,,price1 ,,ten ,,cents4 ,illustration3 ,,corticelli ,,home ,,needlework #ahih ,,nonotuck ,,silk ,co4 ,,florence1 ,,mass4 ,,press ,,of ,,springfield ,,printing ,,and ,,binding ,,company1 ,,springfield1 ,,mass4 ,,corticelli 444 ,,spool ,,silk and ,,buttonhole ,,twist4 ,illustration ,,made ,,expressly ,,for ,,dressmaking ,,and ,,family ,,sewing4 ,it works ,,equally ,,well for hand or machine use4 ,illustration ,corticelli is the ,smoothest1 ,strongest1 and ,best ,sewing ,silk made4 ,both ,spool ,silk and ,buttonhole ,twist are made in colors to match all seasonable dress goods found in the market4 ,illustration ,for ,sixty ,years ,,corticelli ,,silk has been the favorite with the leading dressmakers of this country4 ,,they ,,recommend ,,and ,,use ,,it4 ,,nonotuck ,,silk ,,company1 ,bridge ,street1 ,florence1 ,mass4 ,illustration3 ,,corticelli ,,pansy ,,design ,,no4 #fje ,b4 ,,colored ,,plate ,i4 ,,corticelli ,,home ,,needlework ----#ahih---- ,a ,manual of ,art ,needlework1 ,embroidery and ,knitting4 ,,edited ,,by ,mrs4 ,l4 ,barton ,wilson1 ,of the ,art ,amateur and ,art ,interchange4 ,mrs4 ,emma ,haywood1 ,of the ,ladies' ,home ,journal and ,the ,delineator4 ,miss ,alice ,c4 ,morse1 ,formerly ,designer for the ,new ,york ,society of ,decorative ,art4 ,miss ,elizabeth ,moore ,hallowell1 ,of the ,art ,interchange and the ,ladies' ,home ,journal4 ,mrs4 ,amalia ,smith1 ,head of the ,needlework ,department ,nonotuck ,silk ,company4 7,formerly with the ,new ,york ,society of ,decorative ,art47 ,,and ,,other ,,needlework ,,authorities4 99 99 99 99 99 ,,price #aj ,,cents4 99 99 99 99 99 ,,copyrighted ,,and ,,published ,,by ,the ,nonotuck ,silk ,company1 ,,florence1 ,,mass41 #ahih4 ,all ,rights ,reserved4 ,illustration3 ,,corticelli ,,silk ,,mills1 ,,situated ,,at ,,florence1 ,,leeds1 ,,and ,,haydenville1 ,,mass41 ,,hartford1 ,,conn41 ,,and ,,st4 ,,johns1 ,p4 ,q4 ,introduction4 ,in the endeavor to make this book larger and better than any previous edition we have called to our aid some of the best needleworkers and designers in this country1 and the result is that we have the choicest collection of embroidery designs for home decoration it has ever been our privilege to present4 ,we have been fortunate in securing the services of ,mrs4 ,wilson1 ,mrs4 ,haywood1 ,miss ,morse1 ,miss ,hallowell1 and ,mrs4 ,smith4 ,their designs are always greatly admired1 and undoubtedly many of our readers will prefer to embroider their patterns1 taking advantage of this opportunity to study the treatment these well known authorities furnish for their special designs4 ,special attention is called to the ,corticelli ,colored ,plates1 which are the only accurate reproductions of embroidery in natural colors ever published4 ,aside from their beauty they will be found of great value to every needleworker1 as they show not only the correct shading of each flower1 but also the length and direction of the stitches4 ,we show several very attractive designs for knitted fancy tops for golf and bicycle stockings1 and the rules given are from practical patterns knit from wool and silk4 ,to many needleworkers this may be the first ,corticelli instruction book they have seen4 ,from such we invite the closest examination of our goods1 feeling confident that intelligent women can in this way readily appreciate the superior quality of ,corticelli ,silk4 ,,the ,,nonotuck ,,silk ,,company4 ,fancy ,work ,books4 ,from #ahhg to #ahif we published an illustrated instruction book in the use of silk called ,florence ,home ,needlework4 ,the subjects treated in the different editions embrace every variety of useful and decorative needlework4 ,there are ten different editions1 each containing #if pages1 as follows3 #ahhg ,florence ,home ,needlework4 ,,subjects4--,crochet silk bead-work1 crocheted and knitted silk purses1 ladies' silk mittens and stockings1 baby's socks1 men's silk half hose1 lamp shades1 lace edgings and insertions4 #if ,illustrations4 #ahhh ,florence ,home ,needlework4 ,,subjects4--,drawn-work2 damask stitches2 ,italian1 tapestry1 outline1 and cross-stitch embroidery2 and crochet4 #bci ,illustrations4 #ahhi ,florence ,home ,needlework4 ,,subjects4--,tatting1 netting1 and embroidery4 ,also rules for knitting ladies' fancy silk mittens4 #ace ,illustrations4 #ahij ,florence ,home ,needlework4 ,,subjects4--,crochet and embroidery4 ,rules for four-in-hand scarfs 7six engravings74 #ij ,illustrations4 #ahia ,florence ,home ,needlework4 ,,subjects4--,crochet1 embroidery1 bead-work1 and macram lace4 ,rules for ladies' silk slippers1 men's ties 7three new styles71 belts1 crocheted silk bags1 and umbrella cases4 #ada ,illustrations4 #ahib ,florence ,home ,needlework4 ,,subjects4--,crochet and embroidery4 ,rules for ,roman picture throw1 easel scarf1 ,irish lace1 plain sewing1 crocheted wheels1 cornucopias1 belts1 and garters4 #afj ,illustrations4 #ahic ,florence ,home ,needlework4 ,,subjects4--,corticelli darning or mosaic embroidery1 drawn-work1 crocheted lamp shades1 pillow lace and its manufacture1 and embroidery4 #he ,illustrations4 #ahid ,florence ,home ,needlework4 ,,subjects4--,corticelli darning1 knitting1 and crochet4 ,designs for men's four-in-hand scarfs and ladies' linen set in mosaic embroidery4 ,also rules for baby's crocheted silk sack4 #ij ,illustrations4 #ahie ,florence ,home ,needlework4 ,,subjects4--,honiton work1 lace embroidery1 mosaic embroidery1 men's ties and suspenders1 college pillows4 ,rules for crocheted wheel1 and three patterns in crocheted edgings4 #ff ,illustrations4 #ahif ,florence ,home ,needlework4 ,,subjects4--,tea cloths1 centerpieces and doilies in popular designs1 including ,rose1 ,jewel1 ,delft1 ,empire1 ,festoon1 ,wild ,flower and ,fruit patterns4 ,also rules for knitting baby's shirt and cap and crocheting baby's bonnet4 ,over #fj ,illustrations4 ,one ,florence ,home ,needlework book will be mailed to any address on receipt of #f cents2 any #e books for #be cents1 or the entire series will be sent for #ej cents4 ,in ordering mention editions wanted by year4 ,illustration ,there is no book for #ahig4 ,,nonotuck ,,silk ,,company1 ,,bridge ,,street1 ,,florence1 ,,mass4 ,the price of this book--,corticelli ,home ,needlework for #ahih--;is #aj cents4 ,hints ,upon the ,selection of ,material4 ,often the most difficult task for many women is choosing the proper shades of silk to embroider a certain stamped linen4 ,usually the dealer from whom you purchase your ,corticelli ,silk will advise you in regard to this1 but when one lives in one of the smaller towns no store will be found which carries a good stock of embroidery materials from which to make a selection4 ,in this case the best thing to do is to send six #b cent stamps to the ,nonotuck ,silk ,co41 ,bridge ,street1 ,florence1 ,mass41 for a ,corticelli ,color ,card1 showing over #cbe different shades in which ,corticelli ,wash ,silk is made4 ,the card also shows samples of the various silks1 as ,filo ,silk1 ,roman ,floss1 ,persian ,floss etc4 ,the owner of a ,color ,card can order by number ,corticelli ,silk from her storekeeper1 either by mail or in person4 ,few realize what a convenience this is4 ,illustration3 ,,corticelli ,,color ,,card4 ,mailed to any address for six #b cent stamps4 ,many do not understand the great difference in embroidery silks1 and often inferior kinds are sold them by unscrupulous clerks4 ,corticelli ,silk is smooth working1 of high luster1 and is free from imperfections in stock or finish1 while the dyes used are remarkable for brilliancy and absolute fastness of color4 ,magnificent mills1 modern machinery1 and sixty years experience in manufacturing silk enable the ,nonotuck ,silk ,company to produce as perfect embroidery silk and floss as can be made4 ,many realize only too late that they should have been more careful in buying the right brand of ,wash ,silk4 ,the old saying1 ,the best is always the cheapest1 comes back to those who have had some disappointing experience with a patiently worked centerpiece or doily which failed to stand the final test--the test of washing4 ,corticelli ,silk took the highest award at the ,cotton ,states and ,international ,exposition held at ,atlanta1 ,ga41 #ahie1 as well as first prize at the ,chicago ,world's ,fair1 #ahic1 and at the ,california ,midwinter ,exposition1 #ahid4 ,besides this we call your attention to the large number of well known needlework authorities that recommend its use4 ,these facts alone should induce you to give ,corticelli a trial in case you have never done so4 ,for fine and delicate shading on any smooth closely woven material1 especially linen1 use ,corticelli ,filo ,silk 7sometimes called ,filo ,floss74 ,owing to its fine size and loose twist a skillful worker can blend the shades with the utmost nicety1 so that flowers1 leaves1 fruits1 or other objects are most faithfully reproduced4 ,corticelli ,persian ,floss is a silk of two strands1 loosely twisted and of high luster1 for work where two threads of ,filo would ordinarily be required4 ,persian ,floss is used extensively for the buttonhole edges of doilies and centerpieces1 first padding the scallops with a few stitches as shown in ,fig4 ,,vi a1 page #ag2 or the buttonhole edge may be worked without padding as desired4 ,corticelli ,filo ,silk and ,corticelli ,,ee ,embroidery ,silk are also sometimes used for this work4 ,corticelli ,roman ,floss is somewhat coarser than ,corticelli ,persian ,floss and is intended for embroidering large designs on heavier material4 ,curtains1 counterpanes1 and cushions are worked with this thread1 although for very bold designs ,corticelli ,rope ,silk is preferable4 ,corticelli ,etching ,silk1 as its name implies1 is for outline embroidery and etching4 ,corticelli ,lace ,embroidery ,silk should be used for ,honiton and lace work of similar nature4 ,corticelli ,,ee ,embroidery ,silk is best suited for general fancy work and crazy patchwork4 ,this silk is quite hard twisted and is therefore very durable4 ,to ,wash ,embroidered ,linens4#a ,by ,l4 ,,barton ,,wilson4 ,avoid all risk of rust or stain by using an earthen wash bowl in preference to a tin or wooden tub4 ,wash by dipping in suds as hot as the hand can comfortably bear1 made with ,ivory or any other pure soap4 ,if there are any spots on the article wash them out first1 before wetting the entire piece4 ,beyond this do not rub or fold1 but plunge the linen up and down in the suds4 ,if it is very much soiled or yellow1 a half teaspoonful of borax may be added without the least danger to the silk4 ,carefully avoid washing powders and cheap soaps4 ,when clean rinse by plunging up and down in several tepid waters or until the water remains perfectly clear4 ,if the soap is not entirely removed by rinsing1 the linen will yellow quickly4 ,dry partially by laying between two soft cloths or towels for a few minutes4 ,a new and very successful method for drying and pressing1 especially small sized linens1 is as follows3 ,lay them close and smooth on a marble slab or board4 ,the woof and warp should be drawn perfectly straight and the stitches of the embroidery should be brought into position--that is1 so they will lie as placed when worked4 ,to dry a large article1 place a sheet on the carpet and pin the piece through it to the carpet straight by the edges1 stretching a little4 ,the drying may be hastened by fanning or by holding a hot iron within half an inch of the surface4 ,doilies pinned to a board or frame may be dried in a minute by holding them in front of a register1 and thus treated they should need no pressing with an iron4 ,larger linens may be placed on a fine sheet1 face downward1 and touched up with a moderately hot iron2 the marks of the pins may be removed by dampening and pressing4 ,imperfections in the linen's smoothness may be dampened but the silk should not be wet4 ,the hem will likely need firm pressing2 fringe should be brushed and lightly combed out2 it will then likely need a little trimming4 ,all ,corticelli ,silk will remain fast in color if these directions for washing are followed1 and the laundered embroidery will appear no different from that just finished4 ,the peculiar luster1 or bloom1 of this beautiful silk will be retained if the new method of quick drying1 under tension1 is carried out4 ,to set embroidery for the first time1 dampen the linen and silk on the wrong side and dry quickly before removing from the hoop4 ,in all cases of fabrics that are not washable set embroidery by pasting on the reverse side4 ,the ,size of ,needle to ,use4 ,,by ,,mlle4 ,g4 ,,corsini4 ,many ladies who embroider frequently complain that wash silk does not work smoothly1 that the silk snarls or ravels1 making a bad-looking piece of work1 without saying anything about trying one's patience4 ,now1 what makes my silk snarl8 is heard only too often4 ,they frequently assign the cause of the trouble to the silk1 when1 in reality it is the fault of the needle they are using4 ,some teachers recommend the use of an ordinary sewing needle with a round eye1 but ,i prefer the long eye or ,crewel needle4 ,if you want to do fine work1 shading closely1 and are using double 7two threads of7 ,corticelli ,filo ,silk1 use a ,no4 #h ,crewel needle4 ,for single 7one thread of7 ,corticelli ,filo ,silk use a ,no4 #i or a ,no4 #aj needle1 depending on the material upon which you are working4 ,generally speaking1 use a ,no4 #aj needle1 especially for bolting cloth1 ,chinese linen1 or grass linen4 ,corticelli ,persian ,floss requires a ,no4 #h needle4 ,in working ,corticelli ,etching ,silk choose a ,no4 #g needle4 ,for ,corticelli ,roman ,floss use a ,no4 #f needle4 ,use a ,no4 #c or a ,no4 #f needle for ,corticelli ,rope ,silk4 ,harper's ,queen ,crewel ,needles are the best1 and ,i advise all needleworkers to insist upon having them4 ,by following the above instructions there will be no excuse for unsatisfactory working of ,corticelli ,silk4 ,,note4--,if you cannot buy the needles you want in your city1 send six cents to the ,nonotuck ,silk ,company1 ,bridge ,street1 ,florence1 ,mass41 and they will send you four ,queen ,crewel needles each1 of sizes #g1 #i1 and #aj4 ,silk ,required to ,work a ,piece of ,given ,size4 ,as a matter of fact no two needleworkers will use the same quantity of silk to work the same centerpiece or doily4 ,one will require nearly or quite twice as much as another1 perhaps1 owing to the method of treatment or the way the shading is done4 ,it is therefore almost impossible to advise customers just how much silk they will need4 ,in nearly all the instructions we have given the maximum quantity of silk required to embroider a #bb inch centerpiece4 ,you may not need as much as the directions call for4 ,of course smaller sizes of linen will take less silk to work them1 and the necessary quantity can readily be estimated4 ,if you are in doubt as to how much material you will want1 you can order from your dealer one skein of some shades1 and two of others1 even if the instructions called for three or four skeins of a shade1 and then order again when you find you will require more4 ,however1 it is always safer to buy at one time all the silk necessary for one piece1 and we cannot too strongly recommend this plan4 ,points for ,beginners4 ,embroidery is very fascinating work1 but to attain perfection one must study the subject4 ,we have been fortunate in securing so well known an authority on ,art ,needlework as ,mrs4 ,l4 ,barton ,wilson to furnish a chapter on ,embroidery ,stitches4 ,this article1 which even the experienced worker will be glad to read1 is especially valuable to beginners1 who will find no difficulty in making the different stitches by following the directions and examining the illustrations4 ,beginners should read ,hints upon the ,selection of ,material1 and ,the ,size of ,needle to ,use1 as well as ,to ,wash ,embroidered ,linens4 ,in shading flowers in which many colors are required1 have a separate needle threaded with each shade2 in fact1 this is a good plan even if you are using only a few shades4 ,choose a simple design to begin with1 such as a ,violet1 a ,buttercup1 or a ,daisy1 and get a small size stamped linen1 not over nine inches square4 ,at the end of the instructions for each design we have printed the words 7,easy71 7,not ,difficult71 7,somewhat ,difficult71 or 7,difficult71 which show the degree of skill necessary to embroider each piece successfully4 ,no printed instructions can help a beginner as much as a lesson1 or better still a course of lessons1 under a good teacher4 ,however1 we have tried to make the instructions explicit1 and we think further details will be unnecessary2 still1 should you find trouble in working any of the designs1 or want to know where materials can be obtained1 we will gladly answer questions and give you any desired information4 ,a stamp should be enclosed for reply4 ,illustration3 ,,corticelli ,,border ,,no4 #fjf4 ,,colored ,,plate ,,ii4 ,illustration3 ,,corticelli ,,border ,,no4 #fjg4 ,,colored ,,plate ,,iii4 ,illustration3 ,,corticelli ,,border ,,no4 #fji4 ,,colored ,,plate ,,iv4 ,illustration3 ,,corticelli ,,border ,,no4 #faj4 ,,colored ,,plate ,v4 ,illustration3 ,,corticelli ,,border ,,no4 #fae4 ,,colored ,,plate ,,vi4 ,,footnotes3 ,footnote #a3 ,copyright1 #ahig1 by ,mrs4 ,l4 ,barton ,wilson4 ,all rights reserved4 ,embroidery ,stitches4--,described and ,illustrated4#b ,by ,l4 ,,barton ,,wilson4 ,the stitches used in modern embroidery are not productions of this age4 ,they belong to the art of to-day through adaptation4 ,they have a value because of their antiquity far above any value which new inventions in this line could possess4 ,their application has been tried without limit and the extent of expression and delineation through them is well known4 ,the science of embroidery is established2 its methods are perfected4 ,the art is rich in its heritage4 ,with the revival of needlework has naturally come a demand for silks of such quality and durability as that possessed by the wonderful threads of centuries ago1 which are found in a perfect state of preservation in many examples of old embroidery1 and which seem even to grow more mellow and beautiful in color with age4 ,what modern science has done to meet this demand is shown by the brilliancy and beauty of shading1 and fastness of color1 which such silks as the ,corticelli are known to possess4 ,this ought to be among the chief inspirations to best efforts in this line of decorative art4 ,the form of embroidery which is most truly artistic1 and at the same time scientific1 is that known as ,opus ,plumarium#c or ,feather ,stitch4 7,the so-called seamstress feather stitch should not be confounded with this47 ,the exceedingly beautiful #afth century examples of the embroidery still in existence prove what is its durability and how adequate the method4 ,the long and short stitch1 which is the constituent of the work1 is widely used on linens4 ,when this stitch is correctly laid the effect is very beautiful1 and1 like all primary things1 its beauty lies in its simplicity and perfect adaptability4 ,it is proposed to describe and illustrate the long and short stitch first1 in order that in the light of a clear understanding of this first principle1 the opus plumarium 7which is considered the most difficult embroidery1 but which is really an advanced use of this simple element7 may become less formidable to amateurs4 ,feather stitch should never be attempted on an unframed fabric4 ,a certain degree of excellence may be attained in embroidery by working such fabrics as linen in the hand1 but perfect stitch direction and proper tension cannot be secured unless the fabric is stretched4 ,embroidery stitches hold a certain definite relation to each other and may therefore be classified into groups4 ,a glance at the classification will give one a clear idea of the fundamental principles of the ,art4 ,a little study of it will furnish the key to the forms and styles of the embroideries of the different centuries and countries and so enable one fully to appreciate collections of antiques which are invaluable to the learner4 ,,classification ,,of ,,embroidery ,,stitches4 a4 ,simple ,long and ,short ,stitch4 ,i4 ,long and ,short ,stitches4 b4 ,feather ,stitch4 c4 ,overlap ,stitch4 d4 ,tapestry ,stitch4 ,,ii4 ,satin ,stitches4 a4 ,simple ,satin ,stitch4 b4 ,french ,laid ,work4 a4 ,simple ,couching ,stitch4 b4 ,twisted ,stitch4 ,,iii4 ,couching ,stitches4 c4 ,brick ,couching ,stitch4 d4 ,diaper ,couching 7,over ,satin ,stitch74 e4 ,other ,elaborate ,couching ,stitches4 a4 ,kensington ,outline ,stitch4 b4 ,bulgarian ,stitch4 ,,iv4 ,outline ,stitches4 c4 ,split ,stitch4 d4 ,stem ,stitch4 e4 ,twisted ,outline ,stitch4 a4 ,simple ,french ,knot4 ,v4 ,wound ,stitches4 b4 ,french ,knot1 combined with ,stem4 c4 ,bullion ,stitch4 a4 ,simple ,buttonhole ,stitch4 b4 ,blanket ,stitch4 ,,vi4 ,buttonhole ,stitches4 c4 ,honeycomb ,stitch4 d4 ,double ,buttonhole ,stitch4 e4 ,ladder ,stitch4 f4 ,cat1 ,brier1 or ,seamstress ,feather ,stitch4 a4 ,common ,chain ,stitch4 b4 ,rope ,stitch4 c4 ,single ,reverse ,chain ,stitch4 ,,vii4 ,chain ,stitches4 d4 ,double ,reverse ,chain ,stitch4 e4 ,double ,chain ,stitch4 f4 ,cable ,stitch4 g4 ,beading ,stitch4 h4 ,bird's ,eye ,stitch4 a4 ,simple ,darning ,stitch4 ,,viii4 ,darning ,stitches4 b4 ,brick ,darning ,stitch4 c4 ,seed ,stitch4 d4 ,queen ,anne ,stitch4 a4 ,herringbone ,stitch4 ,,ix4 ,fancy ,stitches4 b4 ,ismit ,stitch4 c4 ,janina ,stitch4 d4 ,border ,stitch4 ,the above table will be found of great value to beginners1 enabling them easily to master the scientific or theoretical as well as the practical part of this article4 ,long and short stitch as commonly used on linens is a border work4 ,that is1 the forms of the design are not filled in entirely2 the stitches are carried round the outline and such space as they do not cover within the form is allowed to remain in a low relief4 ,this is known as half work1 sometimes as half solid ,kensington1 while the solid opus plumarium is often called ,kensington4 ,while it is true that the ,kensington school revived this ancient embroidery it is doubtful if this is sufficient reason why it should give to it the name4 ,the history of art will be better preserved if we adhere to the old terms4 ,the effect of the contrasted surfaces1 through the half work1 of the ground material and the embroidery1 is very pleasing1 and such a method is more suitable on linen than solid embroidery4 ,it is less conventional and therefore is in harmony with the fabric4 ,on the other hand solid embroidery is rich in itself and should be used to decorate rich fabrics4 ,this is not an invariable rule but its restrictions are reasonable4 ,such exceptions as these may be noted1--tiny forms such as the fronds of maiden hair fern may be made solid to advantage1 and the ,bulgarian embroidery1 fully described elsewhere in this book1 is heavy and complete4 ,conversely1 good effects are sometimes obtained with heavy silks in half work on rich fabrics4 ,the artistic principle involved in the half work is suggestiveness4 ,if the design is good to start with1 a great deal of spirit may be put into it by the simple border embroidery4 ,i4 ,,long ,,and ,,short ,,stitches4 ,illustration3 ,,fig4 ,i a4 ,,simple ,,long ,,and ,,short ,,stitch4 ,a4 ,simple ,long and ,short ,stitch4--,this stitch may be done in the hand1 but as already intimated it can be perfectly done only in a frame or hoop1 which should be rested on the table edge and held by a weight4 ,the material should be stretched straight with the woof and warp4 ,the stitches are then laid by using both hands1 one below and the other above the frame1 to send the needle up and down perpendicularly4 ,to make the stitch1 bring the needle up on the outline of the design and send it down within the form4 ,when the fabric is held in the hand the needle takes the stitch over and down on the outline and up within the form4 ,let the first stitch be a long one1 one-quarter of an inch to an inch in length in proportion to the size of the form4 ,the next stitch should be but two-thirds as long and should lie parallel with the first or closer to it within the form1 if it is a narrowing one1 than on the outline2 or vice versa1 if it is a form increasing in width4 ,the contour of the design must decide the stitch direction4 ,the third stitch should be long1 followed by a short one1 and so on alternating long and short4 ,we are sometimes told that these stitches should be irregular4 ,this is both true and it is not4 ,the long stitches should certainly not be all of one length and the short all of another4 ,in this they should vary1 but they should be absolutely regular in that they should be