,,artistic ,,embroidery3 ,containing ,practical ,instructions ,,in ,,the ,ornamental ,branches ,,of ,,needlework1 ,,with ,,nearly ,,two ,,hundred ,,illustrations ,,and ,,explanatory ,,diagrams4 ,,by ,,ella ,,rodman ,,church4 ,illustration ,,adams ,,bishop1 ,publishers1 #df ,beekman ,street1 ,,new ,,york4 ,entered1 according to ,act of ,congress1 in the year #ahhj1 by ,,adams ,,bishop1 ,in the office of the ,librarian of ,congress1 ,washington1 ,d4 ,c4 ,,introduction4 ,there is a wide difference between artistic embroidery and mere fancy work4 ,besides the manufacture of innumerable airy nothings for fairs and other purposes1 the patient following of a glaring pattern in bright wools also comes under the latter head4 ,there is no individuality in this kind of work1 nothing that fairly expresses the worker2 the pattern being designed by one person1 the putting it on canvas done by another1 while 8filling in0 is frequently the task of a third4 ,a piece of embroidery should have in a degree the same expression as a painting2 and there is no good reason why the needle should not be as artistic an implement as the brush4 ,to produce the effect of painting1 however1 it is necessary to follow very much the same rules2 the first of which is that the selection of the materials1 the designing of the pattern1 and the work itself should be1 as far as possible1 done by one person4 ,it may be urged that every one is not sufficiently gifted to do this1 and particularly to draw the designs2 but this part is by no means the difficult matter that the beginner is apt to imagine it1 for in art needlework all superfluity of detail is scrupulously avoided4 ,various plates and illustrations may be found that will serve as guides to the uninitiated2 and ancient patterns can often be adapted to present needs4 ,there is no doubt1 however1 that the most artistic work will be produced by those who have a natural gift for design and color4 ,it has been well said that needlework should be in every way adapted to the material used4 ,as the sculptor's chisel and the painter's brush have each their separate function and domain1 so has the needle of the embroideress2 nor should anything lying beyond its proper powers be attempted by its means4 ,flowers and foliage being the decorative part of nature1 we instinctively choose them to represent in needlework4 ,the grand productions of ancient tapestry1 containing whole histories of wars and sieges1 are never likely to be repeated in our days1 in which leisure and industry are both lacking2 and we must content ourselves1 at least for the moment1 with speaking of the lighter works which lie within the ordinary compass of time and patience4 ,as everything cannot be accomplished in the attempt to imitate nature in this way1 much should not be undertaken4 ,for this reason1 conventional or stiff forms1 with no tendency to detail1 are preferred2 and this is one of the most prominent characteristics of art decoration4 ,things that are constantly handled and used should not have their ornamentation elaborated like water-color painting4 ,good materials are indispensable to satisfactory results2 and true artistic work is that which not only pleases the eye1 but bears the wear and tear of time4 ,perishable work of this kind is not worth the doing2 but when executed according to the rules of art1 it should be as enduring as painting and as worthy of admiration and respect4 ,this little volume is intended to give practical information to beginners in artistic embroidery2 showing the best and easiest methods of going about this branch of art1 which is rarely made sufficiently plain to those who have had no previous knowledge of it4 ,several ,english works have been consulted in its preparation2 and the writer has drawn upon her own experience as well as that of practical workers4 ,,chapter ,i4 ,,worsted ,,embroidery4 ,embroidery has been defined as 8the art of adding to the surface of woven textures a representation of any object we wish to depict1 through the medium of the needle1 threaded with the material in which the work is to be executed40 ,from the earliest times1 it has been the amusement of women of leisure1 and the occupation of those whose skilful fingers must be used to bring in returns of daily bread4 ,in the ,middle ,ages1 a regular work-room1 or 8studio10 was set apart for this especial purpose in the dim old castle2 and there the whole paraphernalia of embroidery-frames1 materials1 and implements1 were always to be found4 ,there1 too1 the chatelaine sat with her maidens embroidering cushions1 or book-covers1 or those wonderful pieces of historical tapestry afterward displaced by the more mechanical arras4 8,tapestry richly wrought ,and woven close10 was the favorite needlework of those days2 and these hangings1 or 8veils10 were rendered necessary by the style of building1 which afforded many convenient chinks and loopholes for the wind4 ,some of these ancient pieces of embroidery were very rich1 the designs being worked with worsted or silk of various colors1 and often mixed with gold or silver threads1 on canvas1 cloth1 or silk4 ,the oldest specimen of this kind of work now in existence is the famous tapestry of ,bayeux--the work of the ,english ,matilda and her attendants4 ,a piece of embroidery over two hundred and twenty feet long1 although not much more than half a yard wide1 is no trifling accomplishment2 and in spite of the red1 blue1 green1 and yellow horses1 some of them with two legs of a different color from the rest of their bodies1 one cannot but reverence this curious triumph of the needle that can claim eight centuries of birthdays4 ,it is entirely worked with worsted in very little variety of coloring1 as the ,norman princess had few advantages of this sort1 but she has represented to the best of her ability the invasion and conquest of ,england by ,duke ,william and his followers4 ,the battle of ,hastings is ingeniously emphasized by a bordering composed of the bodies of the slain4 ,few would have the time or the inclination for such a piece of work in these days2 and 8some of our moderns are inclined to think that1 in days of old1 when the chief employment of a woman's life was needlework1 she must have had a very dull1 dreary1 monotonous time of it4 ,but when we survey ancient heirlooms1 veritable works of art--the smooth1 mossy crewel-work1 the frost-like point-lace1 the shining gold-threaded ecclesiastical work1 or even the conventional forms of the now despised cross-stitch--we imagine every happiness and beauty connected with the age of chivalry1 as we are conscious of a sense of wonder akin to that felt on beholding some magnificent ancient jewels1 or plate1 or pictures40 ,as late as the days of the ,spectator1 it was written3 8,how memorable would that matron be who should have it inscribed on her monument that she wrought out the whole ,bible in tapestry1 and died in a good old age1 after having covered three hundred yards of wall in the ,mansion ,house0--but no such exploit is on record4 ,the most fashionable worsted embroidery of the present time is ,,crewel-,,work4 ,this style of work was much in vogue during the latter part of the eighteenth century1 and has recently been revived1 and the modus operandi dignified by the name of the ,south ,kensington stitch4 ,but people with great-grandmothers produce pieces of work done in a similar manner2 and the stitch is the same as the long stitch in silk embroidery1 only longer and more careless4 ,crewel work was brought to such a state of perfection by the famous ,miss ,linwood1 who literally painted pictures with her needle from her thirteenth until her seventy-eighth year1 copying the old masters so successfully that1 at a little distance1 the needle-worked picture could not be distinguished from the painted one1 that every one wanted to imitate her2 but few having the same gift1 this branch of art fell into disrepute4 ,miss ,linwood's pictures were marvels of patience and skill4 ,they were embroidered on a stiff1 twilled fabric called 8tammy10 on which the outline was drawn in chalk2 and the entire ground was covered with close1 irregular stitches1 of great fineness in the more delicate touches4 ,the shading was perfect1 the crewels being dyed under the artist's own supervision2 and her first needle-painting1 the 8,salvator ,mundi10 from ,carlo ,dolci1 was wonderfully true to the original4 ,her collection1 which was exhibited for some time in ,london1 contained sixty-four pieces2 and among them was a portrait of herself in the bloom of youth and beauty4 ,the great beauty of crewel-work is its freedom from set rules2 in taking the stitches1 the needle is used more like the brush in the hand of the artist4 ,,the ,,crewel ,,stitch resembles the wrong side of long back-stitching more than anything else2 and is illustrated by ,figures #a and #b4 ,illustration3 ,fig4 #a4 ,illustration3 ,fig4 #b4 ,the needle is put in at the back of the material and brought out at #a1 put in again at #b and brought out at #c1 put in again at #d and brought out at #e1 and so on to the end of the line4 ,in outline-work the thread should be kept to the left of the needle1 and great care taken to bring the needle up exactly in the line of the pattern1 or a wavy1 uncertain outline will be the result1 and the character of the pattern will be lost4 ,this method of working is to be used when the material is put in a frame2 but when the work is done in the hand1 it is best illustrated by ,figure #b4 ,the easiest and quickest way in this case is to begin at the bottom and work upward--putting the needle through 7from the back7 at #a1 and back again at #b--through again at #c1 and back at #d--until the entire distance has been traversed4 ,it will be seen that the stitch is very simple1 and that much is left to the discretion of the worker4 ,care must be taken that the worsted is not pulled too tight1 nor left too loose1 as the effect must be smooth and even--with the curves clearly defined1 and the points sharp and complete4 ,in ordinary crewel-work1 the stitch should be from three-eighths to half an inch long1 according to its position--some stitches must necessarily be shorter--as in filling in1 they must dovetail into each other like the tiles of a roof1 that no sharp line of color may indicate the different shades4 ,to produce the desired effect1 all the stitches should not be taken close up to the inner edge of color4 ,figures #c and #d will give some idea of this shading4 ,illustration3 ,fig4 #c4 ,illustration3 ,fig4 #d4 ,a leaf or stalk should never be worked across1 but always 7and the same rule1 of course1 applies to flower-petals7 in the same direction as the fibres in a natural leaf4 ,with such leaves as brambles1 and others that will suggest themselves1 one side should be a darker shade than the other4 ,figure #e shows the natural way of working a leaf4 ,illustration3 ,fig4 #e4 ,in working the stalk of a flower1 it is better to begin at the lower end first1 and work on the outline until it is crossed by a leaf or terminates in a flower2 then pass the needle to the other side1 and work back again to the lower end2 then work another line of stitches inside the outline till the stalk is filled up4 ,see ,figure #f4 ,leaves of one shade are done in the same way1 and the veins are put in last4 ,crewel-work has many recommendations2 it is easy1 is done with comparatively little labor1 and yet it affords scope for the exercise of artistic skill of the highest order4 ,a great variety of beautiful shades may be had1 and the worsted washes beautifully1 thus possessing a decided advantage over many other styles of ornamentation4 ,the materials are also quite inexpensive1 and taking it altogether1 it produces the best effects with the least outlay of labor and expense of any other kind of embroidery4 ,floral designs suit this style of work best2 and somewhat conventionalized models are most suitable--flowers that can be expressed by the fewest lines in form and the fewest shades in color4 ,daisy-shaped flowers are particularly suitable2 and the well known sunflower1 not too much conventionalized1 but with the tendency of its long petals to droop a little just indicated here and there1 is represented in ,figure #g4 ,simple1 old-fashioned flowers are most successful in crewel-work4 ,wild roses being simple1 and having very distinct petals and well marked centres1 are better than the double and treble triumphs of the florist--to which painting alone can do justice4 ,the daffodil1 narcissus1 and lily tribes1 with primroses1 honeysuckles1 pansies1 and daisies1 bloom out charmingly in crewels2 and almost any clearly defined leaf is pleasing4 ,butterflies and vases may also be successfully introduced1 but the latter should be chiefly in outline4 ,illustration3 ,fig4 #f4 ,the experienced crewel worker may study nature for designs1 and discover unending combinations of beauty and delicate touches of detail which give a character to the whole4 ,in the veining of leaves especially this is shown2 and the leaf of the common scarlet poppy1 veined and unveined1 in ,figures #h and #i1 will show how much depends on careful finish4 ,illustration3 ,fig4 #g4 ,but embroidery in general should not attempt too much detail--a thorn here and there on a rose-stem being sufficient to suggest the thorny nature of roses1 while only a few of the larger serrations of the leaves should be retained4 ,the bramble1 when shorn of superfluous outline1 is a very desirable leaf for embroidery2 and ,figure #aj shows it in its natural state1 which1 if worked1 would be a confused mass of nothing in particular--while in ,figure #aa1 its shape and general character are preserved1 but all unnecessary notchings and veinings are pruned away4 ,illustration3 ,fig4 #h4 ,illustration3 ,fig4 #i4 ,an important point in embroidery is to know what may be to advantage left undone2 and as crewel-work is entirely free from all artificial raising1 it is merely suggestive of general form4 ,the crewel itself is a particularly strong1 twisted woollen yarn1 quite unlike zephyr and the other wools in use4 ,the shades of color are very soft and numerous1 and blend beautifully in delicate flower-petals and varying leaves4 ,the work is usually done on heavy linen sheeting1 as this wears well1 is easily washed1 and is particularly suitable for tidies1 doilies1 and many small articles4 ,illustration3 ,fig4 #aj4 ,other materials may be used to advantage2 but cloth1 velvet1 or silk is not suitable for crewel-work4 ,serge makes a very nice foundation2 and a pair of invalid's slippers1 made lately1 were worked on white felt4 ,but these were done in ,canada1 where many materials are to be had which cannot be found here4 ,said slippers were merely to thrust the toes in1 as all the rest was sole2 and this white felt pointed piece was ornamented with strawberries in crewel-work4 ,this beautiful fruit is quite as effective as flowers are2 and in ,figure #ab the clusters may be used separately1 or continued indefinitely for a border4 ,a very pretty footstool could be made by grouping them closely for the top1 and putting the bordering on the band4 ,the fruit may be either red or white as best suits the groundwork4 ,illustration3 ,fig4 #aa4 ,velveteen makes a good background for crewel embroidery2 and this is suitable both for footstools and hangings4 ,it is also handsome for mantel lambrequins4 ,but the favorite material is crash towelling--which is so generally used for the purpose that crewels seem inseparable from it1 and the work is quite as often called 8crash-work0 as crewel-work4 ,crash is very serviceable for tidies1 toilet covers1 toilet mats1 travelling bags1 etc42 but it does not hang in graceful folds for curtains and portires1 and it is not worthy of being embroidered in silks4 ,there is a ribbed velveteen in different shades of drab and brown1 which looks remarkably well as a foundation for crewel-work1 if the latter is done in a rich1 bold design4 ,it should be remembered1 as a general thing1 that while rich materials may be used on cheap groundwork1 worsted embroidery is very unsuitable on a rich foundation4 ,we have attempted suggestions only in the way of patterns1 as these may be bought in great variety wherever the crewels are sold2 and for those who are unable to design from nature this will be found a great convenience4 ,it is not long since all worsted work was done in mechanical patterns on canvas2 and some of this work1 with stitches laid as regularly as minute mosaics1 and the shades blended as by the hand of an artist1 is still very beautiful4 ,it is the mosaic-work of embroidery1 and bears the same relation to it that the real mosaic does to painting2 but crewel-work has the advantage of being more quickly done1 and of expressing better the individuality of the worker4 ,how quickly1 for instance1 with needle and crewels1 the very essence of a ,may morning may be condensed into the cluster of apple-blossoms from the laden bough beside the window2 but who could extemporize them into a pattern of set squares on the spur of the moment8 ,,articles ,,to ,,be ,,worked ,,in ,,crewels4 ,it is always more satisfactory in a work of this kind to find some practical illustrations of the suggestions given2 and many people like to know exactly what to make4 ,we shall be more explicit1 therefore1 in this little volume than would be possible in one of greater pretension2 and mention articles to be made1 as far as our limits will permit4 ,illustration3 ,fig4 #ab4 ,being quickly done and effective at a distance1 crewel-embroidery is very suitable for large pieces of work1 such as curtains1 portires1 friezes1 and so forth4 ,portires and friezes have a pleasant suggestion about them of old tapestries2 and the latter are really wall-valances4 ,one would scarcely undertake ,,an ,,embroidered ,,frieze even in crewel-work1 for a large apartment2 but a moderate-sized room could be adorned with this wall drapery without an unreasonable outlay of time4 ,claret-colored serge1 or velveteen1 if in harmony with the other coloring of the room1 worked with perpendicular sunflowers or lilies 7,figure #ac is a good pattern for the latter71 with a bordering of gold-color and green at top and bottom1 would be very ornamental4 ,the frieze could be finished with a fringe and hang loose at the lower edge1 which is prettier1 or fastened at both sides1 paper-fashion4 ,colors and figures may be varied indefinitely--for the latter1 a standing army of storks would often be preferred4 ,dragons1 too1 are now so generally regarded as cheerful domestic animals in the way of adornment1 that a procession of them across the walls of an apartment on an elaborate frieze would1 doubtless1 add a pleasing element in the way of decoration4 ,but those who say1 ,give me beauty1 or give me nothing1 in the way of ornament1 will prefer designs of flowers and leaves4 ,a ,,dado ,,in ,,crewels may be done in the same way1 only that there is more of it2 and being nearer the eye1 the design should be more close and elaborate4 ,the patterns on rich papers will be found suggestive studies2 and it may be remembered that the material for groundwork can be adapted to the purse of the embroiderer and the other belongings of the apartment1 from velveteen at a dollar a yard to crash-towelling at ten cents4 ,illustration3 ,fig4 #ac4 ,the wide material known as jute1 and just the least bit in the style of brown straw-matting1 would make a very nice dado worked in crewels1 with a darker brown picked out with gold color2 and this same material hangs in graceful folds for curtains and portires4 ,a brown room could be made very beautiful in this way2 and quiet though it is1 there is a richness about brown that is always suggestive of gilding4 ,a ,,worsted-,,worked ,,porti,,re should be of velveteen1 if this harmonizes with the other hangings of the room1 as the material has a particularly rich effect in doorways1 and artistically executed crewel-work suits it admirably4 ,brown velveteen with golden sunflowers1 or gray with wild roses1 or dark blue with lilies1 will be found very handsome4 ,in working portires1 it is necessary to remember that they should be well covered with embroidery1 because the light falls on all their parts2 while an embroidered border suffices for curtains1 as the edges only are likely to catch the sun's rays4 ,other hangings may be made for the open shelves of cabinets and tagres2 these should also harmonize with the general decoration of the room in color and style1 but may be richer and more elaborate than the larger pieces of embroidery1 as they will be subjected to closer inspection4 ,,curtains ,,with ,,sprays ,,of ,,sumac4 ,these were really beautiful4 ,the ground was a pale sage green1 in perfect keeping with the prevailing hue of the room2 and the soft bright shades of the crewels were so delicately blended1 that the effect was a perfect needle-painting of these bright-hued darlings of the autumn4 ,they were embroidered on the plain band of the sage--colored material that formed the simple cornice--down the front of the curtains1 and here and there1 on the body of the drapery1 a spray seemed to have dropped by accident4 ,a ,,sweet-,,pea ,,table ,,cover which emanated from the same hand1 was also a thing of beauty4 ,the table was a round one of moderate size1 and the top was tightly covered with maroon-colored flannel4 ,a straight band of white flannel between two narrow strips of the maroon formed the border1 and on this white ground the sweet peas were worked in delicately-tinted crewels4 ,feather-stitching1 of black and bright green1 marked the joining of the white flannel to the maroon on either side4 ,the bordering was fastened to the table with silver-headed nails1 and finished with a worsted fringe to match the maroon flannel4 ,this beautiful work was all copied from natural models during hours of summer leisure on a country piazza1 and many beautiful thoughts and memories were wrought into the bright-hued leaves and petals4 ,,screens ,,in ,,crewel-,,work4 ,we saw a honeysuckle screen lately1 that might have been beautiful1 but was not because it had altogether too sombre an air to be viewed in the light of an ornament4 ,the workmanship was fine1 and regularly done according to the rules of art1 but as the ground was black and the coral honeysuckle was represented in very dull reds and greens1 the effect was not enlivening4 ,a gray ground of a silver tinge would have been a great improvement1 but dark work on a dark ground is a dismal production4 ,the woodbine honeysuckle can be reproduced in crewels in very natural colors1 and we have seen some that almost diffused a ,june odor about them4 ,they were worked on very fine1 soft crash1 and intended for a tidy2 but a beautiful fire-screen could be made of them on a blue or plum-colored ground4 ,the large folding-screens1 so often in strips of coarse ,berlin-wool work1 are very handsome in crewels2 and climbing vines of all kinds are particularly suited to them4 ,a crimson ground with water-lilies in one corner1 and the wild morning-glory1 with its nearly white blossoms 7that grows in damp places and therefore harmonizes with the water-lily7 trailing its beautiful length across the largest space1 while the inevitable heron1 balanced1 of course1 on one foot1 stands sentinel among his reeds and rushes1 where classic cat-tails bristle like spears1 is vis--vis to the water-lilies on the other side1 would be found bright in coloring and handsome in effect4 ,but a screen that looks as if some one had come in and thrown a handful of daisies over it may be quite as pretty1 and is certainly less work4 ,,carriage ,,wraps of fine crash1 ornamented with crewel-work1 are handsome and serviceable for warm weather4 ,a bordering of strawberries and leaves near the edge1 or one of periwinkle with its delicate blue flowers1 would be very pretty2 and this bordering1 with a large monogram in the centre1 would sufficiently ornament the article4 ,but endless are the uses to which this simple and charming style of embroidery may be put2 and the suggestions given maybe indefinitely multiplied and rearranged in various forms4 ,,chapter ,,ii4 ,,simple ,,ideas ,,of ,,color4 ,before proceeding to silk embroidery1 it may be well to consider some simple rules of color1 as the proper arrangement of color is of far greater importance than the regular placing of stitches1 and no embroidery can be artistic without it4 ,an old-fashioned poet gives some good advice on this subject3 8,choose such judicious force of shade and light1 ,as suits the theme and satisfies the sight2 ,weigh part with part1 and with prophetic eye ,the future power of all thy tints descry40 ,truth in rhyme was never better brought out than in the following lines3 8,know first that light displays and shade destroys ,refulgent ,nature's variegated dyes2 ,thus bodies near the light distinctly shine ,with rays direct1 and as it fades decline40 ,an eye for color is of the same nature as an ear for music--one knows intuitively what is right2 but this is by no means a very common gift2 and there are some rules to be observed1 independently of the guidance of taste1 that are within the reach of all4 ,thus scarlet and yellow were never intended for close companions2 brown or lilac invariably quarrel with a scarlet ground2 blue and green together1 or yellow and green1 are like an unpleasant taste in the mouth2 blue is perfectly amiable with cru 7the ,french name for all the drabs and fawns72 a