of the thread should be fastened so as to be unobserved by the average eye4 ,if the braid is neatly over-casted the end will be quite secure4 ,starting from the extreme left of the section to be fagotted take a stitch through the braid on the opposite side of the opening1 letting the thread fall to the right4 ,the stitches are taken from side to side4 ,this stitch is best suited to long narrow spaces 7,figure #ahh74 ,the foundation stitch of lace is the single mesh or net stitch4 ,it is a stitch that may be used in almost any shape opening4 ,it is a good thing when working a piece of lace to pick out one stitch for filling in the background2 then the design proper can be as fancy as desired4 ,illustration3 ,fig4 #aij4 ,a handkerchief in simple lace stitches ,the mesh or net stitch is good for a filling stitch4 ,a blunt pointed needle is the best for working lace as you are not so apt to stick yourself4 ,make a row of open buttonholing1 not however through the background4 ,the second row is worked slightly below the first row4 ,each stitch is taken into a loop of the upper row4 ,if the spaces decrease in size drop one stitch from each end for as many rows as necessary4 ,to finish the stitches overcast them to the braid4 ,to many lace makers this stitch is known as single ,brussels 7,figure #ahi74 ,double ,brussels or the knot is worked like the single only that there is a second stitch taken in the same position as the first4 ,the last must be short and drawn tightly 7,figure #aia74 ,illustration3 ,fig4 #aia4 ,double ,brussels stitch ,another pretty filling-in stitch is the spider4 ,it can be as large as desired allowing the space it is to be used in to determine the size4 ,a thread is spanned across the space and the braid whipped for a short distance1 say a quarter of an inch4 ,the space is spanned again so that the threads cross4 ,pick up all the threads on the needle through the centre and make a little stitch to bind them4 ,now begin to weave over one leg or strand and under another1 so on till a good-sized body is formed to the spider4 ,in weaving be careful not to skip one of these little legs 7,figure #aib74 ,another way to work a spider1 to make it a little stronger is to whip each leg as it is spanned4 ,a third and more elaborate spider is one made with the foundation thread as described for the first spider and then instead of weaving straight around make a stitch back over one leg and forward under two until the body is the desired size4 ,this is called the spider in its web 7,figure #aic74 ,illustration3 ,fig4 #aib4 ,the simple spider ,it is easier to weave on an uneven number of threads1 and the number of these should depend on the space4 ,a large space requires a large spider with lots of legs4 ,illustration3 ,fig4 #aic4 ,the woven spider ,a fan 7,figure #aid7 is made by spanning three or five threads so that they come to a common centre on one side and on the other they are arranged in ray effect4 ,the weaving is started from the base under one thread and over the other on the first row if there are only three4 ,the second row is like the first1 only the threads skipped in the first row are taken up4 ,alternate rows agree4 ,illustration3 ,fig4 #aid4 ,the fan ,a ,maltese cross looks like four fans caught together4 ,the threads are crossed lengthwise and crosswise and the stitches taken to gather the threads in the centre4 ,the weaving is the same as the fans4 ,in weaving the fans or crosses do not work much more than half way up 7,figure #aie74 ,a twisted bar is nothing more than a thread overcasted 7see illustration1 ,figure #abd74 ,illustration3 ,fig4 #aie4 ,a ,maltese cross ,a buttonholed bar is made by laying two or three threads and buttonholing over them 7,figure #aif74 ,in this age of machine work there are all sorts of braids that may be procured for lace work4 ,little edges that were impossible to buy are now made by machinery4 ,a little edging makes a dainty finish to a straight braid and also enhances the beauty of the fancy braids4 ,to make a simple edging1 work a row of picots on the edge of the braid which forms the edge of the design4 ,dainty yokes1 collars1 baby caps1 and tie ends can be made of a few yards of braid and two or three different kinds of stitches4 ,another decoration ,i would like to tell you a little about is ,limerick darning4 ,it is often used with fine lace work on a background of fine net4 ,the lace thread is used for the darning4 ,the most common of the stitches is the plain darning taken up over one hole and under the next of the net4 ,the next row is worked close to the first4 ,illustration3 ,fig4 #aif4 ,a buttonholed bar ,darning on net is a decoration that is often used by itself4 ,smart little turn-over collars and cuffs are most attractive darned in heavy white floss or colour if preferred4 ,pin cushion covers and other dainty articles that every girl loves to have in her bedroom may be darned to good effect4 ,one of the most simple forms of lace work is ,connemara lace4 ,it gets its name from the ,irish county of that name4 ,the materials required are ,brussels net of any size desired1 lace braid of a width to correspond with the net1 heavy lace rings1 a ball of ,renaissance thread ,no4 #fj or linen spool thread ,no4 #be1 as well as a spool of coloured cotton4 ,connemara lace is used extensively for curtains1 bed spreads and in fact1 on any large piece1 when the effect is desired and yet not much work4 ,a good design for ,connemara lace is shown in ,figure #aig4 ,illustration3 ,fig4 #aig4 ,a good design for ,connemara lace ,the net can be white1 ecru1 or black4 ,draw a simple yet bold design on a piece of stiff paper or better still a piece of pink or blue paper muslin4 ,the rings can be bought all ready for applying1 for a couple of cents per dozen but they can also be made at home4 ,take a pencil and wind around one end of a thread about as many times as you would judge from the illustration of the button or ring half worked 7,figure #aih74 ,slip the threads from the pencil and carefully and closely go over them with buttonhole stitches till all the loose threads are completely covered4 ,illustration3 ,fig4 #aih ,button half worked ,baste your net over the design1 then baste the braid along the design4 ,with a fine thread secure the braid on the extreme edge to the net only with fine running stitches4 ,sew one side of the braid entirely around the design then sew the other side down4 ,the rings are buttonholed to the net4 ,if a very elaborate piece is wanted1 lace stitches may be inserted in spaces that are bound on all sides with braid4 ,the stitches1 however1 should be of the simplest1 such as the twisted bar or spider4 ,honiton braid which is an egg-shaped braid is much more beautiful than the plain ,renaissance braid employed in ,connemara4 ,the dearest of baby caps1 handkerchief tie ends1 and other dainty little articles on which a fine decoration is desired can be made from fine net and ,honiton braid4 ,each section of braid can be cut and made to form petals for a flower or to represent a leaf4 ,honiton is of course more expensive than ,renaissance braid but a yard of ,honiton goes a good way4 ,there is a thread that can be bought by the yard1 called picot or purling thread4 ,it has a loop at short intervals each side of it4 ,the needle can be threaded with it and can be used for stems1 tendrils1 or other parts of a design where a fine single line is desired4 ,the centre of a flower in ,honiton appliqu may be in worked various ways4 ,a small ring or button may be used or spiders may be woven in the centre4 ,again the single ,brussels or mesh stitch is worked in a little circle in the centre4 ,use a very small ring1 if you decide on rings for centre1 as a large ring spoils the effect of a flower4 ,any child can make designs for ,honiton appliqu4 ,the background for ,honiton is the fine ,brussels net4 ,sometimes a double thickness of net is basted over the pattern and the ,honiton sewed on or appliqud to the net4 ,the double thickness of net gives a moire effect4 ,each section of the braid is sewed to the net only4 ,sometimes two widths of braid are used1 one size for the flowers and another for the leaves4 ,the braids at most art shops can be had in black1 cream1 or white4 ,if1 however1 you are not fortunate enough to get cream1 the white can be dyed at home to be as light or deep as you desire4 ,i use cold tea diluted in water for a light cream1 and coffee for the deeper cream4 ,put the lace to soak in the tea or coffee for a couple of hours4 ,rinse in cold water and let dry4 ,if it is not a deep enough shade put more tea or coffee in the water and soak the lace again4 ,another way to dye lace1 chiffon or any delicate fabric is to get a tube of oil paint the colour you desire and dilute it in gasolene4 ,of course the gasolene makes the paint light1 so test the solution by dipping a small piece of cloth in and see if it is the right shade4 ,a quart of gasolene is sufficient unless the article is very large4 ,i know a girl who dipped her white hat all trimmed with flowers and tulle that was quite soiled into a mixture of gray paint and gasolene and the result was a pretty dove gray that everybody thought was new4 ,teneriffe or ,brazilian point lace is such a simple form of lace making that ,i am going to stop and tell you a few words about it before we proceed to the next chapter4 ,little forms which look like a large spool with pins stuck in them can be bought in many art shops1 but you can easily make a foundation yourself for ,teneriffe lace4 ,draw a circle two inches in diameter on a stiff piece of cardboard4 ,sometimes the circle is drawn on white muslin and fastened securely to an embroidery hoop or frame4 ,divide the circle into halves1 then quarters1 then eighths and each eighth divide into six equal parts4 ,make a dot at each division4 ,thread a needle with a piece of coarse thread4 ,insert the needle one quarter inch beyond the circle and bring it up on a dot4 ,continue in this manner all around the circle4 ,fasten securely4 ,illustration3 ,fig4 #aii4 ,the first step in ,brazilian point lace ,now thread a needle with a long thread of ,no4 #hj linen thread4 ,let it be extra length4 ,pass the needle under each loop from side to side until each little stitch has a thread passing through it4 7,figure #aii74 ,knot the threads in the centre and weave four or five rows1 over and under the strands close to the centre4 ,skip a quarter inch then carry a thread around and knot each thread as you pass it4 ,count the threads and divide the number by six2 on this number weave a little pyramid4 ,repeat the little pyramid five times1 each time letting it be woven on the same number of threads as the first4 ,take a thread and catch every two threads above the centre figure4 ,an eighth of an inch above this work another row1 this time dividing the two threads previously caught and taking one of them and one of the next row together4 ,an eighth of an inch above the row make another row1 catching the same threads as were taken in the first row from the central figure 7,figure #bjj74 ,illustration3 ,fig4 #bjj4 ,a motif in ,brazilian lace ,sometimes a pin cushion is used to make ,brazilian lace4 ,the pins are stuck in and the threads wound over them4 ,brazilian or ,teneriffe lace can be used for borders on handkerchiefs or other fine articles1 while again they may be used as medallions on waists or other thin clothes4 ,the material from under them is cut out so that a lacy effect may be produced4 ,other patterns may be readily made4 ,remember that the stitches are very similar to those used in the corners of drawn work borders4 ,,xxi ,,simple ,,baskets ,basketry is so easily done and at such a small cost that almost any one1 even a very little child1 can master it without very much difficulty4 ,with very few tools some beautiful gifts and other useful articles may be made4 ,in this chapter it is my intention to tell little children just how to make some pretty things with materials that they can obtain from nature's storehouse and otherwise4 ,in making baskets a great deal of rattan is used4 ,i suppose that some of my little readers will wonder what rattan is4 ,well1 ,i will tell you4 ,it is a kind of grass or leaf which grows in forests of foreign countries1 twining about the tress1 hanging from branch to branch sometimes hundreds of feet in length but hardly ever over an inch thick4 ,the people over there in those countries send this material to us so that we can make many pretty things4 ,for little boys and girls living in the country there are materials which they can get from the fields and river banks that may be substituted for rattan4 ,for instance the water willow when peeled proves a very good material4 ,reed1 which is a sort of grass that grows on the banks of rivers1 may also be used after it is dried and peeled4 ,raffia is another material which is commonly used for this work4 ,it is a sort of soft substance generally pale yellow and can be bought by the pound at any large store4 ,dried grass is sometimes substituted for raffia and the results are often just as pretty as those obtained by the original material4 ,grass twine is used4 ,it is something like rope1 and rope is often substituted for it4 ,raffia is generally used to cover it in making baskets4 ,a few tools will be necessary for our work such as a strong pair of shears1 a tape measure or ruler1 a vessel for water1 and some very coarse1 blunt-edged needles4 ,simple baskets of rattan are very interesting to make and ,i will tell you how to make a small round basket without a cover4 ,for this basket you will need four fourteen-inch pieces of rattan or spokes as we are going to call them1 one eight-inch piece and two or three longer pieces for weavers4 ,before starting the work1 the rattan should be soaked in water until it becomes soft enough to bend easily4 ,then two of the pieces are placed side by side in a vertical position and the other two in a horizontal position crossing the vertical pieces at the centre4 ,between the two horizontal pieces and to the right of the centre the half spoke is placed4 ,illustration3 ,fig4 #bja4 ,weaving the bottom ,these are held in position by the left hand1 while the right hand does the work4 ,one end of the long piece called the weaver is placed at the centre1 back of the horizontal spokes1 with the end toward the right4 ,the first finger of the right hand presses the weaver across the vertical spokes1 under the horizontal on the left1 over the vertical1 and behind the horizontal again4 ,repeat twice so as to fasten well4 ,separate the spokes evenly1 and it is now ready for the weaving 7,figure #bja74 ,if there is any of the winding piece left1 it may be used as a weaver4 ,the weaving is done by pressing the weaver under one spoke and over the other until the bottom of the basket is about two and one half inches across4 ,soak it in water for a few minutes and then bend the spokes upward to form the sides of the basket4 ,in order to make the weaving of the sides of the basket easier1 rest the work on the knee1 holding the spokes with the left hand and press the weaver under and over the spokes with the first finger of the right hand4 ,if the weaver comes to an end join a new piece by crossing them behind a spoke about an inch from the end of each4 ,when the sides of the basket have been woven1 leaving about an inch and a half of the spokes extending1 it is ready for the border4 ,cut the spokes to an even length with a slanting cut1 so that the points may be easily pushed down between the weaves4 ,hold the spokes in water for a few minutes and then push one of the spokes down beside the next spoke at least three quarters of an inch below the edge4 ,do this with every spoke until the border has been completed4 ,now our little basket is finished and ready for use4 ,sometimes little girls like to have their baskets brightened up4 ,a pretty lining of silk or other material would do this very nicely4 ,illustration3 ,fig4 #bjb4 ,the basket ,perhaps some children would like to know how to make a basket with a cover4 ,it only requires a little more time but it will prove very interesting4 ,the material for this basket consists of six sixteen-inch spokes1 one spoke nine inches long and three or four weavers4 ,the bottom of this basket is made in the same way as the one previously described4 ,after this much has been done1 wet the spokes and proceed to turn them up and weave the sides of the basket4 ,the weaving is done rather loosely until you have used three of the weavers4 ,the last weaver is drawn more tightly so that the basket will assume the shape of an apple with the top cut off4 ,the edge is finished off with a flat border which may be made by soaking the spokes in water until they become quite soft4 ,each spoke is brought behind the next one to the right of it1 and out over the front of the basket4 ,then the end of each spoke which is lying over the front of the basket is brought up over the next spoke to the right and is pressed down inside of the basket4 ,when it is dry the ends of the spokes may be cut off4 ,illustration3 ,fig4 #bjc4 ,a mat ,the cover is made like the bottom of the basket1 only the spokes are bent gradually upward from the centre4 ,the material for this cover consists of six fourteen-inch spokes1 one spoke seven or eight inches long and two long pieces for weavers4 ,when the cover is nearly as large around as the top of the basket it is finished off with a border like the one described for the top of this basket4 ,the cover has to be fastened to the basket and the easiest way of doing this is by making rings of rattan4 ,a piece of rattan about twelve inches long is tied into a ring1 the ends being twisted in and out of the ring4 ,three rings are necessary1 none of them measuring more than a half or three quarters of an inch across4 ,one ring is attached to the cover on the front between the border and the last row of weaving1 the ends being sewed under a spoke4 ,another ring is attached in the same way at the back of the cover and the third is fastened across a spoke in the front of the basket between the fourth and fifth rows of weaving4 ,the cover is placed on the basket so that the ring at the back will be just over a spoke of the basket4 ,a small piece of weaver is then placed between the third and fourth rows of weaving1 below the border and to the left of the spoke mentioned4 ,it is brought through the ring on the cover and drawn just tightly enough to allow the cover to close easily4 ,the ends are