even on the surface without piling or yet having spaces between them1 and they should form a perfect unbroken surface and the edge should exactly coincide with the outline4 ,this1 then1 is the long and short stitch1 and it may be considered complete in itself as far as it goes4 ,it is the first stage of solid embroidery or opus plumarium4 ,see ,fig4 ,i a4 ,illustration3 ,,fig4 ,i b4 ,,feather ,,stitch4 ,b4 ,feather ,stitch4--,the next step is to lay another row of stitches over these1 differing from them in that they shall be long and short on both edges4 ,the long stitch should commence just below the outline and should end further within the form than any of the first row4 ,it should be taken in exactly the same direction as the first row and over them4 ,the next stitch should be started below the first1 something less than a third of its length1 just beside it1 and should reach the same distance below the end of the first4 ,the third should be similar to the first1 and so on4 ,it is obvious that every other stitch of this second row is the long one at its start and the short one at its finish4 ,the second row is the same as the first1 except that it is long and short on both edges4 ,this is not irregularity1 but absolute regularity4 ,the more regular and the more accurate the alternating is1 the smoother the surface will be4 ,this second row should lap well over the first4 ,it should indeed cover two-thirds of it if the colors are to blend instead of appear as rows4 ,this is the secret1 or rather1 the real principle of shading4 ,it will not do to economize material and expect a rich result4 ,this is likely to be the fault of ,american embroidery4 ,the preceding rows of stitches must be solid under the succeeding ones4 ,there may be as many rows as are necessary to cover the form1 and these should all lap deep over each other so that the under rows show only because of the difference in length of the stitches of the upper edge of the over rows4 ,in this way one shade passes into the next as tones in painting1 perfectly clear in themselves yet1 because they are distinct1 making a luminous and unbroken whole4 ,if the stitches are not placed according to such a method the effect will be--again as in painting when the colors are muddled--broken and harsh and expressionless4 ,by this means shades that differ greatly can be blended and the whole is brought into relief by the raising of one row over the other4 ,the lower ends of the stitches of the last row may adapt themselves in terminating to the form4 ,see ,fig4 ,i b4 ,illustration3 ,,fig4 ,i c4 ,,overlap ,,stitch4 ,c4 ,overlap ,stitch4--,this is the long and short on a curved line1 not form4 ,the first stitch is taken from the end of the line along its length1 the next stitch is taken just below the start of the first on the line1 over to the other side of the first and to a point just above the finish of the first1 thus lapping4 ,continue these stitches long and short4 ,this is the way to work round the circumference of a circle4 ,curved tendrils are very effective embroidered in the overlap stitch4 ,see ,fig4 ,i c4 ,illustration3 ,,fig4 ,i d4 ,,tapestry ,,stitch4 ,d4 ,tapestry ,stitch4--,a stitch similar to feather stitch except that its lines are all in one direction4 ,the stitches do not slant to accommodate themselves to a form but are all straight and in all cases parallel and terminate abruptly as they come against the outline of the form whether they are within it or are used to fill the background4 ,this is essentially a filling stitch and is the most beautiful way to embroider backgrounds4 ,in composition with opus plumarium it is wonderfully rich4 ,there are many superb examples of this work in the old opus anglicanam1 where it was largely used to represent drapery1 and1 in its most perfect application1 faces4 ,in a word it is parallel opus plumarium4 ,its rows should be well lapped4 ,see ,fig4 ,i d4 ,the light shade in the engraving is intended simply to show the system of stitches2 there are three rows1 each worked in the same color1 completely covering the linen and presenting an absolutely smooth surface4 ,illustration3 ,,fig4 ,,ii a4 ,,simple ,,satin ,,stitch4 ,the above four stitches are based upon the long and short element4 ,,ii4 ,,satin ,,stitches4 ,a4 ,simple ,satin ,stitch4--,the next stitch in importance is the ,satin ,stitch1 and it has various applications4 ,this stitch forms an unbroken surface not only in effect but in reality4 ,the stitches are taken parallel and from side to side of the outline or over the space they are to cover4 ,on coarse material and with one of the heavier silks1 such as ,corticelli ,roman ,floss or ,rope ,silk1 it is possible to make them quite long1 but when fine material is used they must be short to lie well4 ,embroidery in this stitch is more or less mechanical and does not allow of shading4 ,it is used principally in narrow bars1 which are often first raised by stitches laid at right angles to the direction the satin stitch is to take4 ,we show two very good examples of satin stitch4 ,illustration3 ,,fig4 ,,ii a4 ,,simple ,,satin ,,stitch4 ,b4 ,french ,laid ,work4 ,the ,french white or laid embroidery is an especial application of the satin stitch4 ,it is the method of initialing and is done in the ,corticelli ,,ee ,twisted ,embroidery ,silk and ,corticelli ,etching ,silk with best effect4 ,it is also the form of work for covering cartoons in church embroidery4 ,the stitches may be taken from side to side at any angle so that they are kept parallel to each other4 ,,iii4 ,,couching ,,stitches4 ,illustration3 ,,fig4 ,,iii a4 ,,simple ,,couching ,,stitch4 ,a4 ,simple ,couching ,stitch4--,as methods of work1 appliqu and couching are of great importance and possibility and through them a large variety of stitches are employed4 ,designs cut out of fabrics are applied to ground fabrics by couching4 ,the simple stitch taken at right angles over cords is the one most commonly used1 as shown in ,fig4 ,,iii a4 ,this and other couching may be used independently or on the edges of applied forms4 ,illustration3 ,,fig4 ,,iii b4 ,,twisted ,,stitch4 ,b4 ,twisted ,stitch4--,in this stitch one cord is twisted around another and the over stitch is taken through the ground at right angles to the direction of the outline4 ,see ,fig4 ,,iii b4 ,two silk cords may be carried over outlines1 one each side of a gold thread4 ,illustration3 ,,fig4 ,,iii c4 ,,brick ,,couching ,,stitch4 ,c4 ,brick ,couching ,stitch4 ,lay rows of cords close to each other and couch them down with perpendicular stitches1 alternating in each row with the spaces between them4 ,this is very effective work4 ,see ,fig4 ,,iii c4 ,d4 ,diaper ,couching ,stitch4 ,this work is done over satin stitch4 ,many examples of it are to be found in the rich antique diapered work4 ,this embroidery has many uses in modern work4 7,see article on ,bulgarian ,embroidery47 ,circular forms within conventional flowers may be covered with satin stitches as long as the forms require1 then cross-barred with stitches placed at a decided angle from the satin work4 ,this set of cross-bar stitches should be recrossed with another at the opposite angle1 thus forming little squares over the first work1 which should be couched down at their intersections4 ,this diapering over satin embroidery may be done in a variety of designs and color combinations4 ,original ways will suggest themselves to the worker4 ,see ,fig4 ,,iii d4 ,illustration3 ,,fig4 ,,iii d4 ,,diaper ,,couching ,,stitch4 ,e4 ,elaborate ,couching ,stitches4--,there are a large number of elaborate couching stitches usually executed in gold and purse twist4 ,the old work is rich in examples of couching over a system of foundation cords which raise the covering layer of cords or silk threads4 ,the ,basket and the ,frill ,basket are the most beautiful of these stitches4 ,corticelli ,filo ,silk should generally be used for the over stitch and the heavier silks1 such as ,corticelli ,roman ,floss and ,rope ,silk1 should be the threads laid on the surface4 ,when it is desired to have the over stitches invisible yet strong the ,filo ,silk may be split and waxed4 ,,iv4 ,,outline ,,stitches4 ,illustration3 ,,fig4 ,,iv a4 ,,kensington ,,outline ,,stitch4 ,a4 ,kensington ,outline ,stitch4--,outline stitches1 especially the one known as ,kensington outline1 form a very prominent part in the work on linens4 ,when the lines of designs are close very satisfactory results are obtained by outlining alone4 ,this embroidery is very serviceable1 and a housekeeper needs an ample supply of the simple linens to insure freshness in the dining room and about the toilet tables4 ,linens outlined in all white are very dainty1 and all blue or delft green monochromes are pretty for summer4 ,the outline is a hand embroidery stitch1 so that the work is very convenient4 ,the point of care-taking lies in the fact that the outline must be accurately followed4 ,the stitch itself is a reverse backstitch4 ,the work should proceed from left to right4 ,the needle should be brought up in the outline1 drawn out the full length of the thread1 then sent down in advance and carried out on the outline again a short distance in front of the point at which it was put in4 ,again the needle should be sent through in advance on the line1 thus forming an unbroken1 partly double line on the face and a series of short backstitches on the wrong side of the fabric4 ,the thread must be kept always on one side of the needle4 ,it is more convenient to some workers to throw it back4 ,see ,fig4 ,,iv a4 ,illustration3 ,,fig4 ,,iv b4 ,,bulgarian ,,stitch4 ,b4 ,bulgarian ,stitch4--,two or more lines of outline stitch laid parallel and close together is known as ,bulgarian ,stitch4 ,see ,fig4 ,,iv b4 ,illustration3 ,,fig4 ,,iv c4 ,,split ,,stitch4 ,c4 ,split ,stitch4--,an outline backstitch with the needle brought up through the previous stitch instead of beside it4 ,see ,fig4 ,,iv c4 ,illustration3 ,,fig4 ,,iv d4 ,,stem ,,stitch4 ,d4 ,stem ,stitch4--,this is also but a modification of the outline4 ,the backstitches are taken so as to slant slightly in towards the interior of the form1 thus giving a little width to the outline4 ,it is necessary to take the stitches a little closer than the cut would indicate in order to avoid spaces between them4 ,this is a very satisfactory way of working stems when it is desired that they should have more width than the simple outline would give4 ,see ,fig4 ,,iv d4 ,illustration3 ,,fig4 ,,iv e4 ,,twisted ,,outline ,,stitch4 ,e4 ,twisted ,outline ,stitch4--,this stitch should be worked in a frame or hoop1 and it will be found a most effective way of working ribbed stems4 ,a double thread of ,filo is best adapted to the work4 ,the thread should be brought up on the outline its full length above the framed fabric and the needle turned in the fingers until the thread is well twisted1 then holding the twisted thread over the fore-finger of the left hand send the needle down a quarter of an inch in advance on the line2 bring it up again close beside the stitch thus laid1 about a third back on its length1 then send it down again in advance4 ,the width of the stem should be covered with parallel lines of these stitches4 ,one line is not satisfactory1 but two or more lie well together4 ,the stitches must be taken uniformly all on one side of the lines4 ,they may be much longer than those of the simple outline4 ,see ,fig4 ,,iv e4 ,v4 ,,wound ,,stitches4 ,a4 ,simple ,french ,knot4--,a very useful little stitch1 especially for flower centers1 where it may be used to cover small spaces or may represent the anthers4 ,the thread is brought out its full length and twisted round the needle near the point where it leaves the fabric1 the needle point is then inserted perpendicular to the ground1 the twist drawn against it and the needle pushed through to the eye4 ,before drawing it through1 the middle finger of the right hand should be placed on the twist to insure the knot's lying firm on the surface4 ,turn the thread around the needle but once for a fine knot or several times for a coarse one4 ,the simple ,french ,knot is shown in ,fig4 ,v b4 by the single knot at the left of the illustration4 ,illustration3 ,,fig4 ,v b4 ,,french ,,knot1 ,,combined ,,with ,,stem4 ,b4 ,french ,knot1 ,combined with ,stem4--,the ,french ,knot with tiny stern is made as one stitch4 ,instead of placing the knot at the point where the thread leaves the ground material1 it is placed at a desired distance with the thread laid in a simple stitch on the ground surface4 ,this is a very satisfactory way to work flower centers4 ,the stamen1 both filament and anther1 is thus one stitch4 ,see ,fig4 ,v b4 ,illustration3 ,,fig4 ,v c4 ,,bullion ,,stitch4 ,c4 ,bullion ,stitch4--,made by twisting the thread on the needle4 ,when a coil is so formed the needle and thread are drawn through it2 it is then placed on the surface and the needle sent down through the ground material to fasten it4 ,this is a ,turkish stitch and in that embroidery is usually done in gold passing4 ,see ,fig4 ,v c4 ,,vi4 ,,buttonhole ,,stitches4 ,illustration3 ,,fig4 ,,vi a4 ,,simple ,,buttonhole ,,stitch4 ,a4 ,simple ,buttonhole ,stitch4--,the ,buttonhole ,stitch is capable of more elaborate work on its own account than is generally supposed4 ,aside from the buttonhole scallop shown by ,fig4 ,,vi a4 which is now so popular as a finish on linens and for which the ,corticelli ,persian ,floss and ,corticelli ,,ee ,twisted ,embroidery ,silk are so suitable1 it has many possibilities in large work4 ,it is also a hand stitch and surfaces can be covered rapidly by its use1 two points most acceptable to amateurs4 ,short stitches laid close carry better color effects than long ones far apart1 although the color of the background1 which shows through the long stitches1 has a large influence upon the effect4 ,deep stitches in the buttonhole work must have a certain proportionate space between them1 for stitches more than a quarter of an inch deep do not lie well close together4 ,the line on which the loop is to fall should be held toward one4 ,the needle should be put in on the opposite line of the width of the space to be covered and brought out directly below on the lower line4 ,the thread should lie in front of the needle and under it1 so that as it is drawn through and the stitch laid the knot will lie formed4 ,the work is done from left to right and the stitches should be kept perpendicular4 ,see ,fig4 ,,vi a4 ,illustration3 ,,fig4 ,,vi b4 ,,blanket ,,stitch4 ,b4 ,blanket ,stitch4--,a wide-apart loose buttonhole stitch used principally on flannels4 ,corticelli ,etching ,silk or ,corticelli ,,ee ,twisted ,embroidery ,silk is best suited for this work4 ,see ,fig4 ,,vi b4 ,illustration3 ,,fig4 ,,vi c4 ,,honeycomb ,,stitch4 ,c4 ,honeycomb ,stitch4--,an adaptation of buttonhole stitch1 and is very nice for large work such as portieres4 ,the first row of stitches is laid like the blanket buttonhole1 quite loose4 ,the next is fastened to the fabric only at the beginning and end of the row2 between these points the loop stitches are caught into the loops of the first row1 and so on with the succeeding rows1 fastening through only where the rows terminate against the outline4 ,it is necessary to keep the stitches very loose1 as each row has a tendency to narrow4 ,when the form is covered draw the last row in place and fasten it by a row of buttonhole stitches taken through the fabric like the first4 ,it is possible to work back and forth4 ,it is well to reverse the needle and send it through the loops eye end first1 to avoid splitting the silk4 ,the same form of stitch may also be taken through the material4 ,see ,fig4 ,,vi c4 ,illustration3 ,,fig4 ,,vi d4 ,,double ,,buttonhole ,,stitch4 ,d4 ,double ,buttonhole ,stitch4--,a very pretty way of treating narrow bars from one-half to three-quarters of an inch wide is to use the double buttonhole stitch4 ,bring the needle up in the center of the width of the bar the full length of the thread and take the regular buttonhole stitch from this point over the upper line to a point a little above the start2 draw this stitch through4 ,the point of the needle in this case was directed down4 ,now put in the needle on the lower line of the bar and send it up to a point a little below the start and a trifle to the right2 keeping the thread to the right4 ,draw the stitch through and proceed to make another from above like the first1 always keeping the thread to the right to form the loop4 ,the effect of this is that of a satin stitch on the top and bottom of the bar with a braided line through the center4 ,it is very effective and pretty4 ,the braid may be made wider by making the stitches shorter4 ,see ,fig4 ,,vi d4 ,illustration3 ,,fig4 ,,vi e4 ,,ladder ,,stitch4 ,e4 ,ladder ,stitch4--,many of the lace stitches are buttonhole4 ,the ,ladder for instance is two rows of buttonhole stitch a short distance apart and parallel1 connected by regular overcast stitches4 ,the ground material is cut away between the rounds or overcast lines4 ,the honiton lace is applied by buttonhole stitch1 using ,corticelli ,lace ,embroidery ,silk4 ,fig4 ,,vi e4 shows the so-called ladder4 ,illustration3 ,,fig4 ,,vi f4 ,,cat ,,or ,,brier ,,stitch4 ,f4 ,cat1 ,brier1 ,coral1 or ,seamstress ,feather ,stitch4--,an alternate buttonhole loop first to the right and then to the left4 ,the loops may be alternated singly or in pairs1 or in threes or fours4 ,it is almost too well known to need explanation4 ,see ,fig4 ,,vi f4 7,also see ,sofa ,pillow ,design ,no4 #ejh47 ,,vii4 ,,chain ,,stitches4 ,the chain stitches are closely related to the buttonhole stitches4 ,illustration3 ,,fig4 ,,vii a4 ,,common ,,chain ,,stitch4 ,a4 ,common ,chain ,stitch4--,the common chain stitch may be said to be the buttonhole stitch carried down a line by its length instead of from left to right proceeding by its width4 ,the consecutive stitches are started from within the lower end of each preceding loop2 a line of link-like loop stitches will thus be formed4 ,see ,fig4 ,,vii a4 ,illustration3 ,,fig4 ,,vii b4 ,,rope ,,stitch4 ,b4 ,rope ,stitch4--,this is a modification of the common chain stitch4 ,it is commenced the same as the chain but the successive stitches are taken by sending the needle down back of the last-loop instead of through it4 ,the loop is formed as in the chain4 ,this makes a very pretty ridged line when done in heavy silks such as ,corticelli ,roman ,floss or ,rope ,silk4 ,see ,fig4 ,,vii b4 ,illustration3 ,,fig4 ,,vii c4 ,,single ,,reverse ,,chain ,,stitch4 ,c4 ,single ,reverse ,chain ,stitch4--,to outline with the ,reverse ,chain ,stitch it is necessary first to lay a simple stitch on the surface2 bring the needle up below the end of this1 at a distance of the length of a stitch from it2 now pass the needle1 eye first1 behind the first stitch1 not through the fabric2 then draw through the length of the thread1 insert the point of the needle close beside the point where it came up1 and bring it out below again1 the distance of the length of the preceding stitch2 again pass the needle back of the chain loop1 just laid1 as it was in the first place passed back of the simple stitch2 continue these laid loops along the line to be covered4 ,see ,fig4 ,,vii c4 ,illustration3 ,,fig4 ,,vii d4 ,,double ,,reverse ,,chain ,,stitch4 ,d4 ,double ,reverse ,chain ,stitch4--,to form the double reverse chain proceed in the same way to the point of the first single reverse chain stitch1 but instead of sending the needle down the distance of a stitch below1 insert it the same but bring it out just to the right or at about the point where the thread leaves the fabric4 ,draw this tiny stitch through and pass the needle again back of the simple stitch1 thus forming a double loop4 ,send it down again on the point to the left of the start and out the length of a stitch below on the outline4 ,the next stitches are taken in the same way1 passing the needle back of the loops as in the first case back of the simple stitch4 ,see ,fig4 ,,vii d4 ,illustration3 ,,fig4 ,,vii e4 ,,double ,,chain ,,stitch4 ,e4 ,double ,chain ,stitch4--,formed by laying two rows of simple chain parallel to each other and catching them together by a regular over stitch passed through the inner edges of each of the two rows alternately4 ,see ,fig4 ,,vii e4 ,illustration3 ,,fig4 ,,vii f4 ,,cable ,,stitch4 ,f4 ,cable ,stitch4--,similar to the rope stitch4 ,the difference lies in sending the needle down a little below the point where the thread leaves the ground material at the base of the loop instead of back or within the loop4 ,this forms a chain of open links4 ,see ,fig4 ,,vii f4 ,illustration3 ,,fig4 ,,vii g4 ,,beading ,,stitch4 ,g4 ,beading ,stitch4--,a chain stitch taken horizontally over the thread as it is carried along an outline1 thus forming a knot at regular spaces on a seemingly placed line of the silk4 ,see ,fig4 ,,vii g4 ,illustration3 ,,fig4 ,,vii h4 ,,bird',s ,,eye ,,stitch4 ,h4 ,bird's ,eye ,stitch4--,formed like the chain loops but grouped about a center4 ,small radiating devices can be very successfully embroidered in this way2 the effect of small petals as in daisies is very good4 ,the loop is fastened by a tiny stitch at its base and the needle again brought out at the center4 ,see ,fig4 ,,vii h4 ,the ,tambour ,stitch is the chain executed with a small hook1 which is pushed up and down through the fabric4 ,it is a ,turkish embroidery and very like machine work4 ,there are various other modifications of these chain stitches4 ,,viii4 ,,darning ,,stitches4 ,darning is a very satisfactory sort of embroidery4 ,in this work the greater part of the silk is laid on the right side of the material so that it carries large masses of color4 ,darning is generally considered a filling embroidery and is often used in background work4 ,backgrounds darned around a design may be made very artistic4 ,illustration3 ,,fig4 ,,viii a4 ,,simple ,,darning ,,stitch4 ,a4 ,simple ,darning ,stitch4--,the simple darning stitch is a short stitch on the back and a long one on the face running on a straight line1 the second row alternating with the first in the positions of the long and short stitches1 and lying parallel to it4 ,care and practice are necessary to make these rows of equal tension4 ,they should keep their straight direction and terminate where they meet the outline4 ,there are ways of accommodating them to the outline when they are used within the design4 ,see ,fig4 ,,viii a4 ,illustration3 ,,fig4 ,,viii b4 ,,brick ,,darning ,,stitch4 ,b4 ,brick ,darning ,stitch4--,if it is desirable to increase the color effect the first series of rows may be crossed at right angles by a similar series4 ,this is known as the ,brick ,darning ,stitch4 ,the straight bars should be laid by darning one way and back1 alternately4 ,by a little planning very pretty coloring may be gained through relating the background shade to the imposed work4 ,see ,fig4 ,,viii b4 ,c4 ,seed ,stitch4--,this may be considered a darning stitch1 having however the short stitches on the surface and the long ones on the back4 ,this is largely used in combination with satin stitch for lettering4 7,see ,designs ,nos4 #fab ,a1 ,b1 ,d1 ,e1 and ,f47 ,illustration3 ,,fig4 ,,viii d4 ,,queen ,,anne ,,stitch4 ,d4 ,queen ,anne ,stitch4--,another form of darning is the ,queen ,anne ,stitch4 ,in this the silk is not sewed through the fabric but first laid in long parallel lines from side to side of the outline1 then crossed at right angles by weaving in threads alternately4 ,this is rather mechanical and not so artistic as the first method1 though we may see very curious examples of it in the old ,english embroideries4 ,see ,fig4 ,,viii d4 ,,ix4 ,,fancy ,,stitches4 ,there are many other so-called fancy stitches4 ,among them the pretty ,herringbone and its modifications are worthy of note4 ,illustration3 ,,fig4 ,,ix a4 ,,herringbone ,,stitch4 ,a4 ,herringbone ,stitch4--,a short stitch taken from right to left1 and as it proceeds the thread is drawn to the right and the work is carried in this direction4 ,it is essentially a cross stitch4 ,see ,fig4 ,,ix a4 ,illustration3 ,,fig4 ,,ix b4 ,,ismit ,,stitch4 ,b4 ,ismit ,stitch4--,a slight difference in the plan of taking a stitch changes the entire effect4 ,this is obvious in the ,ismit ,stitch4 ,it is taken exactly as the herringbone and the radical difference in the result is due simply to making the lines meet at a point4 ,see ,fig4 ,,ix b4 ,when the lines are very long they may be fastened by couching stitches at the intersections4 ,illustration3 ,,fig4 ,,ix c4 ,,janina ,,stitch4 ,c4 ,janina ,stitch4--,a very satisfactory way