cold green blue may be successfully paired with lilac2 drabs with a rich brown tone in them take kindly to yellow2 pink and gray are as harmonious as love-birds2 scarlet affably locks arms with slate-green and red-brown2 green with maize1 and also with some shades of salmon2 blue and maize were made for each other2 lilac and green1 blue and claret1 are also devoted couples4 ,one who knows says that black should never be used next a high light2 one-eighth of every object has a high light upon it1 one-eighth is darkest shadow1 and six parts light1 or half-tint4 ,no objects in nature are positively blue1 red1 or yellow1 owing to two causes3 one1 that most objects reflect the sky2 the other1 that the atmosphere between the eyes of the observer and the light causes the brightness of the tints to be deadened4 ,so that care must be taken to avoid the immediate contact of bright colors with each other when an attempt is made to imitate nature4 ,shaded embroidery should be guided by the same rules that apply to water-color painting1 except that greater depth and brilliancy1 and consequently less delicacy1 are the results in view4 ,it requires much discrimination to give a natural hue to leaves1 and1 at the same time1 to produce such contrasts as will give the proper relief4 ,portions of each should be much lighter than others2 and in the grouping1 a mass should be thrown into shadow under the bright leaves--the shadow being composed of dark green mixed with neutral tint4 ,much may be learned in the way of color by study and observation2 but to get just the right shades of even harmonious colors requires care and skill4 ,thus simple red may be used with pure green2 but scarlet1 which is red tinged with yellow1 must have a blue green2 crimson1 which is red tinged with blue1 a yellow green4 ,all colors are darker on a light ground and lighter on a dark ground1 so that tints should be selected according to the groundwork4 ,position1 too1 must be considered2 a piece of embroidery that is intended for a dark corner should have brighter colors and stronger contrasts than one which is to be placed in a full light4 ,on a white ground very delicate tints are most suitable1 while the broken grays of crash will harmonize livid colors4 ,masses of blue should be avoided1 as blue is a cold color2 and white requires skilful management1 as it should be shaded off delicately by means of tints that have a large portion of white in their composition4 ,but all flowers of the same kind should not be worked in the same shades of color2 three white flowers1 for instance1 of the same species and in one cluster1 requiring eight shades of silk or worsted to embroider them properly1 should have these shades differently arranged4 ,for one1 a greater portion of the five lightest tints would be used2 for the next1 the middle shades1 perhaps2 in the third1 the darkest would be most prominent2 all this would depend on the position of the flowers and the skill of the embroiderer4 ,many different colors in one piece of work spoil the effect1 except in particular cases2 some one prevailing color should be adopted1 and the rest chosen with reference to it4 ,some of the most beautifully colored work is done in one key of color3 one color being taken as the key-note1 and those shades only are used that form its component parts1 or that have the original color in their composition4 ,on gold-colored satin1 for instance1 nothing looks so well as a design colored in shades of russet and golden browns1 introducing every now and then a lighter or darker shade of the pure ground color4 ,in taking green for the ground color1 if a yellow green1 then the highest note should be yellow2 and it should be carried down through all the brown1 warm1 and russet greens1 which owe all their warmth to yellow4 ,if the ground is a blue green1 colder greens must be used1 of a sage rather than a russet tint1 while the key-note is struck with a pure blue4 ,under this restraint1 the effect1 though subdued1 is very agreeable4 ,if a pure blue is placed near a pure yellow1 the effect is glaring2 but when the blue is slightly toned with yellow and the yellow with blue1 there is quite a different result4 ,a strong blue and a bright red1 with a yellow gleam in it1 stare each other out of countenance2 but a subdued russet-green as a neighbor makes them harmonious4 ,purples1 and all shades inclining to blue1 are difficult to dispose satisfactorily--those with the least blue in them are preferable4 ,russet is one part blue1 one part yellow1 and two parts red2 olive1 one part blue1 two parts yellow1 and one part red4 ,it is more pleasing than slate1 which has two parts blue1 one part yellow1 and one red4 ,when the ground is a red plum or maroon1 pure red pinks1 with no shade of blue in them1 will be much more harmonious than blue2 but if the ground is a blue plum1 pale blue will be better than pink4 ,the shading of flowers is always in different shades of the same color2 and this method applied to embroidery produces the most charming results4 ,a pattern worked on a dark ground in a lighter shade of the same color is always pleasing2 and in a small room especially a great variety of colors should be avoided4 ,a crimson room should have chair or table cover1 or tidy1 in pale crimson mingled with a little pink of the same tone4 ,thus after a pretty conceit1 one room might be called the rose-room1 being furnished with the crimson heart of that beautiful flower running through the shades of pink suggestively in the lighter portions1 and 8broidered over0 with roses and buds where ornament is desirable2 another might be the sunflower-room1 with its warm golden browns and gleams of yellow1 and the honest full-moon face of that plebeian blossom astonished at being 8done0 in silks and crewels1 and set up to be looked at2 while the morning-glory-room1 in grays and blues1 should imprison all the sunshine to light up its cold colors1 and afford a congenial resting-place for its pictured blossoms4 ,,chapter ,,iii4 ,,silk ,,embroidery4 ,this beautiful work has been practised from the earliest times2 and the ancient ,egyptians particularly excelled in it4 ,much of this was done on linen--to which we shall refer afterward4 ,the very sails of their galleys were embroidered2 and their 8divers colors of needlework on both sides0 seems to mean that it was done so that the work was the same on the wrong side as on the right--a method of working that requires an immense amount of skill and patience1 and which is now found only among those eminently painstaking races1 the ,chinese1 ,japanese1 and ,hindoos4 ,silk embroidery is done on almost any material except cotton and coarse linen2 but silk and velvet seem the most suitable fabrics for groundwork4 ,if well done1 it is handsome on anything2 and as it is an expensive kind of needlework1 great care should be taken in doing it4 ,as a general thing it requires framing1 and especially when floss-silk is used4 ,frames are of various kinds2 the best for large pieces of work being the standing frame 7see ,figure #ad71 which has adjustable screws1 and can be lowered or heightened at pleasure4 ,the hand or lap frame 7,figure #ae7 is more convenient in embroidering smaller articles4 ,in putting work into the frame1 a strip of strong tape or linen should be stitched along the woof ends of the material--which must then be firmly sewed with strong double thread to the webbing on the frame4 ,it should be made as tight and firm as possible2 the strain being increased gradually and cautiously until the tension appears to be sufficient4 ,the woof ends should be braced to the side pieces with fine twine4 ,a packing-needle threaded with twine must be drawn through the upper right-hand corner of the tape or linen1 and the end securely tied4 ,the twine must be sewn over the lath till the lower corner is reached1 knotted securely1 and cut off2 the other side must then be done in the same manner4 ,when the material is larger than the frame1 it may be sewed on to the bars and rolled round one of them1 with tissue paper and wadding between to prevent the stuff from creasing2 and when the part in the frame is finished1 it is rolled round the opposite bar1 and so on1 until the whole is completed4 ,the centre ring1 marked #a1 is a hand frame used for small pieces of embroidery4 ,illustration3 ,fig4 #ad4 ,in working with a frame it is desirable to use both hands--one to put the needle through from the outside1 and the other to bring it up again from beneath4 ,this will be slow work at first2 but practice and patience will enable one to do it quite dextrously1 and the great convenience of working in this way will fully repay the trouble of learning it4 ,two thimbles will be necessary1 one for each hand4 ,illustration3 ,fig4 #ae4 ,,the ,,stitch ,,for ,,silk ,,embroidery is the same as for crewel-work1 except that it is shorter4 ,other stitches are often introduced1 which will be noticed in their place2 but the proper stitch for shaded embroidery1 the most attractive of this fascinating work1 is to draw the needle upward from the right and finish by putting it down to the left4 ,the right hand should always be above the frame1 and the left beneath--making the stitches as long as the work will admit of their being1 as the brilliancy of the silk is destroyed by crowded and short stitches4 ,silk embroidery is both dainty and effective2 and as the materials are expensive1 great care should be used in doing the work1 that it may not only give satisfaction at first1 but prove sufficiently durable to repay the outlay of time and money4 ,it is best to avoid touching the silk by drawing it through the fingers while working4 ,anything like a regular embroidery stitch is to be avoided1 except in those portions of the work where it is necessary2 as the most charming effects are usually produced where there seems to have been the greatest indifference to mechanical regularity4 ,when the work has been properly arranged in the frame1 the first step in artistic embroidery is to observe the position of the flowers and leaves--taking it for granted that the outlines have been properly traced--and if the model is of natural blossoms1 so much the better4 ,it is particularly advisable1 before beginning the embroidery1 to study the lights and shades2 the edges and rounder parts1 both of the leaves and petals of flowers1 as they embrace more surface1 naturally receive the light first and are worked with the palest tints4 ,in a group of flowers 7see ,figure #af7 it is recommended to begin with the smaller parts1 such as the stems1 buds1 and leaves2 and great care should be taken to have every portion clearly outlined--although a visible outline should be avoided in filled-in work4 ,again1 the careful blending of shades mentioned in crewel-work must be enforced--the stitches being so nicely placed to produce the right effect1 that their beginning and ending are quite lost4 ,,group ,,of ,,flowers ,,for ,,silk ,,embroidery4 ,the stems of slender flowers should always be done in stalk-stitch1 as they can be made more neatly and with less trouble than in satin-stitch4 ,the centres are worked in ,french knot stitch4 ,this is a pretty pattern for a variety of small articles3 glove-box1 letter-box1 pincushion1 case1 etc4 ,or it may be enlarged for a footstool1 sofa-cushion1 or chair-seat4 ,in working leaves1 one half should be done first2 and great care taken to follow the direction of the fibres4 ,figure #ag shows the direction the lines would take if we were shading the leaf in drawing4 ,in working a pansy the stitches should take the direction of the lines in ,figure #ah2 and not cross the petals1 as in ,figure #ai4 ,figure #bj shows the proper filling up of a thick stalk4 ,for narrow leaves1 where one stitch will reach from the middle to the edge1 it is best to pass the thread from the edge underneath to the middle--as this makes each stitch begin in the middle1 and the under side is nearly the same as the upper4 ,a broad leaf or petal requires more than one stitch between the middle and the edge2 and for these1 the needle may be brought up again wherever the next stitch seems to be wanted4 ,but two together should not begin nor end on the same line--except on the outside edge to preserve the outline1 or in showing the middle rib4 ,illustration3 ,fig4 #af4 ,unless the embroidery is very large and bold1 the line formed by the meeting of the stitches down the middle of a leaf1 as in ,figure #ba1 will sufficiently mark the mid-rib4 ,if in the real leaf it is very deep and plainly defined1 a very narrow space between the two lines1 tapering till the threads meet again near the point1 will generally be sufficient4 ,see ,figure #bb4 ,lateral veins need not usually be indicated at all2 but if they are very marked1 and of a different color from the leaf itself1 they may be laid on by a cord or a piece of thick silk twist--fastening it down with small stitches in silk of the same color4 ,this must only be done in large and rather coarse work4 ,another important point is the distinct bringing out of the different characters of the stalks4 ,the three examples given 7,figures #bc1 #bd and #be7 will show how the different joinings vary1 and that care must be taken to make these distinctions1 as well as to finish them off properly4 ,it has been well said that the difference between mechanical and artistic embroidery consists in showing judgment and finish in all these small matters4 ,other stitches used in silk embroidery1 besides the one known distinctively as embroidery-stitch1 are satin-stitch1 ,french-knot-stitch1 stalk-stitch1 point-russe1 herring-bone or feather-stitch1 ladder-stitch1 chain-stitch1 etc4 ,satin-stitch is used a great deal in white embroidery1 and many persons are familiar with it who have never attempted to work in colors4 ,it is also called ,illustration3 ,fig4 #ag4 ,illustration3 ,fig4 #ah4 ,illustration3 ,fig4 #ai4 ,,french1 ,,or ,,flat ,,embroidery4 ,the stitches lie smoothly in a diagonal direction close to each other--little or no attention to light or shade being necessary4 ,it may be done very effectively in one color1 and is then often enriched by gold or silver cord around the edges4 ,it looks best worked with ,mitorse silk--which is also the most durable1 as it does not fray in the wear nor so quickly lose its glossy appearance as when done with floss or ,dacca silk4 ,this work is suitable for articles of furniture and dress1 as well as for small ornamental work4 ,figure #bf is a good illustration of flat embroidery in a pretty border pattern1 which may be edged with gold thread or with silk of another color4 ,,border ,,in ,,flat ,,embroidery4 ,,the ,,french ,,knot4 ,this is very useful for the centres of such flowers as the daisy and sunflower1 and for filling up leaves in a showy manner4 ,it is made by bringing the thread through to the front of the work1 and holding it in the left hand1 four or five inches from the work--the needle being in the right hand2 the thread is twisted two or three times around the needle as close to the work as possible2 then the point is turned down into the material nearly1 but not exactly1 where the thread came up2 the needle is pulled through to the other side1 and the thread drawn carefully till the knot is firm4 ,the thread must be drawn round the needle close up to the work before the needle is pulled quite through1 lest the knot should hang loose and spoil the effect4 ,illustration3 ,fig4 #bj4 ,illustration3 ,fig4 #ba4 ,illustration3 ,fig4 #bb4 ,illustration3 ,fig4 #bc4 ,illustration3 ,fig4 #bd4 ,illustration3 ,fig4 #be4 ,,stalk-,,stitch ,is very easily and quickly done4 ,in veining leaves and working small stems1 it is more manageable than any other stitch2 and it is formed by making a straight stitch rather more than a sixteenth of an inch in length--then for the next stitch1 putting the needle about half-way back into the first one and working it the same length4 ,this is so quickly done1 that there is danger of doing it carelessly2 but if properly worked1 it resembles a finely-twisted cord1 and gives a very neat finish to the embroidery4 ,illustration3 ,fig4 #bf4 ,,point-,,russe4 ,this is a stitch frequently mentioned in new embroidery2 but the modus operandi does not seem to be so well known as that of many others4 ,possibly because of its very simplicity--for ,point-,russe is merely a succession of back-stitches neatly and regularly done4 ,it is used for many small articles2 and is a useful adjunct in more artistic work4 ,illustration3 ,fig4 #bg4 ,the illustration in ,figure #bg shows the effect1 and the uses to which it can be put4 ,every line of the design must be carefully followed in working it2 and very pretty borderings and ornamental figures in long stitches are often made with it4 ,medallions are very pretty in ,point-,russe2 and we give one in ,figure #bh that is worked entirely in this stitch1 and made very effective in scarlet and gold4 ,this is intended for a purse1 and is worked on light brown leather or kid4 ,figure #cj is also very pretty1 and may be worked in one or more colors4 ,figure #ca is a border pattern that is very effective4 ,the diamonds are outlined in black and white1 and the leaflets within are of green silk4 ,the stars are outlined in black and blue1 the crossings are red1 and the dots yellow4 ,the figure between the stars is black and yellow4 ,illustration3 ,fig4 #bh4--,,medallion ,,in ,,point ,,russe4 ,illustration3 ,fig4 #bi4--,,medallion ,,in ,,point ,,russe4 ,illustration3 ,fig4 #cj4--;,,border ,,in ,,point ,,russe4 ,,herring-,,bone1 ,,or ,,feather ,,stitch4 ,this is an old-fashioned embroidery stitch revived1 which is always effective4 ,in ancient times1 fine pieces of linen were embroidered all over with flower designs in outline1 with here and there a portion filled in1 and the stems worked in a close herring-bone stitch to give them strength and substance4 ,sometimes the whole design would be worked in this stitch1 done so closely as to have the appearance of braid4 ,some of this filled-in work was done in a peculiar manner from side to side4 ,an oval leaf to be filled would be begun at the base with a few satin stitches1 then when a point was reached where it was wide enough1 instead of passing the thread all the way underneath to the opposite side1 about one-third of the width of the leaf is taken up in the needle1 and the next stitch is done in the same way on the opposite side of the leaf--working from side to side until the leaf becomes too narrow again1 when it is finished with a few satin stitches4 ,this stitch throws all the silk to the top2 and the crossing of the threads in the middle of the leaf has a very rich and soft effect--giving also the appearance of a vein4 ,feather-stitch seems too well known to need description2 and there is a great variety of it1 from the simplest 8herring-bone10 to the prettiest feather-like vine2 and it has the advantage of being very easily and quickly done4 ,it is merely button-hole stitch1 in alternate loops and long stitches1 sewed backwards4 ,a design may be drawn first1 if needed1 to make the work regular2 but with one straight pencil line as a guide1 if the eye is not very correct1 almost any one who can use a needle will be able to do feather-stitch4 ,this stitch is very much used in appliqu work2 and it makes pretty dividing lines in ornamenting large articles4 ,we lately saw a table-cover worked entirely in feather-stitch1 that had quite an ,oriental appearance4 ,the ground was black cloth2 and all colors of worsted braid1 of different widths1 were sewed on with this stitch--being placed around an oblong piece in the centre1 and in strips across to the edge for the border4 ,,chain-,,stitch4 ,another well-known and simple embroidery-stitch2 and more beautiful effects may be produced with it than are known to the philosophy of the ordinary worker4 ,chain-stitch is sometimes used for filled-in embroidery2 the lines of the chain being laid very close together1 and following the form of the leaf or flower until the space is filled4 ,it should always be commenced on the outside1 and worked to the centre4 ,illustration3 ,fig4 #ca4--;,,border ,,for ,,furniture ,,covers1 ,,porti,,res1 ,,etc4--,,chain ,,stitch ,,embroidery4 ,some very rich kinds of ,algerian and ,eastern work1 often embroidered entirely with gold thread1 and generally with a mixture of this with silk1 are done altogether in chain-stitch4 ,it is often found1 too1 in ancient crewel-work2 and is made by holding the thread firmly over the point of the needle1 while it is drawn out1 so as to form a loop4 ,the needle is put back again into the centre of this loop2 and the thread again passed over the point to form a second one--and so on1 the succession of loops forming the chain4 ,the objection to this stitch is that it has a mechanical effect1 and can be exactly imitated with the sewing-machine4 ,the long embroidery-stitch is much more elastic and natural-looking1 and able to accommodate itself better to varying forms4 ,chain-stitch is useful1 however1 for outline-work1 and wherever a stronger line is required than that made by the long stitch4 ,curtains1 table-covers1 portires1 etc41 are handsomely embroidered in chain-stitch2 and ,figure #ca gives a very rich bordering pattern for this purpose4 ,turkish embroidery is nearly always done in chain-stitch2 and covers for small tables1 with a light blue or scarlet ground1 worked all over in chain-stitch arabesques with bright silks1 make a pretty 8bit of color0 for a shaded corner4 ,another effective way of working a table-cover in chain-stitch is to get black1 red1 and white cloth or flannel2 the black for the centre1 the red next to the black1 and the white for the border--and joining them by lapping the edge of one a very little way over the other1 proceed to chain-stitch the whole with various colored silks4 ,the effect is very handsome2 and the bordering may differ from the other part by being done in loose overcast stitch over straight pieces of zephyr1 and finished with little tassels of the bright silks4 ,illustration3 ,fig4 #cb4--,,oriental ,,bordering4 ,figure #cb is a very pretty ,oriental-looking pattern suitable for a bordering1 or it can be used in other ways4 ,the figures placed together are worked in chain-stitch with silk of two contrasting colors--two shades being used in each figure4 ,the outer row of the first is dark-red1 and the inner one bright-red4 ,the second figure is of two shades of green2 the third of two shades of blue2 and the fourth of two shades of yellow4 ,the knotted stitch in the centre of the ovals is violet4 ,the dots outside the ovals are worked in satin-stitch1 and are alternately red1 yellow1 violet1 and blue4 ,the stems are of black silk in point-russe stitches4 ,the four ovals are worked in chain-stitch with silk of two shades of brown4 ,,ladder-,,stitch4 ,this is sometimes quite effective in ornamental embroidery4 ,figures #cc and #cd give two different patterns4 ,the material is partly cut away in these illustrations1 and in some kinds of work this is a great improvement4 ,ladder-stitch makes very pretty border lines--the outer edges being done in overcast1 and the cross-stitches in point-russe4 ,illustration3 ,fig4 #cc4 ,illustration3 ,fig4 #cd4 ,exquisite pieces of work have been wrought in silk embroidery from time immemorial2 and there is scarcely a material to which it may not be applied4 ,a fragment of old embroidery1 worked more than a century ago1 is represented as a good subject for study in the way of coloring4 ,this fragment is about eight inches deep1 intended for bordering1 and is worked on white satin4 ,the material is ravelled out in a fringe at the bottom2 then comes a line about an eighth of an inch wide in dark red floss--then a row of disks shaded in a dark and a light green2 above these and touching one another are two broader lines of red1 one the same color as the first1 the other paler2 then there is a representation of moss worked in chenille of three shades of green--and from this mossy ground spring roses1 carnations1 forget-me-nots1 and leafy sprays4 ,this part is treated quite decoratively2 and no attempt is made to preserve the natural proportions of the flowers in relation to each other1 or to their stems and leaves4 ,in the sprays1 one or two leaves are of peach-blossom color4 ,above this row of flowers are branches in festoons2 of which the stems are olive-brown1 the leaves shaded1 or rather1 party-colored1 with peach-blossom inclining to pink1 olive-brown1 and two or three shades of green4 ,it will be seen that nature is no more strictly adhered to in color than in form4 ,over these branches is a pattern in two shades of peach-blossom1 mingled with a very little blue4 ,except the moss1 the embroidery is all done in floss silk split very fine4 ,seen by artificial light1 this beautiful piece of work has the brilliancy of cut and polished gems2 while the general effect of color is extremely rich and sweet1 and would harmonize with almost any surroundings4 ,a beautiful way of treating the ground color1 particularly if it be one that seems to attract too much attention to itself1 is by working a small diaper pattern all over it in a darker shade of the same color--this gives depth and richness to the whole4 ,a network of dead gold may be imitated in silk of the right shade4 ,dark1 brownish greens1 deep1 dull blues1 and rich maroons1 make good grounds2 but black is best for a brilliant effect4 ,the ground must be decidedly