crossed and brought through to the inside and sewed down1 as the rings were4 ,when this is done the basket is complete4 ,there are many other pretty articles that can be made easily1 such as a mat for a teapot or lamp and trays for other purposes 7,figure ,no4 #bjc74 ,a very simple way to make a mat would be to cut four fourteen-inch spokes of rattan1 one eight-inch spoke1 and two weavers4 ,the mat is started in the same way as the first basket in this chapter4 ,when the end of the first weaver is reached1 a second is joined to it4 ,by the time the second weaver has been used1 the mat is large enough for a border4 ,the mat has to be bound4 ,the binding may be done by passing the weaver under the last row of weaving just before it reached the next spoke4 ,it then goes behind that spoke1 in front of the next and under the last row of weaving4 ,the spokes should then be soaked in water1 and when soft take spoke ,no4 #a and cross ,no4 #b and push it down beside ,no4 #c and so on around the mat4 ,a number of these mats may be made and joined together for various purposes4 ,two mats joined by ribbon make a very pretty whisk-broom holder4 ,in nearly all this work weaving is the principal thing4 ,by changing the weave we can obtain very interesting and pretty results4 ,the simple over and under weave may be changed by using two weavers and twisting once1 twice or three times between the spokes according to the size of the article4 ,,xxii ,,raffia ,,baskets ,,and ,,napkin ,,rings ,raffia is so soft and strong that it is very well fitted for the work of children's fingers4 ,so many different things can be made with raffia that it is just as precious to the little ones as the same amount of gold4 ,little baskets made of raffia are dainty and easily made4 ,for example a work basket1 a candy basket1 or a basket for handkerchiefs1 collar buttons1 and many things are interesting4 ,for one of these baskets we need one long piece of rattan1 a bunch of raffia and a blunt-pointed needle4 ,soak the piece of rattan in water until it is soft enough to work with4 ,wind the end into the smallest possible ring and with the needle full of raffia start in the middle of the ring and sew over and over from left to right until the end is firmly fastened4 ,the next row is brought around at a little distance from the first and the raffia is brought down through the centre1 up and once around the coil1 thus holding the first coil to the second4 ,illustration3 ,photograph by ,mary ,g4 ,huntsman4 ,it is ,jolly to ,make a ,raffia ,work ,bag ,wind the raffia around the rattan until the coil has been brought half way around the second time1 when it is again sewed through the centre4 ,at quarter distance all the way through the basket these joinings are made and they must be made to the right of the one below and joined to the previous row4 ,the joinings form a pattern4 ,as the basket grows larger the number of joinings increase4 ,new needlefuls of raffia are always started at a joining1 the old strand being brought from left to right through the upper part of the joining4 ,the new strands being brought from right to left through two twists of raffia and drawn through so as to leave the short end lying next to the rattan4 ,begin to wind again and soon both ends are covered4 ,when you have made about ten rows1 which will form the bottom of the basket1 bring the rattan above the last row and proceed as before4 ,each new row is brought above the previous one so as to form the sides of the basket4 ,when the basket is about eight rows high1 the ninth row is brought just a little inside of the eighth so as to have something for the cover to rest upon4 ,when about three inches from the point where the rattan was brought up to make the sides of the basket1 it should be cut long enough to finish the row and then shaved off to a flat point which is sewed closely to the last row4 ,for this basket we will have to make a cover4 ,the cover is made in the same manner as the bottom of the basket4 ,when you have nine rows complete1 a border is made to finish off the cover4 ,the tenth row is sewed to the ninth by a fancy stitch which is made by winding once around the ninth from left to right and once around the tenth from right to left and so on alternately until the row is completed4 ,the end of the rattan is shaved off and sewed to the last row4 ,a pretty lining would beautify this article very much4 ,one of the very simple things which a very small child could easily make is a napkin ring 7,figure #bjd74 ,cut a piece of cardboard or stiff paper about an inch and a half wide and eight or nine inches long4 ,paste the ends together forming the ring4 ,take two strands of raffia and knot them4 ,place the knot inside the ring holding it with the first two fingers of the left hand4 ,the strand on the right is brought up and across the ring on the top1 the end hanging over the left side4 ,the strand on the left is brought around the right strand under again through the ring and out on the right through the loop made by the right strand in turning and crossing the ring4 ,pull both ends4 ,the strand on the left is brought across the ring1 the right strand placed over it through the ring and out through the loop on the opposite side4 ,pull both ends4 ,the little knot formed on the edge is called ,solomon's ,knot and it makes a very desirable edge4 ,illustration3 ,fig4 #bjd4 ,the napkin ring ,different colours may be used in raffia which brighten the ring very much and make the work more interesting4 ,when the strands of raffia come to an end1 a new one is joined by placing the end over the old one about an inch or an inch and a half1 and working with them as one4 ,the ends may be cut off after the ring is finished4 ,sometimes a small bunch of raffia about an inch long is tied to the outside of the ring4 ,the ends are frayed out to add to the effect4 ,there is one article which proves to be most delightful and interesting to make 7that is1 to the girls7 a doll's hat 7,figure #bje74 ,i think that nearly every little girl knows how to braid raffia and after you have learned how to sew this braid together you can make any size or shape in hats4 ,braid some raffia1 say about two or three yards4 ,have several loose strands and a needle and scissors4 ,illustration3 ,fig4 #bje4 ,a doll's braided hat ,just as in making large hats we begin with the centre of the crown4 ,a needle is threaded with a fine strand of raffia and the work is begun by winding the end several times with the end of the strand threading the needle4 ,a coil is then started with the edge of the braid up1 not the face1 and it is sewed through at least two braids at a time1 in stitches which run in the direction of the braid4 ,the needle is put in slanting down from right to left and up in the opposite direction4 ,the crown is coiled round and round until it is about two or two and a half inches large4 ,the coil is then brought round with the upper edge just below the centre of the last row4 ,the following rows are sewed in the same way until the crown is completed or high enough to suit you4 ,have care in sewing the braid so as to show as little of the stitches as possible4 ,the brim is made by flattening out the braid and sewing it so that it overlaps the centre of the braid of each preceding row4 ,when the brim is wide enough one or two rows are sewed more tightly than the others and the end of the braid is sewed under the brim very flatly4 ,now the hat is ready to be trimmed4 ,i would like to tell a little about the handles of baskets in this chapter4 ,in most of the baskets already described a cover has been made4 ,some people would rather have a handle to the basket1 so let us see if we cannot learn how to make some handles4 ,the twisted handle of rattan is made by using one spoke of rattan of suitable length1 and a weaver4 ,a knitting needle or something similar will be necessary for the work4 ,the needle is pushed down beside a spoke of the basket and then drawn out again to make room for the end of the rattan to be pushed in1 about three inches below the top of the basket4 ,the other end is inserted in the same way on the opposite side4 ,this makes the foundation handle4 ,the end of the weaver is inserted under the third row of weaving to the left of the spoke and pushed up between the weaving4 ,it is twisted around the foundation about an inch apart4 ,when the opposite side is reached1 the weaver is pushed in under the third row of weaving on one side of the handle spoke and brought out on the other side4 ,the weaver is then laid across the first twist and each of the following ones1 to the other side where it goes under the third row as on the opposite side4 ,about five or six times across will cover the handle4 ,the weaver is fastened off by bringing it inside the basket across a spoke1 in again1 and then cut off4 ,the braided handle is made by using six pieces of rattan braiding using two pieces in each strand4 ,while weaving the basket1 three pieces are pushed in on each side of a spoke and the weaving is continued over the spokes4 ,the double ring handle is made by twisting rattan into rings and sewing the rings to the weaving of the basket on opposite sides4 ,in sewing baskets or other articles1 different kinds of stitches are used4 ,to put a hat together the braids are sewed together with a plain stitch1 whereas in putting a basket together a fancy stitch is employed4 ,the ,indians are famous for the various kinds of fancy stitches1 which they have used in making basketry articles4 ,the skip stitch which is used in sewed baskets is made by enclosing two spokes at a time or enclosing one spoke between every two4 ,another useful and decorative stitch which is often used is the split stitch4 ,the spokes are twined with raffia for a certain distance and then are split in two and the right spoke of one is joined to the left spoke of the other and twined with raffia as one4 ,sometimes in making a cover for a hanging jar the spokes radiating from the centre are brought diagonally across each other and joined together by the winding stitch4 ,many of the simple lace stitches described in a preceding chapter prove very useful in basketry work4 ,to make the melon-shaped basket shown in ,figure #bjf a six-inch pair of embroidery hoops will be needed4 ,one hoop is placed inside of the other4 ,the inside hoop is perpendicular while the other one is horizontal4 ,tie the two rings together at the point of intersection4 ,from basket splint one sixteenth of an inch thick1 cut six strips which are ten inches in length4 ,they should be one inch and three quarters in the centre and taper to points at both ends4 ,illustration3 ,fig4 #bjf4 ,a melon-shaped basket ,select raffia in two shades4 ,the natural and brown were used for this basket4 ,with a strand of the brown start to weave at the point of intersection4 ,wind around the four pieces of hoop until a square about one and a half inches is made4 ,repeat on the opposite side of the hoops4 ,illustration3 ,photograph by ,mary ,g4 ,huntsman4 ,sewed ,raffia ,baskets ,make ,attractive ,gifts ,take two of these pieces of prepared basket splints and insert them in the centre of both squares4 ,first one side of the pieces is inserted in the square and then the other end of the ribs is inserted in the other square4 ,the natural colour raffia is now used to weave over the hoops and ribs4 ,the weaving is done over and under and back and forth from side to side until there are a dozen rows of weaving4 ,the other side of the basket is treated in like manner4 ,the other four ribs are inserted two on each side of those previously placed4 ,now begin and weave all the way across4 ,weave several rows of brown then the natural raffia4 ,you will put in more or less of the brown raffia as you desire1 only the pattern on each side of the centre must agree4 ,instead of weaving from one side and then across to the other1 it is a better plan to weave a little first on one side of the basket and then on the other4 ,in this way you are sure of your pattern4 ,illustration3 ,fig4 #bjg4 ,the cover ,if the raffia is threaded in a large needle it is easier to weave4 ,another strand or more is wound around the handle4 ,a basket such as this makes an attractive fruit basket and is just the thing to give to sick friends or to use when going berrying4 ,illustration3 ,fig4 #bjh4 ,buttonholing the cardboard ,illustration3 ,fig4 #bji4 ,a simple basket box ,raffia can be used in many ways as you have already seen4 ,a pretty box for jewellery is one that is almost as easy to make as the napkin ring4 ,get a sheet of thin white cardboard4 ,the brown cardboard is a very weak material and easily bends and breaks4 ,cut two circles of cardboard five inches in diameter4 ,use compasses to inscribe the circle1 so that it may be perfect4 ,then cut a strip seventeen inches long by two inches wide4 ,from the centre of one of the circles cut a two-inch circle4 ,this piece will be the top of the box4 ,now thread your needle with a strand of the raffia which has been soaked in water and buttonhole in raffia over the cardboard4 ,when the cardboard has been entirely covered with the raffia stitches 7,figure #bjg7 take the other circle of cardboard and cut a half-inch circle from the centre4 ,cover this piece of cardboard like the top4 7,figure #bjh74 ,the raffia should be wiped before using it2 if not the water will spoil the cardboard4 ,the centre opening on the cover will be filled with a spider-in-its-web4 ,make four strands of raffia across the space4 ,we now have eight spokes4 ,take the threaded needle back to the centre and having passed under a spoke go back and pick it up4 ,the idea is to go back over one and forward under two4 ,continue in this manner till the spider is the size you desire4 ,the long strip of cardboard is sewed together and is worked like the napkin ring4 ,with a strand of raffia1 cast or bind the bottom of the box to the side4 ,the top is fastened on one side with two strands of raffia which are tied in a bow4 ,the extra ends are cut off4 ,,xxiii ,,raffia ,,hats ,many of our little girls have made any number of dolls' hats by just braiding raffia and sewing the braids together4 ,if you were to make a large hat 7by this ,i mean a hat large enough to wear yourself7 by sewing braids of raffia together1 it would be entirely too heavy and also would fall into any shape1 perhaps not a very desirable one4 ,the only thing to do would be to procure a wire frame and to make the raffia hat on it4 ,in order to do this we will have to braid enough raffia for the whole hat before doing anything else4 ,for this kind of braiding the raffia will have to be soaked in water and then rolled out so that the strands will look like pieces of ribbon about three quarters of an inch wide4 ,you may use a five1 seven1 or nine strand braid for this hat4 ,take one long strand of raffia and place it horizontally on a flat surface4 ,tie seven long pieces to the horizontal piece as shown in ,figure #baj4 ,begin with the last strand on the right-hand side and weave it over the next1 under the following one1 etc41 toward the left side letting it hang out to the left4 ,take the next strand on the right and weave it in the same manner as the preceding one4 ,illustration3 ,fig4 #baj4 ,weaving the raffia ,when the left-hand side is reached1 drop the first left-hand one with the rest and let the new weaver hang out till the next is brought over4 ,the first one1 when it reaches the left side1 is always turned over the last weaver just brought over before dropping it 7the first one7 into place with the others4 ,when the first set of strands are used1 replace them one at a time by using the new and old together about two inches from the end of each4 ,it will take about eighteen or twenty yards of braiding to cover the frame4 ,when the braiding is ready to sew on the hat1 begin with the centre of the crown4 ,when the crown is entirely covered1 start with the brim and begin sewing the coils together to the frame at the base of the crown4 ,the under side of the brim may be covered with silk or material of a similar kind1 or if you prefer to have it1 covered with braid sewed on in the same manner as the outside1 beginning at the base of the crown4 ,when the whole hat frame has been covered with the braiding1 you may roll it in the front or on the side1 or in fact any place to suit yourself4 ,a nice large bow of ribbon placed on the hat in a becoming fashion would make it very attractive1 or for those who prefer flowers and ribbon the hat trimmed in this manner would be equally charming4 ,a woven raffia hat made on a wire frame is a very charming and neat creation4 ,it takes time and patience and skill to make the hat1 but when it is finished you are doubly repaid for your work and the time spent on it4 ,the crown is woven first and then fitted to the crown of the wire frame4 ,take a small strand of raffia to make a ring of very small dimensions1 say about one quarter of an inch in diameter4 ,to this ring1 knot eight strands of raffia as shown in ,figure #baa4 ,eight more strands are tied around each of the eight strands1 using the very pretty and effective ,solomon's ,knot4 ,illustration3 ,fig4 #baa4 ,the crown of the hat ,this knot is a very simple twist and may be tied either with a double or single strand4 ,the strand which is tied on is laid first under the main double strand and then both ends are crossed over each other4 ,the right one goes first under the end of the left-hand one and over the double middle strand and then again under the loop of the left-hand one4 ,it would be well to practise with strands of raffia other than those used in making the hat so as to become quite familiar with the knot before using it on the hat4 ,counting the eight strands tied to the ring and the sixty-four strands that are ,solomon-knotted to the original eight we have seventy-two strands in all4 ,they start from a common centre and are brought down and outward through the pattern and are knotted one by one onto the main strands as they cross4 ,if you were to trace any one of the seventy-two strands you will find that it comes to the outside edge of the square through a very simple course4 ,the last or eighth strand1 knotted to the main strands1 is used to tie up the bunch of strands coming from the sides of the diamond4 ,it falls into place with the other strands and is tied up in turn as the others are4 ,the larger knot tying up the bunch of raffia in the centre of the diamond is the same kind of knot as the smaller ones4 ,it