of filling in the petals of conventional flowers or flower forms4 ,it may be used with really beautiful effect on the canvas materials with ,corticelli ,roman ,floss or ,rope ,silk4 ,it is also a good method for filling bars on borders4 ,while it is not heavy unless worked close1 it carries a decided color effect4 ,it is one of the prettiest of the conventional stitches4 ,see ,fig4 ,,ix c4 ,illustration3 ,,fig4 ,,ix d4 ,,border ,,stitch4 ,d4 ,border ,stitch4--,this stitch is not unlike herringbone4 ,it is however carried perpendicularly1 while herringbone proceeds horizontally4 ,the side or fastening stitches of the border work are very short4 ,see ,fig4 ,,ix d4 ,doily or ,doiley4 ,the ,inland ,printer1 a journal devoted to the printing and publishing trades1 and a magazine generally considered authority on questions of orthography gives the proper spelling as doily4 ,the following explains itself4 ,question4--,kindly give us the correct spelling of the word variously printed as doily and doiley1 and also the plural of the same4 ,there has been considerable discussion in regard to the proper way to spell this word1 and we will leave you to render the final verdict4 ,answer4--,our final verdict in this case is simply that of all the dictionaries4 ,every one of them enters the word as doily1 and they are right in doing so1 because1 though the name from which it is derived was variously spelled as ,doily and ,doyley1 and maybe otherwise also1 it is well to select one spelling--presumably the prevalent one--for the common name4 ,at any rate1 this is what the lexicographers have done1 and no good reason to dissent from their choice is apparent4 ,the plural of the form chosen is doilies4 ,,footnotes3 ,footnote #b3 ,copyright1 #ahig1 by ,mrs4 ,l4 ,barton ,wilson4 ,all rights reserved4 ,footnote #c3 ,the ancient ,phrygian workers who introduced this embroidery into ,rome were accustomed to represent by it figures1 chiefly of birds1 and likely this is the source of its name4 ,the name might also have been suggested by the effect of the stitch itself1 which is that of close1 evenly laid plumage4 ,centerpieces and ,doilies4 99 99 99 99 99 ,bulgarian ,centerpiece ,design ,no4 #ee1 ,,and ,,set ,,of #c ,,doilies1 ,,nos4 #ee;,a1 #ee;,b1 ,,and #ee;,c4 ,,colored ,,plate ,,vii4 ,,by ,l4 ,,barton ,,wilson4 ,materials3 ,corticelli ,filo ,silk1 #f skeins each #ebf1 #fbf2 #d skeins #abc2 #c skeins #fde2 #b skeins each #abe1 #abh1 #acj1 #ebg2 #a skein each #abf1 #ebh1 #edb1 #edd4 ,corticelli ,etching ,silk1 #ab skeins each #fbf1 #fde2 #d skeins #fab4 ,dealers can furnish stamped linen of this design in #bb inch size4 ,they can also furnish stamped linen #g and #i inches square of the set of three doily designs 7,nos4 #ee;,a1 #ee;,b1 #ee;,c71 to match this centerpiece4 ,see page #ib4 ,illustration3 ,,bulgarian ,,centerpiece ,,design ,,no4 #ee4 ,the ,bulgarian embroidery as we know it on the brown linen squares is valuable chiefly for its durability and pleasing coloring4 ,these squares embroidered in the bright cottons make beautiful cushions and their use with ,turkish rugs and hangings is very appropriate4 ,the stitching is effective rather than accurate4 ,the figures of the characteristic designs are crude1 but they are full of suggestions and it is possible in carrying out these to obtain most graceful and dainty drawings4 ,when they are adapted to fine white linens and embroidered in silks the result is at once orientally rich and sufficiently dainty for table use4 ,heavy colorings are more and more to be urged for centerpieces and doilies which are to be placed under gas light4 ,the color combinations for this set may seem at first startling1 but when the shades are properly distributed the result is rich and harmonious4 ,illustration3 ,,bulgarian ,,doily ,,no4 #ee ,a4 ,border4--,buttonhole the scalloped edge in blue and gold brown ,corticelli ,etching ,silk1 using shades #fbf and #fde alternately for each scallop4 ,one connecting scallop should be blue and the next one yellow4 ,the inner edge of scallops should be outlined in ,black ,etching ,silk1 #fab1 also the straight lines enclosing the scroll and the bars of the doilies4 ,the same ,blue1 #fbf1 in ,corticelli ,filo ,silk with ,brown1 #ebf1 may be used for the scroll4 ,keep the blue on one edge and the brown on the other4 ,embroider in the overlap long and short stitch4 ,work the little trefoils within the scallop in satin stitch with ,pink1 #abh1 #acj1 and cross-bar them alternately with the scallop colors4 ,see ,colored ,plate ,,vii4 ,illustration3 ,,bulgarian ,,doily ,,no4 #ee ,b4 ,illustration3 ,,bulgarian ,,doily ,,no4 #ee ,c4 ,flower and ,leaf ,forms4--,these should carry the colors of the edge with a few in addition4 ,use in the leaf forms1 in combination with ,brown1 #ebf1 #ebg1 and #ebh1 the ,greens #abc1 #abe1 and #abf4 ,in the flower forms use beside the blue and yellow1 ,pink1 #abh and #acj1 and ,red1 #edb and #edd4 ,the leaf forms should be embroidered in long and short stitch4 ,the flower forms may be made altogether or nearly solid or filled with feather stitch or satin stitch diapered4 ,the satin stitch may be done in ,filo ,silk cross-barred with the ,etching ,silk4 ,distribute the colors in masses1 that is1 confine certain colors to certain forms1 combine the colors rather than mix them4 ,the effect of cross-bar diapering in the flower forms of these figures is very pretty and the work is firm as well4 ,corticelli ,filo ,silk alone should be used in the figures of the doilies even for the cross-barring1 though the scallops and black lines should be of the ,etching ,silk4 ,it is possible to introduce the red into the doily scallops in the little connecting points and to so combine the colors as to make all the edges different4 ,four of each of the doily designs form the dozen1 and these may be still further varied by a little planning as to color schemes4 ,the centerpiece and doilies may be embroidered with good effect in simple outline or rows of outline1 known as the ,bulgarian stitch4 ,if desired the entire work on the centerpiece may be done with ,corticelli ,etching ,silk1 and the effect will be really very beautiful1 and novel as well1 but the figures of the doilies are too small for such treatment4 7,not ,difficult47 ,illustration3 ,,corticelli ,,bulgarian ,,design ,,no4 #ee4 ,,colored ,,plate ,,vii4 ,illustration3 ,,corticelli ,,japanese ,,design ,,no4 #ea4 ,,colored ,,plate ,,viii4 ,japanese ,design ,no4 #ea4 ,,colored ,,plate ,,viii4 ,,by ,,emma ,,haywood4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #d skeins1 #ggi4e2 #b skeins each #fee4g1 #ebe4g1 #ebe4h1 #ebe4i1 #fee4h1 #fee4i1 #fef1 #ghj2 #a skein #aae4 ,corticelli ,persian ,floss1 #h skeins #ghj4 ,materials--#i inch ,size3 ,corticelli ,filo ,silk1 #a skein each of above shades4 ,corticelli ,persian ,floss1 #b skeins #ghj4 ,dealers can furnish stamped linen of this design in #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,it has been aptly said of ,japanese designers that they know how to occupy a space without filling it1 thus producing very beautiful effects with little labor4 ,this remark applies well to this design1 since it can be quickly worked1 and it will prove very charming and effective for either a centerpiece or doily4 ,illustration3 ,,japanese ,,design ,,no4 #ea4 ,border4--,work in indented 7long and short on the inside7 buttonhole stitch in two shades of pale soft green4 ,for the outside edge use ,corticelli ,persian ,floss1 #ghj2 into this blend ,filo ,silk1 #ggi4e1 still keeping the indented effect in the shading4 ,almond ,blossoms4--,work solid1 beginning the edges of petals with ,corticelli ,filo ,silk1 #fef1 shading lighter to the center1 using #fee4i1 #fee4h1 #fee4g4 ,in the center of the flower make ,french knots in ,golden ,brown1 #aae4 ,stems4--,work solid in shades of ,golden ,brown1 #ebe4g1 #ebe4h1 #ebe4i4 ,the shading should be darker near the flowers and at the bottom of the stem than elsewhere4 ,use the lighter shades for working the small stems branching out from the main stalk4 ,calyx and ,small ,buds4--,use ,green1 #ghj1 for the upper part and ,brown1 #ebe4g1 near the stems4 ,the work should be pressed before the edge is cut4 ,if desired a double strand of ,corticelli ,filo ,silk may be used for working the blossoms and stems4 ,great care must be taken1 however1 not to allow the strands to twist around each other4 ,they should lie side by side1 giving their full value4 ,even when working with a single strand great attention should be paid to keeping it from twisting4 ,keep it in its normal condition by occasionally untwisting2 otherwise it will become like a wisp and all the beautiful gloss of this lovely silk will soon be lost4 7,easy47 ,pansy ,design ,no4 #fjc ,a4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejg1 #fdd4h1 #fde1 #fdi4i1 #fej1 #fea1 #feb1 #fec1 #fed1 #gbi4e1 #ged1 #ggh1 #gha1 #ghb1 #ghc1 #ghd4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,dealers can furnish stamped linen of this design in #bb inch size4 ,see page #ib4 ,illustration3 ,,pansy ,,design ,,no4 #fjc ,a4 ,border4--,work the scallop in buttonhole stitch with ,persian ,floss1 #fae4 ,work the cross-bar in the four corners in border in outline stitch with one thread of ,filo in ,brown1 #fdd4h4 ,where the lines meet make a cross stitch in ,brown1 #fde4 ,in the center space between the bars make an ,x in ,brown1 #ggh4 ,see ,colored ,plate ,,ix for method of working border and cross-bar4 ,flowers4--,work solid in ,purple1 #fdi4i1 #fej1 #fea1 #feb1 #fec1 #fed1 #gbi4e4 ,begin edge of upper petals with #fdi4i1 shading gradually darker to the center with #fej1 #fea1 #feb4 ,work the edge of the three lower petals with #fea1 and shade gradually darker to center1 using #feb1 #fec1 #fed1 #gbi4e4 ,put a few stitches of ,yellow1 #ejg1 in the center4 ,leaves4--,work solid in ,green1 #gha1 for points4 ,shade darker toward the center1 using #ghb1 #ghc1 and for veins1 #ged4 ,some leaves should be worked with #gha on edge1 #ged for center1 and work veins with #ghd4 ,scroll ,lines and ,cross-bar4--,outline the cross-bar lines with #fde and the scroll with #fdf4 ,a study of ,pansy ,design #fje ,b1 ,colored ,plate ,i 7,frontispiece71 will give some hints as to how the pansies should be shaded1 although the coloring is different4 7,somewhat ,difficult47 ,violet ,design ,no4 #fjc ,c4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #gbe1 #gbg1 #gbh1 #gha1 #ghb2 #a skein each #ejf1 #fdd4h1 #fde1 #gbi1 #ggh1 #ghc4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,dealers can furnish stamped linen of this design in #bb inch size4 ,illustration3 ,,violet ,,design ,,no4 #fjc ,c4 ,border4--,work the scallop in buttonhole stitch with ,persian ,floss1 #fae4 ,work the cross-bar in the four corners in the border in outline stitch with one thread of ,filo1 ,brown1 #fdd4h4 ,where the lines meet make a cross stitch in ,brown1 #fde4 ,in the center space between the bars make an ,x with ,brown1 #ggh4 ,see ,colored ,plate ,,ix for method of working border and cross-bar4 ,flowers4--,work solid in the shades of violet1 making some flowers lighter than others4 ,work some of the petals darker on the edge and lighter toward the center1 and reverse1 some lighter on the edge and darker toward the center4 ,make a few solid stitches of yellow in the center of the open flowers4 ,work the buds solid in #gbh1 #gbi1 and the calyx solid with ,green1 #ghb4 ,leaves4--,work the edge and points with #gha and shade darker to the center with #ghb4 ,use #ghc for veins and stem4 7,easy47 ,wild ,rose ,design ,no4 #fjc ,e4 ,,colored ,,plate ,,ix4 ,by ,,amalia ,,smith4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #fcf1 #fee4g1 #gha1 #ghb2 #a skein each #ejd1 #fcg1 #fch1 #fci1 #fdj1 #fdd4h1 #fde1 #gee1 #ggh1 #ghj1 #ghc4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,dealers can furnish stamped linen of this design in #bb inch size4 ,border4--,work the scallop in buttonhole stitch with ,persian ,floss1 #fae4 ,work the cross-bar in the four corners in border in outline stitch with one thread of ,filo in ,brown1 #fdd4h4 ,where the lines meet make a cross stitch in ,brown1 #fde4 ,in the center space between the bars make an ,x in ,brown1 #ggh4 ,see ,colored ,plate ,,ix4 ,illustration3 ,,wild ,,rose ,,design ,,no4 #fjc ,e4 ,flowers4--,work solid4 ,begin the edge of petals of open flowers with ,pink1 #fci4 ,shade lighter to the center1 using #fcf1 #fcg1 #fch1 #fee4g4 ,make some lighter and some darker4 ,put three stitches of ,green1 #ghj1 in the center1 and surrounding center but #a_/d inch away make a few ,french knots in ,yellow1 #ejd4 ,work the back petals in the half flowers with ,pink1 #fci1 #fdj1 and the front petals or those in the foreground with #fcg1 #fch1 #fci4 ,buds and ,calyx4--,work the buds with ,pink1 #fci1 #fdj1 and the calyx points with ,green1 #ghj1 #gha4 ,for the bulb and stem use #ghb4 ,leaves4--,work solid4 ,for the edge and points use #gha1 shading toward the center with #ghb1 #ghc4 ,the veins and stem work with #ghc1 #gee4 ,the ,wild ,rose is always a popular subject for embroidery1 and even a beginner should have no difficulty in working the design as the ,colored ,plate ,,ix gives the exact shading and stitch direction1 7,easy47 ,sweet ,pea ,design ,no4 #fjc ,f4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #fdd4h1 #fde1 #fgh1 #fgi1 #fhj1 #fgc1 #fgd1 #gbf4e1 #gbg1 #ggh1 #ghj1 #gha1 #ghb1 #ghc4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,dealers can furnish stamped linen of this design in #bb inch size4 ,see page #ib4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae4 ,work the cross-bar in the four corners in the border in outline stitch with one thread of ,corticelli ,filo ,silk1 ,brown1 #fdd4h4 ,where the lines meet make a cross stitch in ,brown1 #fde4 ,in the center space between the bars make an ,x with ,brown1 #ggh4 ,see ,colored ,plate ,,ix for method of working border and cross-bar4 ,illustration3 ,,corticelli ,,wild ,,rose ,,design ,,no4 #fjc ,e4 ,,colored ,,plate ,,ix4 ,flowers4--,work solid in shades of purple and pink ,corticelli ,filo ,silk4 ,begin some flowers with ,pink1 #fhj1 shading gradually lighter toward the center with #fgi and #fgh4 ,in others combine purple and pink4 ,begin with #fgd and shade gradually to light pink2 then darker toward the center1 or reverse1 using different shades in each flower4 ,reference to the ,colored ,plate of ,sweet ,pea ,design #djg;,g will be found quite a help in getting the proper shading1 although the colors used are not identical with those suggested for this design4 ,illustration3 ,,sweet ,,pea ,,design ,,no4 #fjc;,f4 ,leaves4--,work the points with ,green1 #gha1 shading darker toward the center with #ghb1 #ghc4 ,work the veins and stems in #ghc4 ,for the tendrils use #ghj4 7,difficult47 ,pansy ,design ,no4 #fje ,b4 ,,colored ,,plate ,i4 7,frontispiece47 ,,by ,,amalia ,,smith4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #gbe1 #gbg2 #a skein each #fde1 #gbf1 #gbh1 #gbi1 #gbi4e1 #gdj1 #gda1 #gdb1 #gdc1 #gdc4e #gdc4g1 #ged1 #gff1 #ghj1 #gha1 #ghb4 ,corticelli ,,ee ,embroidery ,silk1 #f skeins #fae4 ,smaller pieces take less silk4 ,dealers can furnish stamped linen of this design in #ah and #bb inch sizes4 ,see page #ib4 ,illustration3 ,,pansy ,,design ,,no4 #fje ,b4 ,pansies always have a peculiar charm of their own1 and as subjects for embroidery afford opportunity for very skillful1 as well as artistic1 treatment4 ,the range of color is so varied and the possibility of pleasing combinations is so great that the following instructions are given simply as a suggestion4 ,however1 the directions will be found ample for the less experienced needleworker who does not care for a color scheme of her own4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,,ee ,embroidery ,silk1 ,white1 #fae2 or ,persian ,floss1 #fae1 can be used4 ,flowers4--,work solid in combination of ,purple1 #gbe1 #gbf1 #gbg1 #gbh1 #gbi1 #gbi4e1 and ,yellow1 #gdj1 #gda1 #gdb1 #gdc1 #gdc4e1 #gdc4g4 ,it would be effective to work some flowers all in purple1 others in yellow with purple rays4 ,commence with the two upper back petals of the open flower nearest to the border4 ,work the edge of the petal with ,yellow1 #gdc2 shade into that #gdc4e1 #gdc4g1 and use #fde near the center for shadow4 ,begin the edge of the three lower petals with #gdc1 shading lighter to the center with #gdb1 #gda1 #gdj4 ,see ,colored ,plate ,i 7,frontispiece74 ,to lend variety the three lower petals in some yellow flowers can be made lighter on the edge and darker toward the center4 ,from the center of the flower1 extending into the three lower petals make rays of ,purple1 #gbi4 ,work a few solid stitches of ,scarlet1 #gff1 in the center of the flower4 ,now begin with the two upper back petals of the purple flowers using #gbh for edge of the petal1 shading gradually darker to the center with #gbh1 #gbi1 and make a few stitches of #gbi4e in rays1 and as shadows4 ,begin the edge of the lower petals with #gbe and gradually shade darker to the center1 making rays in the three lower petals with #gbi4e4 ,work a few solid stitches of ,scarlet1 #gff1 in the center of the flowers4 ,see ,colored ,plate ,i 7,frontispiece7 for shading and proper direction of the stitches4 ,buds and ,calyx4--,work the buds solid1 using #gbg1 #gbh1 #gbi4 ,work the edge with #gbg and shade gradually darker to the stem1 using a little of #gbi4e near the stem4 ,work the points of the calyx in ,green1 #gha1 shading toward the stem with #ghb and #ged4 ,leaves4--,work the points of the leaves solid1 in #ghj1 shading gradually darker toward the midvein and base of the leaf1 using #gha1 #ghb4 7,difficult47 ,garland ,wild ,rose and ,forget-me-not ,design ,no4 #ed4 ,,by ,,alice ,c4 ,,morse4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #fbc1 #fbd1 #fcg1 #fch1 #fci1 #fdj1 #gda1 #gdb1 #hje1 #hjf2 #a skein each #ejd1 #fbe1 #fbf1 #ghj1 #hjg1 #hjh4 ,corticelli ,persian ,floss1 #h skeins #faf4e4 ,smaller pieces take less silk4 ,dealers can furnish stamped linen of this design in #ah and #bb inch sizes only4 ,see page #ib4 ,this garland design when embroidered will be a surprise to any one who has never tried a similar pattern4 ,the coloring has a very rich1 subdued tone which is quite different from that found in any other style of design4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 #faf4e4 ,wild ,roses4--,work solid1 using all the shades of ,pink ,corticelli ,filo ,silk1 #fcg1 #fch1 #fci1 #fdj1 working the edge of the petals dark1 shading gradually lighter toward the center of the flowers4 ,use three shades in each flower4 ,vary the flowers1 making some darker than others4 ,in the center work four or five stamens with one thread of ,filo1 #ghj1 and at the end of each stamen make a ,french knot with ,yellow1 #ejd4 7,see ,photo ,frame ,no4 #fj47 ,illustration3 ,,garland ,,wild ,,rose ,,and ,,forget-,,me-,,not ,,design ,,no4 #ed4 ,forget-me-nots4--,work in satin stitch with ,blue1 #fbc1 #fbd1 #fbe1 #fbf4 ,don't try to shade each petal1 but get light and shade effect by making some petals in #fbc1 some in #fbd1 etc4 ,use #fbf for an occasional petal only1 as the color is rather strong4 ,work in the centers one ,french knot with #gdb4 ,leaves4--,work solid with ,green1 #hje1 #hjf1 #hjg1 #hjh4 ,make the larger leaves in the darker shades2 the points of the leaves in #hje4 ,veins and stems work with #hjh4 ,ribbons4--,work in satin stitch1 slanting across the ribbon1 using ,yellow1 #gda1 #gdb4 ,to give the effect of the twisted ribbon1 work one turn of the ribbon with #gda1 the next fold with #gdb1 and so on4 ,if you prefer1 ,green1 #abe1 #abf1 #abg1 can be used for the ribbon1 carrying out the same idea as directed above4 7,somewhat ,difficult47 ,easter ,lily ,design ,no4 #fje ,d4 ,,colored ,,plate ,x4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #fae1 #fib4h1 #gha1 #ghb2 #a skein each #ejf1 #ffa1 #ffb1 #ffc1 #ghj1 #ghc1 #ghd4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #ah and #bb inch sizes4 ,see page #ib4 ,illustration3 ,,easter ,,lily ,,design ,,no4 #fje ,d4 ,border4--,work in buttonhole stitch with ,corticelli ,persian ,floss1 #fae4 ,flowers4--,work solid1 beginning the edge of the petals with ,corticelli ,filo ,silk1 ,white1 #fae1 shading into it ,green1 #fib4h1 #ffa1 #ffb1 using #ffc for the center4 ,work six or seven stamens in #gha1 putting three small stitches of ,yellow1 #ejf1 at the end of each to form the top or head4 ,work the point of the buds with ,green1 #fib4h1 shading darker with #ffa1 #ffb1 #ffc1 to the stem4 ,see ,colored ,plate ,x4 ,leaves4--,work solid1 with ,green1 #gha1 for points1 and shading gradually darker with #ghb1 #ghc1 and #ghd to the stem4 ,the leaf is worked straight from the point without veins4 ,use ,green1 #ghb1 for the stems4 ,when well done the shading in this design is very delicate4 7,not ,difficult47 ,orchid ,design ,no4 #fje ,f4 ,,colored ,,plate ,,xi4 ,,by ,,amalia ,,smith4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #gbe1 #gbf1 #gha1 #ghb2 #a skein each #fej1 #fea1 #feb1 #fgf1 #ghj1 #ghc1 #ghd4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #ah and #bb inch sizes4 ,see page #ib4 ,illustration3 ,,orchid ,,design ,,no4 #fje ,f4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae4 ,flowers4--,make a few stitches at the middle of the point of each petal with ,corticelli ,filo ,silk1 ,purple1 #fgf1 shading toward the bottom of the petal with #feb1 #fea1 #fej1 #gbf1 #gbe4 ,begin back edge1 or lip1 of cup with #fea1 shading darker toward the center with #feb1 #fgf4 ,do the front lip in similar manner1 but use #fej for the edge and #fea to shade toward the center4 ,under the lip make the shadow with #fgf4 ,from the center of the cup make a pistil in ,green1 #gha4 ,careful study of ,colored ,plate ,,xi will show the proper shading and correct direction of the stitches4 ,leaves4--,work solid1 using #ghj for the point and shading gradually darker with #gha1 #ghb1 #ghc1 #ghd4 ,work the stems near the flower1 with #ghc1 shading darker with #ghd toward the base of stem4 7,somewhat ,difficult47 ,illustration3 ,,corticelli ,,orchid ,,design ,,no4 #fje ,f4 ,,colored ,,plate ,,xi4 ,illustration3 ,,corticelli ,,easter ,,lily ,,design ,,no4 #fje ,d4 ,,colored ,,plate ,x4 ,buttercup ,design ,no4 #faj ,b4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejb1 #ejd1 #eje1 #ejf1 #ejg1 #ehb1 #gec1 #ged1 #gee1 #gha4 ,corticelli ,persian ,floss1 #e skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i and #bb inch sizes4 ,see page #ib4 ,illustration3 ,,buttercup ,,design ,,no4 #faj ,b4 ,turning over one of the corners adds to the novelty of this design and the #i inch size makes an especially dainty doily4 ,the #bb inch size is for a centerpiece4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 #fae4 ,one corner is turned under on the wrong side and buttonholed on the right side through both thicknesses of linen4 ,work the straight line1 or slit1 in the turned over corner in fine buttonhole stitch with ,corticelli ,persian ,floss1 #fae4 ,the stems1 which apparently come through the slit1 should be worked in outline stitch with ,filo ,silk1 ,green1 #gee4 ,colored ,plate ,v4 ,flowers4--,make the edge with ,corticelli ,filo ,silk1 ,yellow1 #ejg1 shading lighter to the center with #ejf1 #eje1 #ejd1 #ejb4 ,some flowers should be darker than others4 ,in the center of the flower work a few stitches of ,green1 #gha1 and around these stitches make a few ,french knots in #gha also4 ,for the back petals of the buds use #ejg1 shading lighter to the stem with #ejf1 #eje4 ,use ,green1 #ehb1 for the points of calyx1 and shade #egc into the stem1 using this shade also for a part of each stem4 ,leaves4--,make the points in ,green1 #gha1 shading gradually to midvein with #ehb1 #gec1 #ged4 ,omit #gha in some of the leaves1 thus making them darker1 and adding #gee at the bottom of the leaf4 ,use #gee for the stems4 7,easy47 ,carnation ,design ,no4 #faj ,c4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #fce4e1 #fcf1 #fcg1 #fch1 #fdj1 #ghj1 #gha1 #ghb1 #ghc4 ,corticelli ,persian ,floss1 #e skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i and #bb inch sizes4 ,see page #ib4 ,these turned corner patterns are very simple1 taking but a small quantity of silk and little time to work them4 ,illustration3 ,,carnation ,,design ,,no4 #faj ,c4 ,border--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 #fae4 ,one corner is turned under on the wrong side and buttonholed on the right side through both thicknesses of linen4 ,work the straight line1 or slit1 in the turned over corner1 in fine buttonhole stitch with ,corticelli ,persian ,floss1 #fae4 ,the stems1 which apparently