dark1 or decidedly light--no half-way shades being allowable1 as it is far more important for the colors of the work to contrast strongly with the ground than with each other4 ,,chinese ,,embroidery4 ,the ,french and ,chinese excel in silk embroidery2 and the painstaking double work done in ,china is well known4 ,the great care with which the ,chinese embroider preserves their materials bright and shining4 ,these materials are floss and twisted silks--also the bark of a tree spun into a fine thread4 ,flat lines of gold also glitter among the silks1 and are used as stems and connecting links4 ,the drawing of these embroideries is sometimes as uncouth as that of their paintings2 but in some of their flowers 7probably copied from nature7 they are often even botanically correct4 ,the iris1 for instance1 which frequently appears in their designs1 is very true to nature2 and so is the time-honored stork4 ,the iris1 ,figure #ce1 is a good flower for embroidery2 and may be made as effective in borders as the sunflower4 ,the modern art of embroidery in ,china is thus graphically described by a traveller3 8,for #bb cash1 or tseen1 ,i purchased an elegant book filled with choice subjects of the graphic art as patterns for the use of the young needlewoman4 ,she is assumed to be poor1 and hence the little manual is printed at about one penny of our money4 ,it has a cover of a fair yellow1 studded with spangles of gold2 and contains between two and three hundred figures culled from the various stores of nature and art4 8,in fact1 the objects are so well-selected and so numerous1 that they might serve as illustrations to a small encyclopdia4 ,one acquainted with ,chinese literature and natural history might deliver several lectures with this book before him4 ,the meadow1 the grove1 the brook1 the antiquary's museum1 and the pages of mythology1 with the adornments of the house and garden1 are all laid under contribution4 ,illustration3 ,fig4 #ce4 8,the book is said to be for the use of the person who belongs to the green window--which is an epithet for the dwelling of a poor woman2 while the red gallery denotes the residence of a rich female4 ,the industrious poor plies her task near the green lattice1 which is made of earthenware and lets in both the light and the breath of heaven2 while the rich dame leans upon the vermeil-tinted balusters of the gaudy veranda1 and gazes carelessly at the sunbeams as they sparkle among the flowers1 or waves the soft breeze which agitates the green roof of the ,indian fig-tree4 8,the title-page presents us with a venerable man in the weeds of office1 holding in his hand a scroll with this motto3 #8,heaven's ,magistrate confers wealth4' ,over his head are bats disporting among the clouds2 the emblems1 ,i suppose1 of wakefulness--for these animals are on the alert while men sleep4 8,i once saw two girls at this work in the village of ,mongha4 ,they were seated upon a low stool1 and extended their legs across another of twice the height of their seat4 ,in this way1 a support was provided for the frame on which the piece to be embroidered was spread forth4 ,their faces wore a sickly hue2 which was owing1 perhaps1 to close confinement and the unnatural position in which they were obliged to sit4 8,the finest specimens of embroidery are1 so far as my observation goes1 done by men1 who stand while at work--a practice which these damsels could not imitate1 as their feet were small4 ,they were poor1 but too genteel1 in their parents' idea1 to do the drudgery of the humble housewife2 and so their feet were bandaged and kept from growing beyond the limits of gentility4 ,their looks were not likely soon to attract a lover2 and hence they were compelled to tease the sampler from the glistening dawn till dewy eve40 ,chinese embroidery is particularly rich and effective for screens1 with its clear outlines1 its gorgeous flowers1 and showy birds and butterflies4 ,it bears the closest scrutiny--each stitch1 even the hair lines1 seems to be placed just in the right spot2 and appliqu is often brought in so successfully1 that it looks as if woven in the material4 ,the vivid clusters of crpe flowers are beautiful2 and the judicious introduction of gold thread here and there gives a marvellous richness to the whole work4 ,very fine floss-silk is the most common material used1 and the embroidery is done in long irregular stitches4 ,silk and satin are generally used for the foundation2 but whether the color is vivid blue1 bright scarlet1 or pale gold1 the effect seems to be equally good4 ,the apparent carelessness of this work is one of its great attractions2 the bold1 free outlines seem easy of imitation2 and a study of the cheap ,chinese and ,japanese fans will be found very suggestive in the way of design and coloring4 ,a simple design on one of these fans has an intensely blue sky at the upper edge--a white moon in its first quarter at the upper right-hand corner--while at the left-hand lower one1 a small bunch of intensely pink flowers send a warm glow over the whole4 ,the effect is extremely pretty4 ,japanese embroidery1 although similar in style and design1 seems finer and more dainty than the ,chinese2 and yet it is said that their best specimens of work are kept for home decoration4 ,the finest of these are the cloths used as covers for the presents given by persons paying visits of ceremony2 these cloths are not given with the presents they cover1 but are family heirlooms4 ,really good ,japanese work is said to be rarely seen elsewhere4 ,the pieces of embroidery which are done purposely for a foreign market are often very handsome2 but they do not compare with those which are executed for their own critical eyes4 ,white birds1 usually storks1 on a black satin ground1 from which they stand out so clearly that they seem in the very act of flying1 are the most common subject4 ,some rare pieces are occasionally seen in which the work is exquisite2 in one1 the ground will be a deep1 soft blue satin1 like the sky of a summer night2 while the leading colors of the embroidery are gold1 pale blue1 and white4 ,in another piece1 the ground is of scarlet moreen1 of a sufficiently bright yellow scarlet to harmonize with the gold that forms the principal color in the embroidery4 ,the subject is a long flight of storks2 not less than eighty of them are flying upwards in a zigzag line--the angles of which are very carefully studied from the bottom to the top of the picture4 ,most of these storks are embroidered in white silk1 the direction of the stitches giving much of their form2 they are pricked out with black1 and there is a little pale pink or pale yellow-green in their beaks and legs4 ,about a quarter of them are worked all in gold--representing the birds in shadow1 or seen against the light2 and these have little or no detail4 ,each bird is distinct1 separately drawn1 and having his own expression1 mode of flight1 and position in the line4 ,the rest of the space is filled by horizontal bars of gold of varying widths1 and groups of fan-stitches also in gold2 these seem to indicate the flat sunset clouds and the tops of the distant trees passed over by the storks in their flight4 ,both in ,japanese and ,chinese work1 the subjects are sometimes partly painted and partly embroidered2 and the two are so happily blended1 that it is difficult1 at a little distance1 to see where one kind of work stops and the other begins4 ,in imitating this kind of embroidery for small articles1 unmeaning kinds of lines in the way of reeds and grasses1 as in ,figure #cf1 have a particularly characteristic look4 ,small fans may also be introduced to advantage2 and ,figure #cg would admit of a small bird and bough at the top on a gold-colored ground1 with brown lines for sticks2 while ,figure #ch might have a top of pink floss or embroidery silk with black lines at the bottom4 ,these fans may be very much varied1 and can be made extremely ornamental4 ,figure #ci is a still different shape4 ,illustration3 ,fig4 #cf4 ,a full-sized fan with small ones embroidered over it would be a pretty conceit2 or to introduce them in connection with flowers1 butterflies1 and other emblems of summer4 ,it must be borne in mind that this kind of work is never over-loaded--a few grasses1 a butterfly1 and a flower1 often sufficing for a good-sized object4 ,illustration3 ,fig4 #cg4 ,illustration3 ,fig4 #ch4 ,illustration3 ,fig4 #ci4 ,,chapter ,,iv4 ,,designing ,,and ,,transferring ,,designs4 ,this is a most important part of the work1 and one that is done in various ways4 ,patterns can always be stamped at the various fancy-work stores1 or bought all ready for working2 but the embroiderer1 with original ideas and some turn for drawing1 prefers to do this herself4 ,worsted patterns may often be used for outlines1 as they are generally correct in this respect1 and the leaves particularly are well drawn4 ,but those who are able to take their models from nature will have less stiffness in their work2 and a little practice in this way will sometimes develop powers hitherto undreamed of4 ,large single flowers of all kinds are easiest to begin with2 and a lily1 or a wild rose1 for instance1 will be found quite easy to manage4 ,a pencil-drawing or a water-color painting can often be accommodated to embroidery2 and a too spreading branch or cluster may be made more compact by a little management4 ,a spray of apple-blossoms1 which is a particularly desirable model1 will frequently over-step the bounds assigned to it in one way1 and not sufficiently fill them up in another4 ,the best way to manage is to take a piece of paper the size of the article to be embroidered1 and divide it by lines into four equal parts4 ,the outline of the branch can then be sketched on it2 and the result will probably be that two of the squares are filled1 one barely touched with a leaf1 and the other quite empty4 ,more blossoms1 leaves1 or twigs1 can be added on one side and taken away on the other2 if the whole ground is not sufficiently covered1 a butterfly1 or a bird1 may be introduced to furnish a bare corner4 ,the suitableness of any design for the purpose to which it is to be applied depends upon whether its position is to be a horizontal or an upright one4 ,borders of upright sprigs1 intended for a horizontal position1 single or grouped1 require a line or two below1 which serves to keep them together2 without this support they look disjointed1 and each sprig is too independent of the others4 ,they need not touch the line--but one near at hand seems to keep them from falling into space4 ,when the sprigs are large a series of lines should he used2 and for this purpose very pretty designs are often found in ,oriental china4 ,illustration3 ,fig4 #dj4 ,the combination in ,figure #dj is simple enough in detail1 but very effective to edge a bordering4 ,it is done in chain-stitch1 ladder-stitch1 and point russe4 ,small borders are often improved by a mere line on each side2 and the same effect is produced by sewing the bordering on material of a different shade4 ,birds and butterflies are naturally associated with flowers2 they give an air of life1 and often serve to balance the inequalities of a design4 ,butterflies are particularly appropriate from their great variety both of size and coloring2 and being worked like other artistic embroidery1 without any elaboration of detail1 they are very easily done4 ,vases1 which frequently occur in the fashionable designs1 should either be represented by some material laid on1 or worked in lines only--the outline with the pattern on it1 as it would appear in a pencil drawing without shading4 ,a beautiful piece of silk embroidery was worked on a ground of bronze-green satin4 ,there were sprays of convolvulus springing from a vase of gray satin2 the flowers were white1 edged with pure blue--not the purplish blue of the natural flower1 for that would not have harmonized so well--and yet there was nothing unnatural in the effect of the color4 ,the leaves were of yellow and gray greens1 and the stalks a brownish green4 ,then1 to give warmth and life1 some sulphur butterflies hovered over the garlands4 ,thus1 though in the coloring of the design the component parts only of the bronze-green ground were used1 the effect was perfect4 ,,transferring ,,designs4 ,designs are traced in various ways1 according to the nature and color of the material to be embroidered4 ,for a light-colored ground1 the best method is to trace the pattern on tissue or other thin paper1 lay the material flat upon a table1 and fix the place of the pattern upon it very exactly4 ,then put a piece of carbonized blue or black paper1 face downward1 on the material1 between it and the paper pattern2 and with a stiletto1 or other hard-pointed but not too sharp instrument 7a metallic pencil or a knitting-needle will often answer the purpose71 trace over all the lines of the design1 taking care to keep the paper pattern from slipping1 and that the fingers do not press too heavily on the transferring-paper1 or more color will come off than is desirable4 ,an old sheet of paper is more satisfactory than a new one2 and it is advisable to rub the latter gently with a cloth before using it1 to remove any unfixed coloring4 ,pouncing is a more complicated process than tracing2 but for dark-colored materials it is safer4 ,the design must first be drawn on thick paper1 and then pricked along the lines with a pin4 ,the paper should then be held up to the light to see that the holes are clear1 and close enough together to make the pattern plain4 ,when the pattern is fixed1 face upward1 on the material1 dust it over with starch tied up in thin muslin so that the fine powder goes through the holes4 ,flour will answer the purpose1 and may be best applied about the pattern with a soft brush4 ,the paper must then be taken up very carefully1 lifting it straight upward off the material so that it does not blur the little dots of white1 which ought to be in regular order underneath--marking out the design4 ,the lines of the pattern should be traced at once1 as indicated by the dots1 with the original design before the eye1 with white tracing paint4 ,there is also a blue powder for delicate light materials1 that might be injured by the carbonized paper4 ,another method1 when the nature of the design will permit it1 is to cut out the pattern in paper1 place it on the material1 and trace round the edges with chalk4 ,then remove the paper1 and go over the chalk outline with ,chinese white--renewing it where it is defective4 ,the richer the fabric1 the more care1 of course1 is needed in transferring the design2 and transparent materials should have the pattern basted underneath4 ,embroidery in floss is often done on black net--for which the design should be managed in this way4 ,,chapter ,v4 ,,articles ,,in ,,silk ,,embroidery4 ,there is scarcely an article for which ornament of this kind is used that may not be decorated with silk embroidery1 and it is suitable for all materials4 ,curtains1 portires1 and table-covers are very handsome done in outline with silk of the same color1 but a lighter shade than the ground2 and whole sets of furniture have been undertaken by ambitious workers4 ,a ,,screen ,,of ,,peacock ,,feathers4 ,this was embroidered on a foundation of pale peach-blossom silk with split floss1 and made up with a plain ebony frame1 ornamented here and there with a little dead gold4 ,it was an exquisite piece of work1 both in design and execution2 and so wonderfully did the brilliant silks reflect the changeful hues of the bronze-greens and browns1 that it was difficult to convince visitors that real feathers were not fastened on4 ,the only pattern used by the embroiderer was one tail-feather dropped by a majestic fowl almost at her feet2 and while walking with the trophy in her hand1 the design of the screen came to her and was forthwith executed4 ,it was a good-sized fire-place screen2 and as the room was furnished in dark-blue1 it showed to great advantage4 ,a ,,pretty ,,banner-,,screen4 ,this was fastened to the end of the mantel2 and the crimson satin foundation was covered with a small diaper pattern in maroon silk4 ,thick clusters of small daisies without leaves were worked as a bordering in embroidery-stitch2 the centres in knot-stitch4 ,in the middle of the screen was a beautifully-designed monogram in gold-colored silk4 ,,another ,,banner-,,screen was attached to a gilt stand4 ,this stood on a table and was intended to shade the eyes from a lamp or candle4 ,the ground was of pale green silk1 and it was beautifully embroidered with ivy-leaves of darker shades4 ,in the centre1 there was an antique lamp done in gold thread2 and the banner was finished with a chenille fringe of green and white4 ,it was lined with white silk4 ,,embroidered ,,table-,,top4 ,figure #da may be used for a variety of purposes4 ,it makes a very pretty top for a small table2 and is worked in stalk-stitch1 chain-stitch1 point russe1 and knotted stitch1 with the flowers in pink1 claret-color1 and yellow1 on a pale-blue ground4 ,the sprays and leaves are in shades of olive-green4 ,the table1 which looks best with a pedestal of ebony1 or ebonized wood1 has a border-fringe of ,macram lace4 ,illustration3 ,fig4 #da4 ,,window-,,curtain ,,border4 ,a very handsome bordering for window-curtains was lately worked by an artistic needlewoman2 figures of dragons in gold-colored embroidery-silk on a ground of maroon rep4 ,the bordering was intended for a soft gray material2 and the straight cornice-band was embroidered in the same device4 ,,embroidered ,,dresses4 ,silk embroidery is very ornamental for dresses--although for this purpose usually done only in one color4 ,ordinarily1 it would be a formidable piece of work to do it in the style of smaller articles2 but ingenuity and rapid execution sometimes go hand in hand4 ,the heroine of a story is represented as threading her needle with one length of crimson silk1 and with this scanty material1 bringing out a crimson rose on a silk handkerchief almost as quickly as a magician could do it4 ,a few deft stitches--and there it was4 ,it was taken to pieces quite as easily1 and no trace of it remained4 ,but embroidery does not usually go on in this fashion2 it is careful work2 and she who takes the greatest pains1 as a general thing meets with the best success4 ,embroidered robes for full dress are decidedly the fashion now2 and one of black silk1 or lace1 embroidered with carnations1 is beautiful for a brunette--while the delicate blonde may wreathe herself with blue convolvulus1 or deeply-pink wild roses1 on a white or cream-colored ground4 ,every one has her favorite flower2 and to wear it embroidered on an evening dress is a graceful way of proclaiming it4 ,,panels4 ,painted panels and tiles have become almost a mania2 but the needle of the embroideress can produce quite as charming results4 ,painting is more quickly done2 but every one cannot paint1 while many who cannot do this can embroider exquisitely4 ,to keep the embroidered panel or tile fresh and bright1 it should be protected by glass2 and properly treated1 it will be quite as satisfactory as painting4 ,the two panels for the doors of a small hanging-cabinet are very pretty with a ground of cloth-of-gold1 gold-colored satin1 or silk--a spray of wistaria worked on one--wild roses on the other4 ,violets and anemones are pretty together2 and on anything with four panels may be represented the flowers or birds of the four seasons4 ,silhouettes in black silk may be worked on all colored grounds for tiles2 and ingenuity can accomplish wonders in this way4 ,the whole procession of flowers1 from the first snow-drop1 or hepatica1 of early spring1 to the holly and berries of ,christmas1 may be followed up on tiles2 the fans and umbrellas of all nations2 and various other suggestions1 both practical and amusing4 ,,small ,,curtails ,,or ,,hangings ,for cabinets and book-shelves may be made of various materials1 and ornamented with silk embroidery4 ,the patterns should be more delicate and finished1 and the materials of finer quality than for large hangings4 ,arabesques of chain-stitch in gold-colored silk on a dark-blue ground of velveteen1 with a pretty border pattern at top and bottom2 or a bright-colored bird on a branch1 with a butterfly in one corner1 for a background2 buttercups and daisies on a ground of golden-brown1 would all be effective4 ,a ,,wreathed ,,picture4 ,something new in the way of embroidery is to border a picture in this manner4 ,the frames with painted corners may be imitated with the needle1 and the daisies1 violets1 and other flowers will be found quite as ornamental in embroidery4 ,but the wreathed picture was a fine engraving of the ,mater ,dolorosa1 small enough to make the process practicable4 ,it was unmounted1 and the back carefully pasted on the foundation of light-blue satin4 ,not a wrinkle was visible after it was thoroughly smoothed with a soft piece of old cambric2 and after sewing a piece of narrow1 gold-colored silk braid around the edge1 a wreath of ,annunciation lilies was traced and embroidered on the satin4 ,it was so beautifully done as to look like painting2 and with a glass over the whole the illusion was complete4 ,it was put in a gilded ,florentine frame4 ,,an ,,embroidered ,,room4 ,it was very pretty to read about in a story1 and not impossible to carry out practically4 ,the prevailing colors of the room were pale-blue and carnation2 and the curtain-lambrequins of pale-blue were embroidered with sprays of woodbine in its autumn dress of vivid scarlet and crimson4 ,the mantel-hanging was in blocks like tiles1 done in the same colors2 and the panels of a home-made cabinet were likewise embroidered4 ,these things1 with other accessions1 made it a charming room2 and if one could walk bodily into just such an apartment1 the effect would doubtless be all that it was represented4 ,a ,,fan ,,table-,,cover4 ,outlined palm leaves are very pretty1 and fans are no less so4 ,the groundwork of cloth1 flannel1 or satin 7if a small table71 has three or five parallel strips of velvet ribbon sewn down on each side with point russe stitches of gold-colored silk1 and put far enough apart for fans of all colors to be embroidered between them4 ,these are worked in long embroidery-stitch2 and although less work if merely outlined1 they are so very much richer and brighter looking when filled in as to be quite worth the trouble4 ,the ground may be of any color that harmonizes with the rest of the room4 ,a ,,chair-,,cover4 ,long embroidered strips that will cover both back and seat of the kind of lounging-chair now so much in use are very pretty worked like the table-cover--the groundwork of the middle strip being of gray satin or velveteen1 with the rows of fans separated by garnet-colored velvet ribbon1 and a strip of the same colored velveteen on either side of the gray4 ,a fringe where the covering ends at top and bottom gives it the look of being carelessly thrown there4 ,,fire-,,screens4 ,we have just been shown two exquisite pieces of embroidery intended for fire-screens4 ,one represented flame-colored gladioli on a black satin ground1 and was rich beyond expression2 the other was worked with cat-tails1 reeds1 and some unpretending little yellow flowers on a blue ground4 ,the material looked like a ,chinese groundwork4 ,the coloring of both of these needle-paintings was perfect2 and as to the stitches1 it was difficult to believe that there were any--the shades were blended as if with a brush4 ,a ,,child',s ,,afghan4 ,it was made of strips of pink and white cashmere2 the pink ones embroidered with daisies1 the white ones with pansies1 in embroidery-silk--and it was one of the prettiest things of the kind ever seen4 ,it was lined with thin pink silk slightly wadded and quilted1 and bordered with a ruching of pink ribbon4 ,the seams were concealed by lines of feather-stitch in garnet-colored silk4 ,the resources of silk embroidery are inexhaustible2 and all sorts of small articles1 pin-cushions1 brackets1 watch-stands1 glove-boxes1 sachets1 etc41 will suggest themselves4 ,fans1 too1 are beautifully embroidered1 and divide admiration with fine painting4 ,ornamental velvets for neck1 wrists1 and belt1 are a fashionable device--and these are embroidered with single flowers3 daisies1 violets1 etc4 ,,chapter ,,vi4 ,,print-,,work4 ,this is a very fine kind of embroidery1 and specimens of it are quite rare4 ,as the name implies1 it is intended to imitate a picture1 and is generally used only for small subjects--the stitches being almost too minute to be distinguished at all4 ,it is done on white silk or satin1 which is carefully stretched in a frame1 and the design is then drawn on it4 ,this is sketched with a pencil1 and usually worked in black silk2 the various shades between black and white may be used1 but not colors--as the object is to represent an engraving4 ,lead color1 or pale slate1 will be as suitable as black4 ,a very fine needle must be used1 and fine silk to correspond2 and a dotted engraving can be so well imitated in this kind of work that it is almost impossible to tell the difference4 ,the stitch used is known as masking-stitch2 and it is set as closely as possible without lapping one over another4 ,in working a copy of an engraving1 the embroiderer begins with the darkest shades1 which are done with black silk2 gradually proceeding to the lightest tints1 with silks of the intermediate shades--blending them into each other with