may look slightly different in composition1 but that is due to the fact that it is being tied around a larger bulk4 ,after the knots have been all tied at the edges of the diamonds1 the ends are woven under and over making a sort of a square design as shown in the illustration4 ,the finishing of the crown is done by taking four strands1 two from each of the squares at the centre1 and knotting them together with a simple knot4 ,two from each side are knotted together4 ,if you find that the strands do not come out in sets of four1 make an extra strand by splitting in two one of the other strands4 ,the brim of the hat is not so tedious to make as the crown and having a larger surface on which to work you will find that the progress is more rapid and requires less time and energy4 ,knot on the outer wire of the frame as many strands of raffia as will fit very closely but easily side by side and then tie them into loops such as were used on the edge of the crown of the hat4 ,this loop is the same as that used in making the shopping bags and hammocks described in the next chapter4 ,you may use your own judgment in designing the brim4 ,the outer edge may be made of the same loops that we have just spoken of4 ,on the next row the strands of raffia are drawn down tightly and tied around the wire with a simple knot4 ,alternate these two designs and you will have a very pretty brim4 ,to finish off the edge on the brim1 cut the ends off to about three quarters of an inch in length and sew them in under the wire with a needle threaded with fine raffia4 ,a tapestry needle or a darning needle would do for this purpose4 ,the trimming for this hat could be easily made of raffia4 ,i will leave it to the maker to decide what would be most suitable to the taste4 ,i might suggest such articles as buckles made of raffia or rattan or perhaps quills made of raffia4 ,if you do not care to have the hat trimmed with its own material1 velvet ribbon1 satin1 flowers1 quills1 etc41 would make a desirable trimming4 ,a very bewitching hat of a plain1 three-strand braid of raffia can be easily made with very little trouble4 ,the raffia has to be soaked in water until it is soft4 ,unroll each strip and it will probably be about three quarters of an inch wide4 ,in order to make the braid thick enough it will be necessary to use three or four pieces in one strand of the braid4 ,braid about nineteen or twenty yards before beginning to make the hat4 ,choose a wire frame of a low rounded crown and a broad flat brim4 ,if you wish to change the shape of the frame after the braid is sewed on1 it will be a very trifling matter4 ,the end at which the braid is begun forms the centre of the crown4 ,it is bent over at about five eighths of an inch from the tip and the long end is coiled around in a second row1 the edge of which comes an eighth of an inch under the edge of the centre4 ,it is generally sewed on with a darning needle1 threaded with a very fine strand of raffia4 ,use the back-stitch bringing the strand all the way through on the right side and then all the way through underneath4 ,the crown is made entirely by sewing the plaits together1 separately from the wire frame1 but it will be well to try it on the frame occasionally so that it will securely fit4 ,when about six or seven rows have been sewed together and the crown is four or five inches high1 the brim is begun4 ,the coil of braiding is brought around more loosely and flattened out as it is sewed4 ,when six or seven rows have been completed1 the brim at the back will be large enough4 ,each succeeding row will have to be cut as it gets near the back and the end fitted in under the previous row until the sides near the back are about nine or ten rows wide and the front twelve rows4 ,it would be well to pull the coil slightly tighter as it draws nearer the outer edge so that the last rows may roll a little4 ,if you care to have the under brim of braided raffia it can be made in the same way1 except that it is one row wider at the front and sides1 to allow it to roll over the edges of the brim4 ,it is pressed on the wrong side and attached to the under brim of the wire frame1 with very small stitches of raffia4 ,the outer edge of the under brim should not be fastened until the crown and the top brim are on the wire frame1 as the top brim should come over the edge of the under brim4 ,the crown and the upper brim are now pressed on the inside and put on the frame to which they are caught with a stitch of raffia here and there4 ,the centre of the crown particularly should be firmly attached with stitching to the centre of the wire frame4 ,a row of braiding is brought around to cover where the upper and under brims join inside the rolled brim and is sewed on either edge with small stitches of raffia4 ,illustration3 ,fig4 #bab4 ,a braided hat for yourself ,a hat like this would be very pretty trimmed with a satin ribbon or silk bow4 ,a large bow at the side or the back would make it very attractive if the bow is of a contrasting colour4 ,some people prefer leaves and flowers1 with a little touch of silk2 others quills or feathery materials4 ,in fact it may be trimmed with material of any kind4 ,,xxiv ,,knotting ,,for ,,dolls' ,,hammocks1 ,,shopping ,,bags1 ,,and ,,other ,,purposes ,knotting of raffia for dolls' hammocks1 shopping bags1 belts1 coverings for hanging jars1 and many other things proves to be a very interesting part of the basketry work4 ,little girls could easily make some very pretty belts to be worn with some of their dainty frocks1 and ,i don't know what could be more delightful than a hammock for dolly to sleep in4 ,first let us see how we can make dolly's hammock4 ,we will have to have two small brass rings about three quarters of an inch in diameter1 twelve pieces of raffia1 and a pair of scissors4 ,place one of the rings on a table or other flat surface and tie each of the twelve pieces of raffia on the ring1 leaving an end about an inch long4 ,begin and tie simple knots three inches from the ring and one inch apart1 knotting the strands two and two until nine or ten rows have been completed4 ,finish the hammock by fastening the ends three inches from the last row of knots1 to the other ring4 ,the hammock is ready for ,sally ,ann to have a nap4 ,the next thing to do is to make a shopping bag1 to carry all the small bundles when you go down town to buy dolls' clothes4 ,this little bag is made with the same kind of knotting1 only the number of strands and the arrangement of them differ 7,figure #bac74 ,twenty-two strands of raffia and a pair of scissors are necessary4 ,arrange twenty of the strands in pairs1 and tie each pair in the centre4 ,place them on a table with the knots side by side1 leaving a little less than ten inches on each side of the knots4 ,begin on one side of the centre knots1 and tie one strand from one knot to the next strand from the next knot4 ,they must be an inch from the first knots4 ,tie the same two strands an inch from the centre on the opposite side4 ,in the same way tie the outside strands of this group to form the corners4 ,tie them one inch from the first centre knot4 ,make ten rows of knots an inch apart4 ,when these have been completed1 the bag is ready for the handles4 ,separate the strands on one side of the bag from those on the other4 ,divide the group on one side in half4 ,fasten each group one and a half inches beyond the last row of knots4 ,braid the strands about six inches4 ,do the same with each group1 making four braids in all4 ,hold the two braids from one end of the bag together so that the loose ends of one braid overlap the other4 ,beginning at the middle point make a binding one and a half inches to the right and a similar one to the left4 ,cover the binding with ,solomon's ,knots4 ,keep the lines of knotting straight4 ,finish the opposite handle in the same way4 ,illustration3 ,fig4 #bac4 ,a shopping bag ,some day when you have shopping to do for your mother1 take your bag along and see how handy it will be4 ,in the beginning of the chapter ,i spoke of a belt to wear with a pretty frock4 ,a belt made of a six strand braid proves to be very serviceable to some little girls4 ,you may use plain white raffia or a plain colour but oftentimes two colours add to the attractiveness of the belt4 ,take three long pieces of raffia1 that is1 if the raffia is very thick2 if not1 six or twelve pieces using two or four pieces as one strand4 ,hold the strands at the centre in the left hand4 ,put the strand on the extreme right over and under the next two strands4 ,the strand on the extreme left is put under1 over and under the other strands4 ,this forms a braid4 ,continue doing this braiding until the belt is long enough to suit you4 ,to finish the ends tie the remaining loose strands close to the braid and cut off the ends4 ,turn the knots under and sew over the ends with the loop-stitch described in a preceding chapter4 ,in working with raffia many times an article will need something to put a finishing touch to it1 ,i would suggest using a fringe or tassel according to the kind of work in question4 ,in my experience they have proved to be just the thing for such purposes4 ,for example1 in knotting raffia for a work bag1 the ends of the raffia may be left hanging and when cut to an even length provide a very plain finish for the bottom of the bag4 ,fringing or tassels would1 ,i think1 add considerably to the appearance of the article4 ,to make fringe on the bottom of such a bag it is necessary to cut the ends an even length after the last knot has been made1 and with a pin or needle fray out the ends very finely4 ,the way to make tassels for a finish is to wind a strand of raffia over a cardboard about two or three times1 or if the tassel is to be quite thick1 wind five or six times4 ,slip it off and bind it several times near the top with the end strand of the bag4 ,sew it fast with a tapestry needle4 ,cut through the centre of the loops4 ,a row of these across the bottom of a bag are very effective4 ,illustration3 ,fig4 #bad4 ,a whisk broom ,a very dainty little article for a very small child to make is a little clothes brush or whisk broom4 ,secure a brass ring about one inch in diameter and cover the ring with the loop stitch4 ,fold twelve strands of raffia twice and slip the bunch through the ring bending it in the middle4 ,make a binding one inch below the ring and one inch long2 cover the binding with ,solomon's ,knots4 ,fringe the ends well and trim off evenly 7,figure #bad74 ,knotting in silks1 cotton or linen strands should be mentioned in this chapter4 ,it is a difficult thing to find a piece of fringe that will just match the colour of silk you have but it is an easy matter to make the fringe yourself4 ,the simplest kind is the knot fringe4 ,it can be made of filo1 rope1 twisted1 or heavy floss when used in connection with a silk1 satin1 or velvet background4 ,for cotton or linen background1 cotton floss or fine cord can be used4 ,let us suppose that you wish to make the fringe into a hem4 ,take a cluster of six or eight strands of rope silk1 ten inches in length1 and draw them through the extreme edge of the hem4 ,if the other kind of silks are used1 more strands will be necessary4 ,knot the cluster close to the hem4 ,at a little less than a half inch distance over make another cluster and repeat in this manner across the space on which you want the fringe4 ,now take the first cluster and divide it in half4 ,hold the half nearest the next group in your left hand and divide the second group4 ,taking the half close to first group1 knot the strands together one half inch from the hem4 ,continue like this all the way across4 ,do not pucker the material when knotting4 ,a third row of knots is now made below the second4 ,this takes up the first half of the knot previously used and half of the next group4 ,in this way you form a diamond4 ,if a deeper fringe with more knots is desired cut the strands of silk three inches longer4 ,for every inch of fringe allow three inches of strands4 ,,xxv ,,simple ,,bead ,,chains ,,on ,,single ,,strings1 ,a ,,home-,,made ,,loom1 ,,woven ,,chains1 ,,belts ,,and ,,purses ,have you ever taken pop corn and made a chain of it for ,christmas trees1 or perhaps you have strung cranberries8 ,maybe it was the first time that you ever held a needle4 ,i remember when we were youngsters living in the ,south1 our nurse used to take us out under trees and we would string ,job's ,tears for hours4 ,many drug stores sell these seeds on strings for infants to cut their teeth on4 ,the simplest form of bead work is just as easy as stringing pop corn or berries4 ,beads come in all sizes from the tiny ones that are no bigger than a top of a pin to the large ones the size of a marble4 ,sometimes you can get odd-shaped beads1 flat on one side and curved on the other4 ,a string that is pretty enough to wear on state occasions can be made of heart-shaped and round beads4 ,the regular bead needle is very fine and long4 ,it is better when stringing a single strand to double the thread4 ,use linen thread ,no4 #ajj or #aej4 ,thread the needle with a piece of thread eight inches longer than double the length of the necklace4 ,bring the two ends together and make a knot three and a half inches from the ends of the thread4 ,the thread will be very much stronger if you wax it4 ,now thread seven small round beads then an odd shaped one4 ,repeat in this manner till you have the length of chain desired4 ,cut off the needle and tie the remaining thread in a tight knot close to the beads4 ,ribbons are sometimes used to fasten the chain or necklace together but the little clasps that you can buy for a few cents are neater and do not get soiled as ribbon does4 ,fasten on the clasp with the thread that extends beyond the knots4 ,a sweet little daisy chain can be made on two threads4 ,thread two bead needles with two long threads4 ,bring one end of each thread together and make a knot as described above4 ,fasten the knot to a table with a pin so that one needle is on the right and the other one on the left4 ,thread two white beads on your right hand needle4 ,put your left hand needle down through the white bead so that you have a thread coming from each side of the beads4 ,your needles will have changed position4 ,thread the right hand needle with one yellow bead4 ,pass the left hand needle down through this and again the needles are reversed4 ,thread two more white beads like the first two and do the same thing4 ,now take the right hand needle and thread two more white beads and carry the needle through the first two white beads from right to left4 ,thread two more white beads on the same needle and carry it through the second or top group of white beads from left to right4 ,thread ten green beads on each of the needles and now we are ready to make another daisy 7,figure #bae74 ,continue in this manner till the necklace is complete4 ,illustration3 ,fig4 #bae4 ,a daisy chain ,another and more elaborate daisy chain is made on one needle4 ,make a knot in the thread and string four green beads4 ,hold this down between the thumb and forefinger of the left hand4 ,thread one green bead and pass through the third of the four beads4 ,thread another green bead and pass through the first bead4 ,thread one white bead and pass through the green one on the left4 ,thread another green bead and pass through the green one to the left 7,figure #baf74 ,third row--,thread a green1 pass into a green to the left4 ,now thread a white bead and pass in through the first white bead4 ,illustration3 ,fig4 #baf4 ,a woven daisy chain ,fourth row--,thread a yellow bead and pass through last white1 and a green bead through the green4 ,fifth row--,a green bead through the last green1 a white through the yellow4 ,sixth row--,a white bead through the last white1 a green through the last green4 ,seventh row--,a white through the last green1 a green through the last white of the sixth row4 ,then three white beads on the needle and pass through the first white on the second row4 ,carry the thread through the daisy thus formed till you have it again in same position as it was before you threaded the three beads4 ,eighth row--,one green into the last green1 one white into the last white4 7,note that you are now starting another daisy on the left-hand side74 ,ninth row--,one yellow into last white1 one green into last green4 ,tenth row--,one green into last green1 one white into yellow4 ,eleventh row--,one white into last white1 one green into green4 ,twelfth row--,one white into last green1 one green into white4 ,repeat the directions from the second row4 ,note that though the chain is four beads wide there are only two beads that you work on in each row4 ,if the thread breaks1 start the new one1 two or three rows back and go through the different beads4 ,the above directions are for a chain that is worked without a loom4 ,now-a-days it is quite possible to buy a little loom for about fifty cents1 but you can make one at home that will not cost you a penny4 ,the size of the loom will depend on what you are working but we presume that it is a chain4 ,should you ever make a purse it would pay you to buy a loom4 ,to make the home-made loom get a piece of card and a wooden meat skewer such as butchers use4 ,fasten the skewer down on both ends to the cardboard about two inches from the upper edge4 ,one inch above the skewer in the direct centre make a hole and one inch from the bottom edge of the cardboard make another hole4 ,cut six pieces of ,no4 #ij linen thread1 thirty-six inches long4 ,this measurement is sufficient for a chain twenty-seven inches or under4 ,tie one end of each thread to the skewer4 ,now holding the six threads together1 carry them down through the bottom hole across the back of the cardboard and tie in a loose knot to the top hole4 ,illustration3 ,fig4 #bag4 ,a home-made loom ,thread a bead needle with a thread of ,no4 #ajj linen thread that has been well waxed4 ,tie the thread to the extreme right hand thread of the warp4 ,now we are ready to make the chain 7,figure #bag74 ,first row--,thread the needle with five yellow beads4 ,pass the needle toward the left under the warp threads1 letting one bead slip in every space4 ,on the left hand side bring the needle up to the right side and slip it through the five beads4 ,illustration3 ,fig4 #bah4 ,the design for the chain described ,second row--,thread five blue beads and fasten them in the same way4 ,third row--,thread five yellow beads4 ,fourth row--,five red beads4 ,fifth row--,five red