come through the slit1 should be worked in outline stitch with ,green1 #ghc4 ,colored ,plate ,v4 ,flowers4--,begin the edge of the petals with #fdj1 shading gradually lighter toward the calyx with #fch1 #fcg1 #fcf1 #fce4e4 ,make some petals lighter than others by omitting #fch1 using only #fcg1 #fcf1 #fce4e4 ,for the calyx use ,green1 #ghj and #gha1 shading darker to the stem with #ghc4 ,leaves4--,work solid1 using #ghj for the points and shading gradually darker with #gha and #ghb4 ,work the stems with #ghc4 7,easy47 ,bohemian ,glass ,design ,no4 #fjf ,b4 ,,colored ,,plate ,,xii4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins #fae2 #a skein each #edb1 #fdd4f1 #fdd4g1 #fdd4h1 #fdf1 #fdi4i1 #fej1 #fea1 #ghj1 #gha1 #ghb1 #ghc4 ,corticelli ,,ee ,embroidery ,silk1 #f skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,,ee ,embroidery ,silk1 ,white1 #fae4 ,work the scrolls near the border in outline stitch with ,filo ,silk1 ,brown1 #fdd4h4 ,see ,colored ,plate ,,ii4 ,between the lines work innumerable small stitches with #idf to represent seeds4 7,see article on ,stitches--,seed ,stitch47 ,pointed ,figure4--,cross-bar the center of the pointed figure running inward from the border with #fdd4g1 catching down the lines where they intersect with #fdf1 and outline the figure with the same shade4 ,see ,colored ,plate ,,xii4 ,illustration3 ,,corticelli ,,bohemian ,,glass ,,design ,,no4 #fjf ,b4 ,,colored ,,plate ,,xii4 ,illustration3 ,,corticelli ,,nasturtium ,,design ,,no4 #fjg ,a4 ,,colored ,,plate ,,xiii4 ,flowers4--,work solid in ,violet1 #fdi4i1 #fej1 #fea1 making each flower in one shade1 choosing the lighter shades for the flowers having five petals and making the flowers in the rear of the bunch in the darker shades4 ,put one ,french knot in the center of the open flower1 using ,green1 #ghj4 ,see ,colored ,plate ,,xii4 ,illustration3 ,,bohemian ,,glass ,,design ,,no4 #fjf ,b4 ,leaves and ,vine4--,begin point of leaf with ,green1 #ghj1 shading to center with #gha1 #ghb4 ,make some of the leaves darker by omitting #ghj4 ,work the veins and stems with #ghc4 ,along the vine work in seed stitch several groups of three or four little dots each1 using ,red1 #edb4 ,inside ,scrolls4--,work solid1 making ends or points in ,brown1 #fdd4f1 shading darker in the middle with #fdd4g1 #fdd4h4 ,for the shadow on each side of the fold use #fdf4 ,for the half circle scroll use #fdd4f4 ,make the points of the ,fleur-de-lis in ,white ,filo1 #fae1 shading darker to base with ,brown1 #fdd4f1 #fdd4g1 #fdd4h4 ,work the round dot solid in #fdf4 7,not ,difficult47 ,nasturtium ,design ,no4 #fjg ,a4 ,,colored ,,plate ,,xiii4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #ghb1 #ghc1 #hji1 #hab2 #a skein each #gdc4f1 #gdc4g1 #ggi1 #gha1 #ghd1 #hac1 #had4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae1 working the shell shaped scallop long and short on the inside4 ,into this shade work #hji1 using one thread of ,filo ,silk1 still leaving the indented effect 7alternate long and short stitches7 on the inside4 ,see ,colored ,plate ,,iii4 ,work the scroll near the border in seamstress feather stitch or outline stitch with ,green1 #gha4 ,illustration3 ,,nasturtium ,,design ,,no4 #fjg ,a4 ,flowers4--,work solid4 ,begin the edge with #had1 using #hac1 #gdc4g1 #gdc4f1 #hab1 #hji1 toward the center4 ,make some flowers lighter than others4 ,all the shades mentioned are not required for each flower4 ,in each petal of the open flower make three rays in ,brown1 #ggi4 ,the part of the calyx shown between the petals work in ,green1 #ghb4 ,see ,colored ,plate ,,xiii4 ,use #had for the edge of the buds1 shading lighter to the calyx with #hac1 #gdc4g4 ,put a touch of #gdc4g at the end of calyx1 work remaining part in #gha1 #ghb1 using the lighter shade nearest the petals4 ,leaves4--,work each leaf in one shade of ,green1 making all the stitches come to the center4 ,use #gha for the small leaves1 and #ghb1 #ghc1 for the larger ones4 ,for stems and veins use #ghd1 and for the small buds #gha4 7,not ,difficult47 ,bachelor's ,button ,design ,no4 #fjg ,b4 ,,colored ,,plate ,,xiv4 ,illustration3 ,,bachelor',s ,,button ,,design ,,no4 #fjg ,b4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #ffa1 #gdd2 #a skein each #ffb1 #ffc1 #ffd1 #fge1 #gde1 #gdf1 #gha4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller pieces take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae4 ,the edge of the shell scallop in the border should be worked with #fae4 ,into this white shade ,corticelli ,filo ,silk1 ,blue1 #gdd1 leaving a long and short effect on inside4 ,see ,colored ,plate ,,iii4 ,the scroll near the border should be worked with ,green1 #ffa4 ,illustration3 ,,corticelli ,,batchelor',s ,,button ,,design ,,no4 #fjg ,b4 ,,colored ,,plate ,,xiv4 ,flowers4--,work solid4 ,begin the edge of the petals with ,corticelli ,filo ,silk1 ,blue1 #gdf1 shading lighter to the center with #gde and #gdd4 ,fill the center with stamens in ,red ,purple1 #fge1 placing a ,french knot at head of each stamen in ,green1 #gha4 ,see ,colored ,plate ,,xiv4 ,work the part of calyx nearest the petals with ,green1 #ffb1 and that nearest the stem with #ffc4 ,over this green make a few stitches like an inverted ,v 1 in #fge4 ,work the seed pod in the same shades as the calyx1 putting a few stitches in #fge on the edges as shown by ,colored ,plate ,,xiv4 ,leaves4--,work solid1 making the points in #ffa1 shading gradually darker to the center with #ffb1 #ffc4 ,for the stem use #ffd1 making two lines of stem stitch1 or use outline stitch1 but slant the stitches more than usual4 7,not ,difficult47 ,red ,clover ,design ,no4 #fjg ,c4 ,,colored ,,plate ,,xv4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #fee4g1 #fgh1 #fgi1 #ghb1 #ghc2 #a skein each #fhj1 #fhb1 #gha4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller pieces take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,illustration3 ,,red ,,clover ,,design ,,no4 #fjg ,d4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae4 ,the shell shaped scallop buttonhole irregularly long and short on the inside4 ,over this work ,corticelli ,filo ,silk1 ,pink1 #fee4g1 into which shade ,pink1 #fgh1 leaving a long and short effect on the inside4 ,see ,colored ,plate ,,iii4 ,the scroll near the border can be done in either outline or seamstress feather stitch in ,green1 #gha4 ,flowers4--,work solid in shades of ,pink1 #fee4g1 #fgh1 #fgi1 #fhj1 #fhb4 ,use only one shade for a petal4 ,make the back petals in #fgi1 #fhj2 the middle or center petals with #fee4g1 #fgh2 and those nearest the stem in #fhj1 #fhb4 ,be careful to keep the petals separate4 ,see ,colored ,plate ,,xv4 ,leaves4--,work the leaves under the flower solid with green1 using #ghb for the edge1 and #gha for the crescent or horseshoe4 ,at the base of the leaves near the stem work a few stitches of #ghc1 using the same shade for the stems4 7,easy47 ,chrysanthemum ,design ,no4 #fjg ,d4 ,illustration3 ,,chrysanthemum ,,design ,,no4 #fjg ,d4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #ejf1 #ejg1 #ejh1 #gha1 #ghb1 #ghc2 #a skein each #ejd1 #eje1 #faf4e1 #ghd1 #hac1 #had4 ,corticelli ,persian ,floss1 #f skeins #faf4e4 ,smaller pieces take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #faf4e4 ,buttonhole the shell scallop long and short on the inside1 and over this work one thread of ,corticelli ,filo ,silk #faf4e1 leaving a long and short effect on the inside4 ,see ,colored ,plate ,no4 ,,iii4 ,the scroll near the center work in outline stitch with #hac4 ,flowers4--,begin the edge of the petals in ,yellow1 #ejd1 shading darker to the base of petal with #eje1 #ejf1 #ejg1 #ejh1 #hac1 #had4 ,it is not necessary to use all these shades in every petal2 make some lighter and some darker4 ,work the center of the full flower in #ejd4 ,for the petals that curl inward and over the center use #ejh1 shading darker to base with #hac1 #had4 ,work the edge of petals of buds in #ejg1 shading darker toward the calyx with #ejh1 #hac1 #had4 ,use ,green1 #gha1 for the points of calyx1 shading darker towards the stem with #ghb1 #ghc4 ,leaves4--,work the edges with #gha1 shading darker toward the center with #ghb1 #ghc4 ,vein with #ghd4 ,work the stems in two rows of stem stitch with #ghd4 7,not ,difficult47 ,buttercup ,design ,no4 #fjg ,e4 ,,colored ,,plate ,,xvi4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #ejd1 #eje1 #ejf1 #ejg1 #ged1 #gha2 #a skein #ejc1 #ghb4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller pieces take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,illustration3 ,,corticelli ,,clover ,,design ,,no4 #fjg ,c4 ,,colored ,,plate ,,xv4 ,illustration3 ,,corticelli ,,buttercup ,,design ,,no4 #fjg ,e4 ,,colored ,,plate ,,xvi4 ,illustration3 ,,buttercup ,,design ,,no4 #fjg ,e4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae4 ,work the shell scallop in buttonhole stitch1 long and short on the inside2 work over the white with one thread of ,corticelli ,filo ,silk1 ,yellow1 #ejc1 leaving on the inside a long and short effect4 ,see ,colored ,plate ,,iii4 ,flowers4--,work solid4 ,begin the edge of the petals with ,yellow1 #ejg1 shading lighter to the center with #ejf1 #eje1 #ejd1 #ejc4 ,some flowers should be darker than others4 ,in the center of the flower work a few stitches of ,green1 #gha1 and around these stitches make a few ,french knots in #gha also4 ,see ,colored ,plate ,,xvi4 ,leaves4--,work solid4 ,begin the points with #gha1 and shade into #ged toward the center4 ,work the stems in outline stitch with ,green1 #ged4 7,easy47 ,holly ,design ,no4 #fjg ,f4 ,illustration3 ,,holly ,,design ,,no4 #fjg ,f4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #ehb1 #ehc1 #ged1 #gha1 #ghe2 #a skein each #ehf1 #fae1 #gfg1 #gfh4 ,corticelli ,persian ,floss1 #f skeins1 ,white1 #fae4 ,smaller pieces take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,for a ,christmas or ,new ,year's present nothing is more appropriate than a centerpiece or doily embroidered with the handsome holly4 ,this design is quite simple and is easily worked4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae4 ,work the shell-shaped scallop long and short on the inside4 ,over this indented buttonhole work1 shade in one thread of ,filo ,silk1 ,white1 #fae1 leaving a long and short effect on the inside4 ,see ,colored ,plate ,,iv1 ,borders4 ,work the scroll near the border in seamstress feather stitch or in outline stitch with ,filo ,silk1 ,white1 #fae1 or in ,green1 #gha4 ,berries4--,work in satin stitch with ,corticelli ,filo ,silk1 ,red1 #gfg1 #gfh1 using only one shade in each berry4 ,leaves4--,work solid1 using ,green1 #gha1 for the edge4 ,shade darker toward the center with #ged1 #ehb1 #ehc1 #ghe1 #ehf4 ,make some leaves darker than others4 ,use #gha for the turned over parts of the leaves4 ,work the stems and veins in #ehd and #ghe4 7,easy47 ,violet ,design ,no4 #djb ,a4 ,,fringed ,,doily4 ,illustration3 ,,violet ,,doily ,,design ,,no4 #djb ,a4 ,illustration3 ,,violet ,,tray ,,cloth ,,design ,,no4 #djb ,a4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejf1 #gbf1 #gbg1 #gbh1 #gbi1 #gha1 #ghb1 #ghc4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design1 ready fringed1 in #g1 #i1 #ab1 and #ah inch sizes4 ,see page #ib4 ,they can also furnish stamped and fringed linen for tray cloth1 #aj x #ad inches1 to match this doily4 ,the above quantity of silk will be more than enough for the tray cloth4 ,these fringed doilies are imported goods of fine quality4 ,they are neat and dainty1 require little silk to work1 and together make as pretty a set of six patterns as we have seen4 ,flowers4--,work solid4 ,use #gbf for the edge of some of the petals1 working darker to the center with #gbg1 #gbh1 #gbi4 ,use three shades to a flower4 ,commence other flowers with #gbg on the edge and use #gbh1 #gbi toward the center4 ,in the center of the open flowers work three stitches of ,yellow1 #ejf4 ,work the buds in #gbg1 #gbh1 and #gbi1 and use #ghb for the calyx4 ,leaves4--,use ,green1 #gha1 for edge of leaf1 shading toward the midvein with #ghb4 ,use #ghc for the veins and stems4 7,easy47 ,clover ,design ,no4 #djb ,b4 ,,fringed ,,doily4 ,illustration3 ,,clover ,,design ,,no4 #djb ,b4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #fee4g1 #fgh1 #fgi1 #fhj1 #fha1 #gha1 #ghb1 #ghc4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design1 ready fringed1 in #g1 #i1 #ab1 and #ah inch sizes4 ,see page #ib4 ,they can also furnish stamped and fringed linen for tray cloth1 #aj x #ad inches1 to match this doily4 ,the above quantity of silk will be more than enough to work the tray cloth4 ,these fringed doilies are imported goods of fine quality4 ,they are neat and dainty1 require little silk to work1 and together make as pretty a set of six patterns as we have seen4 ,instructions for working this design are the same as given for ,red ,clover ,design ,no4 #fjg ,c1 page #cg1 and illustrated by ,colored ,plate ,,xv1 although of course the rules for working the border do not apply to this design4 7,easy47 ,buttercup ,design ,no4 #djb ,c4 ,,fringed ,,doily4 ,illustration3 ,,buttercup ,,design ,,no4 #djb ,c4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejc1 #ejd1 #eje1 #ejf1 #ged1 #gha1 #ghb4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design1 ready fringed1 in #g1 #i1 #ab1 and #ah inch sizes4 ,see page #ib4 ,they can also furnish stamped and fringed linen for tray cloth1 #aj x #ad inches1 to match this doily4 ,the above quantity of silk will be more than enough to work the tray cloth4 ,these fringed doilies are imported goods of fine quality4 ,they are neat and dainty1 require little silk to work1 and together make as pretty a set of six patterns as we have seen4 ,instructions for working this design are the same as given for ,buttercup ,design ,no4 #fjg ,e1 page #ci1 and illustrated by ,colored ,plate ,,xvi1 although of course the rules for working the border do not apply to this design1 7,easy47 ,daisy ,design ,no4 #djb ,d4 ,,fringed ,,doily4 ,illustration3 ,,daisy ,,design ,,no4 #djb ,d4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejc1 #eje1 #ehb1 #fae1 #ffa1 #ffb1 #fib4h1 #gec1 #ged4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design1 ready fringed1 in #g1 #i1 #ab1 and #ah inch sizes4 ,see page #ib4 ,they can also furnish stamped and fringed linen for tray cloth1 #aj x #ad inches1 to match this doily4 ,the above quantity of silk will be more than enough to work the tray cloth4 ,these fringed doilies are imported goods of fine quality4 ,they are neat and dainty1 require little silk to work1 and together make as pretty a set of six patterns as we have seen4 ,instructions for working this design are the same as given for ,daisy ,design ,no4 #fab ,d1 page #di1 and illustrated by ,colored ,plate ,,xx1 although of course the rules for working the border do not apply to this design4 7,easy47 ,maiden-hair ,fern ,design ,no4 #djb ,e4 ,,fringed ,,doily4 ,illustration3 ,,maiden-,,hair ,,fern ,,design #djb ,e4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ebg1 #ghj1 #gha1 #ghb1 #ghc1 #ghc4e4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design1 ready fringed1 in #g1 #i1 #ab1 and #ah inch sizes4 ,see page #ib4 ,they can also furnish stamped and fringed linen for tray cloth1 #aj x #ad inches1 to match this doily4 ,the above quantity of silk will be more than enough to work the tray cloth4 ,these fringed doilies are imported goods of fine quality4 ,they are neat and dainty1 require little silk to work1 and together make as pretty a set of six patterns as we have seen4 ,ferns4--,work solid4 ,slant the stitches toward the bottom1 and thus bring them to a point at the stem4 ,make each leaf of one shade4 ,begin the leaves at the top of the spray with ,corticelli ,filo ,silk1 #ghj1 and work down gradually darker1 using #ghc4e for those at the bottom of the spray4 ,work the stems with a split thread of ,filo ,silk1 ,brown1 #ebg1 making the stitches very fine4 7,easy47 ,forget-me-not ,design ,no4 #djb ,f4 ,,fringed ,,doily4 ,illustration3 ,,forget-,,me-,,not ,,design ,,no4 #djb ,f4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejd1 #eai1 #ebj1 #eba1 #fgh1 #gha1 #ghb1 #ghc4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design1 ready fringed1 in #g1 #i1 #ab1 and #ah inch sizes4 ,see page #ib4 ,they can also furnish stamped and fringed linen for tray cloth1 #aj #ad inches1 to match this doily4 ,the above quantity of silk will be more than enough to work the tray cloth4 ,these fringed doilies are imported goods of fine quality4 ,they are neat and dainty1 require little silk to work1 and together make as pretty a set of six patterns as we have seen4 ,forget-me-not4--,work solid in satin stitch1 working all stitches toward the center4 ,make each flower of one shade1 using #eai1 #ebj1 #eba1 for the different flowers4 ,make a ,french knot of ,yellow1 #ejd1 in the center4 ,work most of the buds with ,pink1 #fgh1 and work the calyx with #ghb4 ,leaves4--,work solid1 using #gha on the edge1 and shade toward the midvein with #ghb4 ,veins and stems make with #ghc4 7,easy47 ,conventional ,wild ,rose ,design ,no4 #eb4 ,by ,,emma ,,haywood4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #d skeins each #ajf1 #ajg1 #ajh1 #aji2 #c skeins each #aja1 #ajb1 #ajc1 #aje2 #b skeins each #ebe4g1 #ebe4h1 #ebe4i2 #a skein each #aac1 #fdg4 ,corticelli ,persian ,floss1 #h skeins1 #faf4e4 ,materials--#i inch ,size3 ,corticelli ,filo ,silk1 #a skein each of above shades4 ,corticelli ,persian ,floss1 #b skeins1 #faf4e4 ,dealers can furnish stamped linen of this design in #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,this dainty design of semi-conventional roses and leaves is quite unique in style4 ,for the handsomer kinds of embroidery there is a decided leaning toward conventionalized forms1 but many of the designs offered are so intricate and stilted as to be hardly practical4 ,this1 however1 is both rich and graceful1 with the added attraction that it is not difficult to work4 ,the treatment1 as well as the design1 is somewhat conventional4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,cream ,white1 #faf4e4 ,illustration3 ,,conventional ,,wild ,,rose ,,design ,,no4 #eb4 ,roses4--,for the roses we suggest a most delicious new shade of pink ,corticelli ,filo ,silk1 #aja1 #ajb1 #ajc1 #aje4 ,take the darkest for the curled over edge1 working in a slanting direction4 ,the outer edge1 however1 should not be put in until the middle part is worked1 so that the edge can be worked over it4 ,the inner part should be graduated1 putting the lightest next to the center so that one begins with #ajc next the outer edge2 #ajd is left out so as to make a more decided break from the curled over edge4 ,the round center is very effective worked in pale ,gold ,color1 #aac4 ,this is covered with a network of crossed bars in a dark1 rich shade of ,brown1 #fdg1 and outlined with the same4 ,leaves4--,the leaves are worked mainly with a soft shade of green1 but to avoid monotony golden brown is blended into the green at frequent intervals1 sometimes half a leaf is brown1 sometimes it is tipped with brown on one or both sides1 or a little brown is worked in at the base of the leaf4 ,for the green shades take #ajf1 #ajg1 #ajh1 #aji1 and for the golden brown use #ebe4g1 #ebe4h1 #ebe4i4 ,the stems and thorns are likewise put in with the three shades of brown4 ,in working the leaves let the stitches take the direction of the veins2 by this means the veining will be expressed much better than by putting it in4 7,not ,difficult47 ,japanese ,chrysanthemum ,design ,no4 #fji ,b4 ,,colored ,,plate ,,xvii4 ,by ,,amalia ,,smith4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #fgb1 #fgc1 #fgh2 #a skein each #faf4e1 #fee4g1 #fgd1 #gee1 #ghj1 #gha1 #ghb1 #ghc4 ,corticelli ,persian ,floss1 #e skeins #fae4 ,dealers can furnish stamped linen of this design in #bb inch size4 ,see page #ib4 ,this is a very effective design1 pleasing in coloring1 and capable of very artistic treatment4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae1 with a long and short 7indented7 effect on the inside line4 ,work the under scallop with ,corticelli ,filo ,silk1 #fgh1 using two threads in the needle4 ,see ,colored ,plate ,,iv for coloring and method of working border4 ,illustration3 ,,corticelli ,,japanese ,,chrysanthemum ,,design ,,no4 #fji ,b4 ,,colored ,,plate ,,xvii4 ,flowers4--,work the back petals in #fgb1 #fgc1 #fgd1 making the points dark and the shading lighter toward the center4 ,the petals in the foreground should be made as follows3 points in #fgb1 shading lighter toward the base with #fgh1 #fee4g1 #faf4e4 ,see ,colored ,plate ,,xvii4 ,work the buds solid4 ,use #fgd for the back petals of buds and for those in the foreground2 use #fgb for points1 and shade lighter to the calyx1 using #fgh1 #fee4g4 ,work the calyx solid in ,green1 #gha and #ghb4 ,illustration3 ,,japanese ,,chrysanthemum ,,design ,,no4 #fji ,b4 ,leaves4--,begin the edges with #gha1 shading gradually darker to the center with #ghb and #ghc4 ,make some lighter by using #ghj on the edge and #ghb for the darkest shade4 ,vein with #ghc4 ,for the stems use ,green1 #ghb1 #ghc1 and #gee1 working solid and making the end of the stem darker than the part nearest the flower4 7,difficult47 ,thistle ,design ,no4 #fji ,e4 ,illustration3 ,,thistle ,,design ,,no4 #fji ,e4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #fhd1 #fhe1 #fhf1 #ged1 #gha1 #ghb1 #ghc1 #ghd2 #a skein each #fgb1 #fge1 #gbf1 #gbg1 #gbi4 ,corticelli ,persian ,floss1 #d skeins #fae2 #c skeins #fgb4 ,dealers can furnish stamped linen of this design in #bb inch size4 ,see page #ib4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 #fgb and #fae4 ,work the outside scallop with ,persian ,floss1 ,white1 #fae1 and the small twining scallop with #fgb4 ,see ,colored ,plate ,,iv for method of working border4 ,thistles4--,work the thistle with ,corticelli ,filo ,silk1 ,purple1 #fgb1 #gbf1 #gbg1 #fge1 #gbi4 ,make each strand very fine and make each with as much of a feathery effect as possible4 ,at the top of the thistle use #fgb1 #gbf1 and a little of #gbg4 ,make the upper part light2 near the center use the darker shades1 #fge1 #gbg1 #gbi1 but use #fge and #gbi sparingly4 ,work the bulb of the thistle solid in ,green1 #gha1 #ghb1 #ghc1 #ghd4 ,near the top of the bulb work one or more rows1 according to the size of the bulb1 with ,green1 #ghb2 the next two rows near the middle of the bulb1 with #gha1 then gradually darker to the bottom near the stem4 ,another way to work the bulb is to work it solid with ,green1 #gha1 and cross-bar with ,bronze ,green1 #heb4 ,leaves4--,work solid4 ,make one spray of leaves with ,green1 #gha1 #ghb1 #ghc1 #ghd4 ,use #gha for the points of the leaves and shade darker toward the center4 ,vein with #ghb1 #ghc1 #ghd4 ,for another spray of leaves use #ged1 #fhd1 #fhe1 #fhf1 working in the same manner as described above4 ,work the stems in stem stitch with #ghd1 giving quite a slant to the stitches4 7,not ,difficult47 ,buttercup ,design ,no4 #faa ,a4 ,,rococo ,,border4 ,illustration3 ,,buttercup ,,design ,,no4 #faa ,a4 ,,rococo ,,border4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #fae1 #fib4h2 #a skein each #ejc1 #ejd1 #eje1 #ejf1 #ejg1 #fib4i1 #gec1 #ged1 #ghj1 #gha1 #ghb4 ,corticelli ,persian ,floss1 #e skeins #fae4 ,dealers can furnish stamped linen of this design in #bb inch size4 ,see page #ib4 ,border4--,work the scallop with ,corticelli ,persian ,floss1 ,white1 #fae1 in buttonhole stitch long and short to the inside line4 ,shade into the white with one thread of ,corticelli ,filo ,silk1 #fib4h41 making an even line or finish on the narrow part of the scallop but leaving an uneven edge at the points4 ,shade these points with a few stitches of #fib4i1 thus giving them a darker effect4 ,four ,corners in ,border4--,work the cross-bar in outline stitch with one thread of ,corticelli ,filo ,silk1 #fib4h4 ,make a cross stitch with #fib4i where the lines intersect4 ,stuff the two jewels with cotton1 or1 better still1 ,corticelli ,persian ,floss1 to raise the work1 and then work over in satin stitch with ,filo1 #fib4h1 and outline with the same shade4 ,illustration3 ,,corticelli ,,violet ,,design ,,no4 #faa ,b4 ,,rococo ,,border4 ,,colored ,,plate ,,xviii4 ,illustration3 ,,corticelli ,,carnation ,,design ,,no4 #fab ,b4 ,,colored ,,plate ,,xix4 ,scroll4--,work the even side of the scroll around the cross-bar lines with ,filo ,silk1 ,white1 #fae4 ,shade #fib4h and #fib4i into the white1 giving the same effect as the border4 ,the shading is shown on ,colored ,plate ,,xviii1 but the colors are different4 ,flowers and ,leaves4--,instructions given