the nicest care4 ,to accomplish this1 where it is necessary to introduce the lighter portions1 the stitches are set wide apart and the intervals filled up by putting in the lightest tint used4 ,the worker must always have the engraving before her to study the lights and shades4 ,fine engravings can be copied in the same way--but the stitches should be longer and wider apart4 ,this kind of needlework requires great patience and is a heavy strain upon the eyesight2 and considering the beautiful effects produced by other methods with less outlay1 it is not likely to become very popular4 ,,chapter ,,vii4 ,,silk ,,embroidery ,,with ,,gold4 ,much of the ancient work used for hangings was magnificently wrought with a mixture of gold embroidery--as much of the ,indian needlework is now done1 especially in ,japan and ,china4 ,the royal palace of ,jeddo has a profusion of the finest tapestry1 wrought by the most curious hands1 and adorned with pearls1 gold1 and silver1 and other costly embellishments4 ,the ,moors of ,spain have been especially celebrated for their rich and beautiful decorative work2 and with them originated the custom of using tapestry for curtains4 ,mohammed forbade his followers to imitate animals1 or insects1 in their ornamental work2 and from this circumstance1 the term ,arabesque1 which represents their style of decoration1 was used to express all odd combinations of patterns from which human and animal forms were excluded4 ,gold was introduced into these arabesques with the richest possible effect2 and this style of design has never lost its popularity4 ,it is often mixed with other patterns in colors2 but the simple richness of an arabesque in black and gold cannot be excelled4 ,in the ,middle ,ages the most beautiful gold embroidery was called opus ,anglicanum2 and this name clung to it whether it was done in ,england or not4 ,much of this work was done in the convents1 or 8shee-schools10 as quaint old ,fuller calls them2 and besides church vestments1 which will be mentioned elsewhere1 very beautiful secular robes and pieces of tapestry were wrought in silk and gold4 ,the richest tapestry was in pieces like large flags or banners2 and was a prominent decoration on all occasions of festivity or rejoicing4 ,ornamental needlework of all kinds was hung from the windows1 or balconies1 in those streets through which a pageant1 or festal procession1 was to pass--just as flags are suspended now2 and as the houses were then built with the upper stories far overhanging the lower ones1 these draperies frequently hung in rich folds to the ground4 ,when a street was thus adorned through its whole length1 and partly roofed by the floating streamers and banners above1 it must have had somewhat the appearance of a suite of magnificent saloons4 ,the art of embroidering with gold and silver is very ancient1 and these costly materials were often woven into fabrics as well2 but the pure metal was then used1 beaten into thin plates1 and then cut into narrow slips1 which were rounded with a hammer and filed to make threads or wire4 ,the method is exactly described in ,exodus xxxix4 #c1 as practised by the ,israelites3 8,and they did beat the gold into thin plates1 and cut it into wires1 to work it in the blue1 and in the purple1 and in the scarlet1 and in the fine linen with cunning work40 ,old embroidered robes are mentioned made entirely of these gold threads without any linen or woolen ground4 ,pieces of embroidery worked with gold were called 8orphreys10 from the medival aurifrigium or aurifrasium2 and mention is made1 in the reign of ,edward ,,iii41 of two vests of green velvet embroidered with gold1 one of which was decorated with sea-sirens bearing a shield with the arms of ,england and ,hainault4 ,also of a robe of velvet worked with gold2 and an outer garment wrought with pelicans1 images1 and tabernacles of gold4 ,an ancient ,persian carpet was of silk and cloth of gold sixty cubits square4 ,it was intended to represent a garden2 and the figures were of gold embroidery1 with the colors heightened by precious stones2 the ruby1 the sapphire1 the beryl1 the topaz1 and the pearl1 being arranged with great skill to represent1 in beautiful mosaic1 trees1 fruit and flowers1 rivulets1 fountains1 and shrubs of every description4 ,these specimens1 however1 are things of the past4 ,,modern ,,work of this kind is generally used in large and bold designs1 where much display and extreme brilliancy are desired4 ,in these days1 instead of the pure metal1 silver1 or copper wire1 gilt is used4 ,silver threads are covered either with the pure metal1 or with plated copper4 ,the ,chinese very cunningly use slips of gilt paper which they twist upon silk threads1 and with which they manage to produce very beautiful effects4 ,,materials ,,used4 ,cord1 braid1 thread1 bullion1 spangles1 beads1 passing1 etc41 are all used in gold embroidery1 and in embroidery with gold and silk4 ,of these1 8passing10 as it is termed1 is the finest material of the kind4 ,it is a smooth thread of an even size1 and resembles a thin1 metallic wire--differing from gold cord in the closeness with which the flattened wire is spirally twisted round the silk1 and in being formed of only one thread4 ,it is used in the same way as silk1 the stitch being generally satin-stitch2 and the needle should be an ordinary needle with a large eye1 and coarse enough to prevent the fretting of the gold as it is passed backwards and forwards through the work4 ,beautiful embroidery is wrought by the ,turks with 8passing0 on ,morocco4 ,,gold ,,cord4 ,this is a twist of two or more threads1 which are wound around with the flattened wires in a contrary direction to that of 8passing0--two1 three1 or four threads being used for needlework4 ,cord is often employed for edging braid-work1 or flat embroidery--also for working braiding-patterns4 ,it is also used with beautiful effect as a ground for small1 ornamental articles4 ,fine silk of the same color is best for sewing it on2 and great care must be taken1 in doing this1 not to chip the metal surface1 or the silk will show beneath and give the work a broken appearance4 ,the needle should be held as horizontally as possible1 and passed between the interstices of the cord--slightly catching up a thread or two of the material it is intended to ornament4 ,,gold ,,braid4 ,this is a kind of plaited lace1 made of three or more threads4 ,there are various qualities and makes1 suited to different purposes1 and great judgment is required in their selection4 ,when it is to be used on velvet1 a round1 full1 close make should be chosen4 ,it may be bought of various widths2 and as a general thing1 the less gold there is about it1 the cheaper it is1 and the more liable to tarnish4 ,mosaic1 or copper-gilt1 is the least expensive1 and also the least durable4 ,,bullion4 ,this is a very rich and effective material--being made of a fine wire so exquisitely twisted1 that it forms a smooth1 round1 elastic tube1 which may be cut with scissors into the necessary lengths4 ,there are three kinds of bullion3 rough1 smooth1 and checked--all of which are frequently used together in the same piece of work4 ,when a large letter1 for instance1 is to be embroidered in bullion1 after it is traced1 the surface is raised with cotton1 and the bullion cut into pieces of the proper size2 then three stitches might be made with the smooth1 two with the rough1 and two with the checked2 then1 again1 two with the rough and three with the smooth2 this would form a kind of pattern1 and add very much to the richness of the letter4 ,short pieces of bullion can be introduced into patterns worked with gold thread to great advantage--two or three of them in the cup of a flower1 and in various other ways4 ,to fasten them on properly1 take the stitch 7the needle being threaded with gold-colored silk7 lengthwise of the bullion1 through the twist--this causes it to lie flat on the foundation4 ,stars of every form may be made in this way3 they are extremely brilliant4 ,the centres of flowers are often formed of bullion2 in that case1 however1 the stitch does not pass through the twist its full length1 but is shorter--so that the middle of the bullion is depressed1 and the extremities elevated2 or the stitch may be passed through both ends of the piece of bullion1 and being drawn rather tight1 a slight prominence1 or expansion1 will be given to the middle4 ,either method has a beautiful effect4 ,,spangles4 ,these are small pieces of silver or other metal1 gilt or plated--cut into various forms1 though usually round--and with a hole in the centre through which the silk is passed that fastens them to the work4 ,it is not easy to secure them properly1 and at the same time to conceal the means by which it is done4 ,the only way to accomplish it is to bring the silk from the under side and pass it through the small hole in the centre of the spangle2 the needle is next to be passed through a very small piece of bullion1 and then put back through the hole again4 ,this does away with the unsightly appearance of a thread across the spangle1 and makes it more secure4 ,spangles were once extensively used in decorative work1 to give it richness and glitter2 but now they are chiefly used to ornament fringes and tassels1 and other ,masonic paraphernalia4 ,their value depends on their brilliancy and color1 and the amount of gold used in their gilding4 ,spangled fans are very showy2 and black satin or black tulle is a good foundation for showing them to advantage4 ,,gold ,,thread4 ,this belongs more particularly1 perhaps1 to 8the art of sewing in golde and silke20 and 8a robe of ,indian silk thickly wrought with flowers of gold0 was certainly a gorgeous object4 ,another robe was adorned with roses of gold wrought with marvellous skill1 and bordered with pearls and precious stones of exceeding value4 ,various materials are used as foundations for embroidery in gold thread3 crape1 ,india muslin1 or some kind of silk1 being usually preferred as giving the best effect1 and displaying the rich devices to the greatest advantage4 ,the thread used should be fine and even in texture2 a little care in this matter will make the work comparatively easy4 ,satin-stitch is the one generally used2 and if the material to be embroidered is transparent1 the pattern is laid under the foundation1 and the outline traced in white thread4 ,in working a slender flower-stalk1 the running thread of white should be omitted2 gold thread should be run in1 and then slightly sewed over with another thread of gold2 this will give a spiral appearance1 which is very beautiful4 ,in using silk with gold thread1 it is best to use silk of one color--a variety of colors tending to destroy the harmony of contrast4 ,green and gold have always been close friends1 and silk of a bright green mingled with the gold thread has a very rich effect4 ,gray and gold1 black and gold1 and many other combinations might be mentioned2 but a green branch or sprigs embroidered in silk1 with flowers formed of gold thread and bullion1 is as pretty a one as can be made4 ,in working crests1 however1 or coats-of-arms1 in which gold thread is much used1 the heraldic arrangement of metals and colors must be faithfully followed4 ,in such cases1 the silk must be of as many colors as in the arms when properly emblazoned2 and great care must be taken in working devices in imitation of arms1 never to place a metal upon a metal1 or a color upon a color4 ,in some very rich ,indian work lately seen1 the ground was of gold thread worked in spirals--the rich colors of embroidery silks laid on this made it perfectly dazzling4 ,india muslins are sometimes worked with a gilt or plated sheet of very thin metal cut into strips1 or any shape wanted1 with scissors4 ,tinsel is an imitation of it1 and it comes in various colors4 ,gold beads and gold and silver fringes are more or less used4 ,these all vary greatly in size and quality1 and are valuable according to the amount of gold used in their manufacture4 ,silver thread1 cord1 or braid1 is more likely to tarnish than gold1 and is not so rich-looking4 ,there is1 besides1 embroidery silk of a decidedly silver white1 which produces almost the effect of silver thread or cord4 ,,chapter ,,viii4 ,,embroidered ,,books ,,and ,,other ,,articles4 8,and often did she look ,on that which in her hand she bore1 ,in velvet bound and broidered o'er-- ,her breviary book40 ,,marmion4 ,when books were regarded as precious treasures1 and the purchase of a single volume involved as much outlay as a rare painting1 before the art of printing became established1 the caskets that held such valuable possessions were deemed worthy of much labor and expense4 ,rare old carved ivory1 gold and silver plates1 and precious stones1 were often used on book-covers2 and the most ancient existing specimen of this gorgeous style of book-making is written in silver and gold letters on a purple ground4 ,rich and curious devices were often wrought with the needle on the velvet1 or brocade1 which last became more exclusively the fashionable material for binding4 ,the new passion for books which was at its height in ,queen ,elizabeth's day made the ornamentation of book-covers a favorite employment of the high-born dames of ,england4 ,a book of rhetoric of that time has been preserved as much for the sake of the outside as for its contents4 ,the cover is of crimson satin1 on which is embroidered a coat-of-arms3 a lion rampant in gold thread on a blue field1 with a transverse badge in scarlet silk1 the minor ornaments all wrought in fine gold thread4 ,a ,,maroon-,,velvet ,,book4 ,another old book is bound in rich maroon velvet1 with the royal arms1 the garter and motto embroidered in blue2 on a ground of crimson1 the fleur-de-lys1 leopards1 and letters of the motto are worked in gold thread4 ,a coronet1 or crown of gold1 is inwrought with pearls2 at the corners are roses in red silk and gold2 the cover is finished with a narrow border in burnished gold thread4 ,illustration3 ,fig4 #db4--;,,border ,,for ,,cover ,,of ,,bible1 ,,prayer-,,book1 ,,etc4 ,a ,,queen',s ,,needlework4 ,a book of prayers copied out by ,queen ,elizabeth before she ascended the throne is covered with canvas wrought all over1 in a kind of tent-stitch1 with rich crimson silk and silver thread intermixed4 ,elizabeth's own needle worked the ornaments1 consisting of the letters 8,h4 ,k410 intertwined in the middle--a smaller 8,k0 above and below--and roses in the corners--all very much raised1 and worked in blue silk and silver4 ,,petrarch',s ,,sonnets4 ,an edition of ,petrarch's ,sonnets1 printed at ,venice in #aedd1 is still in beautiful preservation4 ,the back is of dark crimson velvet2 and on each side is worked a large royal coat-of-arms in silk and gold highly raised4 ,the book belonged to ,edward ,,vi4 ,,another ,,royal ,,book has a cover of crimson silk with a ,prince's feather worked in gold thread in the centre4 ,the three feathers are bound together with large pearls and wreathed with leaves and flowers4 ,round the edge of the cover there is a broader wreath2 and corner-sprigs in gold thread are thickly interspersed with spangles and gold leaves4 ,these elegant volumes1 8,in velvet bound and broidered o'er10 are to be seen in the ,british ,museum2 and although the day is past for adorning book-covers in so showy a fashion1 these articles may be more modestly ornamented with very good effect4 ,kid1 or leather1 makes a very suitable cover for a ,bible or ,prayer-,book4 ,two shades of brown may be used for the border pattern in ,figure #db--the figures in the lighter shade to be worked around with gold thread1 either in chain-stitch or in stalk-stitch4 ,silk may be substituted for the gold thread4 ,a ground of gray kid1 with the figures in black edged with gold1 would be equally suitable4 ,on one side of the cover1 a small cross to match the border--and on the other1 the owner's monogram would make an appropriate finish for either book4 ,the rich design in ,figure #dc is on a foundation of black velvet1 to which white faille is applied around the cross4 ,the figures of the design being outlined1 the lines are run on the edges with maize-colored silk--going back and forth1 and overcasting them with gold bullion4 ,the passion-flowers1 wheat1 leaves1 and ornaments of the cross1 are worked in satin-stitch with gold thread4 ,for the stems and vines1 gold cord is sewed on with gold-colored silk4 ,a ,,book ,,of ,,engravings would be very ornamental with an embroidered cover4 ,crimson or maroon-colored velveteen1 brown kid1 or gray canvas1 could be handsomely worked with silk and gold thread4 ,borderings of catalogues and circulars might be copied to advantage--some of these being very rich3 black1 with gold bars and dots1 pink1 crimson1 or blue4 ,illustration3 ,fig4 #dc4--;,,cover ,,for ,,prayer-,,book4 ,heraldic devices1 rich monograms1 dainty corners1 all look well in this kind of work2 and a bordering of gold acorns1 or clover leaves1 on a brown or olive ground1 is always handsome4 ,,scrap-,,book ,,covers may be made as attractive as the contents1 according to the style of the illustrations4 ,russia duck is a very good foundation2 and if the contents are of a comic nature1 a ,chinese or ,japanese figure1 or dragon1 or either uncanny beast or bird1 may be outlined and made very rich and showy with embroidery in the proper colors mixed with gold thread or braid4 ,pongee1 too1 may be nicely embroidered2 and is very pretty for thin books tied with a ribbon at the back4 ,in this way1 the contents can be changed at pleasure4 ,,album ,,covers should be more delicate1 and worked on velvet1 or silk4 ,figure #dd makes a very pretty corner for this purpose2 and ,figure #de is very effective on a small book4 ,the stars might be done in gold thread1 the centre in point-russe with black silk--the diamonds in satin-stitch of a lighter or darker shade of the same color as the foundation4 ,illustration3 ,fig4 #dd4--;,,corner ,,of ,,border ,,in ,,satin ,,stitch ,,embroidery ,,for ,,album ,,covers1 ,,portfolios1 ,,etc4 ,portfolios may be embroidered in the same way2 and whether for writing materials or for engravings1 they can be made very ornamental4 ,,letter-,,case4 ,a very rich and handsome letter-case is represented in ,figures #df and #dg3 ,figure #df showing it when completed1 and ,figure #dg displaying the principal part of the embroidery4 ,illustration3 ,fig4 #de4 ,the most suitable ground for the rich gold embroidery is velvet-brown crimson1 or blue2 but it may be made very handsomely in kid or morocco4 ,the larger part of the case is eleven inches long1 and eight inches wide2 on the upper part of this book1 there is a pattern in gold soutache1 and the word ,,letters or ,,lettres embroidered in gold bullion2 beneath this1 there is a pattern worked with white satin beads1 edged round with fine white chenille--the scroll pattern is embroidered in gold4 ,illustration3 ,fig4 #df4 ,the second part is placed over the lower part of the first1 and forms the pocket which holds the letters4 ,the central flower is formed with eleven oval beads1 edged with white chenille2 another white bead is placed in the centre1 and edged with gold4 ,the other flowers are also composed of white satin beads edged with gold4 ,,gold ,,and ,,silk ,,embroidery4 ,illustration3 ,fig4 #dg4 ,this rich pattern is intended for a cushion1 or chair-cover4 ,it is particularly handsome on a ground of blue velvet1 or satin2 and the large flowers1 leaves1 and stems1 are all outlined with gold thread sewed on with fine yellow silk4 ,the stamens are worked in satinstitch with yellow silk1 and the veins in point-russe with blue silk4 ,illustration3 ,fig4 #dh4 ,illustration3 ,fig4 #di4 ,the forget-me-nots are done in satin-stitch with blue silk1 and the centres in knotted-stitch with gold thread4 ,the veins and stems are done in stalk-stitch1 and the sprays and vines in point-russe with blue silk4 ,the work is finished on the outer edge with a thick cord of blue silk and gold thread4 ,figure #di is intended for a cigar-case2 but if widened1 it would make a very pretty book or portfolio cover4 ,the material should be light-brown ,russia leather2 the wheat-sheaf is embroidered in satin-stitch with dark-brown silk---the stem and light outlines in stalk-stitch with gold thread4 ,the bordering is of gold cord1 with a network of dark-brown silk1 and stitched with black at all the crossings and centres4 ,illustration3 ,fig4 #ej4 ,,monogram ,,in ,,gold ,,thread4 ,this very pretty monogram is worked with gold thread2 the leaves and flowers may be done with silk if preferred4 ,,chapter ,,ix4 ,,applied ,,work ,,with ,,embroidery4 ,appliqu1 as it is usually called1 is the most simple kind of decorative needlework1 being nothing more than a pattern cut out of one material and transferred on another4 ,it must1 of course1 like all fancy-work1 be neatly done1 with no rough edges or mis-matching figures1 and embroidery of some kind is used as a finish2 but the same amount of skill and practice is not required as in other artistic work4 ,when properly done1 it is very rich and effective2 and it recommends itself by the charming results produced with comparatively little labor4 ,the materials may be of almost any kind2 but it is necessary that the ornamental part should harmonize with the foundation4 ,one would not think1 for instance1 of applying velvet on cotton1 or linen--while on satin1 it makes the richest kind of applied work4 ,appliqu may be fine or coarse according to the purpose for which it is intended2 if fine1 it is safer to put it in a frame before beginning the work4 ,if the groundwork is velvet1 satin1 or silk1 holland should be stretched in a frame1 and the design drawn upon it and upon the velvet or other material2 they should then be pasted together1 and cut out with a sharp pair of scissors4 ,cloth and commoner materials do not require this 8backing10 as it is called2 but may be cut after the pattern is traced1 and pasted directly on the groundwork4 ,the gum1 or paste1 used for this purpose should be as thick and dry as possible1 for fear of its coming through and staining the material2 and before pasting on cloth or velvet1 it will be well to lay the pieces down where they are to be fastened1 and view them from various points to see that the pile always goes the same way--or a different shade of color will be the result4 ,when the material is particularly delicate1 isinglass is used instead of paste2 and the piece applied should be very carefully smoothed before it is left to dry--as a curved or cross-cut piece is apt to get out of its proper curves or to stretch too much4 ,with a complicated design1 the pattern should be traced on the material1 and the duplicate parts numbered that they may fit perfectly together4 ,one way of fastening the edges down is to button-hole them with a lighter or darker shade of silk than the material applied4 ,the veins of leaves are defined by long stitches1 also of a lighter or darker shade4 ,in the commoner kinds of appliqu1 cloth1 for instance1 on duck1 or ,turkish towelling1 or on cloth of another color1 basting will generally answer the purpose of keeping the pattern securely in its place4 ,magnificent work is done in appliqu2 curtains of gold-colored satin with garnet velvet leaves--the edges defined with a white cord1 in which a little blue was mingled2 cushions of ,moorish arabesques1 scarlet velvet on white satin--the velvet edged with gold braid2 mantel-lambrequins of brown velvet figures on a groundwork of dead-gold2 these suggest endless variations1 which a little taste and some eye for color may make beautiful in the extreme4 ,illustration3 ,fig4 #ea4--;,,border ,,in ,,appliqu4 ,ivy leaves are especially satisfactory in this kind of work2 and so is any large1 clearly-defined figure4 ,the accompanying illustration will be found useful for a bordering4 ,the leaves and flowers are made of crimson cloth--the stems and veinings of black embroidery silk4 ,this would be very effective on a gray ground2 but any color both of cloth and silk may be used4 ,it would be particularly pretty for a basket or a table-cover4 ,our next illustration is ,a ,,lambrequin ,,in ,,appliqu4 ,beautiful combinations may be made with white1 scarlet1 and blue cloth1 embroidered with black1 gold-colored1 and maroon silks1 in feather-stitch and point-russe--which are the principal stitches used in this kind of work4 ,for small lambrequins1 to decorate baskets and brackets1 such combinations are very effective2 and the illustration shows a particularly pretty one4 ,illustration3 ,fig4 #eb4 ,illustration3 ,fig4 #ec4 ,the upper part of the lambrequin is of white cloth cut in points1 and pinked in a small pointed pattern2 the under part1 of which the points are larger and pinked in scallops1 is of garnet color4 ,on the white points are star-like flowers with buds of blue cloth2 and on the claret-colored ones1 the same in pink cloth--ornamented with point-russe stitches of silk to match4 ,the middle of each flower is a round piece of yellow cloth fastened with point-russe stitches of red silk4 ,the stems and sprays are done in stalk1 chain1 and feather stitches of light green silk4 ,illustration3 ,fig4 #ed4 ,the dark points have1 near the pinking1 a line of twisted button-hole stitches in maize-colored silk--and the light points have a similar line of red silk4 ,both are also ornamented with steel beads4 ,a handsome tobacco pouch may be made from the illustrations1 which