beads4 ,sixth row--,two red1 one blue and two red4 ,seventh row--,one red1 three blue1 one red4 ,eighth row--,five blue4 ,ninth row--,one red1 three blue1 one red4 ,tenth row--,two red1 one blue1 two red4 ,eleventh row--,five red4 ,twelfth row--,five red4 ,illustration3 ,photograph by ,mary ,g4 ,huntsman4 ,the ,fascinating ,task of ,making ,bead ,chains ,continue in this manner for as many inches as needed 7,figure #bah74 ,when you have used up all the warp threads on the upper side of the cardboard roll the finished chain over the skewer and fasten the remaining threads in the lower hole4 ,illustration3 ,fig4 #bai4 ,another design for chains ,to make a belt or purse the larger loom will be necessary4 ,designs used for cross stitch are suitable for bead work4 ,illustration3 ,fig4 #bbj4 ,a third design for a chain ,before ,i tell you how to make any more bead chains and the other articles that may be made with beads1 ,i want to tell you how to make a dainty purse that is illustrated in this chapter4 ,it is made of gold and rose-coloured glass beads and it belongs to a bright little girl ,i know who has been using it for the past three years4 ,a spool of heavy buttonhole twist of a colour to correspond to one of the coloured beads is needed 7,figure #bba74 ,take eighteen strands of silk1 each a yard long4 ,see that the ends are all even4 ,tie a tight knot through the centre of the threads4 ,thread a bead needle with one of the strands of silk4 ,put on two pink beads then three yellow1 five pink1 three yellow1 five pink1 three yellow1 five pink1 three yellow1 five pink1 five yellow1 one pink1 seven yellow1 one pink1 seven yellow1 one pink1 seven yellow1 one pink1 five yellow1 five pink1 three yellow1 five pink1 three yellow1 five pink1 three yellow1 five pink1 three yellow1 seven pink4 ,this completes the first string4 ,do not allow any beads to drop1 which they are very apt to do while you are working on another row4 ,it is suggested that the strand of silk on the left of the beads should be knotted closely to the beads to prevent them from slipping4 ,illustration3 ,fig4 #bba4 ,the bead bag described ,unthread your needle and take the next strand2 thread two pink1 one yellow1 then slip your needle through the second yellow bead of the first row1 thread one yellow1 five pink1 one yellow1 now slip your needle through the middle yellow bead of the first row or in other words slip your needle through every eighth bead on the first row4 ,the colouring remains the same4 ,i will start the instructions again for the second row which is to be threaded1 two pink1 one yellow1 slip needle through bead on first row1 one yellow1 five pink1 one yellow1 slip needle through bead1 one yellow1 five pink1 one yellow1 slip needle through1 one yellow1 five pink1 one yellow1 slip needle through bead1 one yellow1 five pink1 one yellow1 slip needle through bead1 three yellow1 one pink1 three yellow1 slip needle through1 three yellow1 one pink1 three yellow1 now slip needle through bead1 three yellow1 one pink1 three yellow1 slip needle1 three yellow1 one pink1 three yellow1 slip needle1 one yellow1 five pink1 one yellow1 slip needle1 one yellow1 five pink1 one yellow1 slip needle1 one yellow1 five pink1 one yellow1 slip needle1 one yellow1 five pink1 one yellow1 slip needle1 one yellow1 six pink1 slip needle into last bead of first row and knot the two threads close to the bead4 ,be sure that the knot is large enough not to slip through the hole of the bead4 ,thread your needle with the third strand4 ,put on two pink1 three yellow1 two pink1 slip needle through third bead of first group of five pink of the second row4 7,for the rest of the row slip needle means slip the needle through the fourth bead below the one slipped through on the second row7 two pink1 three yellow1 two pink1 slip needle1 two pink1 three yellow1 two pink1 slip needle1 two pink1 three yellow1 two pink1 slip needle1 two pink1 five yellow1 slip needle1 seven yellow1 slip needle1 seven yellow1 slip needle1 seven yellow1 slip needle1 five yellow1 two pink1 slip needle1 two pink1 three yellow1 two pink1 slip needle1 two pink1 three yellow1 two pink1 slip needle1 two pink1 three yellow1 two pink1 slip needle1 four pink4 ,the fourth row is the same as the second4 ,every other row from the third is also worked like the third4 ,the last row which joins the bag--,two pink1 slip needle into fourth bead of next to last row1 thread three more beads1 slip into centre bead of the group of sevens of the first row4 ,the pattern is diamond-shaped as you will note1 therefore after threading your needle with three beads of the shade to correspond with the previous row slip your needle in the centre bead of the groups of seven of the preceding row and the first row4 ,work first to the right and then to the left4 ,every two strands of silk must be knotted together to keep the beads from slipping off4 ,braid the threads extending beyond the bead work in groups of three4 ,a large bead or slide will be necessary to make the purse a practical money bag4 ,get two big beads that have openings large enough to pass all the silk threads through4 ,take a knot on the silk thread after the first large bead is in position4 ,this knot should be two inches at least from the beads4 ,the silk threads may now be cut quite close to the knot or they may be cut one inch from the knot to form a tassel4 ,if the little purse was left without any further work it would look quite top heavy and unfinished1 for that reason a bead tassel is suggested as shown in the illustration of the bead purse4 ,thread your needle with a long strand of the buttonhole twist4 ,string about two and a half inches of pink beads4 ,before commencing to string the beads fasten the thread in the heavy knot at the bottom of the purse4 ,catch the thread with the beads also in the knot4 ,make two pink strings this length and two yellow4 ,then make four strings1 two pink and two yellow1 that are not more than an inch and a half long4 ,fasten off the threads securely and the bag is complete4 ,three bunches of pink beads and two bunches of yellow will make two purses as have just been described4 ,the beads vary in price from six cents a bunch to twenty-five cents4 ,sometimes the more expensive kind have only half the number of beads that the cheaper bunches have4 ,do not get too small a bead or the work will become very tedious4 ,the large beads for the slides are more expensive4 ,they cost four cents apiece or more4 ,of course other colour combinations can be made1 also other patterns4 ,silver and blue is another pretty combination for a bead purse4 ,now while we are on the topic of beads1 ,i would like to tell you about some sensible portires and cushion tops that ,i recently saw at an ,arts and ,crafts exhibition made of an inexpensive background and beads4 ,monk's cloth was used for one of the portires4 ,monk's cloth is somewhat like burlap but the weave is coarser and more even4 ,a hem was turned on one short side and one of the long sides and the thread drawn out for a space of about two inches4 ,the threads were hemstitched and then a design of beads worked between the groups of threads4 ,to accomplish this the design was well planned out before commencing the work4 ,the number of beads needed to fill out the space can be judged by placing the beads in the opening and testing that for yourself4 ,after the design has been selected make a pencil copy of it4 ,it is better to restrict yourself at first to just two colours4 ,fasten your sewing thread securely to the threads of the material4 ,use carpet thread for the weaving4 ,let us suppose that you have selected a pattern that is seven rows of beads deep and you have chosen tan as the background and red and chalk white beads for the decoration3 ,first row--,thread one red bead1 six white1 one red1 six white4 ,as we will only work a section at a time1 let us secure the beads4 ,slip your thread under the hemstitching4 ,now let each bead come between two consecutive groups of hemstitching4 ,bring your thread to the right side4 ,be careful not to disturb your beads4 ,now carry the thread through the beads again4 ,the thread should be drawn tight but not so as to pucker the hem4 ,second row--,work this by stringing one white1 one red1 four white1 one red1 one white1 one red1 four white1 one red4 ,fasten as described in the first row4 ,third row--,one red1 one white1 four red1 one white1 one red1 one white1 four red1 one white4 ,fasten4 ,fourth row--,one red1 one white1 one red1 four white1 one red1 one white1 one red1 four white4 ,fasten4 ,fifth row--,one red1 one white1 four red1 one white1 one red1 one white1 four red1 one white4 ,fasten4 ,sixth row--,one white1 one red1 four white1 one red1 one white1 one red1 four white1 one red4 ,fasten4 ,seventh and final row--,one red1 six white1 one red1 six white4 ,fasten4 ,after this section is worked slip your needle through the beads to the last one on the first row and continue to weave4 ,the beads to use for portires or large pillows are round ones that are three eighths of an inch in diameter4 ,for curtains1 table covers or any article where the weight of the large bead is not desirable use a smaller bead that is not more than a quarter-inch in size4 ,scrim curtains with a single row of the smaller beads add a pretty touch of colour to the otherwise plain window4 ,almost any shade can be had in the beads1 but the trouble is that they can not be bought at every store4 ,a bead supply house is the one from which to get them4 ,they cost only one-quarter as much as when bought in a department store4 ,ecru scrim with a row of turquoise blue1 canary yellow and sage green beads and the simple twist stitch such as described in the chapter on ,simple ,stitches in ,drawn ,work1 makes a curtain suitable for a simple room4 ,the way to accomplish this work1 is to take a stitch on the drawn thread1 in the regular way for the twist stitch1 then slip a bead on1 then take another stitch1 then a bead1 so on to the end4 ,if a skeleton square of beads is desired on a sofa cushion it is advisable not to draw it out in the same manner as for a curtain4 ,for a two-inch border to be set in four inches from the edge1 crease the cushion through the direct centre4 ,measure four inches from the edge and cut the material on the crease for two inches4 ,treat each side like this4 ,draw the threads out on each side of the cut1 stop when you get four inches from the edge4 ,of course the material must be in a perfect square and just the size you want for the pillow before you begin any of the work4 ,place the beads as explained for the portire4 ,do not cut the threads you drew out but1 threading a needle with two or three at a time1 carry them through the beads4 ,in this way there is no necessity for cutting and buttonholing the corners where the border intersects1 as in drawn work4 ,loose woven materials such as monk's or arris cloth are extremely hard to buttonhole and even after very careful work they are apt to fray4 ,if a fancy edge is desired for the pillow one made of beads is far more appropriate than anything else4 ,after the pillow is complete and made up1 put on the bead edge by catching a bead to the material at a short distance from each other4 ,for a canoe or porch pillow there is nothing more durable than bead pillows of a dark colour worked with gay coloured beads4 ,,xxvi ,,braiding ,,and ,,weaving ,,four ,,and ,,six ,,strands ,,weaving ,,on ,,looms ,braiding or plaiting can be done in any materials and may be used for shopping bags or circular rugs4 ,raffia1 corset laces1 heavy silk floss or rags can be utilized for the braiding4 ,it is extremely difficult to conceal the ends when three strands are used so for that reason ,i have selected four strands to commence with4 ,illustration3 ,fig4 #bbb4 ,the strands crossed ,when working with cords or very long strands of material1 knot the four ends together4 ,pin the knot to your knee and proceed to weave4 ,take the extreme left-hand strand and weave under the next strand4 ,at the same time weave the extreme right-hand strand over the next4 ,cross the two strands in the centre4 7,see ,figure #bbb47 ,if a knot is not desired at the start the cords may be commenced as shown in the ,figure #bbc4 ,to braid with six strands take the extreme left-hand strand and weave under and over to centre and with the right-hand strand weave over and under to centre and cross the left-hand strand 7see ,figure #bbd74 ,illustration3 ,fig4 #bbc4 ,the way to commence braiding without a knot ,after the braid has been made it can be sewed together for a mat4 ,in joining a strand insert the new piece so that it extends a little beyond the braid4 ,if a long braid is desired it is best to have the strands of different lengths so that the joinings will not be all in one place 7,figure #bbe74 ,when braiding or weaving with rags cut the strips about three quarters of an inch wide4 ,old rags can be used for this1 cutting out the weak parts4 ,cheap cotton fabrics when new make excellent mats4 ,weaving on frames is very interesting and not such a difficult task as you imagine4 ,there are hand and treadle looms4 ,the following instructions will be for the former4 ,a stretcher such as artists use for painting can be used or four pieces of board twenty-four inches long by four inches wide and one inch thick4 ,take the four pieces to form a frame4 ,illustration3 ,photograph by ,eddowes ,co4 ,a ,cushion ,top ,can be ,woven on a ,simple ,hand ,loom ,buy three half-inch dowels or long round sticks2 which may be bought from a hardware shop2 and sand-paper till they are quite smooth4 ,screw in four large picture rings two on each side of the frame1 one at each end4 ,slip one dowel through the rings at each end and tie to picture ring4 ,illustration3 ,fig4 #bbd4 ,braiding with six strands ,the warp may be cord which is sold by the pound or a heavy soft twine4 ,a wholesale cord or rope house will be the best from which to buy the warp4 ,a thin board such as you have in your window shades and to which the string is attached makes a good shuttle4 ,cut it so that it is twenty-two inches long and wind the warp on it lengthwise4 ,tie one end of the warp thread to the lower left-hand picture ring4 ,lay the warp threads over the lower dowel1 up through the frame and over the upper dowel4 ,remember always to lay the thread outside and over each dowel4 ,the first six threads are placed very close to each other4 ,after that the threads are laid half an inch or a little more than a quarter of an inch apart4 ,the finer the weaving the more warp threads will be needed4 ,the usual allowance is from four to eight threads to an inch4 ,illustration3 ,fig4 #bbe4 ,the way to join a braid ,two plain boards that are as long as the dowels and three inches wide by a quarter of an inch deep will be required now4 ,slip into one of these boards at each end between the warp threads and bring the boards to the centre and tie together to keep them from slipping4 ,take a piece of cord nine inches longer than a dowel and tie to the throat of the lower left-hand screw4 ,make a knot at first warp string and slip it over dowel4 ,twist the double thread two1 three or four times4 ,repeat slipping over dowel and twisting between every two warp strings until you reach the right hand screw4 ,tie the threads to the screw4 ,this is called pairing the threads4 ,repeat the pairing at the other dowel4 ,when the pairing is finished slip the lower dowel out of the rings and tie the dowel again to the screws4 ,to space the warp threads an upholsterer's needle and carpet thread will be needed4 ,if the weaving occupies the full size of the frame1 hitch or tie the carpet thread to the lower left-hand screw1 while if the warp threads do not extend very far over place an extra screw on the outside of the frame where the warp threads begin4 ,buttonhole stitch over the dowel keeping the lower thread down and the upper thread on top4 ,hold the warp threads apart with finger of the left hand while buttonholing4 ,pull your stitches tight4 ,two or three stitches should be made between each two warp threads4 ,the stitches must be an eighth of an inch apart4 ,now we are ready for the bridge4 ,two feet1 as they are called1 will be necessary to support the bridge4 ,a carpenter will make them for a small amount4 ,they should be seven inches high by three inches wide at the base 7,figure #bbf74 ,one foot is placed in the centre of opposite sides of the frame and the third dowel run through the holes4 ,loosen the two boards at the centre and place them close to the dowel4 ,place the bridge over the set of threads nearest you4 ,take a six-inch piece of cord and catch up first warp thread4 ,tie thread to bridge4 ,all knots should be made like a weaver's knot4 ,the loop should not extend lower than two inches below the bridge4 ,illustration3 ,fig4 #bbf4 ,the foot ,this completes the setting up of the loom4 ,to weave1 the material may be cut as stated before or raffia or ,indian fibre may be used4 ,if the weaving is to be in one colour only1 it is well to join the pieces together and wind on a long shuttle4 ,if short pieces are used a hook will be required4 ,it can be made of a strip of wood taken from the hem of window shades4 ,notch one end of it4 ,a selvage will be necessary at the beginning and the end of the weaving and is done in a fine cord4 ,start at left-hand corner and tie the thread to warp4 ,pass the shuttle to right-hand side between the threads4 ,lower the bridge and pass the shuttle back again between the threads to left-hand side4 ,raise the bridge again and repeat as just explained4 ,it will be best to comb down the woof to keep it straight and regular4 ,a regular weavers' comb can be bought1 but a coarse hair comb may be substituted4 ,six rows will be sufficient for the selvage4 ,the regular weaving is worked the same only in coarse warp4 ,remember the bridge must be lowered every other time4 ,in weaving a new thread or strand commence a little way back from where the last strand stopped4 ,learn to weave and you get much more artistic effects in rugs than ordinary rug or portire weavers obtain4 ,beautiful cushions and other useful articles can be made by weaving4 ,it is a great mistake to think that all cast off clothing can be woven into handsome rugs or portires4 ,true it is possible to weave them1 but it is almost a hopeless task to get artistic effects from old coats or a lot of dark articles4 ,the modern rug weavers get a few yards of cheap muslin in two or three shades and make a rug