for working the flowers and leaves in ,buttercup ,design ,no4 #fjg ,e1 page #ci1 and illustrated by ,colored ,plate ,,xvi1 apply equally well to this pattern4 7,not ,difficult47 ,violet ,design ,no4 #faa ,b4 ,,rococo ,,border4 ,,colored ,,plate ,,xviii4 ,illustration3 ,,violet ,,design ,,no4 #faa ,b4 ,,rococo ,,border4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #fae1 #fdd4f1 #fdd4g1 #fdd4h2 #a skein each #eje1 #fde1 #gbe1 #gbg1 #gbh1 #gbi1 #gha1 #ghb1 #ghc4 ,corticelli ,persian ,floss1 #e skeins1 #fae4 ,dealers can furnish stamped linen of this design in #bb inch size4 ,see page #ib4 ,border4--,work the scallop with ,corticelli ,persian ,floss1 ,white1 #fae1 in buttonhole stitch long and short to the inside line4 ,shade into the white one thread of ,corticelli ,filo ,silk1 #fdd4f1 making an even line or finish on the narrow part of the scallop4 ,shade the points in the border with a few stitches of #fdd4g and #fdd4h1 thus giving them a darker effect4 ,see ,colored ,plate ,,xviii4 ,four ,corners in ,border4--,work the cross-bar in outline stitch with one thread of ,corticelli ,filo ,silk1 #fdd4h4 ,make a cross stitch with #fde where the lines intersect4 ,stuff the two jewels with cotton1 or1 better still1 ,corticelli ,persian ,floss1 to raise the work1 and then work over in satin stitch with ,filo1 #fdd4g1 and outline with the same shade4 7,see ,jewel ,design ,no4 #ej1 for directions for working jewels47 ,scroll4--,work the even side of the scroll around the cross-bar lines with ,filo ,silk1 ,white1 #fae4 ,shade #fdd4g and #fdd4h into the white1 giving the same effect as the border4 ,see ,colored ,plate ,,xviii4 ,flowers4--,begin the edge of the petals with #gbe1 shading darker to the center with #gbg1 #gbh1 #gbi4 ,make some petals darker by omitting #gbe and #gbg4 ,in the center of the open flowers work a stitch in ,yellow1 #eje4 ,work the calyx solid with ,green1 #ghb4 ,leaves4--,begin the edge in ,green1 #gha1 shading to the center with #ghb4 ,vein and stem with #ghc4 7,not ,difficult47 ,violet ,design ,no4 #fab ,a4 ,illustration3 ,,violet ,,design ,,no4 #fab ,a4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #d skeins #fae2 #c skeins #fde2 #b skeins each #fdd4f1 #gbg1 #gbh1 #gbi2 #a skein #eje1 #gbe1 #gha1 #ghb1 #ghc4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ah1 and #bb inch sizes4 ,see page #ib4 ,this design is square1 the edges are doubled under and securely sewed with silk4 ,for this reason only a small quantity of silk is required for working1 as none is used for the edge4 ,border4--,outline the scroll in each corner with ,corticelli ,filo ,silk1 #fde4 ,work the scallop inside the scroll with ,filo ,silk1 ,white1 #fae1 to the depth of half an inch4 ,shade into the white1 ,lemon1 #fdd4f1 leaving a long and short effect on the inside of the scallop4 ,fill the space between the outside scroll and the scallop with fine seed stitches with #fde4 ,work the scroll inside of stitching solid with #fde in satin stitch4 ,see ,colored ,plate ,,xx4 ,flowers4--,begin the edge of the petals in #gbe1 shading darker to the center with #gbg1 #gbh1 #gbi4 ,make some petals darker by omitting #gbe and #gbg4 ,in the center of open flowers work a stitch of ,yellow1 #eje4 ,work the calyx solid in ,green1 #ghb4 ,leaves4--,begin the edge in #gha2 shade to center with #ghb4 ,vein and stem with #ghc4 7,easy47 ,carnation ,design ,no4 #fab ,b4 ,,colored ,,plate ,,xix4 ,illustration3 ,,corticelli ,,daisy ,,design ,,no4 #fab ,d4 ,,colored ,,plate ,,xx4 ,illustration3 ,,corticelli ,,apple ,,blossum ,,design ,,no4 #fab ,f4 ,,colored ,,plate ,,xxi4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #d skeins #fae2 #c skeins #fde2 #b skeins each #fcf1 #fcg1 #fch1 #fci1 #fdd4f1 #ghj2 #a skein each #fee4g1 #gha1 #ghb1 #ghc4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ah1 and #bb inch sizes4 ,see page #ib4 ,illustration3 ,,carnation ,,design ,,no4 #fab ,b4 ,this design is square1 the edges are doubled under and securely sewed with silk4 ,border--,use same instructions as given for working border of ,daisy ,design #fab ,d4 ,see below4 ,flowers4--,begin the edge of the petals with #fci1 shading lighter to the calyx with #fch1 #fcg1 #fcf1 #fee4g4 ,make some petals light and others dark4 ,in the full flower it is better to make the back petals lighter and those in the foreground darker4 ,see ,colored ,plate ,,xix4 ,work that part of the calyx near the petals with ,green1 #ghj1 #gha1 and the bottom with #ghb4 ,leaves4--,work solid1 using #ghj for the points and shading gradually darker with #gha1 #ghb4 ,use #ghc for the stems4 7,not ,difficult47 ,daisy ,design ,no4 #fab ,d4 ,,colored ,,plate ,,xx4 ,illustration3 ,,daisy ,,design ,,no4 #fab ,d4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #g skeins #fae2 #c skeins #fde2 #b skeins #fdd4f1 #a skein each #ejc1 #eje1 #ehb1 #ffa1 #ffb1 #fib4h1 #gec1 #ged4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ah1 and #bb inch sizes4 ,see page #ib4 ,this design is square1 the edges are doubled under and securely sewed with silk4 ,border4--,outline the scroll in each corner with ,corticelli ,filo ,silk1 #fde4 ,work the scallop inside the scroll with ,white1 #fae1 to the depth of half an inch4 ,into the white shade #fdd4f1 leaving a long and short effect on the inside of the scallop4 ,fill the space between the outside scroll and the scallop with fine seed stitches made with #fde4 ,work the scroll inside of stitching solid in satin stitch with #fde4 ,see ,colored ,plate ,,xx4 ,flowers4--,begin the points of the petals with ,white1 #fae1 shading to the center with ,green1 #fib4h1 #ffa1 and #ffb4 ,fill the centers with ,french knots in ,yellow1 #ejc and #eje4 ,see ,colored ,plate ,,xx4 ,work the buds in #fib4h and #ffa4 7,these small buds are darker than open flowers47 ,in the large buds use some white also4 ,work the calyx with ,green1 #ged4 ,leaves4--,begin the points with ,green1 #gec1 shading gradually darker with #ged to the center4 ,use #ehb for the stems and veins4 7,easy47 ,wild ,rose ,design ,no4 #fab ,e4 ,illustration3 ,,wild ,,rose ,,design ,,no4 #fab ,e4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #c skeins each #fch1 #fci1 #fde2 #b skeins each #fdd4f1 #fee4h1 #fee4i1 #gha1 #ghb2 #a skein each #ejd1 #fae1 #ghj1 #ghc1 #ghd4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ah1 and #bb inch sizes4 ,see page #ib4 ,this design is square1 the edges are doubled under and securely sewed4 ,no silk is therefore required for buttonholing the edge4 ,border4--,use same instructions as given for working ,border of ,daisy ,design #fab ,d1 page #di4 ,flowers4--,begin the edge with #fci and shade lighter to center with #fch1 #fee4i1 #fee4h4 ,make some petals lighter and some flowers lighter than others4 ,vary the shading4 ,in the center of the open flower work a few stitches of ,green1 #ghj1 and irregularly around these stitches make ,french knots in ,yellow1 #ejd4 ,a study of ,colored ,plate ,,ix will assist one in shading this design4 ,leaves4--,work solid4 ,begin the edge with ,green1 #ghj1 shading gradually darker to the center with #gha1 #ghb1 #ghc4 ,vary the shading4 ,make the leaves under the flowers much darker4 ,use but a little of #ghj and only on tips4 ,work the veins and stems with ,green1 #ghd4 7,easy47 ,apple ,blossom ,design ,no4 #fab ,f4 ,,colored ,,plate ,,xxi4 ,illustration3 ,,apple ,,blossom ,,design ,,no4 #fab ,f4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #d skeins #fae2 #c skeins #fde2 #b skeins each #fcf1 #fcg1 #fdd4f1 #fee4g1 #fee4h1 #gha1 #ghb2 #a skein each #ebg1 #faf1 #gee1 #ghc1 #heb4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i1 #ah1 and #bb inch sizes4 ,see page #ib4 ,this design is square1 the edges are doubled under and securely sewed with silk4 ,for this reason only a small quantity of silk is required for working1 as none is used for buttonholing the edge4 ,border4--,use same instructions as given for working border of ,daisy ,design #fab ,d1 page #di4 ,flowers4--,begin the edge of the petals with #fcf1 shading lighter to the center with #fee4h1 #fee4g1 #faf4 ,make some petals lighter by omitting #fcf and use #fae in place of #faf toward the center4 ,vary the shading by making some flowers almost white4 ,in each petal make two or three stamens with ,green1 #gha1 and place a small ,french knot of #fde at the end of each stamen4 ,see ,colored ,plate ,,xxi4 ,buds and ,calyx4--,begin the edge of the petals with #fcg1 shading lighter to the base with #fcf4 ,work all the buds darker than the flowers4 ,work the calyx in ,green1 #ghb4 ,leaves4--,work solid4 ,use ,green1 #gha1 for the points1 shading gradually darker to the center with #ghb1 #ghc1 #gee1 with a touch of #heb near the base and midvein4 ,vary the shading as usual4 ,work the stems solid with #gee1 #heb1 #ebg1 using most of #ebg4 7,not ,difficult47 ,violet ,design ,no4 #fac ,a4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejf1 #gbe1 #gbg1 #gbh1 #gbi1 #gha1 #ghb1 #ghc4 ,corticelli ,persian ,floss1 #a skein #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i and #bb inch sizes4 ,see page #ib4 ,illustration3 ,,violet ,,design ,,no4 #fac ,a4 ,these octagon shaped patterns require no buttonhole work on the edges1 as the linen is folded under and securely sewed as shown by the illustration4 ,the effect is quite novel1 and as the designs are simple only a small quantity of silk is needed to work the pattern4 ,flowers4--,work solid4 ,use ,corticelli ,filo ,silk1 ,violet1 #gbe1 for the edge of the petals1 shading darker toward the center with #gbg1 #gbh1 #gbi4 ,make the three lower petals lighter than the upper two4 ,in the center of the open flowers work a few stitches of ,yellow1 #ejf1 and a stitch of ,green1 #gha1 on each side of the yellow4 ,work the buds with #gbi1 #gbh1 and #gbg4 ,work the calyx solid with #gha and #ghb1 the darker shade nearest the stem4 ,leaves4--,work solid1 using #gha for the edge and shading darker to the center with #ghb4 ,work the veins and stems in #ghc4 ,the slit in corner1 or the line across the ends of the stems1 work in fine buttonhole stitch with ,persian ,floss1 ,white1 #fae4 7,easy47 ,buttercup ,design ,no4 #fac ,b4 ,illustration3 ,,buttercup ,,design ,,no4 #fac ,b4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejc1 #ejd1 #eje1 #ejf1 #ejg1 #ged1 #gha1 #ghb4 ,corticelli ,persian ,floss1 #a skein #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i and #bb inch sizes4 ,see page #ib4 ,these octagon shaped patterns require no buttonhole work on the edges1 as the linen is folded under and securely sewed as shown by the illustration4 ,the effect is quite novel1 and as the designs are simple only a small quantity of silk is needed to work the pattern4 ,flowers and ,leaves4--,instructions for working this design are the same as given for ,buttercup ,design ,no4 #fjg ,e1 page #ci1 and illustrated by ,colored ,plate ,,xvi4 7,easy47 ,daisy ,design ,no4 #fac ,d4 ,illustration3 ,,daisy ,,design ,,no4 #fac ,d4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins #fae2 #a skein each #ejc1 #eje1 #ehb1 #ffa1 #ffb1 #fib4h1 #gec1 #ged4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i and #bb inch sizes4 ,see page #ib4 ,these octagon shaped patterns require no buttonhole work on the edges1 as the linen is folded under and securely sewed as shown by the illustration4 ,the effect is quite novel1 and as the designs are simple only a small quantity of silk is needed to work the pattern4 ,flowers and ,leaves4--,instructions for working this design are the same as given for ,daisy ,design1 #fab ,d1 page #di1 and illustrated by ,colored ,plate ,,xxi1 although of course the rules for working the border do not apply to this design4 7,easy47 ,forget-me-not ,design ,no4 #fac ,e4 ,illustration3 ,,forget-,,me-,,not ,,design ,,no4 #fac ,e4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejd1 #eah1 #eai1 #ebj1 #fgh1 #gha1 #ghb1 #ghc4 ,corticelli ,persian ,floss1 #a skein #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i and #bb inch sizes4 ,see page #ib4 ,these octagon shaped patterns require no buttonhole work on the edges1 as the linen is folded under and securely sewed as shown by the illustration4 ,flowers4--,work solid4 ,make the petals in ,corticelli ,filo ,silk1 ,blue1 #eah1 #eai1 #ebj4 ,vary the shading by making one or more petals in some of the flowers of a lighter shade4 ,tip some of the petals with a touch of ,pink1 #fgh4 ,put a ,french knot in ,yellow1 #ejd1 in the center of the open flowers4 ,make some of the buds in ,pink1 #fgh1 and others in ,blue1 #eai4 ,leaves4--,work solid1 using ,green1 #gha1 for the points1 shading gradually darker to the stem with #ghb1 #ghc4 ,make some leaves lighter than others4 ,work the stems in #ghc4 ,the slit in corner1 or the line across the ends of the stems1 work in fine buttonhole stitch with ,persian ,floss1 ,white1 #fae4 7,easy47 ,chrysanthemum ,design ,no4 #fac ,f4 ,illustration3 ,,chrysanthemum ,,design ,,no4 #fac ,f4 ,,octagon ,,hem4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejb1 #ejc1 #ejd1 #eje1 #ejg1 #gaf1 #gag1 #gah1 #gai1 #gha1 #ghb1 #ghc1 #ghd4 ,corticelli ,persian ,floss1 #a skein #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i and #bb inch sizes4 ,see page #ib4 ,red ,flowers4--,work the points of the petals in the background in ,corticelli ,filo ,silk1 #gai1 shading lighter to the base with #gah1 #gag4 ,work the points of the petals in the foreground with #gai1 shading lighter with #gah1 #gag1 #gaf4 ,the petals that droop in the foreground make lighter by omitting #gai4 ,yellow ,flowers4--,work the points in the petals with ,yellow1 #ejg1 shading lighter with #eje1 #ejd1 #ejc1 #ejb4 ,change the shading in different petals by using either lighter or darker shades of silk4 ,the petals that are on top make light1 using the lightest shades toward the center of the upper petals4 ,use your taste in arranging the colors4 ,you can work red and yellow flowers in one spray1 or make each spray different1 either way will be pretty4 ,use ,green1 #ghb1 #ghc1 for the calyx4 ,leaves4--,work the points with ,green1 #gha1 shading to the stem with #ghb1 #ghc4 ,use #ghd for the stems4 7,not ,difficult47 ,purple ,clematis ,centerpiece ,design ,no4 #ef4 ,,and ,,set ,,of #d ,,doilies1 ,,no4 #ef;,a1 #ef;,b1 #ef;,c1 ,,and #ef;,d4 ,,colored ,,plate ,,xxii4 ,,by ,,elizabeth ,,moore ,,hallowell4 ,illustration3 ,,purple ,,clematis ,,centerpiece ,,design ,,no4 #ef4 ,materials--#bb inch ,centerpiece3 ,corticelli ,filo ,silk1 #d skeins #ghe2 #c skeins #ghd2 #b skeins each #gbe1 #gbf1 #gbg1 #gbh1 #gbi1 #ghc2 #a skein each #fba1 #fbb1 #ggi4e1 #ghj1 #gha1 #ghb4 ,corticelli ,persian ,floss1 #h skeins #fae4 ,smaller pieces take less silk4 ,dealers can furnish stamped linen of this design in #bb and #bg inch sizes4 ,they can also furnish stamped linen1 #i inch square1 of the set of four doily designs 7,nos4 #ef;,a1 ,b1 ,c1 ,d71 to match this centerpiece4 ,see page #ib4 ,one can always do better embroidery1 as is the case in all branches of art1 if thoroughly familiar with one's subject2 then the mind1 which is really the source of intelligent work1 can act through the pencil1 the pen1 or the needle1 and give to the result the added touch of knowledge at first hand4 ,therefore1 if possible1 before working this design secure a spray of the real clematis1 choosing the variety known as ,clematis ,jackmanni1 which is probably one of the best known4 ,the ,purple ,clematis blossoms in ,june1 ,july1 or ,august1 according to the climate1 but it can be secured from florists during other months4 ,notice that the flowers often have four petals1 and nearly as often five4 ,this is a marked peculiarity of the plant4 ,observe also the buds and sprays of leaves1 starting from the axils of the branches2 the curling tendency of the stems1 by which tendril-like quality the plant climbs4 ,sometimes the leaves will drop off from these stems1 leaving occasionally what looks like a real tendril1 but what is in reality the leaf-stem4 ,this centerpiece may be worked in heavy outline1 which produces a very decorative effect with less labor1 but this is not recommended1 the design being of a large and handsome flower1 which calls for stronger and more lasting treatment1 and the instructions given therefore are for solid embroidery1 in long and short stitch4 7,see article on ,stitches--,feather ,stitch47 ,while purple is the usual color of the flower1 it is sometimes very pale lavender1 but for a decorative design merely1 the flowers might be worked in white with greenish shadings4 ,illustration3 ,,clematis ,,doily ,,no4 #ef ,a4 ,flowers4--,begin the edge of petals with ,purple1 #gbi1 shading gradually lighter toward the base of the petal1 using #gbh1 #gbg1 #gbf1 #gbe4 ,the lightest shades should come into a vein in the center of the petal4 ,for the under side1 or turned over parts1 of the petals use #gbe and #gbf4 ,the contrast between the color of upper and under sides is very marked4 ,work the pistil solid1 using #gha for the upper and #ghb for the lower half4 ,see ,colored ,plate ,,xxii4 ,illustration3 ,,clematis ,,doily ,,no4 #ef ,b4 ,centers4--,outline the stamens with ,green1 #ghj1 #gha4 ,make the outer stamens1 which are heavier than those inside and somewhat irregular1 with a double thread of ,corticelli ,filo ,silk1 and the inner stamens with a single thread4 ,at the point of each stamen make a ,french knot with ,purple1 #gbi4 ,use #ghj and #gha also for the center from which the petals have dropped4 ,work the buds solid1 in #gbe1 #gbf4 ,at the base of each shade into the stem a few stitches of #ghj4 ,illustration3 ,,clematis ,,doily ,,no4 #ef ,c4 ,leaves4--,work solid in long and short stitch1 with #ggi4e1 #ghj1 #gha1 #ghb1 #ghc1 #ghd1 #ghe1 being careful to slant the stitches in the same direction as the veins1 that is1 from the edge in toward the central vein1 but sloping toward the base of the leaf4 ,shade from light on the edge to dark near the midvein1 ,see ,colored ,plate ,,xxii4 ,the leaves are large and many shades can be used with advantage4 ,work some of the smaller leaves in lighter shades than the large leaves at the bottom of the spray4 ,the veins in the leaves should not be indicated too distinctly4 ,they are shown with clearness in the illustration so that the correct direction may be easily followed4 ,one shade lighter than the darkest shade used in the leaf will be correct for the veins4 ,for the turned over parts of leaves use #ghj or #gha4 ,stems4--,work solid in #ghc1 #ghd1 #ghe1 and where the stems are largest use a little ,reddish ,brown1 #fba1 #fbb4 ,the stems from buds1 also the tendrils1 should be made in #ghb1 #ghc1 #ghd4 ,illustration3 ,,corticelli ,,purple ,,clematis ,,design ,,no4 #ef4 ,,colored ,,plate ,,xxii4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae1 or if desired use ,light ,green ,persian ,floss1 #ghj4 ,if fringe is wanted buy the #bg inch square of stamped linen1 buttonhole the edge very fine and even all around with ,corticelli ,etching ,silk4 ,then fringe the linen to the buttonhole edge1 comb out the threads evenly and trim to any length wanted4 7,not ,difficult47 ,purple ,clematis ,doily ,designs ,nos4 #ef;,a1 #ef;,b1 #ef;,c1 and #ef;,d4 ,illustration3 ,,clematis ,,doily ,,no4 #ef ,d4 ,three of these doilies are designed so that the decoration will show even should a tumbler or a finger bowl be placed upon them1 and if six or a larger number of doilies are desired for a set1 repeat these three patterns4 ,in the fourth design1 ,no4 #ef ,a1 the decoration is confined to the center of the doily1 this being intended for a bread or cake covering1 or for any purpose where a central decoration is most useful4 ,the instructions given for the clematis centerpiece will be ample for working these doilies4 7,not ,difficult47 ,violet ,design ,no4 #fae ,a4 ,illustration3 ,,violet ,,design ,,no4 #fae ,a4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #eje1 #ffa1 #gbe1 #gbg1 #gbh1 #gbi1 #gha1 #ghb1 #ghc1 #ghd4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #f1 #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae4 ,in the three shell shaped scallops the stitches should be irregular on the inside4 ,now shade ,corticelli ,filo ,silk1 ,green1 #ffa1 into the white 7in these three shell shaped scallops71 giving a long and short effect on the inside4 ,see ,colored ,plate ,,vi for method of working border4 ,flowers4--,work solid in ,violet1 #gbi1 #gbh1 #gbg1 #gbe4 ,make the three lower petals lighter1 the two upper petals darker1 working the edge of the petal lighter and darker toward the center4 ,make a few solid stitches of ,yellow1 #eje1 in the center of the flower4 ,leaves4--,work solid with ,green1 #gha1 #ghb1 #ghc4 ,for the stems and veins use #ghd4 7,easy47 ,daisy ,design ,no4 #fae ,b4 ,illustration3 ,,daisy ,,design ,,no4 #fae ,b4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #eje1 #fae1 #ffa1 #gha1 #ghb1 #ghc4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #f1 #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,border4--,use same instructions as given for ,violet ,design ,no4 #fae ,a1 page #eg4 ,flowers4--,work solid2 the edge of the petals with ,white1 #fae1 using #ffa toward the center4 ,make ,french knots in the center of the open flower with ,yellow1 #eje4 ,leaves4--,work solid4 ,for the points use ,green1 #gha1 shading darker toward the center with #ghb4 ,work the veins and stems with #ghc4 7,easy47 ,rosebud ,design ,no4 #fae ,c4 ,illustration3 ,,rosebud ,,design ,,no4 #fae ,c4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #fdb1 #feg1 #fei1 #ffa1 #gha1 #ghb1 #ghc4 ,corticelli ,persian ,floss1 #f skeins1 #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #f1 #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,border4--,use same instructions as given for ,violet ,design ,no4 #fae ,a1 page #eg4 ,rosebuds4--,work the edge of some of the back petals with ,red1 #fei1 shading in with #feg4 ,the center should be lighter4 ,make some of the petals darker by using #fdb on the edge and shading in with #fei4 ,the petals in the foreground should be lighter1 using #fei and #feg4 ,make the points of the calyx in ,green1 #gha1 and shade gradually darker toward the bulb1 using #ghb1 #ghc4 ,leaves4--,work solid4 ,for the edge use ,green1 #gha1 shading darker toward the center with #ghb4 ,work the veins and stems with #ghc4 7,not ,difficult47 ,buttercup ,design ,no4 #fae ,d4 ,illustration3 ,,buttercup ,,design ,,no4 #fae ,d4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejc1 #ejd1 #eje1 #ejf1 #gha1 #ghb4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #f1 #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae4 ,in the three shell shaped scallops the stitches should be irregular on the inside4 ,now shade ,corticelli ,filo ,silk1 ,yellow1 #ejc1 into the white 7in these three shell shaped scallops71 giving a long and short effect on the inside4 ,see ,colored ,plate ,,vi for method of working border2 the coloring however will be found different from that intended for this design4 ,flowers4--,work solid4 ,use #eje for the edge1 and gradually shade lighter to the bottom of the petal with #ejd1 #ejc4 ,three shades to a flower are sufficient4 ,make some petals darker by using #ejf on the edge instead of #eje4 ,in the center of the open flowers work a few stitches of ,green1 #gha1 and around these make a few ,french knots in #gha1 also4 ,see ,colored ,plate ,,xvi4 ,leaves4--,work the leaves with #gha in satin stitch1 slanting the stitches across the leaf4 ,for the stems take #ghb4 7,easy47 ,maiden-hair ,fern ,design ,no4 #fae ,e4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ebg1 #ghj1 #gha1 #ghb1 #ghc4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #f1 #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,illustration3 ,,maiden-,,hair ,,fern ,,design ,,no4 #fae ,e4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae4 ,in the three shell shaped scallops the stitches should be irregular on the inside4 ,now shade ,corticelli ,filo ,silk1 ,green1 #ghj1 into the white 7in these three shell shaped scallops71 giving a long and short effect on the inside4 ,see ,colored ,plate ,,vi for method of working border4 ,leaves4--,work solid1 making each leaf of one shade4 ,make the leaves at the top of each spray with #gha1 the next two leaves with #ghb1 and those next below with #ghc4 ,continue to make the leaves darker toward the bottom of the spray4 ,work the stems in very fine stem stitch with a thread of ,filo ,silk1 #ebg1 split in two parts4 7,easy47 ,forget-me-not ,design ,no4 #fae ,f4 ,illustration3 ,,forget-,,me-,,not ,,design ,,no4 #fae ,f4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejd1 #eag1 #eai1 #ebj1 #fgi1 #gha1 #ghb4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #f1 #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,white1 #fae4 ,in the three shell shaped scallops the stitches should be irregular on the inside4 ,now shade ,corticelli ,filo ,silk1 ,blue1 #eag1 into the white 7in these three shell shaped scallops71 giving a long and short effect on the inside4 ,see ,colored ,plate ,,vi for method of working border2 the coloring however1 will be found different from that intended for this design4 ,flowers4--,work solid4 ,use ,blue1 #eag1 #eai1 #ebj1 for the petals1 varying the shading4 ,give a touch of ,pink1 #fgi1 to some of the petals4 ,make a ,french knot of ,yellow1 #ejd1 in the center of the open flowers4 ,work some of the buds with ,blue1 #eai1 and some with ,pink1 #fgi4 ,use ,green1 #ghb1 for the calyx4 ,leaves4--,work solid4 ,for the points use ,green1 #gha1 shading toward the stem with #ghb4 ,work the stems with #ghb4 7,easy47 ,jewel ,design ,no4 #ej4 ,,colored ,,plate ,,xxiii4 ,,by ,,emma ,,haywood4 ,illustration3 ,,jewel ,,design ,,no4 #ej4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #d skeins each #aac1 #aad1 #hji1 #haj1 #haa2 #c skeins each #geb4i1 #gec2 #b skeins each #gjj1 #gja1 #ghf1 #ghg1 #ghh2 #a skein each #fdf1 #fej1 #fef1 #hab4 ,corticelli ,persian ,floss1 #d skeins #ghf4 ,corticelli ,,ee ,twisted ,embroidery ,silk1 #h skeins #hji4 ,materials--#i inch ,size3 ,corticelli ,filo ,silk1 #a skein each of above shades4 ,corticelli ,persian ,floss1 #a skein #ghf2 ,corticelli ,,ee ,twisted ,embroidery ,silk1 #b skeins #hji4 ,dealers can furnish stamped linen of this design in #i1 #ab1 #ah1 and #bb inch sizes4 ,see page #ib4 ,jewel embroidery is more than ever popular1 and deservedly so1 not only on account of the scope it gives for daintiness of design1 but more especially because of the splendid possibilities in the arrangement of color4 ,of course one is not slavishly tied to copying the exact color of any particular gem2 the decorator's license is available here just the same as in reproducing flowers1 an artistic and harmonious scheme of color must be the first consideration4 ,unless the jewels be of unusual size it is better to work each individual gem in one shade1 varying the tone if repeated in the same group4 ,it must be remembered that embroidery1 like any textile fabric1 to a great extent shades itself1 especially when the surface is glossy4 ,in this style of design it is well to introduce as great a variety of coloring as possible1 avoiding however very violent contrasts4 ,illustration3 ,,jewel ,,embroidery4 ,,filling ,,and ,,covering4 ,we suggest a scheme that will be found to work beautifully1 but many others might be thought out with equally good results4 ,it should be observed1 however1 that in formulating a scheme all the colors employed should be chosen in about the same tone to avoid the spottiness so often found in amateur work2 the very best designs can easily be spoiled through inattention to this rule4 ,the task of following exactly the directions given is rendered easy by means of the numbers on the labels attached to each skein of ,corticelli ,silk and by reference to ,colored ,plate ,,xxiii4 ,the work is solid throughout except where the scallops are filled in beneath the scrolls with crossed bars2 these are laid in place from side to side1 and caught down at each intersection4 ,the jewels are put in with satin stitch4 7,see article on ,stitches47 ,they should be raised a little by filling4 ,this can be done in two ways1 either by filling one way in satin stitch and crossing the filling in the opposite direction in finishing 7see engraving71 or by working a circle in stem stitch and following the circle inside until quite filled in1 then covering with satin stitch4 ,when covering the filling1 always start in the center and work out each way4 ,it will then be found easy to preserve the form4 ,it is hardly worth while to use a different kind of silk for the filling2 it is poor economy and saves very little after all1 while the additional fastenings off are liable to make the work lumpy4 ,the jewels are more pronounced if outlined1 but this is optional4 ,if outlined1 a rich ,burnt ,sienna shade1 such as ,no4 #fdf1 will be very effective and not at all heavy4 ,the jewels should be worked with ,corticelli ,filo ,silk4 ,for the four sections composed of scrolls1 and for the scallop exactly beneath them1 choose three delicate shades of ,apricot1 #hji1 #haj1 #haa4 ,use the lightest in ,corticelli ,,ee ,embroidery ,silk for the scallop1 and shade the scrolls with the three tones in ,filo ,silk4 ,put in the crossed bars with ,green ,filo ,silk1 #geb4i1 and catch them down with #gec4 ,the outside scrolls are also worked with #geb4i4 ,the small scrolls at the apex and on either side1 also the upper bars in stem stitch1 are of a golden hue1 for which take #aac1 #aad4 ,the large central jewel and those heading the golden bars1 are green4 ,use #gjj for the large one and #gja for the small ones2 those on either side on the bars are ,violet1 #fej2 the three below and one above the large center jewel are also worked with #fej2 the remaining single gems on either side of the center are ,red1 #fef4 ,see ,colored ,plate ,,xxiii4 ,illustration3 ,,corticelli ,,jewel ,,design ,,no4 #ej4 ,,colored ,,plate ,,xxiii4 ,we now come to the intervening forms embracing three scallops4 ,work the lily forms with ,filo ,silk in three shades of ,blue1 #ghf1 #ghg1 #ghh4 ,work the three scallops in ,persian ,floss1 with ,blue1 #ghf4 ,the jewels are golden1 being worked with ,filo ,silk1 #aac1 #aad4 ,the diamond shaped jewel is put in with #hab1 representing a pink topaz4 7,somewhat ,difficult47 ,apple ,blossom ,design ,no4 #djf ,a4 ,,hemstitched ,,edge4 ,illustration3 ,,apple ,,blossom ,,design ,,no4 #djf ,a4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #fcf1 #fcg1 #fde1 #fee4g1 #gha1 #ghb1 #ghc4 ,dealers can furnish stamped and hemstitched linen of this design in #f1 #g1 #i1 #ab1 #ae1 #ah1 and #ba inch sizes4 ,see page #ib4 ,they can also furnish stamped and hemstitched linen for tray cloths and bureau scarfs to match this design1 #ahbg1 #ahcf1 #aged1 and #aggb inches4 ,see page #ib4 ,these designs are especially adapted for beginners4 ,the #g and #i inch sizes make pretty doilies1 and the larger linens work up into very attractive centerpieces1 tray cloths and bureau scarfs4 ,flowers4--,work solid4 ,begin edge of petals with ,corticelli ,filo ,silk1 #fcg1 shading lighter toward center with #fcf1 #fee4g4 ,in the center of the open flowers make a few stitches in #gha to represent stamens1 and make three or four ,french knots around these stitches with #fde4 ,work the buds solid1 using #fcg for edge and #fcf near calyx4 ,use #ghb for calyx4 ,a study of ,colored ,plate ,,xxi will assist one in getting the right shading and stitch direction4 ,leaves4--,work solid1 beginning points with #gha1 shading darker to midvein with #ghb4 ,stems should be worked solid or with two or three rows of outline stitch1 using #ghc4 ,use #ghc also for veins4 7,easy47 ,buttercup ,design ,no4 #djf ,b4 ,,hemstitched ,,edge4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejc1 #eje1 #ejf1 #gha1 #ghb4 ,dealers can furnish stamped and hemstitched linen of this design in #f1 #g1 #i1 #ab1 #ae1 #ah1 and #ba inch sizes4 ,see page #ib4 ,they can also furnish stamped and hemstitched linen for tray cloths and bureau scarfs1 to match this design1 #ahbg1 #acf1 #aged1 and #aggb inches4 ,see page #ib4 ,illustration3 ,,buttercup ,,design ,,no4 #djf ,b4 ,these designs are especially adapted for beginners4 ,the #g and #i inch sizes make pretty doilies1 and the larger linens work up into very attractive centerpieces1 tray cloths1 and bureau scarfs4 ,only a small quantity of silk is required for these patterns4 ,flowers4--,work solid4 ,begin the edge of petals with ,corticelli ,filo ,silk1 ,yellow1 #ejf1 shading gradually lighter to center with #eje1 #ejc4 ,vary the shading in petals1 making some light and some dark4 ,work the calyx with ,green1 #gha4 ,the buds should be worked darker than the open flowers4 ,a study of ,colored ,plate ,,xvi will be found helpful to beginners4 ,leaves4--,work solid1 beginning points with #gha and shading to midvein with #ghb4 ,work the stems in outline stitch with #ghb4 7,easy47 ,chrysanthemum ,design ,no4 #djf ,c4 ,,hemstitched ,,edge4 ,illustration3 ,,chrysanthemum ,,design ,,no4 #djf ,c4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #fgc1 #fgd1 #fgh1 #gha1 #ghb4 ,dealers can furnish stamped and hemstitched linen of this design in #f1 #g1 #i1 #ab1 #ae1 #ah1 and #ba inch sizes4 ,see page #ib4 ,they can also furnish stamped and hemstitched linen for tray cloths and bureau scarfs to match this design1 #ahbg1 #ahcf1 #aged1 and #aggb inches4 ,see page #ib4 ,these designs are specially adapted for beginners4 ,the #g and #i inch sizes make pretty doilies1 and the larger linens work up into very attractive centerpieces1 tray cloths1 and bureau scarfs4 ,flowers4--,work solid4 ,begin the edge of petals with ,corticelli ,filo ,silk1 #fgd1 shading lighter to the calyx with #fgc and #fgh4 ,make some petals lighter by omitting #fgd4 ,the petals in the background should be darker than those in the foreground4 ,use #gha for the calyx4 ,a study of ,colored ,plate ,,xxii will be found helpful to beginners4 ,leaves4--,work solid1 beginning the points with #gha1 shading darker to midvein with #ghb4 ,work the stems in outline stitch with #ghb4 7,not ,difficult47 ,daisy ,design ,no4 #djf ,d4 ,,hemstitched ,,edge4 ,illustration3 ,,daisy ,,design ,,no4 #djf ,d4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejc1 #eje1 #fae1 #ffj4e1 #ffa1 #ffb1 #ged4 ,dealers can furnish stamped and hemstitched linen of this design in #f1 #g1 #i1 #ab1 #ae1 #ah1 and #ba inch sizes4 ,see page #ib4 ,they can also furnish stamped and hemstitched linen for tray cloths and bureau scarfs to match this design1 #ah x #bg1 #ah x #cf1 #ag x #ed1 and #ag x #gb inches4 ,see page #ib4 ,these designs are especially adapted for beginners4 ,the #g and #i inch sizes make pretty doilies1 and the larger linens work up into very attractive centerpieces1 tray cloths1 and bureau scarfs4 ,flowers4--,begin the edge of the petals with ,corticelli ,filo ,silk1 ,white1 #fae1 shading toward the center with #ffj4e4 ,work the centers in fine ,french knots in ,yellow1 #ejc1 #eje1 placing those in #eje above those in #ejc4 ,work the calyx in #ffa4 ,see ,colored ,plate ,,xx for method of shading4 ,leaves4--,begin the points with #ffa4 ,shade darker to the center with #ffb and #ged4 ,vein with #ged and work the stems in outline stitch with same shade4 7,easy47 ,sweet ,pea ,design ,no4 #djf ,e4 ,,hemstitched ,,edge4 ,illustration3 ,,sweet ,,pea ,,design ,,no4 #djf ,e4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #abc1 #abd1 #abf1 #abh1 #abi1 #eja1 #fhj1 #gbe1 #gbf4e1 #gbg4 ,dealers can furnish stamped and hemstitched linen of this design in #f1 #g1 #i1 #ab1 #ae1 #ah1 and #ba inch sizes4 ,see page #ib4 ,they can also furnish stamped and hemstitched linen for tray cloths and bureau scarfs to match this design1 #ah x #bg1 #ah x #cf1 #ag x #ed1 and #ag x #gb inches4 ,see page #ib4 ,these designs are especially adapted for beginners4 ,the #g and #i inch sizes make pretty doilies1 and the larger linens work up into very attractive centerpieces1 tray cloths1 and bureau scarfs4 ,flowers4--,sweet ,peas are always difficult owing to the great variety of shades found in the flower4 ,begin the edge of the two upper petals with ,corticelli ,filo ,silk1 ,pink1 #abh1 shading darker to center with #abi and #fhj4 ,for the lower petals use the same shades2 at the base work a few solid stitches of ,green1 #abc and #abd1 for calyx4 ,for a purple and yellow flower begin the edge with ,yellow1 #eja1 into which shade ,purple1 #gbe1 and near the base1 or where the petals meet1 use #gbf4e and #gbg4 ,for the turn over part use #gbe4 ,the buds should be darker than the open flowers4 ,carefully examine ,colored ,plate ,,xxvii1 before beginning to embroider this design4 ,leaves4--,work the leaves in #abc1 #abd1 #abf1 shading from light on points to dark near the center and base of leaf4 ,work the stems and tendrils in #abc1 #abf1 using the former for the ends of tendrils only4 7,somewhat ,difficult47 ,forget-me-not ,design ,no4 #djf ,f4 ,,hemstitched ,,edge4 ,illustration3 ,,forget-,,me-,,not ,,design ,,no4 #djf ,f4 ,materials--#ab inch ,size3 ,corticelli ,filo ,silk1 #a skein each #ejd1 #eah1 #eai1 #eba1 #fgh1 #gha1 #ghc4 ,dealers can furnish stamped and hemstitched linen of this design in #f1 #g1 #i1 #ab1 #ae1 #ah1 and #ba inch sizes4 ,see page #ib4 ,they can also furnish stamped and hemstitched linen for tray cloths and bureau scarfs to match this design1 #ah x #bg1 #ah x #cf1 #ag x #ed1 and #ag x #gb inches4 ,see page #ib4 ,these designs are especially adapted for beginners4 ,the #g and #i inch sizes make pretty doilies1 and the larger linens work up into very attractive centerpieces1 tray cloths1 and bureau scarfs4 ,flowers4--,work solid1 making each petal of one shade4 ,corticelli ,filo ,silk1 ,blue1 #eah1 #eai1 #eba1 are the forget-me-not shades4 ,make an occasional petal in ,pink1 #fgh4 ,put one or two ,french knots in the center of every open flower with ,yellow1 #ejd4 ,work the buds darker than the open flowers4 ,use ,green1 #gha1 for the calyx4 ,leaves4--,work solid1 beginning the points with #gha1 shading darker to midvein with #ghc4 ,work the stems in outline stitch with #ghc4 7,easy47 ,the ,queen ,embroidery ,hoop4 ,most professional needleworkers use a large frame1 and work with both hands4 ,for amateurs a hoop is the next best thing4 ,mrs4 ,haywood recommends the ,queen hoop4 ,it is1 in fact1 quite superior to the ordinary wooden or rubber ones4 ,it is a smooth wooden hoop1 true in circle1 with rounded edges2 the outer hoop is a stiff spring wire band1 interlaced with braid4 ,this hoop requires no wrapping for either light or heavy material as the spring band will keep the goods stretched to a uniform tension4 ,it is made in #d1 #e1 #f1 and #g inch sizes1 and can be had at nearly all dry goods stores4 ,illustration3 ,corticelli ,,mar,,chal ,,neil ,,rose ,,design ,,no4 #fjb ,b4 ,,colored ,,plate ,,xxiv4 ,marchal ,niel ,rose ,design ,no4 #fjb ,b4 ,,colored ,,plate ,,xxiv4 ,illustration3 ,,mar,,chal ,,niel ,,rose ,,design ,,no4 #fjb ,b4 ,,by ,,amalia ,,smith4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #fae1 #faf1 #faf4e1 #gdj1 #gda1 #gdb1 #ghj1 #gha2 #a skein each #fib4h1 #gdc1 #gdc4e1 #ghb1 #ghc1 #ghd4 ,corticelli ,persian ,floss1 #f skeins #fae4 ,smaller pieces take less silk4 ,dealers can furnish stamped linen of this design in #ah and #bb inch sizes4 ,see page #ib4 ,for the more experienced worker this design has many attractions1 and aided by the ,colored ,plate many who otherwise would be unable to embroider this rose will find no difficulty in following the directions4 ,it is as handsome a design as the most ambitious could desire1 affording opportunity for very artistic treatment4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 #fae4 ,for the flowers in the border choose ,corticelli ,filo ,silk1 #fae1 shading to center with ,green1 #fib4h4 ,put a few ,french knots of ,yellow1 #gdb1 in the center4 ,or work the centers of these border flowers in ,yellow1 #gdj1 instead of ,green1 #fib4h1 shading outward with #faf4e and #faf4 ,large ,rose4--,begin the edge of some of the petals with ,corticelli ,filo ,silk1 ,yellow1 #gdc4e1 shading gradually lighter to #faf at base4 ,the edge of the other petals can be done with ,yellow1 #gdj1 shading darker toward base with #gda1 #gdb1 #gdc1 #gdc4e4 ,the turn over petals must be raised high by filling in with long stitches of ,corticelli ,roman ,floss1 although darning or embroidery cotton can be used2 over this filling work ,filo ,silk1 ,cream ,white1 #faf1 care being taken to slant the stitches in almost the opposite direction from those in the rest of the petal4 ,see ,colored ,plate ,,xxiv4 ,in working the roses remember to use the darker shades for the back petals1 as well as for the hollows or deep places and choose the lighter shades for the high-lights or the raised parts1 such as turn over petals and those on the outside4 ,buds4--,work solid1 using #gdc4e for the point of the buds1 shading lighter toward calyx with ,yellow1 #gdc1 #gdb4 ,work the points of calyx with ,green1 #ghj1 shading darker toward the bulb with #gha1 #ghb1 #ghc1 #ghd4 ,leaves4--,work solid4 ,for edge of some of the leaves use ,green1 #gha1 shading toward the center with #ghb1 #ghc4 ,vein with #ghd4 ,for the smallest leaves #ghj can be used for the points1 shading toward the center with #gha1 #ghb1 and veining with #ghc4 ,a study of ,colored ,plate ,,xxiv will repay one1 as it gives the shading of the leaves as well as of the roses4 7,difficult47 ,rabbit ,chafing ,dish ,design ,no4 #ec4 ,,colored ,,plate ,,xxvi4 ,illustration3 ,,rabbit ,,chafing ,,dish ,,design ,,no4 #ec4 ,materials--#bb inch ,size3 ,corticelli ,filo ,silk1 #b skeins each #acd1 #acf1 #acg2 #a skein each #aje1 #adj1 #ecd1 #efa1 #fde1 #fdf1 #fdg1 #fef1 #ggi4e1 #gha1 #ghb1 #ghc1 #ghd4 ,corticelli ,persian ,floss1 #h skeins #gha4 ,smaller sizes take less silk4 ,dealers can furnish stamped linen of this design in #i and #bb inch sizes4 ,see page #ib4 ,border4--,work the scallop in buttonhole stitch with ,corticelli ,persian ,floss1 ,green1 #gha4 ,see ,colored ,plate ,,xxvi4 ,rabbits4--,the rabbits can be worked in outline1 or a better way would be to work them partly solid4 ,these instructions are for the partly solid work4 ,begin working all around the rabbits' ears in long and short stitch with ,gray1 #acd2 shade #aje into the gray1 and inside the ear use very light pink1 #ecd4 ,around the eyes and nose make irregular stitches with #acf1 working the eyes solid with ,pink1 #fef4 ,a few stitches will give expression4 ,choose #acg for the back of the rabbit1 and1 using long and short stitch1 slant the stitches a little toward the tail downward4 ,now shade lighter to the side1 using #acf1 #acd4 ,begin the under side of the rabbit with #acg1 and with #acf and #acd shade lighter upward and toward the center in the direction the fur would seem to take4 ,shade under the head and bend of the legs with #acg4 ,care must be taken in working the rabbits to give the right direction to the stitches1 otherwise the effect will not be good4 ,see ,colored ,plate ,,xxvi4 ,grasses4--,work solid in long and short stitch with ,green1 #ggi4e1 #gha1 #ghb1 #ghc1 #ghd1 and ,bronze1 #efa1 #adj1 making each spear of grass of one shade4 ,scrolls4--,work in outline stitch with ,brown1 #fde1 #fdf1 #fdg1 shading from light at end to dark at base4 7,somewhat ,difficult47 ,photograph ,frames4 ,directions for ,mounting and ,framing4 ,embroidered frames are now always mounted under glass4 ,this preserves both the needlework and the picture1 besides greatly enhancing the beauty of both4 ,after carefully examining all ready made frames in the market we recommend the ,imperial ,passepartout ,frame as the best4 ,it is strongly and yet neatly made1 having a white leather binding1 holding the glass firmly in place4 ,it has a sliding back1 with strong gilt wire easel1 and suitable cardboard mounts with die cut openings for pictures4 ,it is self-contained and absolutely dust proof4 ,the embroidered linen can be removed at any time and a new design substituted4 ,these frames are made in two sizes1 viz43 #h x #aj inches and #aj x #ac inches2 the former has an opening for one photograph2 the latter1 openings for two pictures4 ,square or oval openings are used according to the design of the stamped linen4 ,see page #ib4 ,after the embroidery is finished1 proceed to complete the frame as follows3 cover the face of the frame with cotton wadding1 and lay the embroidered linen on top1 being careful to see that the design is in proper position1 the plain part being over the opening in the frame4 ,draw the linen tightly and tack with pins on each corner4 ,now place the frame on its face1 stretch the linen over its edges and fasten it on the back with good1 strong glue or mucilage1--glue is preferable4 ,be careful to draw tightly and avoid creases4 ,allow plenty of time to dry2 then with a sharp penknife1 cut the opening1 if it be a square one1 making four cuts from the center to each of the four sides of the opening1 thus3 ,x4 ,draw the four pieces cut through the opening and paste them on the back4 ,if the opening is an oval1 begin at the center and cut the linen in slits toward edge2 draw tightly and evenly and glue down4 ,place the photograph in position over the opening2 over this put the cardboard1 which will hold the picture in place4 ,clean the glass and slip the linen1 cardboard and all1 into the frame4 ,now slide the back into place and the frame is complete4 ,if you do not want to purchase a ready made frame1 any good stationer will mount your embroidered linen1 or you can do it yourself and then have it framed by a stationer4 ,a small gilt beading made to order will increase the beauty of the frame4 ,in mounting follow these instructions3 cut a frame from heavy cardboard1 the stiffer the better1 about #g x #i inches1 noting the size of the linen and allowing an inch margin on sides1 top1 and bottom4 ,cut a hole in the cardboard for opening for picture1 and proceed to mount as per directions for ,imperial frames4 ,if the embroidery is not to be put under glass1 cut out another piece of thin cardboard1 size of first1 cover with silk1 sateen1 or linen1 and then sew front and back together on sides and bottom1 leaving enough space at top to slip in the picture4 ,use white silk and make stitches as fine as possible4 ,if you cannot obtain a ready made easel to put on the back1 make one from stiff cardboard1 covered with linen4 ,holly ,photograph ,frame ,design ,no4 #a4 ,,by ,,amalia ,,smith4 ,illustration3 ,holly ,photograph ,frame ,design ,no4 #a4 ,materials--#h x #aj inch ,frame3 ,corticelli ,filo ,silk1 #a skein each #ehb1 #ehc1 #ehd1 #ehf1 #ged1 #gfg1 #gfh1 #gha1 #ghe4 ,dealers can furnish stamped linen of this design #aj x #ab inches4 ,see page #ib4 ,it would be impossible to find a more appropriate ,christmas present than this pretty ,holly design1 embroidered and neatly framed ready for inserting the picture4 ,berries4--,work in satin stitch similar to working jewels 7see page #fb71 with ,corticelli ,filo ,silk1 ,red1 #gfg1 #gfh1 using only one shade in each berry4 ,leaves4--,work solid1 using ,green1 #gha1 for the edge4 ,shade darker toward the midvein with #ged1 #ehb1 #ehc1 #ghe1 #ehf4 ,make some leaves darker than others4 ,work the stems and veins in #ehd and #ghe4 ,for directions for mounting and framing see page #fi4 ,pansy ,photograph ,frame ,design ,no4 #e4 ,,instructions ,,by ,,elizabeth ,,moore ,,hallowell4 ,materials--#h x #aj inch ,frame3 ,corticelli ,filo ,silk1 #a skein each #ejd1 #fgb1 #fgd1 #fgf1 #gbf1 #gbg1 #gbi4e1 #gdc1 #ghc1 #ghe4 ,dealers can furnish stamped linen of this design #aj x #ab inches4 ,see page #ib4 ,pansies for thoughts are always pleasant to associate with tokens of friendship2 and the needlewoman who selects this subject for her skill may be sure that her choice will prove a welcome gift to a friend4 ,pansies4--,use ,corticelli ,filo ,silk1 ,purple1 #gbf1 #gbg1 #gbi4e4 ,for another shade of purple1 which will give variety1 yet will combine well with the above1 take #fgb1 #fgd1 and #fgf4 ,flowers4--,in working the flowers use the ordinary long and short stitch1 keeping each petal with the stitches tending towards the center of the flower2 let the darkest shading be at the edge of the petal1 shading gradually to light at the base2 and in several of the flowers let the two upper petals be quite dark4 ,more than this will give too heavy an effect2 therefore work the other blossoms in the lighter shades1 letting the veinings only1 be dark4 ,one large ,french knot of ,yellow1 #ejd1 will be needed in the center of each pansy4 ,illustration3 ,,pansy ,,photograph ,,frame ,,design ,,no4 #e4 ,leaves4--,the leaves may be worked in long and short stitch1 with #ghc and #ghe1 keeping the direction of the stitches toward the central vein1 but inclining downward to the base of the leaf4 ,a careful study of ,colored ,plate ,i 7,frontispiece7 will give one suggestions as to the proper shading1 and will be found as helpful as more elaborate directions would be1 although the colors are not identical with those for this design4 ,before mounting the embroidery be sure that it is well pressed2 if it has become in any way soiled1 it should be carefully washed according to the directions given on page #f4 ,rules for mounting and framing