represent the two patterns used--each side being duplicated4 ,four such pieces are cut out of crimson or scarlet cloth1 and worked in appliqu4 ,in the first one1 the chain-stitch border 7not the outer edge7 is worked with green silk4 ,the knot from which the different articles are suspended is done with black silk2 the cigar-case is of yellow cloth2 the cigars worked in satin-stitch with brown silk4 ,the case has two bands of chain-stitch in blue silk1 and is edged all round with button-hole stitch in the same color4 ,the pipes are of white cloth shaded with long stitches of gray silk1 and edged with yellow4 ,the upper part of the pouch is of blue cloth1 with a white silk edging and yellow dots2 the under part of brown cloth1 with black edging and a pattern worked in chain-stitch with white2 the three tassels are embroidered with black and yellow silk4 ,in the second pattern1 the outer border is yellow1 the knots black2 the small pattern at the top is of blue cloth edged with yellow2 the pipes of white cloth edged with blue and shaded with gray4 ,the bundle of cigars is of brown cloth shaded with black stitches1 and fastened on with double rows of chain-stitch in yellow silk4 ,the cigar-case is of light green cloth edged with white2 the ,grecian pattern and dots are embroidered over it with white silk also4 ,to make the pouch up1 join the four pieces together by seams--which are concealed by gold braid2 cut out also and join four similar pieces of white kid for the lining2 fasten this to the outside at the top only4 ,sew small brass rings around the top1 and run a double piece of crimson silk cord through them4 ,put silk tassels of various colors at the bottom of the pouch and at each of its four corners4 ,appropriate devices for needlebooks1 work-baskets1 toilet-boxes1 etc41 may be made from these suggestions2 and there is no reason why the small articles in daily use should not be as complete and artistic in their way as more pretentious undertakings4 ,many who cannot attempt large pieces of work will appreciate these small patterns4 ,figure #ee gives a quarter of a very handsome lamp-mat in application and embroidery4 ,the foundation is a square piece of olive-green cloth1 on which is applied a rim of pale-blue cloth two inches wide4 ,the edge is bordered with a thread of dark-blue and light-brown double zephyr worsted1 which is overcast on the foundation with fawn-colored silk floss4 ,having transferred the outlines of the design to the rim and to the olive-green cloth foundation1 as shown in the illustration1 work the buds in the centre of the foundation with pale pink and light yellow bourette worsted--and the calyxes with rsda worsted1 in two shades1 in diagonal button-hole stitch2 the loops of which meet in the middle of each leaf1 forming the vein4 ,the vines are worked in herring-bone stitch with old gold-colored filling silk4 ,chain stitches of similar silk define the stems4 ,on the blue cloth1 the flowers are worked with pink and yellow bourette worsted in two shades2 and the leaves and calyxes with olive and rsda worsted1 in several shades1 in diagonal button-hole stitch4 ,the vines and stems are worked in chain-stitch with yellowish-brown filling silk in three shades4 ,the calyxes are defined with satin-stitches of light-yellow filling silk1 which are edged with chain-stitches of dark-yellow silk4 ,illustration3 ,fig4 #ee4--;,,design ,,for ,,lamp ,,mats4--,,application ,,embroidery4 ,the rim is embroidered in point-russe with light-brown double zephyr worsted in the manner shown in the illustration4 ,for the trimming on the outer edge of the mat1 overcast a thread of yellow-brown and a thread of light yellow double zephyr worsted in double rows with dark and light yellow silk floss on the foundation in scallops--fill the interval with knotted stitches of pale pink worsted1 and border the scallops alternately with a long and a short button-hole stitch of old-gold-colored filling silk4 ,trim the pinked edge of the foundation with tassels of worsted in the colors of the embroidery4 ,illustration3 ,fig4 #ef4--;,,application ,,border4 ,these pretty borders may also be used as strips for afghans and chair-covers4 ,for ,figure #ef1 a strip of blue cloth an inch and a quarter wide is placed on a foundation of cru linen2 and through the middle is run a white braid with horizontal stitches of green1 vertical stitches of yellow-brown1 and cross-stitches of pink worsted4 ,the blue strip is bordered on both sides with dark-green worsted braid1 sewed on with a cross-stitch of light-green worsted1 which is wound with maroon worsted4 ,diagonal stitches of light and dark red worsted1 crossed with horizontal stitches of dark-blue worsted1 border the braid on the outside4 ,the border in ,figure #eg is made also of cru linen1 on which claret-colored braid three-quarters of an inch wide is basted4 ,on the latter1 dark-green braid a quarter of an inch wide is fastened with a cross seam of white split filling silk1 caught down with black4 ,the crossed stitches on the inner edge of the maroon braid are in blue and gold--the point-russe stitches beyond in scarlet and black4 ,in the middle of the border1 apply round pieces of white cloth with point-russe stitches of green silk2 and connect them with vertical stitches of maroon1 which are fastened on the foundation at the middle with cross stitches of the same color4 ,,key-,,bag ,,in ,,appliqu ,,and ,,embroidery4 ,both sides of this handsome key-bag are given in ,figures #eh and #ei4 ,it is made of gray kid and lined with gray silk4 ,on one side is embroidered a key formed of poppies1 with their leaves and stems and at the top of the key is perched an owl4 ,the poppies are worked with five shades of blue-green silk2 the plumage of the owl with four shades of brown silk--the shades all blending almost imperceptibly together4 ,the owl's eyes are worked in scarlet and white silk4 ,the other side of the bag has appliqu figures of steel-colored silk in the form of a ,gothic lock4 ,they may be edged either with gold cord or with fine gray silk cord4 ,the screens are done in satin-stitch with silver-gray silk4 ,after lining each side1 the two parts of the bag are joined with a border of gray ribbon1 continued around the whole as in the illustrations4 ,it is stitched on with fine gray silk4 ,the bag is fastened with a steel button and a silk loop4 ,illustration3 ,fig #eg4--;,,application ,,border4 ,figures #fj and #fa are rich border patterns suitable for table-covers1 mats1 and brackets4 ,the embroidery is in button-hole1 point-russe stitches and knots2 the veinings of the leaves in ,figure #fj in stalk-stitch and long embroidery stitch4 ,the colors can be arranged to suit the taste of the worker4 ,,silk ,,appliqu ,,work4 ,this is principally used for flowers and leaves2 and when care is taken in shading1 the effect is almost if not quite equal to embroidery4 ,the pansy is one of the easiest flowers to imitate in this way--the two upper petals being made of purple silk1 and the lower ones of violet1 or yellow2 with the edges button-holed round1 and a few long stitches put in by way of veining4 ,illustration3 ,fig4 #eh4 ,rose petals may he beautifully done by selecting silk of the prevailing hue of the petal1 and shading with fine embroidery or split filling silk4 ,stalks and tendrils1 and leaf-veinings are worked with embroidery silk4 ,illustration3 ,fig4 #ei4 ,a cluster of apple-blossoms is very pretty in this kind of work2 and may be done on a ground of pale-blue1 gray1 or olive4 ,satin or velvet would make a very handsome foundation4 ,so delicate a piece of work should be done with great care2 and besides the edging in button-hole and the long stitches in embroidery-silk1 delicate shading is done with filling silk4 ,the main steins and tendrils are worked in stalk-stitch with green and brown embroidery-silk2 where the stems join flower or bud1 and for other little finishing touches1 satin-stitch is used4 ,the centres of the blossoms are of yellow silk in knot-stitch and common embroidery-stitch4 ,illustration3 ,fig4 #fj4--;,,border ,,in ,,appliqu4 ,silk is sometimes applied on lace with good effect2 and the finest specimen known of this work is the beautiful shawl made for the ,empress ,eugnie1 and for some time past on exhibition at ,stewart's4 ,seen through its glass-case1 it is a marvel of coloring and truth to nature2 the roses almost perfume the air1 and the graceful droop of the wisteria in the centre is perfect4 ,this piece of art-needlework fully deserves its name1 and is valued at #ajj1jjj2 but it is a question if all that weary labor with those minute pieces of silk 7so joined on the under side that the points of meeting can be seen only through a magnifying-glass71 to say nothing of the cobweb-lace foundation 7also hand-made71 could possibly be remunerated with money4 ,,cretonne-,,work4 ,the subject of appliqu could not be exhausted without some reference to this popular branch of it--which1 when new1 was considered the most bewitching fancy-work ever invented4 ,the most desirable flowers and figures for cretonne-work are to be found in the fine1 soft1 ,french cretonne2 and the most tiresome part of the work is that which has to be done first--the careful cutting out of these figures with a sharp pair of scissors4 ,they are then to be gummed1 or fastened with a few stitches done with fine cotton on the foundation4 ,much basting is not desirable1 as it pulls the material and frays the applied work4 ,black satin is a very effective foundation for cretonne-work1 as it throws out all the bright and delicate colors2 and farmer's-satin answers very nicely4 ,soft gray and blue silesia are often very satisfactory for this purpose2 and a work-basket1 made by the writer1 of gray silesia1 with pink rosebuds and leaves in cretonne-work on each panel1 and lined with blue silesia1 quite exceeded her expectations4 ,illustration3 ,fig4 #fa4--;,,border ,,in ,,appliqu4 ,workers differ about the best methods of doing cretonne application2 some suggesting for the edge a loose button-hole of rather fine silk1 on the plea that this prevents raggedness and answers the purpose of making the work subservient to the application4 ,but the most approved method is to treat the cretonne merely as a design and a guide to color--covering the flowers and leaves almost entirely with split floss and embroidery silk4 ,a thick outline in satin stitch secures the edges2 and the leaves besides being veined are frequently ornamented with small ,french knots1 or short back-stitches4 ,flower-centres are done in ,french knots4 ,chairs and mantels may be handsomely ornamented by a rich stripe of cretonne-work in pink or red roses on a black satin ground2 and table-cover borderings may be made in the same way1 and attached to the main body4 ,sofa-cushions1 foot-rests1 portfolios1 and many other things1 may be decorated in the same way4 ,the simpler kinds of appliqu-work have been made very common by the immense number of animals1 insects1 and figures1 such as were never seen in earth1 air1 or sea1 exposed for sale in all the fancy shops1 and offering easy inducements to amateurs to fasten them in almost any way upon whatever material their fancy might dictate4 ,the ,turkish-towelling fever raged throughout the length and breadth of the land2 and although a little of this work1 when well done1 is very effective1 especially in a cottage parlor1 it has been carried to such an excess and much of it so bunglingly done1 that there is a very general pushing of it aside for something newer4 ,dragons and ,chinamen1 the most popular figures for this kind of work1 were never known to infest ,turkey2 and whatever else we are in fancy-work1 it is desirable to be harmonious4 ,rich arabesques in colored cloth of the true ,oriental hues1 edged with black to give them greater brilliancy on the pale brown groundwork1 would be far more in character2 and the inevitable ruche of scarlet braid should be toned down to a more quiet red1 or whatever color is most suitable as the key-note4 ,we may be artistic even with ,turkish-towelling and cloth application2 but unless we are this1 let us not be ornamental4 ,,crape ,,pictures ,,in ,,appliqu4 ,among the newest materials for application-work1 are those preposterous representations on a ground of crinkly material known as ,chinese pictures4 ,these are of various sizes1 and are found now in most of the fancy stores2 and although they usually defy all the rules of reason and of color1 they are1 nevertheless1 highly ornamental4 ,one of these works of art is before us now1 divided into four compartments by bands of bright yellow1 and tending generally to ornithology on original principles4 ,two skies are pink1 one green1 and one yellow2 surrounded by the pink sky1 a small bird of the sparrow order1 with notoriously short legs and unwebbed feet1 is walking at ease on some lead-colored water1 while a small forest of foliage springs apparently from his back2 under the yellow sky1 a maize-colored bird on an inky bough opens his mouth evidently at a mulberry a few feet below him4 ,nemesis is upon him1 however1 in the shape of a silkworm that is attempting to climb his back4 ,the best that can be said of the mulberries is that they are deeply1 darkly1 unmistakably purple2 and we know them for mulberries because they are purple1 and because the green leaf cannot be intended for anything else4 ,the other divisions are perfectly harmonious2 and as an art-study1 this 8bit of color0 would not be recommended4 ,skilfully applied1 however1 and 8touched up0 with embroidery1 it would be found very ornamental4 ,many of these pictures have ,chinese or ,japanese figures on them2 and the confused coloring is best brought out by a frame-work of black velvet ribbon4 ,they make pretty tidies sewn on gray ,java canvas1 with a bordering of black velvet from two to three inches wide embroidered in feather-stitch--and beyond that an equal width of the canvas worked in a sort of mosaic pattern in point-russe with floss-silks--then a fringe of the canvas1 with the different colored silks mixed in1 about two inches deep4 ,lace is often used as a trimming for these tidies1 but it is very unsuitable4 ,long embroidery stitches of silk1 as in cretonne-work1 improve these pictures very much2 and many of them are so brightly-colored in themselves1 that they are as decorative as ,chinese fans4 ,they may be used for a variety of purposes2 and appliqud on black velveteen1 make handsome hangings for mantels4 ,,linen ,,appliqu4 ,handsome embroidery is sometimes done by working the design on linen1 and then applying it to richer materials4 ,the embroidery1 when finished1 is 8backed0 by paper before taking it from the frame1 to give it firmness2 when quite dry1 it is taken out and cut carefully round the figures with a sharp pair of scissors1 leaving about a sixteenth of an inch as a margin4 ,it must then be laid on the material and tacked down1 if the latter is loose--if it is framed1 the piece of embroidery should be fastened on it by small pins thrust perpendicularly through it4 ,it must then be more fully secured by sewing it over in small stitches4 ,the linen edge is covered by a gold or silver cord1 fastened down with fine silk matching the cord in color4 ,it is well to paint the back of the embroidery with paste1 that the ends of silk may be secured4 ,a great deal of ,eastern embroidery has the look of applied work--being done in the long embroidery-stitch in regular lines from east to west1 or across the shape to be filled1 instead of from north to south2 no attempt being made to follow the natural lines of the leaf or flower4 ,this style has a rich effect in purely conventional forms1 but is not suitable for floral designs2 a line of black or gold around the figures is nearly always used4 ,we saw some ,cretan work lately1 that was several hundred years old1 done in this way with silk and a sort of flat gold thread on coarse linen2 and the effect was very gorgeous4 ,,chapter ,x4 ,,embroidery ,,in ,,chenille4 ,at one time chenille work was all the fashion4 ,its beautiful1 velvety appearance1 and the soft brightness of its colors1 made it very effective2 but it was an expensive material1 and would only bear the most delicate usage4 ,silk hand-screens were frequently embroidered with chenille2 and in some old-fashioned mansions1 such an article of the shape of ,figure #fb may be found even now4 ,illustration3 ,fig4 #fb4--;,,hand-,,screen ,,in ,,chenille4 ,to do a 8piece0 in chenille was quite a necessary part of a young lady's education2 and these pieces were treated like ,miss ,linwood's paintings in crewels4 ,they usually represented landscapes2 and handsomely framed1 and protected by a glass1 were hung in a place of honor1 as a sort of certificate that the worker was entitled to be pronounced finished4 ,a performance of this kind that is now cherished as an heirloom1 the work of somebody's great-grandmother1 consumed a hundred dollars' worth of chenille4 ,it is a mourning-piece3 a tomb and two weeping figures in the foreground1 the country church1 and grave-yard4 ,it is very smooth1 beautiful work1 and has the effect of a painting4 ,chenille is still used in a measure for small1 ornamental articles2 and no material represents moss so well4 ,it is suitable both for flat and raised embroidery2 and it may be worked on a variety of materials2 but those with smooth surfaces are best suited to its velvet-like appearance4 ,a needle with a round eye is the proper kind for embroidering with chenille1 and this should be large enough not to fray the thread4 ,as it is an expensive material1 it should be used economically2 and all waste at the back of the work should be avoided by bringing the needle close up to the last stitch and not crossing it on the underside4 ,it is easy to measure or guess the length of the needleful required for working each particular part1 and to cut it as short as possible1 to prevent the using of the same position again1 and also to draw a very small piece through the eye of the needle4 ,the necessity of making knots may be avoided by working a small stitch or two in the part intended to be covered4 ,in shaded embroidery1 the stitches should not be matted too closely together1 as this destroys the velvety appearance of the chenille4 ,it should be more closely shaded than silk embroidery2 at least six shades should be used in flowers and leaves4 ,in flat embroidery1 the stitches should be regular1 but not closer than to allow the chenille to lie roundly on the surface4 ,it is always pretty edged or mixed with gold4 ,,chapter ,,xi4 ,,silk ,,embroidery ,,on ,,linen4 ,egyptian embroidery was done on linen or cotton1 the threads of the material being almost or entirely pulled out one way1 and the remainder embroidered with bright-colored silk4 ,the effect was very rich and showy2 but the peculiar art of doing it has been lost4 ,some specimens of ,egyptian embroidery in the time of the ,pharaohs1 now in the ,louvre1 are described as follows3 one has narrow red stripes on a broad yellow stripe1 wrought with a pattern in needlework2 another piece is on blue1 and worked all over in white embroidery1 in a kind of netting-pattern1 the meshes of which outline irregular cubic shapes4 ,silk embroidery on linen is an old fashion revived2 and it was used particularly on coverlets and curtains in the form of outline work4 ,this was often done in one color only2 and in a bold1 set pattern1 it was very effective4 ,a more flowing or branching design1 well enclosed in lines and borders1 looks equally well1 with the worker's name or monogram1 and the date added4 ,these coverlets and curtains were sometimes made of ,bolton sheeting1 rather as a foundation than a ground--being nearly covered with an appliqu pattern of flowers and leaves in cloth1 and the stems worked in crewel or silk4 ,the small vacant spaces were often filled with a very simple diaper4 ,strong linen makes the best ground for outline work2 and a pattern in silk is more durable as well as pleasanter to work4 ,it must be remembered1 though1 that in silk embroidery for articles that are to be washed1 great care must be taken that the embroidery does not fade into one pale1 undistinguishable hue4 ,to prevent this1 the silks should first be unwound1 cut into pieces of a suitable length1 and thrown into boiling water4 ,if1 after boiling for several minutes1 they retain their color when dried1 they may be 8warranted not to fade40 ,it is recommended to boil but one shade at a time--using fresh water for each one4 ,many useful and pretty things may be made of embroidered linen2 and it is particularly pleasant for summer use4 ,tea-table cloths look well with ends embroidered towel-fashion1 or bordered all round-- outline-work being more suitable for this purpose than filled-in embroidery1 as it will bear washing better4 ,embroidered linen makes very nice tidies2 and original designs1 or figures from ,japanese fans1 will often transform these conveniences into works of art4 ,white linen decorated with blue only is very pretty when the other furnishings are blue4 ,bedroom hangings are very pleasing in this linen outline-work--also pieces to hang above washstands and borders for brackets4 ,,embroidered ,,fruit ,,doyleys4 ,these may be made very dainty and charming--suggesting 7not filling in7 the most perfect little pictures4 ,the skill of the worker should bring out the idea clearly without the aid of detail4 ,a few descriptions lately met with will furnish illustrations of this kind of work4 ,a set of very small doyleys1 about six inches square1 had the edges ravelled out in fringe nearly an inch deep--the border serged with fine thread to keep the flowing strands in place4 ,half an inch from this1 and half an inch in width1 were a number of threads drawn out all around1 giving the appearance of an insertion4 ,the cross threads were then drawn backwards and forwards over each other1 four strands at a time1 and stayed with one row of thread1 like the old-fashioned herring-bone--forming a cross at each corner4 ,in the centre of each doyley was embroidered with ,japanese silk a cup and saucer1 a teapot1 a pitcher1 etc41 in graceful forms1 and soft1 shaded colors--all according to the design and taste of the embroiderer4 ,they were scarcely more than outlines--the impression given being more of quiet artistic beauty than of the object represented4 ,on another little doyley is sketched a slender ,indian jar2 beside it1 a bed of reeds1 or water-grasses1 seems to sway and rustle in summer airs--so pliant are the stems1 so free the groupings4 ,as if just risen from this cool quietude1 a flight of birds soars upwards and away4 ,the jar is wrought in gold-color1 red1 blue1 and soft drab4 ,a few bars1 ovals1 dots1 and lines indicate the rich decoration4 ,the reeds which1 of course1 are not shaded1 are done in brown and a dull green4 ,the rising birds are dark blue4 ,it hardly need be said that both reeds and birds are conventionalized--the reeds being the slenderest shadows1 and the birds mere converging lines4 ,directions for this kind of work are given as follows3 ,select close1 even linen1 of the kind used for sheeting1 and a yard and a half in width1 and be careful to see that it has no uneven threads2 half a yard and one inch1 the latter to allow for shrinkage and uneven ends1 is sufficient for one dozen doyleys4 ,have it washed in strong1 boiling-hot suds1 well rinsed1 and then boiled in clear water to remove the starch and render it pliable2 rinse from clear cold water1 and put it to dry without any addition of bluing4 ,when dry1 cut off the selvedge2 and pull a thread at top and bottom that it may be cut perfectly straight4 ,do not attempt to cut any part of the work without first pulling a thread as a guide1 for it is impossible to have it perfectly regular either by creasing it or by following an unpulled thread4 ,divide the linen into two pieces1 each of which will be a quarter of a yard in width1 by a yard and a half in length4 ,each of these pieces is to be cut into six--giving twelve pieces1 each nine inches square4 ,ravel them all around until you have a fringe seven-eighths of an inch in depth2 it is better to make a faint pencil-mark on each of the four sides before commencing1 that the fringe may be perfectly even4 ,with ,no4 #ajj unwaxed cotton and a fine needle1 whip them around--taking up four or five threads on the needle at once1 and having the stitches as even and regular as possible2 do not use knots1 but run the cotton along at beginning and end--commencing with a thread long enough for the whole side1 and avoid catching the fringe in the work4 ,place the doyley straight before you1 and with a rather coarse needle mark a point seven-eighths of an inch from both the upper and left-hand sides--then mark a point half an inch below this one1 and parallel with the left-hand side of the doyley2 with a pair of sharp-pointed scissors cut the linen from point to point4 ,turn the linen around so that the left-hand side shall be the upper one1 and the lower at the left hand2 cut a slit in this corner corresponding to the other1 and continue until each corner has been cut4 ,it would be better to practice the cutting on a piece of paper first2 and when you find the cutting at each corner is at right angles with the one below it1 the work is right4 ,with the needle-point pull a thread loose at the top and bottom of the slit cut1 drawing it along until you come within three-eighths of an inch of