that can be sold for two or three dollars4 ,silk is not like old woollen materials1 it can be utilized to the last thread because it is soft and works to good advantage4 ,two old silk petticoats will make two pillow tops that are artistic as well as useful4 ,one of the most beautiful examples of silk weaving was a cushion ,i saw made from two old silk petticoats2 one was sage green and the other ,delft blue4 ,the strips were about one inch wide4 ,all the worn parts were cut out4 ,no piece was considered too small to use4 ,every pattern of rug has a name given it by the weaver4 ,the most common pattern is the hit-and-miss4 ,the name aptly describes it4 ,there are never two hit-and-miss patterns that are exactly alike4 ,to look at a collection of hit-and-miss rugs one is reminded of the ,croton shrub which has no two leaves alike4 ,as children1 we used to call them ,match-me-if-you-can trees4 ,a hit-and-miss pattern is a good one to learn on4 ,do not weave first one green strip then one blue and so on1 because you will get a jumble of blue that is neither interesting nor pleasing4 ,decide on which colour you would like for the background1 then use most of that shade4 ,i have heard an old weaver say that when she works the hit-and-miss pattern she will carry first one stripe of the background the entire way across and probably start the second row4 ,a little strip of the second colour is then used and then the background again4 ,the good worker never cuts her strips all the same length but strives to get the effect of little slashes of colour against a solid background4 ,a rug made of medium blue and white rags suggests the sea with white caps on it4 ,when an ,indian weaves a rug1 he sits on the floor and weaves1 till he has to stand to work4 ,tapestry is woven almost the same as described for rugs2 instead of the loom having a bridge that has to be moved by hand to regulate the threads1 a treadle is used4 ,the wrong side of weaving is always facing you on the loom and all ends are fastened afterward with a needle and thread4 ,perhaps you would be interested to know how a weaver makes a set design in tapestry4 ,usually an artist designs a piece1 say a design for the back of a chair4 ,often the artist is the weaver himself4 ,he will make two sketches in colour one to put under the warp threads and the other to keep in sight4 ,he then starts to weave the design in as many colours as desired1 then the background is worked4 ,a piece of hand-made tapestry is a possession that only the very wealthy can buy for it is indeed exceptional to find an ordinary weaver who can make tapestry4 ,to the ,french is given the honour of being the most clever weavers in the world4 ,as a general thing in ,france weaving is an inherited trade4 ,you will find1 if you ask the weaver what his mother1 his father and his grandfathers were1 he will tell you--weavers4 ,the hands of the men are almost as small and soft as the women's4 ,i have seen a beautiful screen that represented a pansy field1 if you can imagine such a thing worked in over two hundred shades of silk4 ,every conceivable kind of pansy was worked in it4 ,it was made for a man who loved pansies4 ,it took four weavers three months in which to make it1 working eight hours each day4 ,too much thought can not be given to the right colour for your rugs or whatever you intend to weave on your simple loom4 ,study to get harmonizing effects rather than contrasting ones4 ,gray is probably the most pleasing of backgrounds and can be combined to advantage with almost any other shade4 ,remember that a dark room needs a cheerful colouring while a bright airy room can stand subdued shades4 ,red excites the nerves4 ,lavender is depressing4 ,blue is a cold colour and should be combined with other colours to be effective4 ,green is restful to the eyes in any shade1 while yellow seems to reflect light and for that reason is to be highly recommended for use in a dark room4 ,one of the prettiest rooms ,i know1 which is ordinarily a very dark one1 is one that has bright yellow and chestnut brown for its decoration4 ,the minute you enter that room you are impressed with its cheerfulness and warmth4 ,no matter how pretty and beautiful are the hangings and other dainty touches of a room1 a rug remains the chief attraction4 ,it is to a room what a vase is to a flower4 ,a rug is not absolutely necessary1 but unless it is the right kind your room looks patchy4 ,as in everything else practice makes perfect and as soon as you become accustomed to weaving you will plan regular designs that will make the work more fascinating4 ,if you have a large quantity of undefinable shades of silk or wool or cotton rags ,i would recommend that you dye them all one shade4 ,one ten-cent package of a dye will colour a couple of pounds of rags4 ,get a dye that is good for all three kinds of material as sometimes a dye that changes the colour of silk may not affect cotton at all4 ,,xxvii ,,simple ,,crocheting1 ,,stitchery ,,for ,,edges ,,and ,,shawls ,,crocheting ,,abbreviations4 #a4 ,slip stitch 7sl st7 #b4 ,chain stitch 7ch7 7,figure ,no4 #bbg7 #c4 ,single crochet 7s c7 ,no4 #bbh7 #d4 ,double crochet 7d c7 ,no4 #bbi7 #e4 ,treble crochet 7tr c7 ,no4 #bcj7 #f4 ,shell 7sh7 ,no4 #bca7 #g4 ,stitches 7sts7 ,the beginner in crochet will have very little trouble in learning the work as the stitches used are comparatively few in number although the various combinations in which they may be used are almost unlimited4 ,it is wise to become accustomed to the stitches and especially with the abbreviations1 which are used so extensively throughout all crochet work4 ,no doubt the beauty and variety of the patterns one can execute1 also the durability of the work are the chief causes for its popularity at the present time4 ,the implement used is a crochet hook which varies in size according with the quality of the thread used4 ,the steel hook with the bone handle is to be preferred4 ,illustration3 ,fig4 #bbg4 ,chain stitch ,too much emphasis cannot be placed upon the importance of the position of the hands when working1 and the firmness of the stitches1 as the work is1 at once1 better and more even when the proper position is maintained4 ,the crochet needle should be held lightly between the first finger and the thumb of the right hand2 the hook horizontal and parallel with the first finger of the right hand1 that part of the work which is in course of construction being held closely between the thumb and third finger of the left hand4 ,the thread is wound once around the first finger1 passes under the second and third fingers of the left hand1 and is wound around the small finger4 ,it is now held in position by bending the fourth and small fingers toward the palm of the hand4 ,the foundation stitch of all crocheting is the chain stitch 7ch7 7see ,figure #bbg7 which is begun by making a slip knot around the needle4 ,draw the thread through this loop1 and you have a chain4 ,again draw the thread through this second loop1 continue until the chain is of desired length4 ,another stitch is the slip stitch 7sl st74 ,insert the hook in the foundation work4 ,draw loop through the work and another through the loop on the needle4 ,single crochet 7s c74 ,see ,figure #bbh4 ,illustration3 ,fig4 #bbh4 ,single crochet ,insert hook in work1 make a loop on the hook and draw through1 making two loops on the needle4 ,throw thread again over hook4 ,draw thread through both loops4 ,double crochet 7d c74 ,see ,figure #bbi4 ,before inserting the hook in the stitch to be worked1 put the thread around it4 ,throw thread around hook and draw the thread through the stitch and you will have three loops on hook4 ,throw thread again around hook and draw thread through two loops4 ,throw thread again around hook and draw through the remaining two loops4 ,illustration3 ,fig4 #bbi4 ,double crochet ,treble crochet 7tr c74 ,see ,figure #bcj4 ,illustration3 ,fig4 #bcj4 ,treble crochet ,put the thread around the hook twice1 insert in the work4 ,draw a loop through work1 making four loops upon needle4 ,draw the thread or loop through two loops on needle1 then again through two loops and the third time through the remaining two loops4 ,shells 7sh74 ,see ,figure #bca4 ,illustration3 ,fig4 #bca4 ,shells ,shells are formed by making groups of either single1 double or treble stitches worked into the same space or stitch4 ,illustration3 ,fig4 #bcb4 ,tiny insertion ,edging and insertions are very much in use and are often applied to blouses1 collars and cuffs1 towels1 centre pieces1 handkerchiefs1 belts and various other articles4 ,tiny ,insertion 7,figure #bcb74 ,ch #g catch into a ring and into one side of ring work #e s c 99ch4 #g catch in next to last s c1 #e s c in new ring4 ,repeat from 99 for length desired and fasten off4 ,tiny ,edging 7,figure #bcc74 #ast row--,ch4 #i turn4 #bnd row--#a s c in each #i ch1 turn4 #crd row--ch #i work #a d c in first s c made1 turn4 #dth row--99 ,over ch work #i s c ,work ch of #i turn4 #eth row--#a d c over the d c of preceding row4 ,turn4 ,repeat from 99 until you have length desired4 ,illustration3 ,fig4 #bcc4 ,tiny edging ,for the edging made3 #ast row--,over each d c on one side and each empty ch on the other work #d s c4 #bnd row--,work #a d c into first s c then 99 #b ch1 miss #b s c and work #a d c into next4 ,repeat from 99 along both sides of insertion4 ,loop ,edging 7,figure #bcd74 ,work #bi s c over a padding cord1 then catch in #gth stitch made to form a ring4 ,again work #bi s c and catch in the #gth stitch to form another ring4 ,continue until the edging is the required length4 ,illustration3 ,fig4 #bcd4 ,loop edging ,for the edge1 begin at the first end for the picots and work as follows3 make #a s c into #hth stitch of first ring1 ch #e1 skip #a s c--#a s c in next stitch4 ,repeat for three picots4 ,ch #b1 begin in #hth stitch of next ring and make #c picots there and so continue to the end of edging4 ,loop ,insertion 7,figure #bce74 ,ch #aj and catch in a ring into one side of ring work #f s c1 ch #aj1 catch in the last s c forming a ring1 and into new ring work #f s c4 ,continue in this way for length desired4 ,then work down the other side of rings #f d c in each4 ,illustration3 ,fig4 #bce4 ,loop ,insertion ,now work down each side of insertion #a s c in the centre point of each side of the ring and #e ch between4 ,in these ch loops work #f s c each and fasten off4 ,narrow ,crochet ,edging 7,figure #bcf74 ,ch #ad4 #ast row--#a d c in #ajth ch from needle1 ch #c1 #a d c in same st4 ,ch #c1 #a d c in next st1 ch #c1 #a d c in same st4 #c stitches on foundation will stand beyond the row4 ,illustration3 ,fig4 #bcf4 ,narrow crochet edging #bnd row--,ch #f turn 99 #a d c in centre loop of cluster of three1 ch #c repeat from 99 #b times4 #a d c in same space1 ch #b-a d c in third ch of turning loop4 #c;d row--,turn ch #e 99 #a d c in centre of loop of clusters1 ch #c repeat twice from 99 #a d c in same space 99 ch #a-a d c in #f ch loop1 repeat from 99 #g times ch #a-a s c in end of foundation4 #dth row--,turn ch #f-a sl st in fourth ch from needle ch #a-a d c in next space between d c1 ch #e-a sl st in fourth ch from needle1 ch #a-a d c in next space4 ,repeat from 99 #e times4 ,ch #c-a d c in centre loop of #g ch clusters1 repeat from 99 three times more ch #b1 #a d c in third ch on turning loop4 #eth row--,turn ch #e1 make clusters in centre loop as with other row4 ,repeat from #bnd row4 ,on each repetition of #c row the final s c is taken up in the loop of #c ch of the former scallop4 ,cone ,insertion 7,figure #bcg74 #ast row--,ch #ae turn #a d c in ninth ch from needle1 ch #c skip #b-a d c in next1 ch #c skip #b-a d c in last stitch4 #bnd row--#d s c in first space1 ch #a in second space work #b d c--#a tr c1 ch #c1 #a tr c1 #b d c1 ch #a1 in third space work #d s c4 #c;d row--,ch #aj1 one sl st over #c ch--ch #e1 #a tr c in last s c of preceding row4 ,illustration3 ,fig4 #bcg4 ,cone insertion #dth row--#d s c in first space1 #a s c in same space with sl st1 #d s c in next space4 #eth row--,ch #f1 skip #b s c of preceding row1 #a d c in next stitch4 ,ch #c1 skip #b-a d c in next stitch4 #c ch1 skip #b-a d c in final st4 ,repeat from beginning of second row4 ,crochet ,insertion with ,ribbon 7,figure #bch74 ,illustration3 ,fig4 #bch4 ,insertion with ribbon ,make a ch of #ce stitches3 #a d c in #g st from end of ch1 #c ch1 #a d c in next #c rd st of ch1 #c ch1 #a d c in next #c;d stitch of ch1 #c ch1 #c d c in #eth of ch1 #c ch1 #c d c in same st as last #c d c to join shell1 #d ch1 #c d c in next #eth st of ch1 #c ch1 #c d c in same stitch as last three1 #c ch1 #a d c in next #eth of ch1 #c ch1 #a d c in next #c;d of ch1 #c ch1 #a d c in last stitch of ch1 #h ch2 turn4 ,work the next and every succeeding row the same4 ,run narrow ribbon under and over #c ch4 in centre4 ,this trimming is very pretty when used on a blouse waist4 ,illustration3 ,fig4 #bci4 ,rainbow shawl ,rainbow ,shawl 7,figure #bci74 ,either ,saxony or floss may be used1 about six skeins of white and half a skein of each of the colours used being necessary4 ,to form main part of ,shawl4 ,ch #fh sts of white4 #ast row--,turn and work back thus3 ,draw out st on hook about three-fourths of an inch1 pass hook under the single thread of wool1 draw through st1 pass it under wool1 work a sl st1 #a ch 7in the way you work first st of every row74 ,to make second st99 pass hook through second1 draw up to three fourths of an inch1 catch the wool and make #b close ch3 repeat from 99 to end of chain4 ,turn and repeat from first row till you have worked #gf rows in the white wool4 ,to make the ,rainbow ,stripe on either end of white4 ,fasten in the pink wool and work two rows1 then in the order named--yellow1 orange1 light green1 dark green1 indigo1 light blue1 violet4 ,finish the end with two or more rows of white4 ,illustration3 ,fig4 #bdj4 ,cross stitch ,to make ,fringe4 99,chain #ce1 fasten down in next st with a sl st1 repeat from 99 to end of row4 ,finish both edges of scarf with a row of knot stitches4 ,,crochet ,,scarf 7,figure #bda74 ,material1 #h skeins ,shetland ,floss4 ,illustration3 ,fig4 #bda4 ,shawl in cross stitch ,directions for ,cross ,stitch 7see ,figure #bdj74 ,make a chain the desired length3 work #a tr c in the fourth stitch of ch4 ,now stitch back into the first and second of ch and make a tr c in each4 7,this forms a cross stitch47 ,repeat to end of chain4 ,to make ,scarf4 ,ch #aci stitches4 ,work #cd cross stitch on ch2 continue working back and forth with cross stitch until scarf measures #a-a_/b yards in length4 ,finish ends with a fringe4 ,each strand is #f inches and #h strands of wool are knotted to each cross stitch to form fringe4 ,,xxviii ,,pattern ,,directions ,,for ,,making ,,doll ,,caps ,,and ,,capes1 ,,jackets ,,and ,,child',s ,,bedroom ,,slippers ,having become well acquainted with the stitches and patterns described in the previous chapter1 you are competent to go on with the more intricate ones described in this chapter4 ,a pretty doll's cap is made of silk4 ,without a silk padded lining the cap will be just the thing for the warmer months4 ,doll's ,cap4 ,begin by winding silk around a lead pencil #ab times3 make #bd s c over this4 #bnd row--,make #b s c in every s c on first row4 #crd row--,s c in every s c on #bnd row4 ,continue widening often enough to keep the work nearly flat 7to do this two s c instead of one are worked upon the one of the preceding row74 ,this completes the solid work of the crown4 #dth row--,ch #c1 make #c d c in same stitch1 skip #d d c in next st4 ,continue around entire crown4 #eth row--,make a shell of #f d c in centre of each shell of #d d c1 leaving off within #g shells of last row4 #fth row--,make a ch of #e st and s c in middle of next shell4 ,ch #e1 s c in middle of next shell4 ,continue around entire crown4 #gth row--99 #e s c on each ch of #e of previous row4 ,turn s c for entire row around to where the shells of #d were left4 ,this begins the front of cap4 ,turn and repeat from 99 #b more rows4 ,next make a row of shells of #d st in every #eth st4 #hth row--,make shell of #e d c in middle of each shell of #d d c4 ,repeat these #b groups of #d rows of s c and #b rows of shells twice more4 #ith row--,a row of #e ch in middle of each shell1 then a row of s c4 ,finish the cap with a row of shells of #g d c around the entire cap4 ,finish shells with a row of picots made by a ch of #c caught in every st with a s c4 ,this completes the cap4 ,illustration3 ,fig4 #bdb4 ,doll's ,hug-me-tight ,doll's ,hug-,me-,tight 7,figure #bdb74 #a skein of ,saxony white4 #a skein of ,shetland floss1 blue4 #a-a_/c yards of narrow white ribbon4 ,make a ch of #bj st41 take up each ch with a s c4 ,turn #ai s c in slipper stitch 7slipper stitch is s c taken up on the back thread of the row below74 ,crochet back and forth in this manner until you have #h ribs or #af rows which form the back4 ,then take up #e s c and crochet back and forth until you have #i ribs or #ah rows1 which forms the one front4 ,then count nine stitches for the neck1 taking up the remaining #e sts for the other front and make #i ribs or #ah rows for the other front4 ,finish with a border all around of s c taking up the whole stitch1 alternating the colours1 #a row blue and #a white until you have four blue and four white1 finish the whole with a blue picot4 ,cut the ribbon into six pieces1 sew one piece in each of the outer edges to form the armhole and front as illustrated4 ,this jacket can be made for a child by commencing with #de ch1 #be ribs for back and #be ribs for fronts4 ,jacket 7,figure #bdc74 ,illustration3 ,fig4 #bdc4 ,jacket in star stitch ,pompadour wool through which a thread of silk runs1 was used for making this pretty jacket4 ,three skeins of the wool are required4 ,the body of the sacque is of star stitch 7,figure #bdd74 ,ch #ie on which work #aa stars1 widen with #b ch4 ,for sleeve make #aa stars1 and back1 #be stars4 ,one front #aa stars4 ,for the first #d rows of front work #aa stars1 widen with #b ch work across sleeve1 widen #b1 work across back1 widen #a star every other row2 at sleeve widen #b1 across sleeve widen #b1 then #aa stars from the front4 ,after the #dth row continue as before1 only widening #a star at the four sleeve points for #aj rows4 ,in #aeth row work #aa stars for the sleeve1 now drop out the entire sleeve1 including the widening points1 work across back alone1 leave out sleeve as before then #aa stars for the second front2 work #ab rows across sacque widening under arms as in centre back4 ,tie wool at point under arm and work #ac rows around sleeve joining each row as made4 ,for border1 work #d rows of knot stitch4 ,illustration3 ,fig4 #bdd4 ,star stitch ,slippers in single crochet 7,figure #bde74 ,one skein of each of two contrasting colours of ,germantown wool1 one pair of soles4 ,for making these slippers in mercerized ,perle cotton1 which is very cool for warmer days1 two balls will be required4 ,in making slippers it is very essential for the work to be as tight as possible to prevent it from stretching4 ,illustration3 ,fig4 #bde4 ,slipper in single crochet ,the following directions are for slipper size #c4 ,ch #aa sts4 ,make #aa s c in slipper stitch1 described in doll's hug-me-tight 7,figure #bdf7 widen in the centre by making #c s c in #a ch4 ,make two rows like last widening in centre1 then a row without widening4 ,when the work reaches from the toe to the hollow part of the sole 7about #ab ribs7 the front is long enough4 7,alternate two rows one colour and two in the other47 ,turn and work #ae s c4 ,continue in the slipper stitch until the work will reach around the sole by stretching4 ,join the end to the front by overcasting on the wrong side4 ,beginning at the corner where the end is joined make a row of crazy stitch around to the other side4 ,make #c more rows of crazy stitch4 ,finish with a row of shells4 ,illustration3 ,fig4 #bdf4 ,slipper stitch ,directions for crazy stitch--,make a ch of #d sts2 then throw the thread once over the needle1 take up the third nearest stitch to the needle1 and pull it through the loop2 throw the thread over again and pull it through the nearest two loops on needle and crochet the remaining two loops off in the same manner4 ,this completes the d c described in chapter #bg4 ,make two more d c in the same loop1 skip #c stitches1 fasten with a sl st in next st #c ch4 #d shells in next st4 and continue for length desired4 ,slippers in ,star ,stitch 7,figure #bdg74 #d balls of mercerized crochet cotton4 ,star stitch is made by a ch of the required length4 ,insert hook in #bnd ch from it1 draw wool through1 keeping both sts on hook1 insert hook in #crd ch and draw wool through keeping this st also on the hook1 skip the next ch and take up the #dth and #eth in same manner1 making #e sts on hook2 now drop the strands of wool from which these sts were made1 and take up wool of contrasting colour1 double end into a loop with short end about one inch in length1 draw this through all the sts on hook1 being careful not to let this short end slip through1 ch #a to hold sts in place4 ,now with this new strand work a star by drawing it through the eye of star1 it being the tightest stitch near the ch on hook keeping both sts on hook as before4 ,draw wool also through long st down the side of star1 then through next #b ch which gives #e sts on hook1 then dropping the strand from which this star was made pick up the wool of #ast star and loop it through these #e sts and ch #a to hold the star in place4 ,this ch should be worked tight so it will draw the sts together and form the star1 which should be almost square4 ,in the second row place the contrasting colour over the star underneath1 tying in the wool1 ch #c on which take up #b sts2 this gives you #c sts on hook1 the next #b loops are drawn through the long and short stitches of star underneath1 taking up back stitch of the long and both strands of the short or eye of star4 ,illustration3 ,fig4 #bdg4 ,a slipper in star stitch ,for the slipper proper4 ,ch #i1 on which make #c stars1 #b ch at end then work #c stars down the other side of ch1 taking up the other thread4 #bnd row--#d stars1 #b ch1 #d stars4 #c;d row--without widening4 ,widen #b stars every other row until you have #aj rows #b rows without widening1 then widen in the next4 ,there will be #ac rows in all1 and #bj stars in this last row1 now divide front and work #bj stars on either half for the sides2 fit around sole by stretching and sew up the back on the wrong side4 ,the wool or thread should be broken at the end of each row4 7,crochet should not be worked backward and forward unless directions are given to that effect47 ,for a frill around the slippers work groups of #f ch st two more rows of the same4 ,i always sew my slippers onto the soles after being finished1 by overcasting with wool of the same shade on the right side1 which saves stretching the slippers all out of shape when turning them4 ,jacket in ,shell ,stitch 7,figure #bdh74 ,material3 #e skeins of white ,germantown and #a skein of colour for edge4 ,no4 #g bone needle4 ,ch #abg1 with #c extra sts for turning4 #ast row--,skip #b ch and make #d d c in the next4 99 ,skip #c ch1 #a s c in next1 ch #c1 #d d c in same st with s c and repeat from 99 ending with a final s c4 #bnd row--,turn #a s c in s c below 99 #b d c in same st1 #a s c in next s c below and repeat from 99 ending with a s c in top of turning ch4 #crd row--,turn ch #c1 #d d c in s c below 99 #a s c in next s c1 ch #c1 #d d c in same st repeat from 99 to end of row4 ,repeat #bnd and #crd rows #i times1 then repeat the #bnd row once more4 ,this gives a depth of work sufficient for the back part of sleeves4 ,at the end of the last row fasten off4 ,illustration3 ,fig4 #bdh4 ,half of a jacket in shell stitch ,the lower part of the back is now to be made4 ,count #h shells 7sh7 along from the end of the last row and begin to crochet there1 working as with #crd row until within #h sh of each other end of last long row4 ,crochet in pattern upon this row until #aa rows in all have been worked4 ,upon the #abth row increase #a sh in the #b s c from each end by making #b sh in those st instead of one4 ,work without increasing for #ac rows more1 then fasten off4 ,go back to the foundation and upon the other side of it1 beginning where the first row ended1 crochet #ac sh as in #ast row4 ,this is the commencement of the left shoulder and front4 ,upon this row work #c rows more in the usual way4 ,at the end of the last row drop the loop temporarily from the needle1 tie in an extra ball of wool at the top of the very beginning of the last row1 ch #ab and fasten off4 ,with this ch the extra width for the centre of the front is secured4 #eth row--,again take the dropped loop upon the needle and crochet as usual making #c sh upon the extra ch4 ,the row is now #af sh wide4 ,work in pattern for #ag rows more1 the last row ending at the wrist4 ,fasten off4 ,on the #ast short row of lower front count #h sh along from end of last row1 begin there1 work as usual to the other end1 then crochet back and forth until the front is as long as the back1 increasing #a sh on the #acth row in the #b s c from the underarm seam4 ,the second front is made exactly like the first4 ,the #crd pattern row now is worked up the fronts around the neck1 across the lower edge of jacket and sleeves1 then finished with a scalloped edge worked as follows3 ,make #a s c in space preceding st where s c was made on row below1 ch #e1 #a s c on top of #ast d c below1 ch #d1 #a s c in same space1 ch #e and repeat from beginning around all the edges1 fasten off4 ,shape the jacket by crocheting the sleeves and underarm seams together4 ,crochet should be carefully washed and should not be put in the general laundry4 ,make suds of warm water and a little borax4 ,put the article1 if of cotton or linen thread in and let it soak for a little while1 then squeeze the water out of the article between the hands4 ,rinse in several waters in this manner always using warm water4 ,put the piece in a white bag and hang on the line4 ,this way keeps the piece from stretching out of shape4 ,keep it on the line till the article is perfectly dry4 ,knitted articles should also be treated in like manner when washing for if a knitted piece was pinned on a line to dry the article would be stretched out of shape4 ,,xxix ,,irish ,,crochet ,,lace ,irish ,crochet lace is one of the most durable of laces and is suitable to be worn for all occasions4 ,it especially recommends itself for pick-up or porch work4 ,it looks well and does not take an endless while to make1 as almost every motif is made separately thus giving a variety4 ,and although one may not have more than a few minutes to devote each day to the work1 it is surprising how many articles can be completed with little effort and little time4 ,the materials necessary are a steel crochet hook1 considerably finer than for ordinary crochet work1 as the work must be very firm1 even and close4 ,irish ,crochet ,thread1 numbers #cf to #ej or ,d4 ,m4 ,c4 cotton numbers #gj to #ajj inclusive and number #aj for the padding cotton will be needed4 ,all laces look better if pressed before making up1 this is especially true of ,irish ,crochet4 ,and when slightly soiled it can be washed in soap suds1 made from any good laundry soap2 rinse thoroughly in several waters1 starch slightly and iron on the wrong side on a heavy blanket4 ,these simple directions help to make the lace look like new4 ,in ,irish ,crochet the motifs are made separately mostly worked over a padding cotton4 ,illustration3 ,fig4 #bdi4 ,doily with crochet edge ,then these motifs are basted on a pattern of cambric1 or paper muslin which has been cut to the desired shape4 ,a row of chainstitching is worked and basted to the edge of the pattern1 then the filling in background is worked1 joining the different motifs together with rows of chainstitching and picots or any other background stitch desired4 ,doily with ,irish ,crochet ,edge 7,figure #bdi74 ,this can also be used for a bread plate4 #ast row--around a #bd inch circle of linen work a row of single crochet4 #bnd row--#e chain1 miss #c single crochet and fasten with a single crochet in the #dth stitch2 continue around mat4 ,illustration3 ,fig4 #bej4 ,the design for the belt #crd row--,into each group of chains work #c single crochet1 #a picot1 #c single crochet4 #dth row--#f ch fasten in the picot loop4 #eth row--#c single crochet1 picot1 #c single crochet1 #a picot1 #c single crochet1 #a picot2 continue all around4 ,this completes the mat4 ,belt of ,irish ,crochet 7,figure #bej74 ,this belt is very useful1 especially as it is mounted upon a foundation1 which is the ordinary cotton waist belting1 one inch wide sold at all notion counters for a few cents4 ,the crochet belt is basted upon this belting after being stretched and starched4 ,to make the belt3 #ast row--,chain #bf1 turn4 #bnd row--#a double crochet in #fth stitch of chain1 chain #b1 miss #b stitches and work #a double crochet in #ith stitch of chain1 chain #b1 miss #b1 chain and work #a double crochet in #abth stitch of chain1 chain #e1 skip #e1 chain1 #a double crochet into #agth stitch of chain1 chain #b1 #a double in #bjth stitch of chain1 chain #b1 miss #b chain1 #a double crochet into #bcrd stitch of chain1 chain #b1 miss #b and work #a double crochet in #bfth stitch4 #crd row--,chain #e1 #a double crochet in top of double crochet of preceding row1 chain #b1 #a double crochet in top of double crochet1 chain #b1 #a double crochet in top of double crochet1 chain #b1 #a double crochet in top of double crochet1 #e double crochet over chain of #e1 #a double crochet in top of double crochet1 #b chain1 #a double crochet in top of double crochet1 #b chain1 #a double crochet in top of double crochet1 chain #b1 #a double crochet in #bnd stitch of chain of #e at the end2 turn and repeat from #bnd row for length required4 ,for the edge1 work on both sides of the belt into every chain loop #c single crochet1 #a picot #c single crochet4 ,rose ,tie with lawn facing 7,figure #bea74 ,this bow has an under facing of lawn with a simple crochet edging of double crochet and chain stitch with picots1 worked at even intervals4 ,for the crochet tie3 ,illustration3 ,fig4 #bea4 ,rose tie with lawn facing #ast row--,work rose the same way as the one in the wheel tie4 ,now crochet around the rose in this manner 99 chain #c1 #a single crochet caught in the #ast double crochet of the rose petal1 #e chain1 #a double crochet in #eth stitch of petal1 chain #e1 #a double in #hth stitch of petal1 #e chain2 repeat from 99 five times more4 #bnd row--#e chain1 #a single crochet in each previous group of #e chain1 continue around entire rose4 #crd row--#f chain #a single crochet in each preceding loop of chain4 #dth row--99 #f chain1 #i double crochet in first space1 #f chain1 #a single crochet for next #d spaces1 #f chain1 then #i double crochet in #eth space2 repeat from 99 twice more4 #eth row--99 #f chain1 #a single crochet in #ast double crochet of group1 #f chain1 #a single crochet in #eth double1 #f chain1 #a single crochet in #ith double2 repeat from 99 all around4 ,for the next two rows work #f chain1 #a single crochet in each previous group of chain4 ,finish the edge with a row of chain and picot4 ,work two sections like the one described and fasten together in the centre4 ,sew this upon the lawn facing and the tie is complete4 ,if the tie shows any tendency to cap in the course of construction add an extra chain in the group of chain stitches every now and then4 ,wheel ,tie with ,rose and ,straps with ,shamrock 7,figure #beb47 ,wind padding cotton #f times around the crochet needle4 ,over this ring work3 #ast row--#ej double crochet4 #bnd row--,chain #e1 miss #b double crochet1 99 in the third stitch1 work #a double crochet1 #b chain1 miss #b double crochet repeat from 99 #bd times4 ,work a spider in the centre of the ring1 with a needle and thread4 ,illustration3 ,fig4 #beb4 ,wheel tie with rose and straps with shamrocks ,make #h of these wheels for the tie4 ,join together with filling stitch 7#c chain and a single crochet74 ,after working #c chains and a single crochet around the edge of the tie1 work #a single crochet in first space1 #c chain1 #a single crochet in second space1 #c chain 99 #a double crochet1 #g chain in third space 7catch back into second chain from needle to form a picot chain7 repeat from 99 #d times more1 chain #c1 #a single crochet in next space1 chain #c1 #a single crochet in second space4 ,continue in this manner all around tie4 ,for rose in centre of tie4 #ast row--,chain #f1 join in a ring4 #bnd row--,chain #f 99 #a double crochet into ring1 #d ch #a double crochet1 #d chain repeat from 99 twice more and join4 #crd row--,over first #d chain work 99 #a single crochet1 #e double crochet1 #a single crochet2 repeat from 99 #e times4 #dth row--,work a row of #g chain loops fastening at back of first row of single crochet 7this is what helps to form the rose petals and makes them stand one above the other74 #eth row--,over these loops work 99 #a single crochet1 #g double crochet1 #a single crochet1 repeat from 99 all around4 #fth row--,a row of #i chain loops4 #gth row--,into these loops work #a single crochet1 #i double crochet1 #a single crochet2 this completes the rose4 ,let me mention here that roses can be substituted for the shamrocks worn on the ends of the straps4 ,for straps4 ,work #bg single crochet over a padding cord1 join in a ring4 ,work #i single crochet over padding cord1 #a chain1 #i single crochet1 #a single crochet1 over padding cord into the chain stitch4 ,continue working #i single crochet1 #a chain1 #i single crochet over padding cotton and fastening each time in the chain stitch with a single crochet4 ,one strap is #f inches long and the other is #g inches long4 ,for the edge of straps work #b chain1 #a double crochet1 in first single crochet of previous row1 #b chain1 #a double crochet in #crd stitch1 #g chain count back #e chains and slip stitch 7to form a picot7 #a double crochet in #eth stitch1 #b chain1 #a double crochet in #gth stitch1 #b chain1 #a double crochet in #ith stitch4 ,continue on both sides of straps4 ,for the shamrocks4 ,wind padding cotton over the end of crochet hook #f times4 ,over this ring work #cj single crochet4 99 ,over #c strands of padding cotton work #aa single crochet4 ,twist padding cotton in a downward loop and work #a single crochet over crossing of padding cotton1 continue #ae single crochet over the loop1 draw padding cotton to pull loop up close and then work #aa single crochet over padding cotton alone4 ,miss #b single crochet on ring and work #b single crochet over padding cotton into next #b stitches of ring4 ,turn1 leave padding cotton1 #ab chain1 #a single crochet into top of crossing loop1 #ab chain1 #a single crochet into ring just before beginning of arch4 ,turn1 over #ab chain work #d single crochet1 #a double crochet1 #a treble crochet4 ,work #a treble crochet into single crochet over crossing of loop4 ,continue over next #ab chain1 #ad treble1 #a double and #d single crochet4 ,work #d single crochet over padding cotton into next #d single crochet on ring1 repeat from 99 twice more leaving out the #d single crochet over padding cotton into the ring the last time4 ,turn1 work a row of single crochet over padding cotton4 ,between petals take the needle out1 insert in stitch half way between the petals1 and pull loop through1 this will give a better shape to the petals4 ,then continue with single crochet4 ,for stem work #c single crochet over padding cotton into ring4 ,then #dj single crochet over padding cotton alone1 turn and work #dj single crochet over padding cotton into the previous row of single crochet to the ring4 ,to shape the stem to the right pull the padding cotton before working the second row of single crochet4 ,long ,jabot 7,figure #bec74 ,over a padding cotton work #ej single crochet1 turn1 and work down other side1 #da single crochet over padding cotton into previous row of single crochet 7leaving one-half of stem still to be worked74 #ast arm--,now twist the padding cotton under the stem1 fasten with a slip stitch1 over the loose padding cotton work #ah double crochet1 turn and work over padding cotton into each double crochet1 #ah trebles1 fasten with a single crochet in the #eth single crochet of centre stem4 #bnd arm--,turn work over padding cotton1 #aj double crochet into double crochet of previous row4 ,now work #h double crochet over padding cotton alone1 turn and work #ah treble crochet over padding cotton into the double crochet of previous row4 ,fasten in #ajth stitch1 this completes the second arm4 ,illustration3 ,fig4 #bec4 ,long jabot ,now work #h arms more in the same way1 then finish the stem with #i single crochet over padding cotton into the other single crochet of stem4 ,for the centre work over #b strand padding cotton #f double crochet and fasten into the single crochet which connects the arms to the stem1 continue all around centre and fasten off4 ,work #cf