will be found on page #fi4 ,violet ,photograph ,frame ,design ,no4 #c4 ,,double ,,frame ,,for ,,two ,,pictures4 ,materials--#aj #ac inch ,frame3 ,corticelli ,filo ,silk1 #a skein each #ejf1 #gbf1 #gbg1 #gbh1 #gbi1 #gha1 #ghb1 #ghc4 ,dealers can furnish stamped linen of this design #ab #ae inches4 ,see page #ib4 ,illustration3 ,,violet ,,photograph ,,frame ,,design ,,no4 #c4--7;,double ,frame47 ,violets4--,use same instructions as given for working ,violet ,design ,no4 #djb ,a1 page #dj4 ,directions for mounting and framing will be found on page #fi4 ,forget-me-not ,frame ,design ,no4 #fj4 ,,by ,,emma ,,haywood4 ,materials--#h #aj inch ,frame3 ,corticelli ,filo ,silk1 #a skein each #aae1 #fbc1 #fbd1 #fgh1 #ghj1 #gha1 #ghb4 ,dealers can furnish stamped linen of this design1 #aj #ab inches1 which allows ample margin for mounting4 ,see page #ib4 ,illustration3 ,,forget-,,me-,,not ,,frame ,,design ,,no4 #fj4 ,the simple ,forget-me-not design for a photograph frame for a cabinet sized photograph should be very popular4 ,to present one's picture thus framed to a valued friend carries with it a pretty sentiment1 the favorite little flower of heavenly blue pleading for us that we may be remembered4 ,the treatment is of the simplest kind4 ,both blossoms1 buds1 and leaves are worked in satin stitch1 with ,french knots for the centers4 ,the stems are in outline or stem stitch4 ,for such small flowers ,corticelli ,filo ,silk should be used in preference to any other kind of silk4 ,work the blossoms with #fbc1 #fbd2 the leaves and stems with #ghj1 #gha1 #ghb4 ,a very artistic effect can also be gained by working the blossoms with #fii1 #gjj1 putting in the leaves and stems with #ajg1 #ajh1 #aji4 ,make the ,french knots for the centers with #aae4 ,the buds may be of a delicate ,pink1 #fgh4 ,rules for mounting and framing will be found on page #fi4 7,easy47 ,jewel ,photograph ,frame ,design ,no4 #fa4 ,,by ,,emma ,,haywood4 ,materials--#h #aj inch ,frame3 ,corticelli ,filo ,silk1 #a skein each #aje1 #ach1 #aci1 #ada1 #adb1 #eja1 #fbd1 #fdf1 #fdg1 #fef1 #feg1 #gja1 #gjb4 ,dealers can furnish stamped linen of this design1 #aj #ab inches4 ,see page #ib4 ,there has always been a great demand for embroidered photograph frames1 and recently those in simulated jewels have been among the most popular patterns4 ,when worked the color effect will be found very rich and pleasing4 ,leaves and ,stems4--,work the leaves and stems in ,olive ,green ,corticelli ,filo ,silk4 ,for the leaves take #ach1 #aci1 #ada1 and #adb1 shading the spray from light to dark1 working in satin stitch4 ,make one leaf in one shade and the next one in another4 ,illustration3 ,,corticelli ,,garland ,,photograph ,,frame ,,design ,,no4 #fb4 ,,colored ,,plate ,,xxv4 ,illustration3 ,,corticelli ,,rabbit ,,design ,,no4 #ec4 ,,colored ,,plate ,,xxvi4 ,jewels4--,work the three jewels at each corner to represent rubies1 using #fef1 #feg1 the darker shade for the one in the middle4 ,working horizontally toward the center at top and bottom1 the next group of three jewels should represent the topaz1 and for this choose ,yellow1 #eja4 ,still following the scroll toward the center1 work the next three to represent the turquoise1 using #gja1 #gjb2 the darker shade for the jewel in the middle of the group1 the lighter shade for the one on each side4 ,we now come to the center of the frame4 ,work this group of three jewels in ,salmon ,pink1 #aje4 ,illustration3 ,,jewel ,,frame ,,design ,,no4 #fa4 ,for the side scrolls1 begin at the center1 using #gja1 #gjb4 ,the three jewels on each side of these work in #aje1 and the remaining group between those in #aje and the corner1 should be made in #fbd4 ,all jewels must be outlined with #fdf or #fdg4 ,full directions for working jewels are given in the instructions for the ,jewel ,centerpiece ,design ,no4 #ej1 page #fa4 ,rules for mounting and framing will be found on page #fi4 7,somewhat ,difficult47 ,garland ,photograph ,frame ,design ,no4 #fb4 ,,colored ,,plate ,,xxv4 ,,by ,,alice ,c4 ,,morse4 ,materials--#h x #aj inch ,frame3 ,corticelli ,filo ,silk1 #a skein each #abd1 #abe1 #abf1 #abg1 #ejc1 #ejd1 #eje1 #fbc1 #fbd1 #fbe1 #fcf1 #fcg1 #fch1 #fci4 ,this quantity is more than enough4 ,dealers can furnish stamped linen of this design1 #aj x #ab inches4 ,see page #ib4 ,illustration3 ,,garland ,,photograph ,,frame ,,design ,,no4 #fb4 ,wild ,roses4--,work the petals solid with ,corticelli ,filo ,silk1 beginning at the edge with #fci1 shading towards the center with #fch1 #fcg1 #fcf4 ,work the petals that seem to be in the background darker than those that overlap them4 ,vary the shading in some of the flowers4 ,in the center work a few ,french knots with #eje4 ,see ,colored ,plate ,,xxv4 ,forget-me-nots4--,work in satin stitch each petal or all petals in one flower in one shade of ,blue1 #fbc1 #fbd1 #fbe4 ,place one ,french knot in the center of the open flowers1 using ,yellow1 #ejc4 ,ribbon4--,work in satin stitch1 in ,yellow1 #ejc1 #ejd1 slanting the stitches across the ribbon4 ,be careful to preserve the correct effect of the twisted part by working one side of the fold in #ejc1 the next fold in #ejd1 and so on4 ,see ,colored ,plate ,,xxv4 ,leaves4--,work in satin stitch1 using ,green1 #abd1 #abe1 #abf1 #abg1 making half of each leaf in one shade4 ,outline the stems with #abg4 ,rules for mounting and framing will be found on page #fi4 7,somewhat ,difficult47 ,jonquil ,photograph ,frame ,design ,no4 #fc4 ,,by ,,elizabeth ,,moore ,,hallowell4 ,materials--#h x #aj inch ,frame3 ,corticelli ,filo ,silk1 #a skein each #ejb1 #ejc1 #ejd1 #ejf1 #ejg1 #gej1 #gea1 #geb1 #gha1 #ghb1 #ghc1 #ghc4e1 #ghd4 ,dealers can furnish stamped linen of this design1 #aj x #ab inches4 ,see page #ib4 ,illustration3 ,,jonquil ,,photograph ,,frame ,,design ,,no4 #fc4 ,for an ,easter greeting1 or a birthday present in early spring1 a frame worked in this design will prove a welcome offering4 ,this design may also be used for a magazine or book cover4 ,flowers4--,these may be worked in long and short stitch1 or half solid ,kensington1 in which case somewhat less than the quantity of silk named above will be sufficient4 ,however1 we strongly advise working the whole design in solid embroidery1 as the effect is very handsome and will repay one for the extra labor4 ,begin working the edge of the cup with ,yellow1 #ejd1 gradually shading darker to the base with #ejf1 #ejg1 keeping the stitches perfectly straight4 ,work the edge of petals in ,yellow1 #ejb1 and shade darker with #ejc1 #ejd1 to the cup4 ,that part of the flower between cup and stem should be worked in #ejf and #ejg4 ,the curious paper-like shell which surrounds the flower at the point of attachment to the stem1 work with #gej1 #gea1 #geb1 using #gej for the point1 and shading darker to the stem4 ,leaves4--,work solid1 beginning at the point with #gha1 shading gradually darker to the base1 using #ghb1 #ghc1 #ghc4e1 #ghd4 ,work the stems solid in ,olive ,green1 #ghb1 #ghc1 #ghc4e1 #ghd1 shading from dark near the bottom to light nearest the flowers4 ,a little of #ghb should be worked at one side of some of the stems4 ,opening4--,outline the opening for the picture and the other straight lines in the design with ,yellow1 #ejg4 ,rules for mounting and framing will be found on page #fi4 7,not ,difficult47 ,corticelli ,doily ,book4 ,materials--,corticelli ,filo ,silk3 #c skeins each of two shades4 7,see below47 #a piece linen1 either ,blue1 ,green1 ,tan1 or ,terra ,cotta1 #ab x #bj inches1 stamped with this design2 #a ,doily ,book4 ,dealers can furnish all the above material4 ,see page #ib4 ,for ,blue ,linen use ,corticelli ,filo ,silk1 ,yellow1 #gda1 #gdc4e1 or ,pink1 #fgh1 #fhj4 ,for ,green ,linen use ,corticelli ,filo ,silk1 ,green1 #fic1 #fie1 or ,purple1 #fej1 #fea4e4 ,for ,tan ,linen use ,corticelli ,filo ,silk1 ,scarlet1 #ecg1 #eci1 or ,pink1 #egb1 #egc4e4 ,for ,terra ,cotta ,linen use ,corticelli ,filo ,silk1 ,pink1 #fce4e1 #fch1 or ,green1 #abd1 #abg4 ,when working either ,blue1 ,green1 or ,terra ,cotta ,colored ,linen the proper color numbers can easily be substituted in the following instructions4 ,illustration3 ,,corticelli ,,doily ,,book4 ,every needleworker usually has several choice doilies that when not in use should be kept in some clean place where they will remain smooth and flat4 ,this book holds twelve doilies4 ,it contains thirteen leaves of tinted cardboard1 each measuring #h-a_/b by #h-a_/b inches4 ,the covers are stiff and the binding is strong4 ,tan ,linen and ,scarlet ,silk4--,for the word ,doilies use the darkest shade 7#eci7 ,corticelli ,filo ,silk4 ,first stuff the letters with embroidery cotton 7or better still with ,corticelli ,roman ,floss of same shade as silk7 similar to the manner of working jewels4 7,see page #fb47 ,then cover the filling in satin stitch4 ,the letters should appear as if raised4 ,work the four corner figures with long and short stitch in two shades of silk1 using the lightest 7#ecg7 for the outside and the darkest 7#eci7 for the inside1 which includes the dot in the center4 ,work the stem or scroll in outline stitch in the lightest shade 7#ecg71 and make the leaves running from it solid1 in long and short stitch1 with alternating shades of silk4 ,the jewels in the scroll and the four just inside it should be first stuffed and then covered similar to the letters in the word ,doilies4 ,when completed1 stretch the linen firmly over the stiff pasteboard covers and glue down on the inside4 ,sew two short ribbons1 the color of the silk1 to the linen on the inside1 for tying the covers together4 7,not ,difficult47 ,initials and ,monograms4 ,,by ,,della ,v4 ,,whipple4 ,illustration ,the newest way for marking handkerchiefs is one's own writing transferred with carbon1 then worked in a very narrow satin stitch1 with a decided slant to the stitches4 ,the accompanying monogram is a pretty and practical one4 ,embroider the single lines same as described above1 fill in the broad portions with perpendicular stitches1 piling high1 and cover with satin stitch same slant as the lines4 ,make the dots in ,french knots4 ,if one is partial to ,french knots a good way is to outline all of the lines of letters1 using ,kensington outline stitch and fill in the broad parts with the knots4 ,the initial letters shown on the opposite page were drawn for #ahih ,corticelli ,home ,needlework by a ,st4 ,louis artist4 ,they are specially adapted to the purpose for which they are intended and are very pretty when worked according to the following instructions4 ,all letters look best if given a raised effect4 ,to do this stuff the space between the lines with ,corticelli ,roman ,floss1 after the manner of working jewels 7see page #fb71 taking care to have the stitches of the filling laid in the opposite direction to that which the covering stitches will take4 ,with two threads of ,corticelli ,filo ,silk cover the stuffing in satin stitch4 ,color #fae1 ,white1 is usually used1 although some prefer ,cream ,white1 #faf1 or ,cream1 #faf4e4 ,the ,roman ,floss used for stuffing should be of the same shade as the ,filo ,silk4 ,a pretty way for making very small letters is to just follow the outline with small cross stitches4 ,marking ,clothing4 ,while the neatest way to mark clothing is by one's initials embroidered in ,corticelli ,filo ,silk1 as above suggested1 this is not practical for many articles4 ,tablecloths1 napkins1 sheets1 pillow cases1 white spreads1 towels1 shirts1 collars1 and cuffs1 also1 must be plainly marked for convenience in sorting and identifying personal articles in the family wash and to avoid being lost when entrusted to public laundries4 ,for this nothing is better than ,payson's ,indelible ,ink4 ,with a bottle of this ink and a common pen one can easily mark all necessary articles4 ,a good idea is to keep on hand a few yards of linen tape1 on which your name is written many times with this ink4 ,cut the tape as wanted and sew on to stockings1 or other articles having too rough a surface for pen work4 ,illustration3 ,corticelli ,initial ,letters4 ,see opposite page for directions for embroidering4 ,the original letters from which the above engravings were made measure #a-a_/d inches high4 ,if the size shown above is large enough for your work transfer the letters direct from the book to the linen with carbon paper4 ,if1 however1 the larger sized letters are desired get your dealer to order the perforated pattern for you1 or1 if he refuses to do this send direct to the ,nonotuck ,silk ,co41 ,florence1 ,mass4 ,perforated pattern of the entire set of twenty-six letters1 #a-a_/d inches high1 costs #bj cents1 postpaid4 ,perforated patterns of single letters cost #aj cents each1 postpaid4 ,tea ,cloths1 ,tray ,cloths1 and ,bureau ,scarfs4 ,illustration3 ,,purple ,,clematis ,,tea ,,cloth ,,design ,,no4 #dcg ,a4 ,purple ,clematis ,tea ,cloth ,design ,no4 #dcg ,a4 ,,drawn ,,work ,,and ,,hemstitched ,,edge4 ,,by ,,elizabeth ,,moore ,,hallowell4 ,materials--,tea ,cloth #de x #de inches3 ,corticelli ,filo ,silk1 #f skeins #gbi2 #e skeins #gbh2 #d skeins #gbg2 #c skeins each #gbe1 #gbf1 #gha1 #ghb1 #ghc1 #ghd1 #ghe2 #a skein each #fba1 #fbb1 #ggi4e1 #ghj4 ,the smaller size takes less silk4 ,dealers can furnish hemstitched stamped linen of this design1 with drawn work edge1 in two sizes1 as follows3 #dcf ,a1 #cf #cf inches1 #dcg ,a1 #de #de inches4 ,see page #ib4 ,use same instructions for embroidering this tea cloth as given for ,purple ,clematis ,design ,no4 #ef1 page #ee1 and illustrated by ,colored ,plate ,,xxii4 7,not ,difficult47 ,illustration3 ,,cosmos ,,tea ,,cloth ,,design ,,no4 #dcg ,b4 ,cosmos ,tea ,cloth ,design ,no4 #dcg ,b4 ,,drawn ,,work ,,and ,,hemstitched ,,edge4 ,materials--,tea ,cloth #de #de inches3 ,corticelli ,filo ,silk1 #f skeins each #fee4g1 #fee4h2 #e skeins #fee4i2 #d skeins #faf4e2 #b skeins each #aji1 #aaj1 #abc1 #ejd1 #ejf1 #gha1 and #ghb4 ,the smaller size takes less silk4 ,dealers can furnish hemstitched stamped linen of this design1 with drawn work edge1 in two sizes as follows3 #dcf ,b1 #cfcf inches2 #dcg ,b1 #dede inches4 ,see page #ib4 ,flowers4--,work solid4 ,for the edge of petals use #fee4g1 #fee4h1 shading lighter gradually to the center with #faf4e1 #abc4 ,give a touch of ,pink1 #fee4i1 to some of the petals to give an effect of shadow where the petals lap2 but not too much1 as the flowers should be quite pale4 ,in the center work a number of short stamens with ,green1 #gha1 and make ,french knots at the points of stamens in ,yellow1 #ejd and #ejf4 ,work the buds and half flowers in the same manner1 although choose the darker shades for the very small buds4 ,work the upper part of calyx with ,green1 #gha1 and the part near the stem with #ghb4 ,leaves4--,slant the stitches downward as you would to work stems4 ,tip the points of the leaves with ,green1 #gha1 shading gradually darker toward the stems with #ghb1 #aji1 #aaj4 ,work the stems with #aji1 #aaj4 7,not ,difficult47 ,sweet ,pea ,tea ,cloth ,design ,no4 #djg ,g4 ,,hemstitched ,,and ,,silk ,,corded ,,edge4 ,,colored ,,plate ,,xxvii4 7,see ,illustration on ,page #ha47 ,,by ,,amalia ,,smith4 ,materials--,corticelli ,filo ,silk3 #b skeins each #eja1 #ejb1 #ejc1 #faf1 #faf4e1 #fgh1 #fgi1 #fhj1 #fha1 #gbe1 #gbf1 #gbg1 #gbi1 #geg1 #ghj1 #gha1 #ghb1 #ghc1 #ghd4 ,dealers can furnish hemstitched stamped linen of this design1 #cf #cf inches4 ,see page #ib4 ,sweet peas grow in such a variety of exquisite colorings that the utmost license is available in selecting the colors for each flower4 ,however1 be careful to avoid startling combinations4 ,the following suggestions for a color scheme will be found to give a very pretty effect4 ,flowers4--,work solid1 being careful to start the stitches in the right direction4 ,begin the edge of the petal with a dark shade1 shade gradually lighter to the stem4 ,the stitches should be taken in a downward curve to the stem4 ,make some flowers pink on the edge and yellow near the stem2 make others shade from pink to violet2 still another flower violet and yellow1 and again working some all of one color1 shading from dark on edge to light near the stem4 ,work the calyx in ,green1 #gha1 #ghb1 the darker shade near the stem4 ,leaves4--,work solid1 using ,green1 #gha1 #ghb1 #ghc1 #ghd1 making the points of the leaves light and shading darker near the center1 using two shades in a leaf4 ,make the larger leaves near the base of the spray in the darker shades of green4 ,use #geg for the stems4 ,for tendrils choose #ghj and #gha4 ,carefully examine ,colored ,plate ,,xxvii4 ,this shows the proper stitch direction and the shading of the flowers and leaves4 ,unless you thoroughly understand long and short stitch and feather stitch1 make a study of the article on ,embroidery ,stitches--,described and ,illustrated1 especially of pages #aa and #ab4 7,difficult47 ,illustration3 ,,corticelli ,,sweet ,,pea ,,design ,,no4 #djg ,g4 ,,colored ,,plate ,,xxvii4 ,illustration3 ,,sweet ,,pea ,,tea ,,cloth ,,design ,,no4 #djg ,g4 ,wild ,rose ,bureau ,scarf ,design ,no4 #dcd ,b4 ,,hemstitched ,,and ,,drawn ,,work ,,edge4 ,materials--,corticelli ,filo ,silk1 #b skeins each #fci1 #ghb2 #a skein each #ejd1 #fcf1 #fcg1 #fch1 #fdj1 #fee4g1 #gee1 #ghj1 #gha1 #ghc4 ,dealers can furnish stamped linen of this design with hemstitched and drawn work edge1 #ah #cf inches4 ,see page #ib4 ,roses and ,leaves4--,use same instructions as given for ,wild ,rose ,design ,no4 #fjc ,e1 page #bh1 and illustrated by ,colored ,plate ,,ix4 ,if desired the petals of the roses may be worked half solid1 using the long and short stitch4 ,the leaves also can be worked in the same manner4 ,the more effective way1 however1 is to work both roses and leaves solid1 as described in the instructions to which reference is given4 ,illustration3 ,,wild ,,rose ,,bureau ,,scarf ,,design ,,no4 #dcd ,b4 ,rabbit ,chafing ,dish ,tray ,cloth ,design ,no4 #ec ,a4 ,,colored ,,plate ,,xxvi4 ,materials--,corticelli ,filo ,silk3 #b skeins each #acd1 #acf1 #acg1 #ggi4e1 #gha1 #ghb2 #a skein each #aje1 #adj1 #ecd1 #efa1 #fde1 #fdf1 #fdg1 #fef1 #ghc1 #ghd4 ,corticelli ,persian ,floss1 #aj skeins #gha4 ,dealers can furnish stamped linen of this design1 #ahbg inches4 ,see page #ib4 ,illustration3 ,,rabbit ,,chafing ,,dish ,,tray ,,cloth ,,design ,,no4 #ec ,a4 ,a ,chafing ,dish is to be found in nearly every home1 and many are the choice concoctions that owe their existence to the little alcohol lamp and the simmering pan of water4 ,the design shown here is especially appropriate for a chafing dish tray cloth4 ,use the same instructions as given for working ,design ,no4 #ec1 page #fh1 and illustrated by ,colored ,plate ,,xxvi4 ,daisy ,tray ,cloth ,design1 ,no4 #djf ,d4 ,,hemstitched ,,edge4 ,materials--,for ,silk necessary to embroider this tray cloth1 and instructions for same1 see ,daisy ,design1 page #fe4 ,made in sizes1 #ah x #bg and #ah x #cf inches4 ,also for bureau scarfs1 #aged and #aggb4 ,dealers can furnish stamped linen1 with hemstitched edge1 of this design1 in all of the above sizes4 ,see page #ib4 ,illustration3 ,,daisy ,,tray ,,cloth ,,design ,,no4 #djf ,d4 ,hemstitched linen1 similar to ,daisy ,tray ,cloth ,design ,no4 #djf ,d1 can also be furnished by dealers in the above sizes1 stamped with the following designs3 #djf ,a1 ,apple ,blossom2 #djf ,b1 ,buttercup2 #djf ,c1 ,chrysanthemum2 #djf ,e1 ,sweet ,pea2 #djf ,f1 ,forget-me-not4 ,for instructions for working and silk required1 see pages #fc1 #fd1 #fe1 and #ff4 ,sofa ,pillow ,design ,no4 #ejh4 ,materials--#a piece plaid cambric1 #bd x #dh inches1 stamped with a wide colored check1 with #e yards double ruffling of same material2 ,corticelli ,roman ,floss1 #i skeins 7#f of the light shade1 and #c of the dark shade74 ,for colors see below4 ,dealers can furnish all of above material4 ,see page #ib4 ,for ,green ,pillow use ,corticelli ,roman ,floss1 #edi1 #eea4 ,for ,yellow ,pillow use ,corticelli ,roman ,floss1 #gdc1 #gdc4f4 ,for ,blue ,pillow use ,corticelli ,roman ,floss1 #gic1 #gif4 ,illustration3 ,,sofa ,,pillow ,,design ,,no4 #ejh4 ,this pillow is a pretty one for summer use4 ,the material is plaid cambric1 a white ground with a colored check4 ,the check comes in three different colors3 green1 yellow1 and blue4 ,illustration3 ,,showing ,,method ,,of ,,working ,,sofa ,,pillow4 ,the engraving shows exactly how the work is done1 using the lighter shade of silk and the seamstress' feather stitch for the four corners around each square4 ,the center figure is worked in the darker shade of silk1 with the ,x in the lighter shade4 ,when the decoration is complete1 finish the pillow as follows3 ,gather the ruffle double on the raw edge1 and1 putting it between the front and back pieces of the cushion1 sew together on the wrong side on three sides of the pillow4 ,blind-stitch the fourth side after the down cushion has been placed inside4 ,other figures and methods of working will suggest themselves to every needleworker4 ,this pillow is a very inexpensive one4 7,easy47 ,bicycle and ,golf ,stockings4 ,illustration3 ,,pattern ,a1 ,,with ,,strap4 7,the ,stocking ,leg shows the light brown mixed yarn47 ,the increasing popularity of the wheel and the game of golf has revived the interest in knitting1 especially since desirable and exclusive patterns in bicycle and golf stockings are not easily obtained in the ready made goods4 ,the designs given here are knit from wool and silk4 ,the silk is made especially for this work and in combination with wool the effect is very handsome4 ,the best results can only be secured by the use of the exact material called for in the instructions4 ,corticelli ,bicycle and ,golf ,silk is made of specially selected stock dyed in fast colors1 and will be found easy to knit4 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixtures1 is just the right size to use in connection with the silk4 ,to identify this yarn look for the name ,fleisher's on the ticket attached to each hank4 ,the colors of silk to go with the different colors of yarns harmonize perfectly4 ,ordinary yarn1 no matter of what kind or color1 will not do to work these patterns4 ,those who do not care to knit the complete stocking can make the tops alone4 ,these are frequently made separate1 but the stocking 7purchased at any store7 on which they are put should not be cut1 but the top sewn on just in place to turn over in the right position4 ,the extra thickness is no disadvantage1 in fact1 rather the contrary4 ,this suggestion is entirely practical1 especially since stockings with fancy tops and plain legs are now the vogue4 ,care must be taken to knit the top of stockings quite loosely1 allowing plenty of slack in the thread especially when changing from silk to yarn and vice versa4 ,without this slack the tops of ,patterns ,b and ,c will not give or stretch1 making it difficult to draw them on and off4 ,to knit these patterns four ,no4 #ac steel needles are required4 ,the quantity of silk and yarn necessary for each pair of stockings is given on the following pages4 ,among the twelve patterns will be found one which cannot fail to suit every individual taste as to the proper color combinations of yarn and silk4 ,,explanation ,,of ,,terms ,,and ,,abbreviations4 ,k--,knit plain4 ,p--,purl 7or seam74 ,knit with thread before the needle4 ,n--,narrow1 and means to knit two stitches together4 ,,pn--,purl 7or seam7 two stitches together4 ,,sl--,slip a stitch from the left needle to the right without knitting it4 ,,sl and ,b--,slip and bind1 that is slip one stitch1 knit the next1 and pass slipped stitch over4 99--,stars or ,asterisks indicate repetition4 ,complete illustrated directions for these stitches will be found in ,florence ,home ,needlework for #ahid4 ,a copy will be mailed to any address for #f cents in stamps4 ,stocking ,no4 #a1 ,pattern ,a4 ,dark ,green ,yarn and ,red ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #baa2 ,corticelli ,bicycle and ,golf ,silk1 #b skeins ,no4 #edc4 ,stocking ,no4 #b1 ,pattern ,a4 ,dark ,green ,yarn and ,dark ,brown ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #baa2 ,corticelli ,bicycle and ,golf ,silk1 #b skeins ,no4 #ebi4 ,stocking ,no4 #c1 ,pattern ,a4 ,light ,brown ,mixed ,yarn and ,dark ,green ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #bjg2 ,corticelli ,bicycle and ,golf ,silk1 #b skeins ,no4 #ehf4 ,stocking ,no4 #d1 ,pattern ,a4 ,green and ,brown ,mixed ,yarn and ,old ,purple ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #bjj2 ,corticelli ,bicycle and ,golf ,silk1 #b skeins ,no4 #fgh4 ,stocking ,no4 #e1 ,pattern ,a4 ,tan and ,brown ,mixed ,yarn with ,dark ,red ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #bad2 ,corticelli ,bicycle and ,golf ,silk1 #b skeins ,no4 #edc4 ,stocking ,no4 #f1 ,pattern ,a4 ,brown and ,blue ,mixed ,yarn with ,blue ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #bah2 ,corticelli ,bicycle and ,golf ,silk1 #b skeins ,no4 #gid4 ,dealers can furnish all the above material4 ,see pages #ib and #id4 ,pattern ,a4 ,,for ,,stockings ,,nos4 #a1 #b1 #c1 #d1 #e1 ,,and #f4 ,cast #ajj stitches ,yarn on to #d ,no4 #ac ,steel ,needles and knit as follows3 ,knit #d rounds1 #b plain1 #b purl ,yarn2--#eth and #fth rounds1 k plain ,yarn2--#gth round1 k #a ,silk1 #i ,yarn2--#hth round1 k #b ,silk1 #g ,yarn1 #a ,silk2--#ith round1 k #c ,silk1 #e ,yarn1 #b ,silk2--#ajth round1 k #d ,silk1 #c ,yarn1 #c ,silk2--#aath round1 k #e ,silk1 #a ,yarn1 #d ,silk2--#abth round1 k #d ,silk1 #c ,yarn1 #c ,silk2--#acth round1 k #c ,silk1 #e ,yarn1 #b ,silk2--#adth round1 k #b ,silk1 #g ,yarn1 #a ,silk2--#aeth round1 k #a ,silk1 #i ,yarn2--#afth round1 k ,yarn2--#agth and #ahth rounds1 purl ,yarn and reduce #af stitches2--#aith round1 k plain ,yarn2--#bjth round1 99 k #a1 n2 turn1 sl #a2 p #a2 turn1 k #c2 turn1 p #c2 turn1 k #c1 n2 turn1 p #d2 turn1 k #e2 repeat from 99 all the way around in ,yarn4--99#bast round1 in ,silk1 pick up #e stitches behind2 turn1 k #e2 turn1 p #d2 p #a ,silk and #a ,yarn together2 turn1 k #e2 turn1 p #d2 p #a ,silk and #a ,yarn together2 turn1 k #e2 turn1 p #d2 p #a ,silk and #a ,yarn together2 turn1 k #e2 turn1 p #d2 p #a ,silk and #a ,yarn together2 turn1 k #e2 turn1 p #d2 p #a ,silk and #a ,yarn together2 repeat from 99 all around2--99#bb;d round1 pick up #e stitches in ,yarn the other way around2 turn1 p #e2 turn1 k #d2 k #a ,yarn and #a ,silk together2 turn1 p #d2 turn1 k #c2 k #a ,yarn and #a ,silk together2 turn p #c2 turn1 k #b2 k #a ,yarn and #a ,silk together2 turn1 p #b2 turn1 k #a2 k #a ,yarn and #a ,silk together2 turn1 p #a2 turn1 k #b and repeat from 99 all around4 7,note1 when you change color1 always work reverse way47 ,pick up stitches till you have #ajj on your needles4--#bc;d round1 k ,yarn2--#bdth and #beth rounds1 p ,yarn2--#bfth to #ceth rounds1 same as rounds #gth to #afth2--#cfth to #djth rounds1 k plain ,yarn2--#dast and #db;d rounds1 p ,yarn4 ,this completes the top4 ,to ,knit the ,leg4--,knit #c rounds plain1 then purl #a1 k #a for #b inches4 ,now turn the stocking inside out and proceed to knit the leg by the instructions given below4 7,the part just knitted forms the turn over top of stocking4 ,it will be wrong side out while the leg is being knitted1 but turns over right side out when the work is completed as shown by the engraving47 ,illustration3 ,,stocking ,,top ,,of ,,pattern ,a4 ,purl #c rounds1 knit #ae rounds plain2 then p #a1 k #d all around2 knit this way for #c inches4 ,the narrowing begins at the center rib of the back of the stocking and ends at the center rib in the front of the stocking4 ,make the first or center back narrowing as follows3 on one of the needles which begins1 p #a1 k #d1 purl the purled stitch1 k #a1 sl #a1 k #a1 pass slipped stitches over and k #a4 ,this completes the first narrowing and the rib now consists of #a purled stitch and #c plain ones only4 ,all the narrowings are made the same way4 99 ,knit #c rounds4 ,in the fourth round knit to the rib preceding the narrowed center rib and narrow that rib as before2 then knit to the rib1 following the narrowed center rib1 and narrow it2 also repeat from 991 always narrowing in every fourth round at each side of the previous narrowing until all the ribs1 including the front center one1 are narrowed4 ,after knitting #d inches more the leg is complete1 and you are ready to begin the strap or the foot4 ,the strap is commonly used on bicycle and golf stockings although some prefer the complete foot4 ,below we give directions for knitting both4 ,to ,knit the ,strap4--,divide the stitches into two parts for the strap1 making the division at the center back1 and center front ribs4 ,beginning at the center back rib1 99 k #a1 n1 knit across the needle till but #c stitches are left1 sl and b1 k #a2 turn1 purl back across the needle1 repeat three times from 994 ,after this do not to sl and b at the end of the needle but continue to narrow at the beginning of the needle each time in knitting across1 till the number of stitches is decreased to #af4 ,then knit the other half of the strap to match1 as follows3 beginning at the center front rib 99k #a1 n1 knit across the needle till but #c stitches are left1 sl and b1 k #a1 turn1 purl back across the needle1 repeat three times from 994 ,after this do not narrow at the beginning of the needle1 but continue to sl and b at the end of the needle till the stitches are decreased to #af4 ,now fold the right sides of the two parts just knitted together2 k #a1 then k #b stitches 7one from each needle7 together and bind the stitch previously knitted over them2 continue till all the stitches are bound off4 ,work in single crochet once around the edges of the strap to give extra strength4 ,to ,knit the ,foot4--,divide the stitches so that there will be #cd stitches on one needle for the heel4 ,decrease #c stitches1 and keeping the center back stitch in the center of the heel1 knit plain on the right side and purl back on the wrong side until there are #ae loops at each side4 ,then knit across #ai stitches1 n1 k #a1 turn1 sl #a1 purl back #i stitches1 n1 p #a1 turn1 99 sl #a1 k across1 knitting the stitch following the last narrowing together with the next of the stitches left on the needle2 k #a1 turn1 sl #a1 purl back and purl the stitch following the last narrowing together with the next stitch1 purl #a2 repeat from 99 until all the stitches on each side of the needle are used4 ,pick up the #ae loops on each side of the heel for stitches4 ,place the stitches of the instep on one needle and the stitches of the sole on two more needles2 work to the beginning of the first sole needle1 k #a1 n2 knit across to within #c stitches of the end of the #b;d sole needle1 n1 k #a2 repeat the narrowing in every other round till the number of stitches is decreased by #ah4 ,then k #bd rounds without narrowing1 continuing the ribs along the instep4 ,now knit one round narrowing #g times across instep4 ,then knit #b-a_/b inches plain and narrow at the toe1 as follows3 place half the stitches on the instep needle and the other half on the two sole needles2 at the beginning of the instep needle k #a1 n1 k across to within #c stitches of the end of the needle1 n1 k #a2 first sole needle k #a1 n1 knit to within #c stitches of the end of second sole needle1 n1 k #a2 narrow in this way in every other round until #ab stitches are left on the instep needle and #f on each of the sole needles4 ,bind off in this way1 k #a1 then knit #b stitches together 7one from the sole and one from the instep needle7 and bind the stitch previously knitted over them2 continue till all the stitches are bound off4 ,stocking ,no4 #g1 ,pattern ,b4 ,light ,brown ,mixed ,yarn with ,olive ,green and ,dark ,brown ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #bjg2 ,corticelli ,bicycle and ,golf ,silk1 #a skein each ,nos4 #aaj and #ebh4 ,stocking ,no4 #h1 ,pattern ,b4 ,green and ,brown ,mixed ,yarn with ,dark ,green and ,old ,purple ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted4 ,golf and ,cycle ,mixture1 #b skeins ,no4 #bjj2 ,corticelli ,bicycle and ,golf ,silk1 #a skein each ,nos4 #ehf and #fgf4 ,stocking ,no4 #i1 ,pattern ,b4 ,tan and ,brown ,mixed ,yarn with ,dark ,green and ,dark ,red ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #bad2 ,corticelli ,bicycle and ,golf ,silk1 #a skein each ,nos4 #ehf and #edc4 ,dealers can furnish all of the above material4 ,see pages #ib and #id4 ,pattern ,b4 ,,for ,,stockings ,,nos4 #g1 #h1 ,,and #i4 ,,notice--,y ,yarn2 ,olive ,olive ,silk1 ,no4 #aaj2 ,brown ,brown ,silk1 ,no4 #ebh4 ,for knitting ,stocking ,no4 #g follow directions given below4 ,for knitting ,stocking ,no4 #h use ,green ,silk where ,brown is mentioned1 and ,old ,purple ,silk where ,olive is mentioned4 ,for knitting ,stocking ,no4 #i use ,green ,silk where ,brown is mentioned1 and ,red ,silk where ,olive is mentioned4 ,the choice of three combinations in different colors of yarn and silk are offered for this pattern4 ,see page #hh4 ,illustration3 ,,stocking ,,top ,,of ,,pattern ,b4 ,to make the ,top4--,cast #afj stitches ,y on #d ,no4 #ac steel needles4 ,p #b1 k #b1 for #f rounds2--#gth and #hth rounds1 k plain2--#ith and #ajth rounds1 k #a stitch with ,brown1 #g with ,y1 #c with ,olive1 #g with ,y1 #b with ,brown2--#aath and #abth rounds1 k #b ,brown1 #e ,y1 #e ,olive1 #e ,y1 #c ,brown2--#acth and #adth rounds1 k #c ,brown1 #b ,y1 #b ,olive1 #a ,y1 #c ,olive1 #a ,y1 #b ,olive1 #b ,y1 #d ,brown2--#aeth and #afth rounds1 k #c ,brown1 #a ,y1 #aa ,olive1 #a ,y1 #d ,brown2--#agth and #ahth rounds1 k #c ,brown1 #b ,y1 #b ,olive1 #a ,y1 #c ,olive1 #a ,y1 #b ,olive1 #b ,y1 #c ,brown1 #a ,y2--#aith and #bjth rounds1 k #c ,brown1 #e ,y1 #c ,olive1 #e ,y1 #c ,brown1 #a ,y2--#bast and #bb;d rounds1 k #a ,y1 #c ,brown1 #c ,y1 #e ,olive1 #c ,y1 #c ,brown1 #b ,y2--#bc;d1 #bdth1 and #beth rounds1 k #b ,y1 #c ,brown1 #a ,y1 #b ,olive1 #c ,y1 #b ,olive1 #a ,y1 #c ,brown1 #c ,y2--#bfth and #bgth rounds1 k #c ,y1 #c ,brown1 #a ,olive1 #e ,y1 #a ,olive1 #c ,brown1 #d ,y2--#bhth and #bith rounds1 k #d ,y1 #b ,olive1 #a ,brown1 #e ,y1 #a ,brown1 #b ,olive1 #e ,y2--#cjth and #cast rounds1 k #b ,y1 #c ,olive1 #a ,y1 #b ,brown1 #c ,y1 #b ,brown1 #a ,y1 #c ,olive1 #c ,y2-#cb;d and #cc;d rounds1 k #a ,y1 #c ,olive1 #c ,y1 #b ,brown1 #a ,y1 #b ,brown1 #c ,y1 #c ,olive1 #b ,y2--#cdth and #ceth rounds1 k #c ,olive1 #e ,y1 #c ,brown1 #e ,y1 #c ,olive1 #a ,y2--#cfth round1 k #b ,olive1 #g ,y1 #a ,brown1 #g ,y1 #c ,olive2--#cgth and #chth rounds1 k #a ,olive1 #h ,y1 #a ,brown1 #h ,y1 #b ,olive4 ,this ends the decoration4 ,with yarn knit #aj rounds plain1 but in the #ajth round narrow #fj stitches1 so that there will be #ajj stitches on the four needles4 ,now proceed by directions given for knitting the leg of ,pattern ,a1 page #hg4 ,stocking ,no4 #aj1 ,pattern ,c4 ,brown and ,blue ,mixed ,yarn1 with ,old ,blue and ,golden ,brown ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #bah2 ,corticelli ,bicycle and ,golf ,silk1 #a skein each ,nos4 #gid and #ebh4 ,stocking ,no4 #aa1 ,pattern ,c4 ,green and ,brown ,mixed ,yarn with ,dark ,green and ,old ,purple ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #bjj2 ,corticelli ,bicycle and ,golf ,silk1 #a skein each ,nos4 #fgf and #ehf4 ,stocking ,no4 #ab1 ,pattern ,c4 ,light ,brown ,mixed ,yarn with ,olive ,green and ,dark ,brown ,silk4 ,materials--#a pair ,stockings3 ,fleisher's ,german ,knitting ,worsted1 ,golf and ,cycle ,mixture1 #b skeins ,no4 #bjg2 ,corticelli ,bicycle and ,golf ,silk1 #a skein each ,nos4 #aaj and #ebh4 ,dealers can furnish all the above material4 ,see pages #ib and #id4 ,pattern ,c4 ,,for ,,stockings ,,nos4 #aj1 #aa1 ,,and #ab4 ,,notice--,y ,yarn2 ,brown ,brown ,silk2 ,blue ,blue ,silk4 ,for knitting ,stocking ,no4 #aj follow directions given below4 ,for knitting ,stocking ,no4 #aa use ,green ,silk where ,brown is mentioned1 and ,purple ,silk where ,blue is mentioned4 ,for knitting ,stocking ,no4 #ab use ,dark ,brown ,silk where ,brown is mentioned1 and ,green ,silk where ,blue is mentioned4 ,the choice of three combinations in different colors of yarn and silk are offered for this pattern4 ,see above and page #hi4 ,illustration3 ,,stocking ,,top ,,of ,,pattern ,c4 ,cast on #acf stitches ,y and knit as follows3 ,rounds #a to #d1 k #b1 p #b ,y2--#eth round1 p ,y2--#fth round1 k #d ,y1 #d ,brown2--#gth round1 k #b together ,y1 k #c ,y1 #d ,brown1 #d ,y1 #d ,brown1 and repeat #d ,y1 #d ,brown all the way around2--#hth round1 k #a ,brown1 #d ,y1 #c ,brown2--#ith round1 k #b ,brown1 #d ,y1 #b ,brown2--#ajth round1 k ,y2--#aath round1 p ,y2--#abth round1 k ,y and increase #a stitch2--#acth round1 k #i ,y1 #f ,blue1 #b ,y2--#adth round1 k #h ,y1 #b ,brown1 #f ,blue1 #a ,y2--#aeth round1 k #g ,y1 #d ,brown1 #f ,blue2--#afth round1 k #a ,blue1 #e ,y1 #f ,brown1 #e ,blue2--#agth round1 k #b ,blue1 #c ,y1 #f ,brown1 #b ,y1 #d ,blue2--#ahth round1 k #c ,blue1 #a ,y1 #f ,brown1 #d ,y1 #c ,blue2--#aith round1 k #c ,blue1 #f ,brown1 #f ,y1 #b ,blue2--#bjth round1 k #b ,blue1 #f ,brown1 #h ,y1 #a ,blue2--#bast round1 #a ,blue1 #f ,brown1 #aj ,y2--#bb;d round1 #a ,brown1 #f ,blue1 #aj ,y2--#bc;d round1 #b ,brown1 #f ,blue1 #h ,y1 #a ,brown2--#bdth round1 #c ,brown1 #f ,blue1 #f ,y1 #b ,brown2--#beth round1 #c ,brown1 #a ,y1 #f ,blue1 #d ,y1 #c ,brown2--#bfth round1 #b ,brown1 #c ,y1 #f ,blue1 #b ,y1 #d ,brown2--#bgth round1 #a ,brown1 #e ,y1 #f ,blue1 #e ,brown2--#bhth round1 #g ,y1 #d ,blue1 #f ,brown2--#bith round1 #h ,y1 #b ,blue1 #f ,brown1 #a ,y2--#cjth round1 k #i ,y1 #f ,brown1 #b ,y2--#cast round1 k ,y2----#cb;d round1 k ,y2--#cc;d round1 purl ,y2--#cdth round1 k #d ,y1 #d ,brown2--#ceth round1 increase #a ,y1 k #c ,y1 #d ,brown1 99 #d ,y1 #d ,brown and repeat from 992--#cfth round1 k #c ,y1 #d ,brown1 #a ,y2--#cgth round1 k #b ,y1 #d ,brown1 #b ,y2--#chth round1 k ,y2--#cith round1 purl ,y4 ,this ends the decoration4 ,with yarn knit #aj rounds plain1 but in the #ajth round narrow #cg stitches1 so that there will be #ajj stitches on the four needles4 ,turn the work inside out1 and proceed by directions given for knitting leg and strap or foot of ,pattern ,a1 page #hg4 ,for ,beginners in ,needlework4 ,corticelli ,color ,card4 ,to obtain the greatest benefit from using this book one should have a ,corticelli ,color ,card1 showing the #cbe different colors in which ,corticelli ,filo ,silk is made4 ,with this card you can see at a glance the exact colors of silk called for in the instructions4 ,we will send a ,corticelli ,color ,card to any address for #ab cents in stamps4 ,teachers' ,list4 ,we have prepared a list1 which includes many of the best teachers throughout the ,united ,states1 and to any of our readers desiring instruction in ,art ,needlework we shall be glad to recommend a competent teacher in your city or vicinity1 qualified to give lessons to private pupils and to classes4 ,often-times where there is no teacher in a town one will be glad to come from a neighboring city if a small class can be formed so as to make it an object for the teacher4 ,in this way the expense to each member of the class would be comparatively small4 ,to ,teachers of ,art ,needlework4 ,teachers of ,art ,needlework who are pleased with this book and wish information regarding our goods are invited to write for prices or samples4 ,our line of stamped linens is large1 and varied enough to suit all tastes1 and we are constantly issuing new designs4 ,we have the helps such as every teacher wants for her pupils1 instruction books1 ,color ,cards1 ,colored ,flower ,plates1 etc41 and we think our co-operation cannot fail to increase your business4 ,feel at liberty to write us at any time4 ,questions gladly answered4 ,any teacher may have her name added to our ,teachers' ,list 7see above7 upon filling out a blank giving name and address1 experience1 usual prices charged for lessons1 and other necessary information4 ,copies of this blank will be sent free on application4 ,address ,,nonotuck ,,silk ,,company1 ,,bridge ,,st41 ,,florence1 ,,mass4 ,to ,obtain the ,ready ,stamped ,linens and ,corticelli ,silk4 ,all designs shown in this book1 as well as ,corticelli ,wash ,silk for embroidering them1 can be obtained from dry goods stores or fancy goods stores ready stamped on good quality round thread bleached linen4 ,if merchants do not have these stamped linens in stock they will order them for you if you specially request them to do so4 ,if one should refuse1 try another dealer1 or write direct to us1 giving the dealer's name1 and we will give you the name of a dealer in your vicinity from whom you can purchase what you want4 ,the above remarks apply to all doilies1 centerpieces1 tea cloths1 tray cloths1 and stamped linens for photograph frames1 as well as to the yarn and silk required for knitting bicycle and golf stockings4 ,be particular to see that you get the exact patterns illustrated in this book4 ,most dealers keep them4 ,in any case it will pay you to insist upon having these original patterns and ,corticelli ,silk in order to take advantage of the treatment of the designs given herein4 ,we will not hold ourselves responsible for failure if other material1 either linen or silk1 than that called for in the instructions is used for any design4 ,we shall be glad to estimate the cost of stamped linen and silk for any design shown in the book4 ,please inclose a #b cent stamp for reply4 ,the ,imperial ,passepartout ,frame1 described on page #fi1 is sold by nearly all dealers in fancy goods and embroidery materials4 ,if your local dealers do not keep these frames1 and decline to order one for you1 we will give you the name of a dealer who will supply you4 ,the ,corticelli ,doily ,book1 described on page #ge1 can be obtained in the same manner as the ,imperial ,passepartout ,frame4 ,caution in ,washing ,art ,embroideries4 ,while we guarantee the dyes used for ,corticelli ,wash ,silk are fast in color when ordinary care is taken in the laundrying1 we cannot be held responsible for the result when even so small a quantity as a single skein of some other kind of silk has been used in connection with ,corticelli ,wash ,silk to embroider any design4 ,needleworkers should use the greatest caution in this particular and avoid taking any chances4 ,in the washing be careful to use a good soap1 like the ,ivory1 for instance1 which is always satisfactory4 ,washing powders1 liquids1 or chemicals of any nature should be let severely alone4 ,before beginning read the article by ,mrs4 ,wilson on ,to ,wash ,embroidered ,linens1 page #f4 ,mrs4 ,wilson gives some valuable suggestions which all our readers will be glad to profit by4 ,,springfield ,,printing ,,an ,,binding ,,company4 ,for a ,christmas ,gift ,illustration ,nothing is more appropriate than a pair of genuine ,florence ,silk ,mittens1 ,or a pair of ,florence ,silk ,baby's ,socks4 ,if your dealer will not supply you1 write direct to the ,,nonotuck ,,silk ,,company1 ,bridge ,st41 ,florence1 ,mass4 99 99 99 99 99 ,illustration ,send for our ,mitten ,circular1 free4 ,it tells all about the different patterns and sizes4 ,write for it to-day4 ,illustration ,florence ,silk ,underwear 444 ,for ,men and ,women4 ,silk is a non-conductor of heat4 ,silk ,underwear is healthful and hygienic4 ,no irritation1 but perfect protection and comfort4 ,soft and agreeable to the skin4 ,especially desirable for ladies and invalids4 ,illustration ,send for samples and price list4 ,,nonotuck ,,silk ,,company1 ,bridge ,st41 ,florence1 ,mass4 ,corticelli ,bicycle and ,golf ,silk4 ,illustration3 ,,corticelli ,,special ,,knitting ,bicycle and ,golf ,silk4 ,made expressly for knitting the fancy tops of ,bicycle and ,golf ,stockings4 ,in combination with yarn the effect is very handsome4 ,it is dyed in the following colors1 which are guaranteed fast3 ,no4 #aaj1 ,olive ,green4 ,no4 #ebh1 ,brown4 ,no4 #ebi1 ,dark ,brown4 ,no4 #edc1 ,dark ,red4 ,no4 #ehf1 ,dark ,green4 ,no4 #fgh1 ,old ,purple4 ,no4 #gid1 ,old ,blue4 ,put up in one-half ounce skeins4 ,sold by dry goods merchants generally4 ,nonotuck ,silk ,company1 ,bridge ,st41 ,florence1 ,mass4 ,corticelli ,domestic ,cord ,edge ,braid4 ,this braid makes a perfect edge1 giving the dress a handsome and substantial finish4 ,it is a ,,skirt ,,protector1 and one adapted to all kinds of weather4 ,illustration ,it is made in two sizes1 wide and narrow1 and is furnished in colors to match the latest dress goods4 ,,ask ,,your ,,dealer ,,for ,,it4 ,,free6 ,the ,best1 ,most ,authentic ,knitting ,manual ,for using ,worsted and ,woolen ,yarns of all kinds4 ,fully illustrated1 #baj pages4 444 ,send #c inside tickets taken from ,fleisher's ,german ,knitting ,worsted and #g;c in stamps to cover postage on book4 ,address1 ,fleisher's ,worsted ,works1 ,philadelphia1 ,pa4 ,illustration3 ,,fleisher',s ,,the ,,best ,,knitting ,,worsted ,fleisher's ,german ,knitting ,worsted1 ,spanish1 ,saxony1 ,flosses1 ,germantown1 ,etc4 ,fleisher's yarns contain half again as many yards to the pound as any other brand4 ,they last longer and wear better4 ,the black and all colors are guaranteed absolutely fast4 ,see that the name ,,fleisher',s is on every hank4 ,embroidery ,hoops 7,sizes #d1 #e1 #f1 #g inch47 ,illustration3 ,,the ,,queen4 7,pat'd7 ,sample1 any size1 #ae;c1 postpaid4 ,,the ,,queen ,,requires ,,no ,,winding1 the cushioned elastic spring band gives a uniform pressure all the way round and holds a light or heavy fabric tightly and with equal firmness4 ,,mrs4 ,,emma ,,haywood1 of the ,ladies' ,home ,journal1 writes3--,i consider your ',,queen' ,embroidery ,hoop a great advance on the old-fashioned ,hoops4 ,it holds the material firmly without injury4 ,illustration3 ,,trade ,special ,s_/,s ,select ,,mark 99 99 99 99 99 ,the ,special-,select ,hoops are made of selected wood1 lathe turned with rounded edges and smoothly finished4 ,perfectly true in circle and will never warp out of shape4 ,this style of hoop requires slight winding4 ,sample1 any size1 by mail1 #aj cents4 ,address1 ,,gibbs ,,mfg4 ,,co41 7,dept4 ,b7 ,,canton1 ,,ohio4 ,,payson',s ,,indelible ,,ink4 ,illustration ,payson's has been ,a ,,household ,,word for over #fj years4 ,it is still the ,oldest and the ,best4 ,received ,highest ,award1 ,medal and ,diploma1 ,centennial1 ,philadelphia1 #ahgf1 and ,world's ,fair1 ,chicago1 #ahic4 ,,sold ,,by ,,all ,,book1 ,,drug1 ,,and ,,fancy ,,goods ,,stores4 ,corticelli ,crochet and ,knitting ,silk4 ,illustration ,famous for its high lustre1 even size1 great strength1 and absolutely fast dye4 ,its good qualities are already known to our readers4 ,it is the best silk made for crocheting4 ,made in two sizes3 ,no4 #cjj 7coarse7 is the more popular size for all kinds of crochet work4 ,dyed in a great variety of colors which are guaranteed fast4 ,no4 #ejj 7fine7 furnished in ,black and shades of ,white only4 ,each ball contains #a_/b oz4 of pure silk4 ,sold by ,dry ,goods ,dealers and ,merchants ,generally4 ,florence ,knitting and ,crochet ,silk4 ,illustration ,strictly pure4 ,suitable for knitting mittens1 stockings1 and other articles of wearing apparel which require washing4 ,the soft finish of this silk makes the work of knitting easy4 ,it is equally desirable for crochet work4 ,made in two sizes3 ,no4 #cjj1 coarse1 and ,no4 #ejj1 fine4 ,made in a great variety of colors4 ,each ball contains #a_/b oz4 of silk4 ,sold by ,dry ,goods ,dealers and ,merchants ,generally4 ,,corticelli ,filo ,silk1 ,persian ,floss1 ,roman ,floss1 ,rope ,floss1 ,etching ,silk1 ,,ee ,embroidery ,silk1 ,lace ,embroidery ,silk1 ,all ,fast ,color4 ,illustration ,for ,decorative ,needlework ,use 444 ,,corticelli ,,wash ,,silk4 ,,smooth ,,in ,,working1 ,,brilliant ,,in ,,lustre1 ,,perfect ,,in ,,shading1 ,,fast ,,in ,,color4 ,illustration ,made in ,over #cbe ,colors4 ,send us six #b-;cent stamps for ,cortical ,color ,card1 showing all the shades4 ,,corticelli on the label of each skein is a guarantee that the ,silk will wash4 ,three ,things to ,remember4 #ast4 ,to get the most benefit from using this book you should have a ,corticelli ,color ,card1 showing the #cbe different shades in which ,corticelli ,filo ,silk is made4 ,with one of these ,color ,cards you can see at a glance the exact colors of silk called for in the instructions given in this book4 ,we will send a ,corticelli ,color ,card to any address for #ab cents in stamps4 #bnd4 ,if you are pleased with this book1 the designs and ,colored ,plates1 you can do us a great favor by showing it to your friends4 ,they may want to send for one like it4 ,we will be glad to send a copy to any address on receipt of #aj cents4 #crd4 ,we published no book for #ahig4 ,please don't ask us for one4 ,from #ahhg to #ahif we published ,,florence ,,home ,,needlework4 ,these back numbers can still be obtained4 ,price #f cents each4 ,see page #d4 ,,nonotuck ,,silk ,,company1 ,,bridge ,,st41 ,,florence1 ,,mass4 99 99 99 99 99 ---------------------------------------- --------------------- ,transcriber notes3 ,p4#bf4 '#fec1 #fed1 #gbi #e4'1 changed '#gbi #e' to '#gbi4e4' ,p4#de4 'with #fgh1 #fee4g1 #faf #e4' changed '#faf #e' to '#faf4e4' ,p4#di4 'and other dark'1 changed 'other' to 'others'4 ,p4#fc4 'with #fcf1 #fee #g4'1 changed '#fee #g' to '#fee4g4' ,fixed various punctuation4 ,tags that surround text3 ,made in ,over #cbe ,colors4 indicate italics1 and3 ,tags that surround text3 ,mrs4 ,l4 ,barton ,wilson indicate bold text4 ---------------------------------------- ---------------------