the slit cut in the other corner4 ,cut the linen from thread to thread1 and repeat at the other three corners4 ,when finished1 there will be eight cuts in the doyley--the two on each side parallel to each other4 ,with ,no4 #hj unwaxed cotton1 button-hole around each one as neatly as possible2 then pull out all the threads on each side that were made free by the cutting4 ,these threads are now to be herring-boned1 using a fine needle and the same cotton2 this is done by commencing at one end of the threads1 and taking up four threads on the needle1 draw the cotton through them1 bringing it up at right angles to the work2 take another stitch in the same place1 only catching the body of the linen slightly with the needle and cotton4 ,repeat this until you come to the other end--when1 turning the doyley upside down1 commence taking up the threads again on the needle1 only taking two threads from each cluster of the row before2 this makes a sort of ladder-work in the border1 much prettier than if the threads were taken in corresponding clusters4 ,when they have all been herring-boned1 the fascinating work of decoration begins4 ,for silk1 letter ,d button-hole twist is the most satisfactory in all colors1 except shades of red and green4 ,there are four shades of blue3 navy that is almost black1 a navy that is bright1 a bright sky blue1 and a very delicate one2 brown of two shades2 gold-color1 lemon1 and two shades of sage-green4 ,bright red shading on scarlet1 and entirely free from a ,solferino tint1 deep and bright rose peach blossom1 and a turquoise-blue are best when on quills4 ,having boiled and dried the silk1 it will be found in using it that it is three-stranded2 but it must be separated and only one strand used in working4 ,this should be carefully moistened when it becomes flossy and uneven4 ,green is the most difficult color to manage2 and it is only the old-fashioned apple-green found in skeins that will be at all satisfactory4 ,the designs should be drawn on the doyleys with a sharp lead-pencil--being careful not to soil the work by wrong outlines and erasing4 ,if the latter is necessary1 it is better to wash out the marks with warm water and soap than to use any other method2 and then begin outlining again4 ,a set done in fans1 of different shapes and decoration1 are as pretty as one could desire4 ,if it is impossible to draw from one lying before you2 cut a pattern in pasteboard and outline with the pencil4 ,the different periodicals occasionally give beautiful styles of fans2 and the cheap ,japanese fans are very suggestive in the way of color and figure4 ,outline them in bright blue1 with an inner line of pink2 navy with light blue2 sage green with pink2 or any other colors that contrast or harmonize2 make the stick and ribs of bamboo color1 or gold4 ,an open fan is beautiful outlined in gold1 sticks and all2 with sprays of star-shaped flowers done in red1 stems in gray1 and leaves in green4 ,these flowers1 etc41 are only outlined1 not done in the solid satin-stitch1 and should be as delicate as possible4 ,the stitch called ,kensington is used2 and is the one familiar to all embroiderers1 in both flannel and muslin1 as stem-stitch4 ,the needle is kept with the point toward the worker2 and you are constantly working from you4 ,very quaint and pretty designs can be taken from ,japanese print-plates1 tea-trays1 and cabinets4 ,two fans1 one-fourth open1 the one in the middle1 the other at one corner1 are very effective2 but when an open fan is used1 one is sufficient for a doyley4 ,a spider's web1 hanging from a branch just coming over one side of the doyley1 is extremely pretty4 ,outline the stems in gray1 leaves in green1 and the web in light-blue--making it out perfectly round1 but longer one way than another2 have some of the rays to project a little1 others caught on the branches--and from one of the lower ones a spider dangling1 while in the rib a stitch or two of black makes a good representation of his prey4 ,give a little color in one of the lower corners by a few rushes--one or two of which should have a few red tassels4 ,an apple-bough with a leaf of green here and there2 tiny flowers of red and pink1 some of which have drifted off before a gentle wind1 make beautiful designs2 but when one's eyes are open to them1 it is astonishing how many ideas are gathered here and there that would otherwise be lost4 ,a walk among one's flowers1 a border in a magazine or art-journal1 will give suggestions in some form or other4 ,the cold marble of one's dressing-table or bureau loses its cheerless aspect by the color one of these covers gives it4 ,a piece of linen a yard and a half long and three-eighths in width1 should be fringed an inch and a half at front and back1 with a much deeper one at the ends4 ,work a border an inch deep1 a quarter of a yard from the herring-bone at each end1 and meeting the herring-bone at the sides4 ,use red1 bright gold1 and light blue1 with a touch here and there of navy blue4 ,a spray of wistaria at one end1 and apple-blossoms at the other1 are very pretty4 ,tray-covers should be from a yard square to seven-eighths one way1 and a yard the other4 ,fringe and herring-bone them1 decorating only the corners1 as the centre is so covered that decoration would be lost4 ,these very explicit directions have been taken almost entire from a late periodical2 and will be found so full and satisfactory1 that almost any needlewoman1 on reading them1 might successfully attempt this pretty work4 ,,chapter ,,xii4 ,,holbein ,,work4 ,this is a simple and truly artistic kind of needlework1 chaste and elegant in design and correct in style2 its beauty depending not upon strong contrasts or striking patterns1 but on its exquisite finish and neatness4 ,holbein work is a kind of linen decoration with colored threads2 and was highly popular several centuries ago4 ,lingerie table-linen1 towels1 and bed-linen1 were thus adorned in a charming and tasteful manner2 and as instruction in this branch of needlework1 of which so few remnants remain1 is chiefly given through the master works of the younger ,holbein1 it has been named from him4 ,this great painter has reproduced the embroidery with wonderful fidelity1 showing plainly its charming peculiarity of being alike on both sides4 ,it differs in this respect from all other embroidery1 except that of some ,oriental nations1 and has literally no wrong side to show1 and requires1 therefore1 no lining to conceal defects4 8,divers colors of needlework on both sides10 is the oldest kind of ornamental needlework of which there is any mention4 ,to accomplish this work on both sides is by no means difficult1 as might at first be supposed2 and many articles for which no other kind of embroidery would be appropriate may be very tastefully ornamented with ,holbein work4 ,the effect is that of colored lines on a white ground after the fashion of a pen-drawing--the design being equally distinct on both sides4 ,the foundation for this embroidery is usually white linen ,java canvas1 which washes better1 and is of smoother and firmer texture than cotton canvas4 ,if linen canvas cannot be obtained1 the ordinary cotton canvas1 or colored ,java canvas1 may be used instead4 ,a piece of canvas1 a canvas needle with a dull point1 red ,turkish cotton ,no4 #cj1 or else several threads of colored or black silk 7somewhat coarser than ordinary sewing-silk71 are all that is required for ,holbein work4 ,no knot should be made1 to look ugly on the under side1 in the beginning2 and to avoid this1 insert the needle between the double layer of the threads of the canvas1 so that the working thread is concealed on both sides2 let the end of the thread project a little1 so that it may be held in the hand1 pass the needle around one of the four threads forming a square 7with the ordinary cotton canvas1 only half of a thread should be caught71 carry it back the same way it was inserted 7see ,figure #fc71 and draw the stitch tight--at the same time holding fast the projecting thread4 ,illustration3 ,fig4 #fc4 ,the single thread on which the working thread is fastened is drawn in between the double threads of the canvas in tightening the stitch1 so that the latter is not visible on either side4 ,the manner of doing this is shown in ,figure #fd4 ,then work the second stitch 7see ,figure #fd7 similarly to the first2 but underneath the nearest threads running in an opposite direction1 draw the stitch tight1 so that it is concealed2 and then repeat the first stitch once more completely1 in order to fasten the thread securely4 ,after working these three stitches1 the thread should be quite firm2 and the fastening should scarcely be visible4 ,cut off the projecting end of thread close to the canvas1 and begin the embroidery4 ,to work a straight line1 as in ,figure #fe1 make a horizontal stitch of two squares of the canvas1 pass over two squares1 work another horizontal stitch on the following two squares--and continue the first row in this way1 always taking up two squares for one stitch1 as shown by ,figure #ff4 ,this is called running stitch4 ,illustration3 ,fig4 #fd4 ,when the line has been worked of the length desired1 for instance1 ten stitches1 there will be five running stitches and five intervals on each side2 and the stitches on one side will always come on the intervals of the other side4 ,in order to close the line1 and fill all intervals1 work1 going back1 just as in the first row 7see ,figure #fg71 which completes the line1 and brings the working thread back to the point where the work was begun4 ,this point is always indicated by 99 in the illustrations4 ,illustration3 ,fig4 #fe4 ,illustration3 ,fig4 #ff4 ,work this straight line1 consisting of ten stitches1 from right to left in the order of the figures given in ,figure #fg4 ,only the upper stitches are counted and numbered2 but1 as a matter of course1 the other side of the work is to present the same appearance as the side on which it is done4 ,the regularity of the work will be increased if1 in working straight lines1 the needle is always1 in the second row1 inserted underneath1 and drawn out above the threads in the first row2 in this way the threads of both rows are regularly intertwined1 and the stitches are slightly slanting1 as plainly shown in the last illustration4 ,illustration3 ,fig4 #fg4 ,illustration3 ,fig4 #fh4 ,a diagonal line1 as in ,figure #fh1 is worked similarly to the straight line1 except that instead of crossing two squares in a straight direction1 they are taken up diagonally1 as in ordinary cross-stitch4 ,the first stitch1 therefore1 exactly resembles half of a cross-stitch2 and between the first and second stitches1 an interval of the same number of threads remains1 which forms half of a cross-stitch on the other side4 ,the line a1 ,figure #fi1 shows the first row of a diagonal line of five stitches2 and the line b shows this line finished by the second row4 ,illustration3 ,fig4 #fi4 ,for the zigzag line in ,figure #gj1 take a diagonal stitch upward over two squares of the canvas1 pass over two squares1 and insert the needle downward diagonally in the opposite direction2 take another diagonal stitch upward2 and continue in this manner1 as shown by a in ,figure #ga4 ,in the first row1 all the stitches on both sides appear slanting to the left4 ,in working the second row1 going back1 fill all the intervals1 as indicated by the figures on the line b in ,figure #ga4 ,illustration3 ,fig4 #gj4 ,illustration3 ,fig4 #ga4 ,illustration3 ,fig4 #gb4 ,illustration3 ,fig4 #gc4 ,for the ,greek line in ,figure #gb1 take a vertical stitch downward over two squares1 pass over two squares in a horizontal direction1 take a second vertical stitch upward over two squares1 so that the stitches always inclose four squares4 ,in this design1 all vertical stitches come on the upper side 7and all horizontal stitches1 consequently1 on the under side7 in the first row1 as shown by a in ,figure #gc2 while in filling the intervals in the second row the order is reversed1 and all horizontal lines come on the upper side1 and the vertical lines on the under side4 ,the line b1 in ,figure #gc1 shows the ,greek line in course of work1 and indicates by figures the order in which the stitches should be taken4 ,illustration3 ,fig4 #gd4 ,for the stair line in ,figure #gd1 work a horizontal stitch from right to left on two squares1 pass the needle straight down under two squares1 and draw it out2 repeat this three times1 and then work three stitches upward again4 ,in this design all the horizontal stitches come on the upper side1 and all vertical stitches on the under side in the first row1 which is shown by a in ,figure #ge2 while b shows the lines finished by the second row1 and indicates the order of stitches by figures4 ,the thread1 which is always carried back to the point where the work is begun1 should be sewn in firmly1 as described for the beginning1 so that the fastening cannot be detected1 and then cut off close to the canvas4 ,illustration3 ,fig4 #ge4 ,these simple designs being mastered1 the learner is now prepared for more ambitious efforts2 and the lines are frequently divided into branches richly ornamented1 that form complicated patterns1 and require some study to make both sides of the work alike4 ,the patterns now consist no longer of simple lines1 but of long lines with short ones branching off from them1 which may be called main lines and branches4 ,the design in ,figure #gf consists of a main line with upright branches1 which is worked in rounds going back and forth1 and is thus completed in two rows2 no stitch should be omitted on either side1 nor should any stitch appear double2 and the working thread should always return to the point where the work was begun4 ,figure #gg shows the manner of working the first row of this design1 the needle indicating how to take the last upright stitch4 ,begin the line from 991 so that an interval always remains between every two stitches1 and work to the point where the line branches off4 ,these branches are worked separately1 and are completed in two rows2 so that in working the second row of the main line no attention need be paid to them4 ,illustration3 ,fig4 #gf4 ,illustration3 ,fig4 #gg4 ,figure #gh shows the same design finished by the second round2 the order of stitches is indicated by figures4 ,the same rules apply to design #gi--which shows a main line with stair-line branches meeting the main line always at two points4 ,in this case1 too1 the branches are always finished separately before working the main line beyond the point from which the stair-branches proceed4 ,illustration3 ,fig4 #gh4 ,illustration3 ,fig4 #gi4 ,figure #hj shows the first row of this design2 the first branch being finished1 and the second in course of execution4 ,illustration3 ,fig4 #hj4 ,figure #ha shows the design finished by the second round1 the figures indicating how to take the stitches4 ,the fact that the branches intersect the main line at two points does not affect the work in the least4 ,illustration3 ,fig4 #ha4 ,sometimes the branches of the main lines are again furnished with smaller branches1 as shown by the forked design in ,figure #hb4 ,illustration3 ,fig4 #hb4 ,in this case1 the smaller branches are also worked separately from the point from which they proceed2 but the middle line is worked similarly to a main line2 working first one row with intervals1 next forming the smaller branches or prongs1 and then1 going back1 filling the intervals of the middle line1 and returning to the main line4 ,figure #hc shows the first row of this design and one of the branches just begun2 ,figure #hd shows the design finished1 and the order of stitches indicated by figures4 ,from time to time1 it will be well to glance on the under side and see that the design appears precisely the same as on the right side1 which will always be the case when the stitches are worked exactly in the order given in the illustrations4 ,illustration3 ,fig4 #hc4 ,illustration3 ,fig4 #hd4 ,frequently the smaller lines branch off from the main line in opposite directions1 as shown by ,figure #he4 ,in this design the forked figure appears on one side1 and the stair-line on the other side--both meeting at one point of the main line4 ,with such patterns1 begin with the main line and work to the point where the branches begin--always working these separately4 ,it is immaterial which of the two branches is worked first2 but they should both be finished in the first row1 so that1 in the second row1 only the intervals in the main line need be filled4 ,as a general rule1 it is well to complete as much of the pattern as possible in the first row4 ,illustration3 ,fig4 #he4 ,as ,figure #he is formed by a combination of figures similar to those shown in ,figures #fe and #ff1 it will only be necessary to refer to the description of those figures to enable the worker to execute this design with ease4 ,illustration3 ,fig4 #hf4 ,tree figures1 shown in illustration #hf1 are worked so that the trunk forms the main line1 and all the small lines the branches2 but the main line should be worked to the point without the branches1 the latter being formed in the second row going back4 ,thus the trunk1 forming the middle line1 will serve as a guide for placing the branches4 ,figure #hg shows the manner of working such a figure1 the stitches being indicated as usual by numbers4 ,illustration3 ,fig4 #hg4 ,each individual design requires separate sewing in of the thread2 all connected lines1 on the contrary1 are worked without interruption4 ,the working thread should always be taken as long as possible2 and when it is used up1 it should either be carefully sewed in1 as described in the beginning1 or it should be fastened to the new thread by means of a weaver's knot4 ,this knot has the advantage of being made small and strong at the same time4 ,illustration3 ,fig4 #hh4 ,sufficient instructions have now been given to enable the beginner to do a very creditable piece of ,holbein work2 and ,figure #hh is a particularly easy pattern for a towel-border that may be done in red or blue cotton or silk4 ,illustration3 ,fig4 #hi4 ,illustration3 ,fig4 #ij4 ,the towel may be made of heavy linen sheeting2 or a bordering of linen embroidered in this way may be applied to either end of a damask towel with a line of feather-stitch4 ,sufficient material should be allowed for a deep1 tied fringe4 ,this pattern will also be found pretty for a bureau or dressing-table cover1 as well as a variety of other articles4 ,illustration3 ,fig4 #ia4 ,illustration3 ,fig4 #ib4 ,figures #hi and #ij are very effective both for towels and covers4 ,holbein work is frequently mixed with cross-stitch and satin-stitch1 which give it a richer effect2 and for elaborate designs1 this is a great improvement4 ,figures #ia1 #ib1 and #ic1 show very handsome towels embroidered in this way4 ,these towels are made of a piece of linen sixty-eight inches long and seventeen inches wide1 embroidered in cross-stitch and ,holbein work with blue or red cotton4 ,the towels are trimmed besides with an open-work design and knotted fringe1 and are hemmed narrow on the sides with a cross seam of the colored cotton4 ,illustration3 ,fig4 #ic4 ,to make a towel1 work eight inches from the bottom a rich design in ,holbein embroidery1 and edge it on both sides with a narrow border in cross-stitch embroidery4 ,each cross-stitch is worked over two threads in height1 and the same in width4 ,above this border1 at a distance of an inch1 ornament the towel in a design worked in cross-stitch over canvas with colored cotton4 ,after finishing the embroidery1 draw out the threads of the canvas1 and between the borders execute an open-work design4 ,for this1 draw out always four threads of the linen lengthwise and crosswise1 letting the same number of threads stand1 and overcast them diagonally1 first in one direction1 and then1 crossing the same square in the opposite direction2 and finish the edge of the borders adjoining the open-work design with button-hole stitches4 ,underneath the narrow border1 draw out the crosswise threads of the linen1 and knot the lengthwise threads to form fringe1 as shown in the illustrations4 ,illustration3 ,fig4 #id4--;,,embroidered ,,burlaps ,,porti,,re4 ,handsome portires and curtains may be made of burlaps ornamented with ,holbein and other embroidery4 ,for the design in ,figure #id1 draw out eight threads1 each two inches and a half and five inches and three-quarters from the outer edge2 cross every eight of the threads left standing1 and run them with gold soutache4 ,between these open-work patterns work the border 7see ,figure #id7 in satin-stitch with light and dark red filling silk2 and in ,holbein work with light and dark olive-green filling silk4 ,the open-work pattern is edged with point-russe stitches of dark brown and fawn-colored silk1 and cross-stitches of dark red silk4 ,,chapter ,,xiii4 ,,church ,,embroidery4--,,part ,i4 ,the general rules for artistic needlework apply equally well to church embroidery1 which is1 nevertheless1 a distinctive art4 ,in ancient times its magnificence was unparalleled--the workers feeling privileged in working for ,god's service1 and anxious to spare neither time nor expense on their labor4 ,this branch of decorative needlework has 8narrower limitations1 stricter laws of fitness1 bonds of symbolism1 rules of color1 and traditions of style2 but a student of art needlework will not find these stricter laws prevent church work from being beautiful and harmonious2 indeed1 they will be aids rather than hindrances2 while the knowledge already acquired of general principles of color and design will be a safeguard against placing vulgar1 crude1 or tasteless combinations where1 in many eyes1 they would be not only ugly1 but irreverent40 ,it has been well said that1 in this kind of work1 unity of design and harmony of color take a new and deeper meaning2 and honesty of workmanship becomes a duty2 while a new reason for conventionalism is seen when we remember that we ourselves1 when in ,god's house1 lay aside an ordinary and natural demand4 ,the descriptions of the richly-embroidered ecclesiastical vestments3 robes1 sandals1 girdles1 tunics1 vests1 palls1 altar-cloths1 and veils or hangings of various kinds1 that were common in churches in the ,middle ,ages1 would almost surpass belief if the minuteness with which they are enumerated in some ancient authors did not attest the fact4 ,the cost of many of these articles was enormous1 for pearls and precious stones were literally interwoven with the needlework1 and an almost incredible amount of time and labor was bestowed on them4 ,several years would frequently be spent on one garment2 and some magnificent ninth century vestments are described1 which ,pope ,paschal presented to different churches4 ,one of these was an altar-cloth of ,tyrian purple1 having in the middle a picture of golden emblems1 with the faces of several martyrs surrounding the ,saviour4 ,the cross was wrought in gold1 and had round it a border of olive-leaves most beautifully worked4 ,another had golden emblems1 and was ornamented with pearls4 ,this same pope had a robe worked with gold and gems1 with the history of the ,ten ,virgins with lighted torches beautifully related4 ,he had another of ,byzantine scarlet with a worked border of olive-leaves4 ,he had also a robe of woven gold1 worn over a cassock of scarlet silk2 and another of amber hue embroidered with peacocks in all the brilliant and mysterious shades of their plumage4 ,modern church needlework is much more simple and less expensive1 and with an ordinary amount of skill and patience and attention to rules and details1 almost any embroiderer can accomplish very satisfactory results4 ,coarse1 prepared linen or muslin1 made very stiff1 is first stretched in a frame1 and the material to be embroidered carefully tacked or pinned on it4 ,this makes a firm ground for working1 and gives body to the article to be embroidered4 ,the silk or calico lining is to be placed on the other side of the muslin4 ,a well-made frame is another important point2 and four-piece frames1 or frames without stands1 formed of two bars with webbing to which the material is sewn1 and two laths or stretchers1 with holes to receive the pegs1 will be found most suitable for this kind of work4 ,they are fastened with screws1 and the sizes generally needed range from #bj inches to #f feet #d inches4 ,figure #ie represents one of these four-piece frames1 in which a piece of linen is stretched1 and upon it the central figure of an altar frontal in progress of work4 ,it is better not to stretch the frame more than #bj inches at a time1 as it is very fatiguing1 for a continuance1 to take a longer reach than #aj inches from each side bar of the frame4 ,great care must be taken not to rub over the material while working2 and for this purpose a cambric handkerchief1 or an equivalent of soft paper1 should be laid upon it4 ,the needlework should always be covered with a soft clean cloth whenever it is left1 no matter for how short a space of time4 ,,implements ,,needed4 ,the implements used for church embroidery are needles1 pins1 stiletto1 scissors1 thimbles1 and the piercer for manipulating gold4 ,this latter article is as necessary as the scissors in regulating bullion and other materials1 as it is rounded and pointed at one end like a small stiletto1 and wider and flat-sided at the other4 ,round-eyed sharps1 from #g to #b1 are the needles most likely to