chain1 into these work #cf double crochet with #f double on each end4 ,continue working until there are #d rows of doubles4 ,connect the leaf to this with slip stitch1 baste on paper and work #c rows of the filling stitch all around4 #ast row--,for the edge1 work #f chain loops into every loop of previous row4 #bnd row--,over #f chain loops work #g single crochet4 #crd row--#f chain loops caught into every #dth single crochet4 #dth row--,into #f chain loops work #d single crochet1 picot1 #d single crochet1 then into #bnd or next loop work #d single crochet1 picot1 #d single crochet1 into #c loop work #d single crochet4 #e chain turn and fasten in the #dth double crochet over #bnd loop1 turn and over chain work #d double crochet1 picot1 #d double crochet1 then into the #crd loop finish with the other #d single crochet2 repeat from 99 all around jabot4 ,baby ,irish ,lace1 with ,rose ,leaf and ,grapes 7,figure #bed74 ,for roses4 ,chain #ab4 ,into chain work 99 #a double crochet1 #c chain repeat from 99 for #f times more4 ,into each group of #c chain work #a single crochet1 #f double crochet1 #a single crochet making seven petals to a rose4 ,for the leaves4 ,chain #h1 join in a ring4 ,over this ring work #cb single crochet without breaking the thread1 chain #h and form another to the right and a little above the other ring1 work #cb single crochet into this one also1 again chain #h and form a ring to the left of the first ring1 fill this ring with #cb single crochet4 ,for grapes4 ,illustration3 ,fig4 #bed4 ,baby ,irish-lace edging ,chain #c1 join4 ,fill chain with single crochet1 continue working around1 widening as needed for #c rows4 ,decrease by missing a stitch occasionally to shape grapes4 ,just before finishing stuff with cotton1 make #c grapes for each cluster and fasten into centre of leaf4 ,baste all motifs on muslin and fill with background stitch4 ,for edge of scallop work groups of #f chain caught down with a single crochet then 99 #d single crochet into first space1 #b single crochet into next space1 #f chain1 turn1 fasten into single crochet1 turn1 #c single crochet over chain1 picot1 #e single crochet1 #b single crochet into same space1 #d single crochet into next space1 #f chain1 turn1 and catch down beside first loop1 turn1 #d single crochet over chain1 #f chain turn1 catch down in centre of first loop1 turn1 #d single crochet1 picot1 #d single crochet1 into chain1 #a single crochet into next loop1 picot1 #c single crochet1 #d single crochet into next space and repeat from 99 all around edge of lace4 ,dutch ,collar 7,figure #bee74 ,begin the rose with a small thick ring made by winding the padding cotton ten times around the end of the crochet needle4 ,cover this ring with single crochet1 cutting off the end of the padding cotton when the ring is three quarters covered4 99,chain #f1 catch down into the ring2 repeat from 99 #e more times1 dividing the spaces as evenly as possible so the last chain is caught down beside the first one4 ,over the chain loop work 99 #a single crochet #g double crochet1 #a single crochet1 repeat from 99 all around4 99,chain #g1 catch down at back in the same stitch as that in which the chain loops of the preceding row was caught1 repeat from 99 all around4 ,over chain loop 99 #a single crochet1 #i double crochet1 #a double crochet4 ,repeat from 99 all around4 99,chain #h catch down in back same place as before4 ,repeat from 99 all around4 99,over chain loops work repeat from 99 #a single crochet1 #aa doubles1 #a single crochet1 this finishes the rose centre4 99,now begin the first row around the rose 99 #g chain #c picot1 7catch back into third stitch7 chain #g1 picot1 #c chains1 catch down in first petal in outer row1 repeat from 99 #ab times more1 spacing these picot loops evenly all around1 catching the last one into the centre of the first4 99,next work one picot loop catching in into centre of loop of row below1 then a loop of #f chains1 repeat from 99 caught into centre of next picot loop4 ,turn and over this loop work #i single crochet1 turn1 work #i double crochet over the single crochet #c chain1 catch down into same stitch as the #f chain loop was caught4 ,work #b rows of picot loops1 then repeat from 99 all around finishing the row in the corner of the first #i double crochet ornament4 #ith row--,work a row of plain picot loops4 #ajth row--,work a row of plain picot loops4 #aath row--,another row of plain picot loops4 ,five roses are required for the collar4 ,for the wheels4 ,illustration3 ,fig4 #bee4 ,an ,irish-lace ,dutch collar ,over a padding cotton ring1 work single crochet4 ,over a single strand of the padding cotton crochet into every single crochet1 a single crochet1 work #d rows the same way only add a picot in every #dth single crochet in the last row4 ,now begin the first row around the wheel 99 chain #g1 catch into the last single crochet of the wheel1 chain #g1 picot1 chain #g1 chain #c1 skip #b stitches of the wheel and catch down into the #crd with a single crochet1 repeat from 99 all around4 ,next work #a picot loop1 catching it into the centre of loop in row below1 then a 99 loop of #f chain caught into centre of next picot loop4 ,turn1 and over this loop work #i single crochet1 turn and work #i double crochet over the single crochet1 #c chain stitch down into same stitch as the #f chain loop was caught4 ,work #b more picot loops1 then repeat from 99 all around finishing the row in the centre of the first ornament4 ,work a row of plain picot loop4 ,another row of plain picot loops4 ,make four wheels for the collar4 ,sew the roses and wheels firmly on the cambric pattern 7the size and style having been cut out of the cambric74 ,placing them so as to leave room for a single row of picot loops to be worked between to join them1 crochet a chain of chain stitches and baste them upon the edge of the cambric pattern4 ,fill the work out to the desired shape with the picot loops1 which should contain the same number of chain stitches as the loops in the roses and wheels1 #c chain1 #a double crochet1 #c chain1 work a row all around collar1 then begin the border or edge4 ,work around the inner edge and fronts of collar #d single crochet into each loop1 then around the lower edge 99 #d single crochet in the first space1 #d single crochet in the second space1 #b single crochet in the third space2 chain #f down at the beginning of second space4 ,over the loops thus formed make #c single crochet1 picot1 #g single crochet1 #b single crochet into same 7third7 space1 #d single crochet into next space4 ,turn1 #f chain catch down into next to the last loop1 turn1 #e single crochet over the loop1 chain #f1 turn1 and catch down into centre of first loop4 ,turn1 #e single crochet1 picot1 #e single crochet over this last loop1 #b single crochet into the next loop1 picot1 #c single crochet1 repeat from 99 all around edge4 ,take the collar up from the cambric and press upon the wrong side over a blanket or heavy flannel4 ,,xxx ,,knitting1 ,,plain ,,and ,,purling1 ,,wash ,,rags1 ,,and ,,fancy ,,stitches ,,for ,,shawls ,there are certain terms used in knitting that are peculiar to the work4 ,until these terms are studied and practised1 the instructions are as bad as trying to read a foreign language that you know nothing about4 ,knitting is usually done on two needles though there are times when more needles are used1 for instance1 in knitting stockings4 ,thread1 silk or worsted can be used for the work4 ,the latter is best for practising the first stitches or pieces4 ,the first term we learn in knitting is to cast on stitches 7,figure #bef74 ,select a pair of medium-sized wooden needles4 ,your worsted should be wound into a ball4 ,casting on is the foundation for the work4 ,take a knitting needle in each hand between the thumb and first finger4 ,make a loop of the worsted over the left-hand needle near the end4 ,put your right-hand needle through this loop under the left needle4 ,holding the needles in this position1 throw the worsted around the point of the right-hand needle and draw the right-hand needle through the first loop4 ,there is now a loop on each needle4 ,slip the last loop made over the left needle4 99 ,both needles are in the one loop1 the left on top of the right4 ,again throw the worsted over the point of the right-hand needle and draw the needle through with the loop on it4 ,slip this loop over the left-hand needle and repeat from 991 till the number of stitches desired are cast on4 ,illustration3 ,fig4 #bef4 ,casting-on ,the 99 indicates from which point the directions are to be repeated4 ,the ,german method of knitting is to hold the work in the left hand and the worsted over the first finger1 under the second and third and then over the little finger4 ,to knit1 the right-hand needle is in the first loop from the point of the other needle4 99 ,throw the worsted over point of the right-hand needle and draw it through the loop4 ,slip the first stitch off the left needle and insert the right needle into the next stitch and repeat from 991 till all the stitches have been transferred to the right-hand needle 7,figure #beg74 ,illustration3 ,fig4 #beg4 ,knitting 7,k7 ,remember to hold the work in the left hand when starting to knit each needle or row4 ,illustration3 ,fig4 #beh4 ,purling 7,p7 ,to purl 7,figure #beh74 ,the work is held in the left hand4 ,the worsted is brought in front of the work4 ,the right-hand needle is inserted through the stitch from right to left in front of the left needle4 ,pass the point of the right needle over the worsted and draw the loop through4 ,slip off the stitch on the left needle as in knitting4 ,repeat in this manner until all the stitches are transferred4 ,sometimes it is necessary to get rid of some of the stitches4 ,in that case the needle is slipped through two stitches instead of one and the new stitch formed in the usual way4 ,there are two abbreviations for purling two together4 ,they are p4 #b tog4 or p-n4 ,the latter means purl narrow4 ,when knitting1 two stitches can also be taken together4 ,the abbreviation for this is n4 ,k4 #c tog4 means knit three stitches 7sts7 together as one stitch4 ,to slip-stitch means to take a stitch from the left-hand to the right-hand needle without knitting it1 and its abbreviation is sl4 ,to bind or cast off means to slip the stitches from the needle so that you have a chain edge4 ,slip the first stitch and knit the second4 ,you now have two loops on the right-hand needle4 99 ,put the point of the left needle 7from left to right7 through the first stitch on the other needle4 ,hold the worsted tight4 ,slip the right-hand needle through the loop formed as described above and then slip the loop from the left needle4 ,there is only one loop on the right-hand needle4 ,knit the next stitch and repeat from 994 ,casting off must be done loosely or the work will have a puckered appearance4 ,illustration3 ,fig4 #bei4 ,a little girl's first piece of knitting ,it may be that you desire to widen the row of stitches4 ,both widening and decreasing is done at the end of needle or row4 ,knit as usual till there remains but one loop on the left-hand needle4 ,insert the left-hand needle through the loop at the base of the last stitch4 ,bring worsted around the point and make a stitch as usual4 ,the last stitch is knitted in the usual way4 ,after you have practised the stitches with wool1 it is well to buy a ball of coarse knitting cotton and a pair of steel needles4 ,the cotton makes excellent wash cloths4 ,cast on #ej stitches then knit or purl the same amount of rows as stitches4 ,to make a fancy cloth knit three rows then purl three rows until you have the fifty rows4 ,the long straight shawls are the most popular at present4 ,a little one for yourself that would be quite pretty is made in pop corn stitch 7,figure #bfj74 ,it requires five skeins of worsted and a pair of wooden needles4 ,illustration3 ,photograph by ,mary ,g4 ,huntsman4 ,her ,first ,knitted ,shawl ,cast on #ei stitches on your needle4 #ast row--,k #ast1 then knit two stitches together 7#b ,k tog7 the rest of the way4 ,you now have #cj stitches on your needle 7,figure #bfj74 #bnd row--,k first stitch1 then knit the loop which is formed between the double stitches of the first row4 ,continue in this manner till you have again on the needle the same number you cast on--#ei4 #crd row--,k plain all the way across4 #dth row--,p plain all the way across4 #eth row--,k #b together all the way across to the last stitch1 then k that by itself4 #fth row--,same as second row4 #gth row--,k plain4 #hth row--,p plain4 ,continue in this manner till you make a scarf about one yard long4 ,illustration3 ,fig4 #bfj4 ,the popcorn stitch ,the popcorn pattern affords good practice for the different stitches explained before4 ,if a longer shawl is desired continue in the same manner4 ,to make it broader it will be necessary to cast on more stitches at the beginning4 ,a shawl may be finished in many ways4 ,sometimes a little crochet edge is worked around it1 or a chain stitch fringe can be made4 ,the plain fringe is the one most used however4 ,this is made by cutting the wool about ten inches long4 ,take four lengths and slip them through and knot them into the border edge at each end of the shawl4 ,this makes a fringe about five inches deep4 ,illustration3 ,fig4 #bfa4 ,the basket stitch ,the basket stitch makes a thick shawl 7,figure #bfa47 ,to make a wide shawl in this stitch #aj skeins of ,germantown wool will be required4 ,cast on #abj stitches4 #ast row--,knit plain4 #bnd row--99 ,k #c1 p #g1 k #c1 p #g1 repeat from 99 to end of needle4 #crd row--99 ,k #g1 p #c1 k #g1 p #c1 repeat from 99 to end of needle4 #dth row--99 ,k #c1 p #g1 k #c1 p #g repeat from 99 to end of needle4 #eth row--,p the entire row4 #fth row--99 ,p #g1 k #c1 p #g1 k #c1 repeat from 99 to end of needle4 #gth row--99 ,p #c1 k #g1 p #c1 k #g repeat from 99 to end of needle4 #hth row--,like #fth row4 #ith row--,p entire row4 ,nine rows form the pattern1 repeat from second row until you have a shawl two yards long4 ,,xxxi ,,doll',s ,,cape1 ,,hood1 ,,leggings ,,and ,,jackets ,,doll',s ,,cape4 ,material--#c ,fold ,saxony1 #b ,steel ,knitting ,needles ,no4 #aj1 #a ,steel ,crochet ,hook ,no4 #f4 ,commence with #a stitch4 ,knit plain1 increasing #a stitch beginning of each needle until there are #cj stitches on needle4 ,increase #a1 knit #ab stitches1 bind off #f stitches1 knit #ab stitches4 ,increase #a stitch beginning of needle1 knit to end of row2 turn1 knit #a row plain4 ,repeat until there are #ae stitches on needle4 ,now increase #a stitch at the neck and decrease #a stitch at end of row1 #a row plain4 ,repeat #c times more4 ,knit plain without increasing at front and #b together at end of needle1 until #a stitch is left on needle1 fasten off4 ,finish the right side same as left4 ,crochet a row of holes for ribbon1 #a chain1 #a double all around4 ,with blue yarn crochet #a row1 #c chain1 #a single4 ,doll's ,jacket 7,figure #bfc74 ,material--#c ,fold ,saxony1 #b ,steel ,knitting ,needles ,no4 #af1 #c ,steel ,knitting ,needles ,no4 #ac1 #a ,steel ,crochet ,hook ,no4 #f4 ,illustration3 ,fig4 #bfb4 ,doll's knitted cape ,illustration3 ,fig4 #bfc4 ,doll's knitted jacket ,cast on steel needles ,no4 #ac1 #fd stitches1 #a plain #a purl for #bf rows1 ,knit #af stitches2 turn4 ,take another needle1 knit the #af stitches for #e rows with ,no4 #af needles knit plain for yoke1 decreasing #a stitch at the neck until there are #ab stitches on needle1 knit plain until there are #g ridges1 bind off4 ,from the #dh stitches left on needle1 knit #cb stitches for #ad rows2 bind off4 ,finish left front same as right4 ,sleeves--,cast on steel needles ,no4 #af1 #bf stitches4 ,knit plain for #f ridges4 ,with steel needles ,no4 #ac knit #a plain1 #a purl for #bj rows4 ,bind off #c stitches beginning of each needle until #h stitches are left on needle2 bind off4 ,sew up seam and shoulder seams4 ,crochet a row of holes around neck for ribbon1 #a chain1 #a double4 ,with blue yarn crochet one row1 #c chain1 #a single all around4 ,doll's ,cap 7,figure #bfd74 ,material--#b ,fold ,saxony1 #b ,steel ,knitting ,needles ,no4 #af1 #b ,steel ,knitting ,needles ,no4 #ac1 #a ,steel ,crochet ,hook ,no4 #f4 ,with blue yarn cast on ,no4 #af steel needles #de stitches4 ,knit plain for #f ridges4 ,with white yarn and ,no4 #ac needles1 #a plain1 #a purl for #ag rows4 ,illustration3 ,fig4 #bfd4 ,doll's cap ,crown--,knit #bi stitches1 knit #b together2 turn1 knit #ad stitches1 knit #b together4 ,repeat until all side stitches have been worked up and the crown is complete4 ,then pick up stitches on both ends1 first on one side2 turn1 knit them plain1 also the crown stitches1 then pick up the stitches on that side and knit them4 ,make a row of holes for ribbon1 yarn over needle twice1 then knit #b together to end of row4 #a row plain1 knitting only #a of the stitches cast on4 ,with blue yarn crochet #a row1 #c chain1 #a single4 ,doll's ,leggings 7,figure #bfe74 ,material--#c ,fold ,saxony1 #b ,steel ,knitting ,needles ,no4 #ac1 #a ,steel ,crochet ,hook ,no4 #f4 ,cast on #cb stitches4 #a plain1 #a purl for #ba rows4 ,decrease beginning and end of needle4 ,knit for five rows4 ,decrease continuously #a stitch beginning and end of needle every #fth row1 until there are #bb stitches on needle4 ,knit for #ae rows4 ,bind off #f stitches1 knit #aj1 take another thread1 bind off the remaining stitches4 ,knit the #aj stitches for #d rows4 ,decrease beginning and end of each needle1 until there are #d stitches on needle4 ,bind off and sew up seam4 ,with blue yarn crochet #c chain1 #a single around top of legging4 ,illustration3 ,fig4 #bfe4 ,a doll's legging ,infant's ,knitted ,bootees 7,figure #bff74 ,material--#b ,skeins ,white ,wool1 #a ,skein ,pink or ,blue1 #a ,pair ,knitting ,needles ,no4 #af4 #ast row--,cast on #ec stitches in coloured wool4 #bnd row--,knit plain to the end of row4 #crd row--,slip #a1 make #a1 knit #be1 make #a1 knit #a1 make #a1 knit #be1 make #a1 knit #a4 #dth row--,knit plain to the end of row4 #eth row--,slip #a1 make #a1 knit #bg1 make #a1 knit #a1 make #a1 knit #a1 knit #bg1 make #a1 knit #a4 #fth row--,knit plain to end of row4 #gth row--,slip #d1 make #a1 knit #bi1 make #a1 knit #a1 make #a1 knit #bi1 make #a1 knit #a4 #hth row--,knit plain to the end of row4 #ith row--,slip #a1 make #a1 knit #ca1 make #a1 knit #a1 make #a1 knit #ca1 make #a1 knit #a4 ,illustration3 ,fig4 #bff4 ,infant's knitted bootee #ajth row--,knit plain to end of row4 #aath row--,slip #a1 knit #cc1 make #a1 knit #a1 