be required for every kind of silk2 the first principally for sewing-silk1 the others for crochet and other coarse silks4 ,the best rule for size is to be able to thread a needle instantly1 and to draw the needle backwards and forwards through the eye1 without the least friction4 ,an experienced worker will choose a needle very large in proportion to the thread it is to hold in preference to a smaller one4 ,illustration3 ,fig4 #ie4--;,,four-,,piece ,,frame4 ,the stiletto is used in many ways1 a steel one being the best4 ,the ends of stiff cords should be put through holes made by this instrument2 and occasions for its use are constantly arising4 ,short pins are needed for transferring designs1 instead of basting2 and in appliqu work1 every part of it is carefully arranged by pinning before the process of sewing begins4 ,cardboard patterns1 too1 for modern embroidery1 are kept in place by this means4 ,two thimbles are needed1 as the use of both hands is particularly necessary in this kind of work4 ,thimbles worn a little smooth are preferable1 as the roughness of a new thimble catches the silk4 ,sharp1 strong nail scissors will be found most serviceable1 and they should be as large in the bows as possible to secure the thumb and finger from hurt in cutting out cardboard designs and textile materials for appliqu4 ,,stitches4 ,the stitches used in ancient ecclesiastical embroidery are found on examination to be quite simple1 yet capable of producing the most beautiful effects4 ,in using gold thread1 for instance1 it was seldom pulled through the foundation1 but couched3 laid on the surface and sewed down1 two or three threads at a time1 by stitches taken either somewhat irregularly1 or with such method as to produce by a series of them a perfect diapered pattern of color on a gold ground4 ,figure #if is an example of what is known as plain couching4 ,illustration3 ,fig4 #if4--,,plain ,,couching4 ,gold-colored embroidery silk has an almost equally rich effect by making three or four parallel lines with it1 and working the cross stitches in the contrasting color4 ,wavy couching is as easy as plain1 the undulated first line regulating the position of the others to any extent4 ,diaper couching is another variety often used in old church embroidery for representing pavements1 and frequently for backgrounds to emblems1 and figures of saints4 ,diamond couching is very pretty1 and useful for holding down silk1 as well as passing1 in the ornamentation of large fleur-de-lis1 or other conventional forms4 ,the illustration 7see ,figure #ajj7 is a diamond of four stitches each way4 ,the size of the diamond depends upon the dimensions of the space to be covered4 ,illustration3 ,fig4 #ig4--,,wavy ,,couching4 ,illustration3 ,fig4 #ih4--;,,diagonal ,,couching4 ,illustration3 ,fig4 #ii4--;,,diaper ,,couching4 ,illustration3 ,fig4 #ajj4--;,,diamond ,,couching4 ,the line and cross diaper will be found desirable for covering large spaces with a diapering of needlework4 ,it also makes a very pretty border to enclose a plain ground in which a cross or other design is worked4 ,this pattern is most effective when done with lines of passing caught down at their intersections by a cross of crimson or other bright-colored silk4 ,the dots in the centre may be made either with gold beads or ,french knots4 ,illustration3 ,fig4 #aja4--,,line ,,and ,,cross ,,diaper4 ,various other combinations will suggest themselves in couching2 which is one of the most charming and useful methods in the whole range of embroidery4 ,,basket-,,stitch4 ,this is another very effective device1 and is particularly ingenious4 ,it is used principally for straight borders1 or for the raised parts of a conventional crown1 a large monogram1 or for any pattern of a formal outline where a plaited and interlaced effect is the aim4 ,to work a border in basket-stitch1 any even number of rows of twine1 from four upwards1 must first be sewn firmly down upon the framed foundation2 and over this the gold is to be carried two threads at a time4 ,the worker begins by taking two threads of passing and stitching them down1 first over one row of twine1 then over two rows1 and over two again1 till the single row at the opposite side is reached4 ,any number of threads may be carried across in this way before altering the arrangement of sewing down1 according to the width decided upon for the divisions of the plait4 ,say that six threads1 or three layers of passing1 have been turned backwards and forwards1 and caught down precisely alike2 the gold is then to be sewn over two lines of twine1 each time1 from side to side of the border1 for three layers more2 and so alternated to any extent4 ,medium purse silk is best for sewing down the gold2 and a close1 firm twine1 like whipcord1 should be used for the lines4 ,the thickness of the twine must be governed by the size of the figure or space that the basket-work is intended to cover4 ,the border should he finished on each side by a gold or silk cord1 or an edging of some kind to hide the looped ends of the passing1 which are not pulled through1 but turned backwards and forwards as evenly as possible4 ,,floss-,,silk4 ,for large leaves1 spaces in scrolls1 draperies of figures1 or foregrounds1 long loose lines of colored floss1 secured at intervals by single threads of passing laid across1 produce a very good effect4 ,below is the simple long-stitch1 upon which principle all floss-silk embroidery is wrought4 ,it is the petal of a flower worked in two distinct shades of blue1 and edged with amber crochet-silk sewed down with white4 ,the light shade is to be used first--beginning from the outer edge of the centre of the petal1 and working first to one side and then to the other4 ,then the dark shade is to be worked in like manner downwards4 ,illustration3 ,fig4 #ajb4--,,long-,,stitch4 ,illustration3 ,fig4 #ajc4--,,scroll ,,with ,,passing4 ,figure #ajc shows a scroll in twist-stitch enriched by passing4 ,the twisted effect is produced by working stitches of an even length one behind the other on an even line4 ,the passing is couched after the silk scroll is worked4 ,,chapter ,,xiv4 ,,church ,,embroidery4--,,part ,,ii4 ,altar-covers have often been made in a style of great magnificence1 and are the most costly articles of church embroidery4 ,it is not necessary in a small work like this to give one entire1 especially as many modern ,gothic churches have richly-carved stone or wooden altars for which only a super-frontal of needlework is required4 ,illustration3 ,fig4 #ajd4--,,super-,,frontal ,,in ,,fleur-,,de-,,lis4 ,the fleur-de-lis pattern in ,figure #ajd is both simple and effective2 and wrought in white and gold would be in good taste on either a green or crimson ground4 ,the embroidery is done in couching--the fleur-de-lis and the curved stems in gold twist-silk1 sewed down with orange4 ,the bands of the fleur-de-lis and the trefoils between in white twist-silk1 sewed down with gold color4 ,the white to be edged with white cord1 the gold color with gold cord4 ,the fringe is gold color mixed with the color of the ground4 ,a conventionalized rose is given in ,figure #aje1 full size1 to be used in the bordering of a super-frontal4 ,illustration3 ,fig4 #aje4--,,rose ,,for ,,super-,,frontal4 ,it is edged with gold cord and worked in two shades of pale pink floss1 long embroidery-stitch4 ,the central ring is of bright green silk the diamonds it encloses gold-color couched on a pale green ground2 the rays1 deep rose-color1 in long stitches4 ,the outer lines are long1 loose stitches in gold thread4 ,the leaves are in two shades of olive green floss in long embroidery-stitch2 the stem1 scroll1 and finish are in two shades of olive brown1 edged with gold thread4 ,this part may be done in couching4 ,the roses may be in divisions separated by gold-colored lace1 or alternated with annunciation lilies4 ,illustration3 ,fig4 #ajf4--,,reading-,,desk ,,with ,,hanging4 ,,pulpit1 ,,or ,,desk ,,hangings4 ,these are often needed where no altar covering is used2 and are much simpler in construction4 ,figure #ajf shows a reading-desk draped2 ,figure #ajg gives a suitable design for the centre2 and ,figure #ajh a very pretty bordering4 ,the cross and lettering of the central figure are to be done in gold thread1 or gold-colored silk1 and edged with black4 ,on a white or crimson ground this would be very effective2 and it has the advantage of harmonizing with any ground color4 ,it may also be done in appliqu1 instead of embroidery4 ,the border pattern may also be done in gold1 or in a mixture of gold and white4 ,illustration3 ,fig4 #ajg4--,,monogram ,,for ,,desk ,,hanging4 ,illustration3 ,fig4 #ajh4--;,,border ,,for ,,desk ,,hanging4 ,illustration3 ,fig4 #aji4--;,,border ,,in ,,appliqu ,,and ,,embroidery4 ,figure #aji gives a rich pattern in full size for the border of an ante-pendium1 or desk-hanging4 ,it is embroidered on white silk rep with silver and gold thread2 and sewn on over a black velvet1 rep1 or cloth centre4 ,the dark patterns are worked in appliqu with black velvet2 the two other shades in gold and silver brocade4 ,the embroidery is done in satin-stitch with gold and silver braid1 silk and cord of the same material4 ,the border can be worked upon the material for the centre if it is not intended to contrast with it4 ,the pattern can also be worked entirely in silk with satin-stitch4 ,,church ,,book ,,markers4 ,these are comparatively easy of execution1 although to be done according to the same rules which govern other church needlework4 ,they are made of plain rich ribbon1 varying in width from one to three inches1 in the five ecclesiastical colors of crimson1 blue1 green1 white1 and violet4 ,nothing elaborate in the way of embroidery should be attempted on such small articles4 ,a ,latin cross on one end1 and a simple monogram on the other1 are always suitable4 ,or words such as 8,creed0 and 8,collect10 as suited to particular parts of the service1 may be worked at the separate ends1 in plain ,old ,english letters1 surmounted by a ,greek cross4 ,the length of the marker depends upon the size of the book for which it is required4 ,a yard1 not including fringe1 is the ordinary length4 ,this makes a double marker1 as it can be divided in the middle by a barrel or register1 to fall over two pages of the book4 ,a very good contrivance for this purpose is a piece of ivory1 of the width of the back of the book1 pierced with holes1 through which pieces of silk braid1 from which the ribbon is suspended1 may be inserted and tied4 ,the pieces of ribbon may measure less than half a yard1 as the suspender1 which should be of stout silk braid the color of the ribbon1 is two or three inches long4 ,an ordinary book-marker may be properly made from the following directions3 ,the width of the ribbon is two and a half inches2 the length1 one yard1 after it is finished4 ,to ensure this1 a yard and a quarter of ribbon is procured1 and a piece of fine linen tightly framed4 ,upon this1 the end of the ribbon1 to the depth of ten inches1 is to be smoothly tacked at the extreme edges by fine cotton4 ,along the bottom edge1 and across the top of the ten-inch length1 the ribbon must also be tacked4 ,five inches from the end of the ribbon1 the design1 traced and cut out in cardboard1 is to be fixed with small pins and then sewed down1 and embroidered in gold1 silver1 or purse-silk1 according to circumstances4 ,this being done1 the work should be covered from dust1 and the other end of the ribbon 7if the framed linen is large enough to receive both7 tacked down and treated precisely similar1 only the pattern must be worked on the contrary side of the ribbon1 or1 as a double marker1 it will not hang right when in the book4 ,when the embroidery is finished1 the linen should be cut from the frame1 and then from the back of the ribbon close to the work4 ,to make up the marker1 the plain end below the embroidery is to be turned back four and a half inches over the wrong side1 leaving half an inch of plain ribbon below the design on the right side4 ,the two edges of the ribbon1 to the depth of four and a half inches1 are now to be sewn together by the neatest stitches of fine silk the exact shade of the ribbon4 ,the raw edge of the turned up end is to be hemmed across1 above the design1 by stitches so fine as to be invisible on the right side2 and the book-marker1 which should now appear as neat on one side as the other1 will be ready for the fringe4 ,a soft-twist silk fringe two inches deep is best1 if the embroidery is done in silk4 ,if in gold1 a gold fringe is more suitable4 ,twice the length of the two ends1 and three inches over for turnings1 is the proper measurement4 ,the fringe should be sewed along one side of the marker singly1 and then turned and sewed along the other1 so that both sides may be perfectly neat and alike4 ,illustration3 ,fig4 #aaj4--;,,design ,,for ,,alms-,,basin ,,mat4 ,figure #aaj is a simple and chaste design for a circular mat of velvet to fit the bottom of an alms-dish and deaden the jingling sound of coin upon the bare surface of metal4 ,the mat should be of velvet1 lined with silk1 and trimmed with a fringe of gold or silk1 as best suits the embroidery1 not over an inch deep4 ,small articles like these1 of suitable materials and careful workmanship1 are often most acceptable offerings from those whose limited time or means will not justify their undertaking larger pieces of church work4 ,a sermon-case is a very useful present for a clergyman1 and may be embroidered quite simply1 or elaborately1 according to the taste and means of the worker4 ,as the same rules and designs will apply to this as to the other articles described1 it will be sufficient to give directions for making up the case when worked4 ,sermon-cases are made in two ways1 either stiff and flat like a book-cover1 or firm and soft for rolling4 ,for the book-cover kind1 two sheets of stout cardboard must be cut to the exact size1 and joined at the back by a narrow strip of calico pasted along each side4 ,over this foundation thin lining muslin must be smoothly stitched inside and out2 after which the velvet may be tacked evenly on by stitches drawn over the inside edge4 ,a full half inch of velvet should be turned over to make the edges secure4 ,the silk lining is then to be adjusted and sewed to the velvet with neat stitches1 every one of which1 if rightly taken1 will tend to tighten the material over the mounting-board4 ,as a finish1 a well-made cord of gold or silk1 or a mixture of both1 is to be sewn all around the case4 ,this cord1 which must be about half an inch in circumference1 should effectually conceal the stitches uniting the edges of the velvet and silk4 ,a piece of elastic1 a quarter of an inch wide1 is to be sewed1 top and bottom1 on the inside of the back1 for the sermon to be passed through4 ,the size of the case must be governed by the size of the sermon-paper used by the clergyman for whom it is intended4 ,ten inches by eight is a good size for quarto paper4 ,by using parchment instead of cardboard1 and kid or morocco in place of lining muslin1 the sermon-case may be made to roll4 ,,designs ,,on ,,cardboard4 ,the use of cardboard designs in church embroidery is a mechanical method of working1 but it is also quite an effective one4 ,it is metallic-looking1 however1 and should not be used in imitations of ancient work4 ,for monograms1 letters of texts1 and geometrical figures which require clear1 sharp outlines1 the firm edges of a cardboard foundation will be particularly serviceable4 ,embroidery designs to be worked over cardboard must first be traced on thin paper1 and then transferred to the cardboard by one of two ways3 that of placing the drawing on the cardboard1 with black transfer paper between1 and tracing it carefully with an ivory stiletto or hard pencil2 or by pricking1 pouncing1 and drawing1 as directed for other patterns4 ,a clear outline of the design having been made on the cardboard1 it should be cut out accurately with sharp scissors4 ,in this cutting out1 strips of the cardboard1 called stays1 must be left here and there to keep together such parts of the design as would separate or fall away1 if the entire outline were cut around2 and these stays must not be cut off until the edges of the cardboard pattern are firmly secured on the framed material by close stitches of cotton4 ,after the stays are removed1 if the design is to be raised1 one row of even twine should be sewed down along the centre of the figure2 it is then to be worked over with the silk4 ,this one row of twine will give to the work the bright sharp effect of gold in relief4 ,more than one row would spoil it4 ,the thickness of the twine must be regulated by the size of the figure to be raised4 ,to raise the embroidery at all is quite a matter of taste1 as excellent specimens of work are constantly done over the card alone4 ,for gold1 or gold-color silk embroidery1 the upper side of the card foundation should be painted yellow4 ,this can be done by a wash of common gamboge or yellow ochre4 ,the best cardboard for this purpose is that known as thin mounting board4 ,,church-,,work ,,in ,,appliqu4 ,this may properly be used for almost any material2 and a great deal of church decoration is done entirely by this method4 ,for letterings or labels1 appliqu is particularly appropriate2 and the description of a crimson cloth ground labelled with gold-colored letters will explain the method of doing it4 ,stout gray holland a few inches longer than the label is first to be framed and the piece of crimson cloth pasted on it4 ,when this is dry1 and while in the frame1 the outlines of the label and letters are to be pounced and drawn upon it in ,chinese white with a camel's hair brush4 ,in another frame1 a piece of gold-colored cloth is to be prepared on brown holland2 and upon this the whole of the letters1 or as many as possible1 are to be pounced and drawn in ,india ink4 ,over the outlines of the letters1 a black cord must be closely sewed2 and when the frameful is completed in this manner1 the holland is to be pasted all over at the back to secure the stitches and make the letters firm4 ,when quite dry1 the holland with the letters may be taken from the frame4 ,they are then to be cut out with sharp nail scissors--leaving the sixteenth of an inch of cloth beyond the black cord everywhere1 and laid in their places on the crimson cloth1 fixed with pins1 and finally sewed down through the black cord by stout waxed silk in stitches an eighth of an inch apart4 ,the small edge of gold-colored cloth beyond the cord should not be interfered with2 it will rather improve the effect of the letters on the crimson ground4 ,a black cord must also be closely sewed along the outline of the label1 and beyond it a gold silk cord the color of the letters4 ,this done1 and the work strengthened at the back by paste1 the label may be taken from the frame4 ,it should then be cleanly cut to within an eighth of an inch of its outline all around1 when it will present a perfect piece of work of its kind1 and will be in a condition to transfer or mount to its final position4 ,illustration3 ,fig4 #aaa4--,,pattern ,,for ,,linen ,,altar-,,cloth4 ,the 8fair linen cloth0 is laid on the thicker covering at the top1 and falls over the table in front to the depth of the worked border1 unless there is an embroidered super-frontal beneath1 which it would conceal4 ,it is made of lawn or the finest linen1 and bordered with an appropriate design in chain-stitch--which may be worked either with white or colored cotton4 ,this cloth should be long enough either to cover the two sides of the altar2 or it may be made only to turn down1 as at the front1 to the width of the border2 which1 in every case should be continued along the two ends from the front of the cloth4 ,the pattern in ,figure #aaa may be used for white or colored cottons1 or for a mixture of both4 ,crimson and blue are the most suitable colors for embroidering altar-linen4 ,the worked border should rest upon a plain hem an inch deep4 ,,chapter ,,xv4 ,,linen ,,lace-,,work4 ,much of this is very ancient1 and it is often so beautiful that it comes properly under the head of art-needlework4 ,,point-,,cont1 ,best known by its modern name of ,guipure d',art1 is almost the only kind of ancient work which1 in its modern revival1 has retained some degree of beauty4 ,ancient guipure was made of thin vellum covered with gold1 silver1 or silk thread2 and the word guipure derives its name from the silk when thus twisted round vellum being called by that name4 ,cotton afterward replaced the vellum1 and several modern laces are known as guipure2 but the name is not correct1 and is appropriate only to that kind of lace where one thread is twisted round another thread or substance1 as in the ancient ,guipure d',art4 ,this is effected by netting a foundation1 and darning a pattern over it with the same linen thread2 so that the high-sounding point-cont is simply darned netting4 ,but beautiful effects are produced with it1 and it has a look of old church lace4 ,the groundwork should be netted with linen thread in the shape of a square2 and the thread may be coarse or fine according to the purpose for which it is intended4 ,the netting is begun with two stitches1 and one is added at the end of every row1 until there is one more stitch than is needed for the number of holes4 ,thus if a square of twenty-six holes is required1 increase until there are twenty-seven stitches2 then decrease one at the end of every row until only two stitches are left4 ,the last two are knotted together without forming a fresh stitch4 ,great care should be taken to have the netting true and even1 so that it will stretch properly in the little frame used for the work4 ,each corner of the netting should be fastened to the corresponding corner of the frame2 and the lacing should be made as tight as possible1 as it is much easier to work on than when loose4 ,the working of the most elaborate patterns in ,guipure d',art depends entirely upon a mastery of the stitches1 of which there is quite a variety4 ,those in most common use are ,,point ,d',,esprit1 ,,point ,,de ,,toile1 ,,point ,,de ,,feston1 ,,point ,,de ,,reprise1 ,,point ,,de ,,bruxelles1 and ,,wheels ,,and ,,stars4 ,illustration3 ,fig4 #aab4 ,illustration3 ,fig4 #aac4 ,,point ,d',,esprit is a succession of small loops4 ,beginning in the lower right hand corner of the framed foundation1 a row of loops should be worked of the length required2 then the frame should be turned1 and loops worked on the opposite half of each square1 intersecting the first loops in the centre of each intervening bar of netting4 ,the illustration will make the work quite plain4 ,this stitch is worked with finer thread than that used in the foundation1 ,no4 #aj1 perhaps1 on a netting of ,no4 #f4 ,,point ,,de ,,toile1 or ,,linen ,,stitch1 is merely plain and regular darning over and under each cross thread1 making the foundation a closer piece of network4 ,there must be the same number of stitches in each square both ways1 to keep the foundation perfectly even2 and although the illustration has only four squares within each of the larger ones1 it is often made fine enough to contain six or eight4 ,,point ,,de ,,feston is done in overcast stitches4 ,at each stitch the frame is turned2 the stitches are taken across the square1 and increase in length at the top of the square4 ,illustration3 ,fig4 #aad4 ,illustration3 ,fig4 #aae4 ,illustration3 ,fig4 #aaf4 ,illustration3 ,fig4 #aag4 ,,point ,,de ,,reprise1 or ,,darning1 is begun by stretching two or three threads over one1 two1 or more squares4 ,the threads are then darned over and under2 and the last stitch1 while passing through1 is arranged with the needle to form the next4 ,this is one of the easiest stitches to learn2 and it is always worked with coarser thread than the foundation4 ,,point ,,de ,,bruxelles is merely a kind of loose button-hole stitch1 and is principally used for filling up squares4 ,it will also form leaves when the number of stitches is lessened in each row until they finish off in a point4 ,,wheels are begun in the centre4 ,four threads are taken across1 as shown in the first illustration2 the thread is twisted in returning to the starting point1 and the wheel formed by passing thread under and over the netting and the crossing threads4 ,it is fastened off at the back of the wheel4 ,illustration3 ,fig4 #aah4--,,wheel ,,begun4 ,illustration3 ,fig4 #aai4 ,the next design is a square wheel4 ,it is worked in the same way as the preceding1 with the addition of loops in ,,point ,d',,esprit1 through which and under and over the cross-twisted threads four or five rows of thread are passed4 ,illustration3 ,fig4 #abj4--,,square ,,wheel4 ,,stars are of various forms1 as shown in figures4 ,the first one is worked in ,,point ,,de ,,feston around a single square hole1 which is filled in by a small wheel1 or rosette4 ,the second is worked alternately in ,,point ,,de ,,feston and ,,point ,,de ,,bruxelles around a centre crossed by ,,point ,d',,esprit threads4 ,figure #abc is more elaborate4 ,begin at the place marked a 7,figure #abd71 twist the thread three times round the nearest thread of the netting1 draw it on to the knot1 b2 repeat this three times1 following the order of the letters2 twist the working thread also between the threads1 as seen in the illustration1 and fasten it underneath the knot1 a2 for the wheel1 fasten on the cotton afresh1 and work the rest of the pattern in ,,point ,,de ,,reprise4 ,illustration3 ,fig4 #aba4--,,star4 ,illustration3 ,fig4 #abb4 ,the small square is worked on a foundation which is netted over a mesh #b #a-aj inches round2 this foundation has seven stitches each way4 ,the embroidery is in ,,darning-,,stitch1 ,,point ,d',,esprit1 and ,,wheels4 ,the outer edge is button-holed4 ,larger squares can be made in the same way1 with a few added rows in length and breadth4 ,these pieces are easily joined together with a few stitches4 ,illustration3 ,fig4 #abc4 ,illustration3 ,fig4 #abd4 ,a quarter of a large square is given on page #aba4 ,the outer border is done in ,,point ,d',,esprit2 next to this there is a border in linen stitch4 ,in each corner there is a large star1 which is worked in raised darning-stitch1 and fastened to the netting at each point2 there is a wheel edged with button-hole stitch in the centre of the star4 ,the pattern for the centre of the square--only a quarter of which is shown in the illustration--consists of four branches forming small triangles in ,point de ,bruxelles1 four open-work stars or wheels worked over four holes of the netting1 and a four-branched centre of ,point de ,feston with a wheel in the middle4 ,illustration3 ,fig4 #abe4--,,small ,,square4 ,illustration3 ,fig4 #abf4--,,quarter ,,of ,a ,,square ,,in ,,guipure ,d',,art4 ,fig4 #abg is a pretty square that has the advantage of being very quickly worked4 ,the border and groundwork are done in ,point d',esprit1 the centre star in ,point de ,reprise1 the pattern in ,point de ,toile4 ,the four holes in the centres of the darned squares are filled in with wheels4 ,small squares are very pretty for cuffs1 handkerchiefs1 or cravat ends4 ,they are worked with very fine cotton in the same manner as the larger ones1 beginning on two stitches in one corner4 ,the different stitches in the two patterns given will be recognized as ,point de ,feston1 ,point de ,reprise1 ,point de ,toile1 and ,point d',esprit4 ,illustration3 ,fig4 #abg4--,,square ,,for ,,antimacassar4 ,the handsome square 7,fig4 #acj71 is worked in ,point d',esprit1 with an outline edging of ,point de ,reprise4 ,this part may also be done in close button-hole stitch4 ,the groundwork is in ,point de ,toile1 with ,point de ,reprise worked on it4 ,it is very effective1 and large and small squares may easily be multiplied by different combinations4 ,illustration3 ,fig4 #abh4--,,square ,,in ,,guipure ,d',,art4 ,illustration3 ,fig4 #abi4--,,square ,,in ,,guipure ,d',,art4 ,,rosettes1 ,,insertions1 ,,etc4 ,the first ,rosette is worked in ,point de ,toile and small wheels4 ,the central wheel is larger1 and is ornamented with a round of overcast4 ,illustration3 ,fig4 #acj4--,,square ,,in ,,guipure ,d',,art4 ,illustration3 ,fig4 #aca4--,,rosette ,,in ,,guipure ,d',,art4 ,illustration3 ,fig4 #acb4--,,rosette ,,in ,,guipure ,d',,art4 ,the star-shaped one has a knitted groundwork1 which is made by casting on six stitches1 joining the stitches in a circle1 and knitting in the first round two stitches in every stitch4 ,for the next eight rounds1 two stitches in every increased stitch2 in all the other stitches1 one stitch4 ,the last1 or tenth round1 is worked without increasing4 ,the rosette is then darned in darning-stitch1 linen-stitch1 and ,point d',esprit4 ,the edge is worked in button-hole stitch1 three button-hole stitches to every selvedge stitch4 ,illustration3 ,fig4 #acc4--;,,insertion ,,in ,,guipure ,d',,art4 ,illustration3 ,fig4 #acd4 ,illustration3 ,fig4 #ace4 ,the netted foundation of the inserting pattern is six holes wide4 ,begin the netting at one corner with two stitches2 work five rows1 at the end of each of which increase one stitch2 continue to work the strip with the same number of stitches--alternately decreasing one at the end of one row1 and increasing one at the end of the next4 ,to decrease1 net two stitches together2 to increase1 net two in one hole4 ,when the strip is long enough1 finish it by decreasing in the same proportion as the increasing at the beginning4 ,illustration3 ,fig4 #acf4 ,illustration3 ,fig4 #acg4 ,the pattern is worked in ,point de ,feston and star-wheel2 the border is of ,point d',esprit4 ,the strip is finished on each side with a row of button-hole stitches4 ,the four patterns given above will be found very useful for filling up small squares1 or for varying the groundwork of ,point d',esprit4 ,figure #acd is a succession of ,point-de ,feston stitches1 which half fill each square of the netting4 ,this pattern1 to look well1 must be worked very evenly4 ,figure #ace is a kind of double ,point d',esprit4 ,figure #acf is a twisted thread taken across each square1 and resembles lace stitches4 ,figure #acg is a succession of small1 close wheels1 mingled with ,point d',esprit4 ,this makes a very effective grounding4 ,illustration3 ,fig4 #ach4--;,,flower ,,in ,,guipure ,d',,art4 ,this flower1 which can be used for many purposes1 is worked in ,point de ,reprise1 and may be done either with linen thread or with purse silk in colors4 ,the pretty corners for cushions1 handkerchiefs1 etc41 are worked in ,point d',esprit1 ,linen1 and ,darning-stitch2 and the netted foundation is done by casting on two stitches1 and working in rows backwards and forwards--increasing one stitch at the end of every row4 ,the corner border requires a strip of netting nine squares wide1 cut out in ,vandykes on one side1 and worked round in button-hole stitch4 ,the embroidery is done in ,darning-stitch1 ,point d',esprit1 ,linen-stitch1 bars1 and wheels4 ,it is edged with button-hole stitch on the outside1 on which is worked a row of crochet-purl4 ,for this1 work one double in every button-hole stitch2 after every other stitch draw out the loop on the needle about one-tenth of an inch2 take out the needle and leave the loop as a purl2 take up one loop in the last double stitch1 and cast it off with the next double stitch4 ,besides being used for tidies1 cushions1 etc41 this border makes very pretty inserting4 ,but we must leave the fascinating subject of ,guipure d',art1 and turn our attention to one or two other kinds of ,linen ,lace-,work4 ,,point ,,coup1 ,or ,cut-work1 improperly called ,greek lace1 is made on a foundation of linen1 of which some of the threads are cut away and the others worked over1 making regular square spaces4 ,a clearly defined ground plan is thus produced1 and the pattern1 however rich and varied1 is subdued and confined by guiding lines1 and may be made to form stars1 circles1 crosses1 or cobwebs1 of a geometrical character4 ,illustration3 ,fig4 #aci4 ,illustration3 ,fig4 #adj4--;,,corner ,,borders4 ,this kind of work is very durable1 and has all the respectability of age4 ,old specimens of it are frequently seen1 and the seventeenth century painters were very partial to it1 using it for the turned-up cuffs of the vandyke dress1 and to edge the falling collars4 ,the finer kinds of it are very laborious1 and one beautiful variety wrought on thin linen fabrics is known as ,spanish nun-work4 ,point ,coup is very effective in furniture decoration1 and for this purpose it can scarcely be too coarse4 ,brown packing-cloth makes a good foundation2 worked with brown thread in a suitable pattern1 simple enough to be clearly defined by the thick threads1 it will make a beautiful border4 ,a ,macram fringe1 made of the same thread as that used for the work1 will form a pretty finish1 if the knotted pattern is simple and unobtrusive1 as it should not divide attention with the border1 to which it is only an appendage4 ,cut-work is particularly suitable for the ends of a white linen altar-cloth1 worked on stout linen with a thick1 soft1 white linen thread1 and in a very rich pattern4 ,the lace should be firmly finished off with a flat hem of the linen all round1 making it complete in itself4 ,a fringe of linen thread is a suitable finish to the ,point-,coup4 ,after the cover1 of finer linen1 has been washed and gotten up without starch1 the cut-work borders should be sewn on the ends with an open stitch1 which may be easily cut when the cloth becomes soiled2 which will occur much oftener than with the borders4 ,afternoon tea-cloths1 cake-covers1 etc41 may be very prettily ornamented with this linen work4 ,when intended for a border1 it should be finished with close button-holing to make it strong4 ,for a tea-cloth1 holland or crash makes a good foundation2 and a suitable pattern for this purpose is made by drawing out nine threads each way1 and stitching all around the square spaces--taking up three threads with every stitch4 ,in the openings thus made1 wheels1 stars1 or other figures1 are worked4 ,illustration3 ,fig4 #ada4--;,,corner ,,border ,,in ,,guipure ,d',,art4 ,,point-,,tir1 ,or drawn-work1 is also suited to decorative purposes2 it is very simple and easy of execution--being very effective in proportion to the labor spent upon it4 ,it is an ,italian invention1 and is very ornamental for the ends of table-cloths1 toilet-cloths1 tidies1 or towels--the last especially being its original use4 ,point-tir is made in the material of the cloth itself2 some of the threads being drawn out1 and the remainder worked into patterns more or less elaborate4 ,a hem-stitch like that used for pocket-handkerchiefs is useful in this work2 it may be done singly along a row of drawn threads1 or for a broader line on both sides the row--either taking up the same threads as those taken on the other side1 so making little bars1 or taking half the threads from each of two of the opposite stitches1 and thus forming a zigzag4 ,illustration3 ,fig4 #adb4--;,,cover ,,for ,a ,,small ,,tray4 ,other patterns may be made by passing a thick linen thread along the centre of a row of threads from which the weft has been drawn1 and either twisting them over each other or knotting them into groups4 ,it adds to the beauty of an article to embroider the spaces of plain linen between the rows of drawn work1 either with silk1 or with red or blue embroidery cotton1 mixing a little of whichever is used with the fringe4 ,the patterns should be very simple3 line patterns1 dots1 stars1 etc4 ,figure #adb is a good specimen of embroidered drawn-work4 ,the materials used for this cover are white linen and coarse white embroidery cotton4 ,the linen must not be very fine1 and it should be of rather loose texture4 ,when cut to the desired size the first thing to be done is to ravel out the threads for the purpose of forming the fringe1 which should be about an inch deep4 ,it should at first be ravelled on only three sides3 the selvedge and the two cross sides--the other selvedge side being left until the work is nearly finished4 ,for the work1 draw out twenty-seven threads close together2 then leave a space1 and draw out twenty-seven more in the same manner4 ,the space from which the threads are drawn is worked in a kind of open-stitch with coarse embroidery cotton4 ,twelve threads are taken up with the needle1 and fixed by a back-stitch4 ,six threads are dropped2 and then again twelve are taken up in the same way as before--thus forming the chain pattern shown in the illustration4 ,from the middle of the opaque stripe a single thread is drawn1 and worked in common hem-stitch2 and on each side1 narrow stripes in satin-stitch form a sort of herring-bone pattern4 ,the work consists entirely of a series of opaque and open stripes4 ,when the requisite number of stripes is complete1 the fringe may be ravelled out on the fourth side1 and the cover is finished4 ,this work washes well2 but it should not be starched or ironed4 ,the proper way of doing it up is to pin or baste it flat and tight while wet1 upon a board1 or the floor1 and let it dry4 ,,imitation ,,of ,,antique ,,lace4 ,a very rich kind of work founded upon old lace is done by drawing patterns on linen and overcasting or button-holing the outlines4 ,the ground between is then cut away1 and the patterns enriched with bars1 cords1 and raised work4 ,this kind of linen embroidery may be made very beautiful and lace-like2 the exquisite patterns of ,venetian1 rose1 raised1 or bone point1 can easily be reproduced in it1 although1 while preserving the peculiar beauty of their forms and proportions1 they should1 to adapt them to this work1 be considerably enlarged and their details much simplified4 ,unless these rules are carefully followed1 the linen-work will appear only a coarse and unsuccessful imitation of the original lace4 ,this work is sometimes outlined with gold thread1 which has an exceedingly rich and beautiful effect2 and with a lining of amber1 or golden-brown satin1 a handsome and unique covering may be made for a variety of articles4 ,,table ,,of ,,contents4 ,,chapter ,i4--,,worsted ,,embroidery4 ,,page4 ,crewel ,work #f ,the ,crewel ,stitch #g ,articles to be ,worked in ,crewels #ab ,an ,embroidered ,frieze #ab ,a ,dado in ,crewels #ab ,a ,worsted-,worked ,portire #ac ,curtains with ,sprays of ,sumac #ad ,a ,sweet-,pea ,table ,cover #ad ,screens in ,crewel-,work #ad ,carriage ,wraps #ae ,,chapter ,,ii4--,,simple ,,ideas ,,of ,,colors4 ,,chapter ,,iii4--,,silk ,,embroidery4 ,the ,stitch for ,silk ,embroidery #bj ,group of ,flowers for ,silk ,embroidery #ba ,french1 or ,flat ,embroidery #bc ,the ,french ,knot #bd ,stalk-,stitch #bd ,point ,russe #be ,herring-,bone1 or ,feather ,stitch #bg ,chain-,stitch #bh ,ladder-,stitch #ca ,chinese ,embroidery #cb ,,chapter ,,iv4--,,designing ,,and ,,transferring ,,designs4 ,transferring ,designs #dj ,,chapter ,v4--,,articles ,,in ,,silk ,,embroidery4 ,a ,screen of ,peacock ,feathers #db ,a ,pretty ,banner-,screen #db ,another #db ,embroidered ,table-,top #dc ,window-,curtain ,border #dc ,embroidered ,dresses #dc ,panels #dd ,small ,curtains or ,hangings #dd ,a ,wreathed ,picture #dd ,an ,embroidered ,room #de ,a ,fan ,table-,cover #de ,a ,chair-,cover #de ,fire-,screens #de ,a ,child's ,afghan #df ,,chapter ,,vi4--,,print-,,work4 ,,chapter ,,vii4--,,silk ,,embroidery ,,with ,,gold4 ,modern ,work #di ,materials ,used #di ,gold ,cord #ej ,gold ,braid #ej ,bullion #ej ,spangles #ea ,gold ,thread #ea ,,chapter ,,viii4--,,embroidered ,,books ,,and ,,other ,,articles4 ,a ,maroon-velvet ,book #ec ,a ,queen's ,needlework #ec ,petrarch's ,sonnets #ee ,another ,royal ,book #ee ,a ,book of ,engravings #ee ,scrap-,book ,covers #eg ,album ,covers #eg ,letter-,case #eh ,gold and ,silk ,embroidery #fj ,,chapter ,,ix4--,,applied ,,work ,,with ,,embroidery4 ,a ,lambrequin in ,appliqu #fe ,key-,bag in ,appliqu and ,embroidery #ga ,silk ,appliqu ,work #gb ,cretonne ,work #ge ,crape ,pictures in ,appliqu #gg ,linen ,appliqu #gh ,,chapter ,x4--,,embroidery ,,in ,,chenille4 ,,chapter ,,xi4--,,silk ,,embroidery ,,on ,,linen4 ,embroidered ,fruit ,doyleys #hb ,,chapter ,,xii4 ,holbein ,work #hf ,,chapter ,,xiii4--,,church ,,embroidery4--,,part ,i4 ,implements needed #aja ,stitches #ajc ,basket-,stitch #aje ,floss ,silk #ajf ,,chapter ,,xiv4--,,church ,,embroidery4--,,part ,,ii4 ,pulpit1 or ,desk ,hangings #aji ,church ,book-,markers #aaa ,designs on ,cardboard #aac ,church-,work in ,appliqu #aad ,,chapter ,,xv4--,,linen ,,lace ,,work4 ,point-,cont #aaf ,rosettes1 ,insertions1 etc4 #abb ,point-,coup #abf ,point-,tir #abg ,imitation of ,antique ,lace #abi ,,ornamental ,,designs ,,for ,,fret-,,work1 ,,scroll ,,sawing1 ,,fancy ,,carving1 ,,and ,,home ,,decorations4 ,fret ,sawing has become an art of such wonderful popularity that the interest in it has been shared by both amateurs and professionals to an astonishing extent4 ,hundreds are earning large sums of pocket-money by cutting these beautiful household ornaments1 and selling among friends or acquaintances1 or at the art stores4 ,ladies and the ,young ,folks find in it a fascinating recreation1 and are making dozens of fancy articles at small cost1 to decorate their homes in a charming manner1 or to give as ,holiday ,presents to friends4 ,the following books contain mechanical designs of full size for immediate use1 and are invaluable alike to amateurs1 ladies1 young folks1 mechanics1 architects1 and all of professional skill3 ,,part #a4 contains full size designs for ,picture ,frames4 ,small ,brackets1 ,book ,racks1 ,fancy ,letters and ,figures1 ,ornaments1 ,wall ,pockets1 etc4 7,has patterns worth at usual prices over #h47 ,price #ge cents1 post-paid by mail4 ,,part #b4 is devoted exclusively to designs of ,brackets of medium to large size1 all entirely new1 and of the most tasteful detail and execution4 7,contains over #ej plans1 worth at least #ae47 ,price1 #a4jj1 by mail1 post-paid4 ,,part #c4 is devoted to ,fancy ,work1 ,ladies' ,work ,baskets1 ,easels1 ,crosses1 ,match ,boxes1 ,pen ,racks1 ,paper ,cutters1 ,calendar ,frames1 ,thermometer ,stands1 ,watch ,pockets1 ,fruit ,baskets1 ,table ,platters1 etc4 ,nearly #ajj designs1 many of them really exquisite4 ,price #a4jj4 ,,part #d4--;,,fret ,,sawyer',s ,,annual1 #ahgf4 ,contains #hd patterns of ,crosses4 ,shrine ,frame1 ,photograph ,holder1 ,stereoscopic ,view ,rack1 ,card ,receivers1 ,borders1 ,cake ,baskets1 etc4 ,this is a very cheap and tasteful book of designs4 ,if sold singly would be worth #b4ej4 ,price of book1 #ej cents1 post-paid by mail4 ,,part #e4--,,silhouettes ,,for ,,scroll ,,sawing ,,and ,,inlaid ,,work4 ,contains over #ajj exquisite designs of ,silhouettes and ,fancy ,scroll ,work1 containing patterns of ,animals1 ,birds1 ,children1 ,horses1 ,dogs1 ,crosses1 ,scenes of ,poetry and ,sentiment1 ,women1 ,soldiers1 ,deer1 ,flowers1 ,mottoes1 and ,fancy ,ornaments1 all ready to saw out1 and most beautiful for inlaid work4 ,they open a new field in this favorite work1 and these are the best designs yet published in the ,united ,states4 ,they are remarkably handsome1 many very comical1 and some perfectly superb4 ,the page of ,,crosses is alone worth the price of the book4 ,this book also contains many exquisite designs for painting on wood1 ,furniture1 and ,pottery--also for ,mechanical ,ornaments1 and ,fancy ,work of all descriptions4 ,price #fj cents4 ,,part #f4--;,,fret ,,sawyer',s ,,annual1 #ahgg4 ,published ,oct41 #ahgg4 ,this is composed of new patterns1 designed expressly for this season1 and will be found specially adapted to amateurs or others who have hitherto purchased only the cheap and single patterns of more common and less pleasing designs4 ,the price of this book is so cheap that it will be easily afforded by every one1 even the poorest4 ,contains #bi new patterns1 worth at sheet prices fully #a4ej4 ,new ,picture ,frames1 ,easels1 ,visiting ,card ,case1 ,bracket1 ,doll's ,carriage1 ,mirror ,frame1 ,fancy ,match ,box1 etc4 ,price #cj cents by mail1 post-paid4 ,,part #g4--,,new ,,designs ,,for #ahgg and #ahgh4 ,this is the latest and most artistic volume of the series2 will be found by experienced ,scroll ,sawyers the best collection yet published4 ,contains #fb patterns1 worth over #c4jj--,new ,easels1 ,work ,baskets1 ,wall ,pocket1 ,motto 8,welcome10 ,photograph ,frames1 ,wheelbarrows1 ,crosses1 ,match ,box1 ,glove ,box1 ,savings ,bank1 ,standard ,match ,safe1 etc4 ,price #fj cents1 post-paid by mail4 ,,part #h4--;,,fret ,,sawyer',s ,,annual ,,for #ahhj4 ,published ,jan4 #a1 #ahhj4 ,fret ,sawing has increased so much within the last few years1 that the manufacturers of fret saws have thought it worth their while to bring their saws as near perfection as possible4 ,not only does this spirit animate the manufacturer1 but it stirs with equal force the publisher of patterns1 so that each new issue of designs is made better1 if possible1 than the last4 ,we claim that this last volume of our issue eclipses1 for originality of design and beauty of ornamentation1 any previously issued4 ,it contains patterns for a complete set of articles that no room should be without1 all done in the ,eastlake style1 and no two articles alike4 ,this book contains over #dj patterns4 ,price #a4jj1 post-paid1 by mail4 ,address ,,adams ,,bishop1 ,publishers1 #df ,beekman ,street1 ,new ,york4 ,,household ,,elegancies4 ,the most beautiful ,ladies' ,book ever published4 ,get it for your ,work ,basket or ,parlor4 ,a ,beautiful ,gift to ,friends4 ,,by ,,henry ,t4 ,,williams ,,and ,,mrs4 ,c4 ,s4 ,,jones4 ,,vol4 #b4--,,williams' ,,household ,,series4 ,a splendid new book on ,household ,art1 devoted to a multitude of topics1 interesting to ladies everywhere4 ,,contents4 ,chap4 #a4--,transparencies on ,glass for ,windows1 ,lamps1 ,halls1 etc4--,diaphanie1 ,vitremanie4 #ah ,engravings4 ,chap4 #b4--;,fancy ,work with ,leaves1 ,flowers1 and ,grasses--,phantom ,leaves1 ,autumn ,leaves and ,mosses4 #bc ,engravings4 ,chap4 #c4--,spray ,work or ,spatter ,work4 #bc ,engravings4 ,chap4 #d4--;,brackets1 ,shelves1 ,mantels1 etc4 #bg ,engravings4 ,chap4 #e4--,picture ,frames4 #ag ,engravings4 ,chap4 #f4--;,fancy ,leather ,work4 #bi ,engravings4 ,chap4 #g4--,wall ,pockets4 #ah ,engravings4 ,chap4 #h4--,work ,boxes and ,baskets4 #ag ,engravings4 ,chap4 #i4--,wax ,flowers1 ,fruit1 etc4 #ba ,engravings4 ,chap4 #aj4--;,indian ,painting in imitation of ,ebony and ,ivory4 #ad ,engravings4 ,chap4 #aa4--;,cone1 ,spruce1 and ,seed ,work4 #ce ,engravings4 ,chap4 #ab4--,miscellaneous ,fancy ,work4 #df ,engravings4 ,hundreds of exquisite illustrations decorate the pages1 which are full to overflowing with hints and devices to every lady how to ornament her home cheaply1 tastefully1 and delightfully1 with fancy articles of her own construction4 ,by far the most popular and elegant gift book of the year--#cjj pages4 ,price1 #a4ej4 ,sent post-paid by mail4 ,address ,,adams ,,bishop1 ,publishers1 ,p4 ,o4 ,box #bdef4 #df ,beekman ,street1 ,new ,york4 ,,prettiest ,,household ,,journal ,,in ,,united ,,states4 ,gem of ,beauty6 ,ladies6 ,young ,folks6 ,just the ,paper for ,you6 ,,send #be ,,cents ,,for ,,trial ,,trip #c ,,months4 ,the ,ladies' ,floral ,cabinet ,,and ,,pictorial ,,home ,,companion4 ,devoted to ,household ,elegancies1 ,housekeeping1 ,art1 ,music1 ,home ,pets1 ,ladies' ,fancy ,work1 ,society1 ,amusements1 ,flowers1 ,window ,gardening1 ,cottages1 etc4 ,the ,prettiest ,ladies' ,paper in ,america1 ,beautifully ,illustrated4 ,a perfect ,gem4 ,full of good sense1 and invaluable to every lady for its refinement1 elegance1 and rare value4 ,price1 #a4cj per year1 including beautiful ,chromo4 ,price1 #ce cents1 three months1 including beautiful ,chromo4 ,price1 #ae cents1 three months1 on trial4 ,specimen copy1 #aj;c4 ,none ,free4 ,agents ,wanted4 ,get up a ,club4 ,premium ,list ,free4 ,,adams ,,bishop1 ,,publishers1 #df ,,beekman ,,street1 ,,new ,,york4 ,n4 ,b4--,please state where you saw this notice4 ,,window ,,gardening ,,by ,,henry ,t4 ,,williams4 ,richly ,illustrated with ,exquisite ,engravings4 ,an ,elegant ,book1 with #bej ,fine ,engravings and #cjj ,pages1 ,containing a ,descriptive ,list of all ,plants ,suitable for ,window ,culture4 ,a ready and invaluable aid to all who wish to adorn their houses in the easiest and most successful manner with plants1 or vines1 or flowers4 ,instructions are given as to the best selection of plants for ,baskets or ,ferneries and ,wardian ,cases4 ,several chapters are devoted to ,hanging ,baskets1 ,climbing ,vines1 ,smilax1 and the ,ivy1 for decorative purposes4 ,bulbs for ,house ,culture are fully described2 also ornamental ,plants for ,dinner ,table ,decoration4 ,other topics are well considered1 such as ,balcony ,gardens1 ,house ,top ,gardening1 ,watering ,plants1 ,home ,conservatories1 ,fountains1 ,vases1 ,flower ,stands1 ,soil1 ,air1 ,temperature1 ,propagation1 ,floral ,boxes1 the ,aquarium1 ,rustic ,conveniences for ,household ,ornament1 and directions in detail for the general management of in-door plants for the entire year1 throughout the winter1 spring1 summer1 and fall4 ,the volume is profusely illustrated with choice engravings1 and pains have been taken to make it one of the most attractive books ever issued from the ,american ,press4 ,for sale1 or supplied by bookstores everywhere1 or sent post-paid by mail on receipt of price4 ,,price1 #a4ej4 ,every ,woman ,her ,own ,flower ,gardener4 ,by ,,daisy ,,eyebright 7,mrs4 ,s4 ,o4 ,,johnson74 ,a delightful little volume1 written by a lady fond of flowers1 as a special help and assistance to others interested in out-door flower gardening4 ,simple directions are given1 how to lay out and plant ,flower ,borders1 ,ribbon ,beds1 and arrange ornamental plants4 ,among the topics treated are ,geraniums1 ,fuchsias1 ,bulbs1 ,ornamental ,flowering ,shrubs1 ,everlasting ,flowers1 ,ornamental ,grasses1 ,coleus1 ,ponies1 ,shade ,trees1 ,garden ,vegetables1 ,old ,fashioned ,flowers1 ,annual ,flowers1 ,perennials1 ,ornamental ,vines1 ,lawns1 ,insects1 ,manures1 ,watering ,soils4 ,when and ,how to ,plant ,dahlias1 ,lilies1 ,gladiolus1 ,verbenas1 ,cannas1 ,balsams1 ,portulaccas1 and nearly all the popular varieties of flowers and shrubs4 ,the book contains #adh pages1 is charmingly written by one deeply in love with the subject1 who appreciates the tastes of ladies1 and aims to do good with agreeable1 kindly advice on home gardening4 ,for sale1 or supplied by ,bookstores everywhere4 ,price1 in handsome ,pamphlet ,covers1 #ej cents2 bound in ,cloth1 #a2 post-paid by mail4 ,address ,,adams ,,bishop1 ,publishers1 ,p4 ,o4 ,box #bdef4 #df ,beekman ,street1 ,new ,york4 ,transcriber's ,notes3 #a4 ,obvious printers'1 punctuation and spelling errors have been corrected silently4 #b4 ,some hyphenated and non-hyphenated versions of the same words have been retained as in the original4 #c4 ,italics are shown as xxx4 #d4 ,bold print is shown as xxx4