make #a1 knit #cd4 #abth row--,knit plain to end of row4 #acth row--,slip #a1 knit #cd1 make #a1 knit #a1 make #a1 knit #ce4 #adth row--,knit plain to end of row4 #aeth row--,slip #a1 knit #ce1 make #a1 knit #a1 make #a1 knit #cf4 #afth row--,knit plain to end of row4 ,you must now have #ge stitches on your needle4 ,knit now #h plain rows then knit #dc stitches1 now knit #b together4 ,turn your needles and continue this until you have #be stitches on each side of needle4 ,you must now tie on the white wool then knit #ab plain1 then knit #b together as above1 you are beginning now to make the part that forms the little sock4 ,knit #b together #g times1 turn your needle1 knit #a1 pick up the stitch that you will see between the two stitches that you have knitted1 two together1 next row knit plain4 ,next row purl #a1 then you have four rows complete4 ,commence #b together again #g times continue this until you have #e pattern rows4 ,always remember to take #b stitches together after you have knitted the #ab stitches4 ,there should be #ad stitches on each side needle4 ,tie on the coloured wool again and knit plain to end4 ,knit #a row plain then make #a1 knit #b together to the end of row4 ,then make #a1 pick up the stitch already explained4 ,tie on white wool1 knit #a row plain4 ,begin the pattern again by knitting #b together4 ,remember you must always begin a row on the right side of the bootee4 ,do #g rows of the pattern1 then #ab rows ribbed4 ,rib is to knit #b plain rows and purl #b rows4 ,after knitting #ab rows cast off on the right side and sew the bootee up neatly at the back and run some ribbon in to finish it off4 ,a warm hood for the baby 7,figure #bfg74 ,this hood requires an ounce and a half of ,shetland wool and one pair of fine bone needles ,no4 #g4 ,cast on #ba stitches1 knit #f rows or three ridges plain4 ,second row--,knit one 99 wool over needle twice1 knit #b together1 repeat from 994 ,knit #c more rows plain4 ,cast on #ba stitches at one end and knit back and cast on #bj more at the other4 ,knit on these #fb stitches that are on the needle for #cj more rows4 ,now start a new pattern by knitting #a for the edge 99 wool over1 slip the next stitch on the right-hand needle1 knit the next two1 pass the slipped stitches over these two4 ,note the two loops remain on the right-hand needle and the wool cast over4 ,there knit from 99 to the end of row1 knitting last stitch plain1 purl back4 ,repeat these #b rows #bj times4 ,cast off the #bj and #ba stitches at the end4 ,knit on the original #ba stitches for #cj rows4 ,illustration3 ,fig4 #bfg4 ,a knitted hood ,next row--,knit #a 99 wool across the needle twice1 knit #b together1 repeat from 994 ,knit #f rows4 ,cast off4 ,your knitting is now finished and somewhat in the shape of a cross4 ,join the ,x's to the ,x's on the wrong side4 ,sew right up to the corner4 ,join the dashes to the dashes1 the ,o's to the ,o's1 the diamonds to the diamonds in like manner 7,figure #bfh74 ,you will have a piece of knitting that looks like a box cover4 ,turn it so the wrong side is in the right position4 ,fold the backs over the other so that the #b rows of holes correspond4 ,sew along the bottom edge4 ,turn back a little corner from the plain knitting and sew it down4 ,run a ribbon through the holes and tie in a bow in front4 ,illustration3 ,fig4 #bfh4 ,diagram of hood ,knitted ,vest for ,baby4 ,materials required1 #aj oz4 of ,shetland ,wool1 a pair of ,bone ,knitting ,needles ,no4 #ab and #b yds4 of ,ribbon4 ,cast on #adj stitches4 #ast row--,knit plain4 #bnd row--,knit #b purl #b all the way across4 ,continue knitting #b and #b ribs for #e inches4 ,to form the armholes work backward and forward on the #ast #dj stitches for two and three quarter inches4 ,cast off all but #ab stitches for the shoulder strap4 ,work #ab rows on these #ab stitches and cast off4 ,for back--,continue from where you divide it for the armhole for #fj stitches leaving #dj for the second front4 ,work two and a quarter inches on the #fj stitches4 ,cast off4 ,make second front the same as first4 ,sew up on shoulders4 ,a pretty little crochet edge around the neck and armhole will complete this comfortable little vest4 ,a simple crochet edge is made by working one double crochet1 99 #d chain1 #a double crochet in first chain1 miss #b stitches1 #a double crochet1 repeat from 99 sew the two small pieces of ribbon that have been cut in half to the vest4 ,tie in a bow4 ,the bows hold the little garment together4 ,pine ,pattern ,lace4 ,cast on #bh stitches and knit across plain4 #ast row--,slip #a1 knit #b together1 make #b1 knit #b together1 knit #aj1 knit #b together1 make #b1 knit #b together1 knit #a1 make #b1 knit #b together1 make #d 7thread four times round needle7 knit #b together1 knit #b together1 make #b1 knit #b together4 #bnd row--,knit plain1 but work twice 7knit #a and purl #a7 in each of these make #b loops4 ,in the #bnd row work #f times 7knit #a1 purl #a1 knit #a1 purl #a1 knit #a1 purl #a17 all in the #d made stitches4 #crd row--,slip #a1 knit #b together1 99 make #b1 knit #b together1 knit #b1 knit #b together1 make #b1 knit #b together2 repeat from 99 once1 knit #b1 make #b1 decrease #b 7by working slip #a1 knit #b together1 draw the slipped stitch over71 knit #e1 decrease #b1 make #b1 knit #b together4 #dth row--,the same as second row4 #eth row--,slip #a1 99 knit #b together1 make #b1 knit #b together1 knit #a1 repeat from 99 three times1 knit #b1 make #b1 decrease #b1 knit #c1 decrease #b1 make #b1 knit #b together4 #fth row--,the same as second row4 #gth row--,slip #a1 knit #b together1 make #b1 knit #b together1 knit #b1 knit #b together1 make #b1 decrease #b1 make #b1 knit #b together1 knit #b1 knit #b together1 make #b1 knit #b together1 knit #d1 make #b1 knit #b together1 knit #b together1 draw the first two together2 stitch over the second thus decreasing again1 decrease #b1 make #b1 knit #b together4 #hth row--,the same as second row4 #ith row--,slip #a1 knit #b together1 make #b1 knit #b together1 knit #d1 knit #b together1 knit #e1 knit #b together1 make #b1 knit #b together1 knit #f1 make #b1 decrease #b1 make #b1 knit #b together4 #ajth row--,knit #b together1 drop the second loop of the make #b1 knit #a1 draw the first stitch on the right-hand needle over the knitted one1 thus decreasing again2 knit #a1 purl #a1 knit #h1 purl #a1 knit #ac1 purl #a1 knit #b4 ,repeat from first row4 ,,xxxii ,,embroidery ,,suggestions ,,for ,,boarding ,,school ,,girl ,a girl who has to make a home of her boarding school should try and make her room and little personal articles as attractive as possible4 ,her room is her citadel where only her bosom friends and cronies meet4 ,one likes to feel when they enter their room that it is a place where everything is hers and every object in sight means something to her4 ,a girl might not like to embroider1 yet there are hundreds of things that can be done without any needlework decoration1 such as stencilling1 cut leather or simple appliqu4 ,it always amused me to hear a girl say1 ,i don't like to embroider4 ,i always feel like asking her1 if we are acquainted1 if she knows how to embroider4 ,you will find that in nine cases out of ten she does not4 ,embroidery is like anything else1 you have got to know it to like it4 ,it may be you prefer one branch to others4 ,some branches of this work may be tedious to you but when you stop and think what simple things are classed under embroidery you will find that you have a wide field from which to select4 ,it is not my object to go into details in regard to stitchery in this chapter but rather to give you some helpful suggestions in regard to knowing what to make and what colours to use4 ,the stitches to be used are fully described in the previous chapters4 ,the first thing to consider is1 are you going to have a bedstead or a couch in your room8 ,make it the latter unless you have a broad window seat that you can heap up with pillows4 ,no room at a boarding school or college is complete without a half a dozen pretty pillows4 ,when the chairs give out you can use the cushions1 ,japanese fashion1 on the floor4 ,some girls like to carry their whole room out in cretonne1 which is very pretty and dainty if you can afford it4 ,cretonne covers last about a year and then they get faded and dusty1 while a linen background embroidered will last for many years4 ,it may need laundering but it will stand any amount of that4 ,if the embroidery fades a little that also is no drawback as it takes the effect of newness from the room4 ,a room ought to look as if people lived in it and enjoyed it and not as if it were an exhibition room in some department store4 ,don't think ,i am trying to encourage untidiness but let the things be used and enjoyed4 ,when ,i was about your age for several weeks ,i spent my spare time embroidering a centre piece for my auntie's dining room table taking care to get just the right colours that would look well with her every day china4 ,it nearly broke my heart when it was finished to have her use it only for state occasions4 ,if my cousins do not use it any more than auntie did it will last for hundreds of years1 or be thrown into the rag bag by the next generations if they don't like it4 ,enjoy all the pretty things that you possess if they are appropriate for the use you intend them for4 ,have you ever heard the story of the little dirty boy of the slums who was given a new white tie by his teacher8 ,he had first to wash his hands before he touched it and then he washed himself to wear it and asked his mother for a clean shirt so that everything would go with the tie8 ,do you know that if you have one beautiful thing in your room of which you are very proud you too will see that all the things around it set off its beauty8 ,for the girl who has a window seat in a room and wants to keep her room dainty and bright there is nothing as pretty as the lingerie pillow4 ,it may be made of heavy white linen or lawn as you desire and can be oblong1 round or square4 ,the cushion is covered in any colour that you prefer and the white top embroidered with large eyelets1 ,roman cut work1 ,hardanger or drawn work so that the colour will appear through the openings4 ,some of the handsomest imported pillows have motifs of real ,filet1 ,irish ,crochet or ,cluny lace4 ,these motifs are very expensive and not really necessary4 ,the back and front of the linen cover are scalloped on the edges and half an inch above this scalloping a row of large eyelets is worked at intervals4 ,the back and front are laced together with ribbons the same shade as the coloured covering4 ,for a pink and blue room the cushion can be covered with pink and the lingerie slip laced with blue4 ,for a square pillow plan the design on a square and arrange one in each corner and one in the direct centre4 ,these slips will require frequent laundering4 ,the lithographed pillow is a thing to be avoided by a girl of refined taste4 ,you would not hang lithograph posters in your bedroom so why feel that it is all right to buy a lithograph pillow8 ,the chief point to remember in getting little accessories for your room is to keep the colouring as harmonious as possible4 ,avoid getting the popular things of to-day which are apt to be an eyesore to you to-morrow4 ,do not decide quickly to carry out your room in school colours1 there will probably be a dozen of the girls who will do this very thing and you will be tired of it before your course is through4 ,a fraternity pillow is to be expected as there are dozens of ways that it may be treated and look quite different from the other girls' pillows4 ,the general way in which a school or fraternity pillow is made is to cut out of felt the letters1 figures and any design that is to be placed on it4 ,the background may be broadcloth1 ladies' cloth or felt4 ,use one of the school or fraternity colours for the appliqu and the other for the background4 ,one of the handsomest fraternity pillows ,i ever saw1 was one belonging to a ,hamilton ,college man4 ,hamilton's colours are buff and bright deep blue4 ,the fraternity's colours were black and gold4 ,a handsome piece of ,hamilton blue broadcloth was selected for the background4 ,the fraternity pin was reproduced in colour in fine filo silk4 ,the gold silk was a perfect match to the gold in the pin4 ,even the background of the pin1 which was black enamel1 was represented by very fine ,kensington stitches4 ,the rope-like edge of the pin was reproduced on the pillow by little rope-like sections heavily padded and worked in gold silk4 ,on the back of the pillow were his initial and his class year below4 ,no beruffled ribbons or gaudy cord detracted from its richness4 ,it was a square cushion and its only finish was a large button in each corner where the end was gathered and tucked in to give a round effect4 ,the school girl of to-day is learning to eliminate the unnecessary trumpery things that cheapen the room and serve as dust gatherers4 ,outside of the pillow1 bed or table covers and an occasional bag for fancy work1 laundry or gloves there is no ornate display of handwork4 ,even the walls are left bare with the exception of a framed print or a few family photographs4 ,try if possible and see if you can get a plain paper for your wall4 ,more than one really charming room is spoiled by having an atrocious paper on it4 ,it is really impossible to try to be artistic with an ugly wall paper4 ,since stencilling has become so popular1 it is not an uncommon thing to have the entire room stencilled4 ,suppose you had planned to have your room in lilac1 green and light gray4 ,white can be substituted for the gray but it soils more readily than the latter4 ,the floor should be polished and a couple of small rugs or one larger one be used on the floor4 ,the lilac shade should predominate in the rug4 ,the covers should be of the gray or white with a stencilled design in green and lilac4 ,a pretty way to treat the pillow is to get inexpensive lilac material of a coarse texture4 ,cut a square about fourteen or fifteen inches4 ,cut four strips of white or gray five inches wide by twenty-five inches long4 ,these strips should be finer than the lilac or of a different weave4 ,baste one strip on each side of the lilac square4 ,mitre the strips at the corners4 ,a design is then stencilled on the four strips in lilac and green4 ,the backing of the pillow should be in plain lilac4 ,if preferred a striped lilac and white piece of material can be used for the centre and back4 ,for the girl who is fond of initials or monograms ,i would suggest that the cover be hemstitched and a wreath selected in different sizes appropriate to the article on which it is to be used4 ,these wreaths can be carried out in colour or the background may be coloured and the wreaths white4 ,inside of the wreath work your monogram or initial4 ,if you desire a ,dutch room1 carry out this scheme in ,delft blue material and have a dark set of ,mission furniture4 ,nile green linen with wreaths of conventionalized rosebuds or daisies1 worked in shades of pink1 or white and yellow1 suggests a ,french room1 with a brass bedstead4 ,as ,i have stated in the chapter on initials1 the stem stitch is pretty for working single lines of a design that is carried out in satin-stitch4 ,stem stitch is too slow a method however to embroider school linens1 and ,i would suggest using a substitute that has the effect and yet does not require the time4 ,a row of outlining is made1 and then turn the work back in the same manner1 this time instead of working through the material1 catch the places where the two successive stitches of the first row overlap 7,figure #bfi47 ,another wrinkle you might be glad to hear of and possibly want to put in practice is how to clean a daintily embroidered piece without washing it1 such as a pincushion or pillow top4 ,school is not like home where you can be sure a piece sent to the laundry will have proper attention4 ,another drawback is that all extras have to be well paid for4 ,if the piece is thickly covered with white talcum powder and allowed to stand without disturbing it for forty-eight hours1 the embroidery will emerge almost as clean as if it had been laundered4 ,illustration3 ,fig4 #bfi4 ,a substitute for stem stitch ,now then there are the curtains for your room4 ,you may be fortunate enough to have a room with dainty dotted swiss or dimity curtains that will go very nicely with the things you are planning and then again you may be inflicted with a pair of cheap imitation lace curtains4 ,if you can possibly afford it change them as soon as possible4 ,personally ,i would rather have no curtains than the wrong ones4 ,dimity1 dotted swiss1 scrim1 plain net or grass linen are materials that are inexpensive as well as artistic4 ,of course you can make them as fancy as you wish4 ,any of the above mentioned materials can be stencilled4 ,rick-rack braid1 which is a wavy braid1 can be used to edge the net curtains or a ,connemara lace design is also appropriate4 ,a narrow crochet edge can be used on the edge of the scrim curtains or a narrow border of drawn work can be used4 ,shadow work is effective on dimity or dotted swiss curtains4 ,another pretty stitch very similar to the shadow stitch is the skeleton stitch4 ,instead of the work being on the wrong side it all appears on the right4 ,work a row of very fine running stitches on the right side4 ,fagot stitch from side to side catching the thread into the running stitches4 ,the work is done from the centre of the flower to the tip of the petal4 ,do not end your thread but weave over and under the fagotting stitch to the end of the petal1 leaf or space on which you are working4 ,the curtains may be sash lengths or may be the full length of the window but do not make them longer than to reach the sill4 ,illustration ,,the ,,country ,,life ,,press ,,garden ,,city1 ,n4 ,y4 99 99 99 99 99 ,transcriber's ,notes3 ,italic text is denoted by underscores and bold text by equal signs4 ,obvious punctuation errors repaired4 ,obvious typos and errors repaired3 ,maderia - ,madeira bottonholed - buttonholed pading - padding diferent - different faggotting - fagotting neccessary - necessary separarely - separately woolen - woollen ,it is not necessary to to work - ,it is not necessary to work about an an inch - about an inch ,hyphenation is inconsistent and has been left in that state where there was a balance of with and without spellings e4g4 chain-stitching and chainstitching1 handwork and hand-work and over-cast and overcast4