LIBRARY OF THE NEW YORK STATE COLLEGE OF HOME ECONOMICS]. CORNELL UNIVERSITY ITHACA, NEW YORK Cornell Uni ersity Libr: ry TT 750.R32 Needle and brush: useful and deco, OM 003 593 344 Lo mann sy x s ; NEEDLE AND BRUSH USEFUL AND DECORATIVE. A. ON COPYRIGHI, 1889, By true Butterick PUBLISHING COMPANY, (Limited). ANE IR ODO LT AN oe PIR SIRT S, «x3 NEEDLE & AND # BRUSH: USEFUL AND DECORATIVE, NEW YORK: THE BUTTERICK PUBLISHING CO., (Limited). 1889. “Here the needle plies its busy task.” “Where you rest, there decorate.” — Cowper. —Ruskin, HEN the publication of the Metropoli- tan Art Series was begun, our aim was to meet the demand of our patrons for books containing illustrations and descrip- tions of such varieties of fancy-work as come within the reach of those whose best efforts are dedicated to the task of making home beautiful. That we have succeeded in fulfill- ing the demand is proven by the unprecedented sales of the initial volume, which is published ” under the title of ‘‘ Needle-craft,” and empha- sized by the requests that followed its pub- lication for another volume, which should be complete in itself as well as supplementary to the first in its exposition of such varieties of decorative work as are dependent both on needle and brush for their perfect develop- ment. The principle which has always actu- ated us in all our undertakings has been the recognition of the expressed wants of our patrons in various sections, and we have not deviated from it in the preparation of these volumes. Those who have asked for instruc- tions regarding such varieties of painting as are applicable to articles of household use and decoration have been given generous space in “Needle and Brush,’ while those who have expressed their satisfaction with the “ Needle-craft’? and contents of requested additional designs for artistic and practical skilful needle-work for their good effect, receive equal mainly on articles that depend consideration. Accepting as a fair augury the interest manifested in even the most elaborate designs contained in the first vol- ume, we have introduced into ‘“ Needle and d Brush” many novelties which are by many mistakenly supposed to involve large expense, and to be procurable only at the shops de- manufacture of voted to the specialties in certain lines. Nothing has, however, been attempted that is beyond the possibility of execution in the home, and every design is The present volume is therefore offered to the accompanied by accurate instructions. public with the belief that it will win for itself the same degree of gratifying approval as has been accorded its predecessor. THE BUTTERICK PUBLISHING COMPANY, (Limited. ‘NE6DLE AND BRUSH. vii QROOOOO DOGO QI OIOOOQOOIOOOBOGOOOIGO99 OOO ae QO) > KS eS @ 8 @ “) © © O O 8 é C © ‘ €) © © © 8 a O N a E N T s. © CR ey” = © O OX ROR MOR © © OR RG © © EX © : 3 © Oo 8 O & TIEAOK HE SORTS = ») © 2 8 6 CHAPTER I. ace |C 8 SORRENTO EMBROIDERY, : n e 3 13 3 8 CHAPTER Il. 5 ROMAN EMBROIDERY, ; 7 ‘ ‘ 19 8 ; gS O - oS) O CHAPTER III. O o PIANO-COVERS, ; 3 ‘ Sey 2 © © : : © CHAPTER IV. O e CHAIR DECORATIONS AND CUSHIONS, s ‘ 31 e Q © © © 3 CHAPTER V. @ 6 TABLES AND TABLE-COVERS, . : : + 89 Q O © ° CHAPTER VI. ° FANCY LAMBREQUINS, E : ; (oat 3 619.9909000I089ONI90ISHIIIOSSIVGS9SSIOISSGOOOOOES NEEDLE AND BRUSH. a ) WALL DECORATIONS, CALENDARS AND SCREENS, © Q E © CHAPTER XIV. @) © FOR AND ABOUT THE WORK-TABLE, © (2 © CHAPTER XV. QO CHAMOIS AND CELLULOID ARTICLES, Q ) ©) C CHAPTER XVI. C DECORATED THERMOMETERS, ¢ ? CHAPTER XVII ( ON THE WRITING-DESK, COD9OQ9DLIOIIIHI9HII9IDVH99OO9HHD9III9DVOS9 DE aD DOODOOO 6) © eon DO0OOOOODOO JQOOOOC YWODAAM AMMADOODOODADE PS PP ) DTD CELA PIPER. Vil: SIDEBOARD AND SHELF DRAPERY, CHAPTER VIII. SACHETS, CHAPTER: LX. ARTISTIC DESIGNS FOR PATCHWORK QUILTS AND SOFA-PILLOW, CHAPTER 2s, TENNIS-RACKET COVER, CHAPTER ot. FANCY BOOK-COVER, AND CASES FOR BOOKS AND ENGRAVINGS, CHAPTER NII. DECORATED EASEL, CHAPTER Silt. DDOOODOO DDO DO DOODODPD9O DOOQN DOO DOOHBOOO DD OESGOQH) CONTENTS. C2 Spa a nn SL) PAGE 2 WCOOOOOOOOOSCOOOOOO AZ 81 ee OOOOCSGOOOHOOSOGOO 97 8 113 © 125 © 131 © ® NEEDLE AND BRUSH. QQDD DOOODSHOQDOODOODOOGODDOOO VOOODOOOQHOI9H OOSGOEOE EO . eS) CONTENTS. & 3 € oe ee oO : CHAPTER XVIIL ae 8 a FRAME AND CASES FOR PHOTOGRAPHS, Ig! 8 8 8 ) O © CHAPTER XIX. S O FANS, ADAPTED TO USE AND ORNAMENT, 157 8 © © © Q o CHAPTER XN. 8 @ FANCY FRAMES FOR MIRROKS AND PICTURES, 105 S ) - © ©) ® © iS CHAPTER XNXI. 6 8 FANCY BASKETS, 17T © © QO QO © Q CHAPTER XNIIL. © Q PRACTICAL PAPER-POCKETS, 18t Q O 5 2 3 O : See O O CHAPTER XNIII. O ) 2 . ARTICLES FOR THE TOILETTE TABLE, I 89 5 © @ © © © es be Clete © O CHAPTER XXIV, O © ©) O PINCUSHIONS, 197 © O © O O S CHAPTER XXV. S 8 HELPS FOR AMATEUR ARTISTS, 207 ® e 2 O 6 O : eee O O CHAPTER XXVI. 8 2 DECORATION OF DAISIES IN OIL COLORS, . 215 @ O © © © ( 7 © CHAPTER XXVIII. a © DECORATION OF AZALEAS IN OIL, COLORS, . 218 2 © 5 € ©) c C ¢ CHAPTER XXVIII. 5 i FLOWER PAINTING IN OILS, 224 > & © Cd an OGQBIDOOIIOIIVI9VDIDI9ODD99D9DIV9IIODDIOOIIDB9OOIIOOO NEEDLE AND BRUSH, QOQOQDOODODDHDOHDHHODOHODHDHOODB@OOOODOGOGOOOOOEOE SS GO oe CONTENTS. G 2 Q- See 9 & CHAPTER XNIX. ers 8 a PAINTING ON GLASS, . : ‘ 3 2 (225 8 6 CHAPTER XXX. 8 @ PAINTING ON PLAQUES, . : . 229 : @ © Oo Oo Q CHAPTER XXXI. 3 Q THREE-FOLD SCREEN AND DESIGNS FOR DECO- 8 © RATING IT, : : : : » 235 Oo © ( 3 3 Q CHAPTER XXNII. & O O QO DESIGNS FOR DECORATIVE PAINTING, é : 255 © © O © ©) 6 CHAPTER XXNIII. 2 . DESIGN IN KENSINGTON PAINTING: OWLS ON A 6 8 BRANCH, . : ; : és . 262 © % & E o CHAPTER XXXIV. 6 5 AUTUMN-LEAF DESIGN FOR EMBROIDERING OR O me PAINTING, . 3 ‘ ‘ ‘ 265 © a @ Q CHAPTER XXXV. © 5 SKETCHING IN WATER COLORS, a . - 270 c a S & oO O CHAPTER XXXVI. 2 : LUSTER PAINTING, : es ‘ F 279 © O 1 © . CHAPTER XXXVIL o 8 CRYSTALLIZATION PAINTING, . : ‘ . 284 3 © 8 S CHAPTER XXXVIIIL S 5 PAINTING ON CHINA, ‘ : . ‘ 288 S 5 CHAPTER XXXIX. 3 c SPATTER-WORK, : : : : . 295 6 ey, O® ©509900000000 BOODODHOODHOGODIGDOHOGLGOOOOOGOOOGOOEO ee ees oo a nates OS S NEEDLE AND BRUSH SN ee CHAPTER. I, SORRENTO EMBKGIDERY. brush are em- ployed in the execution of the fascinating variety of decorative work known as_ Sorrento em- broidery. Linen sateen is the material oftenest chosen for a background, and the purposes to which such work is best adapted are those which The sofa of the made of permit of developing bold effects. cushion chosen as an_ exposition work in the present instance is dark green and linen sateen of a plush slightly creamy shade. The plush forms the under side, and the linen, upon which the em- Be- fore the cushion is made up, the linen is broidery is developed, forms the other. prepared by being stamped with a design showing oak leaves and acorns in combination with an effective arrangement of conventional curves and angles. One-fourth of this de- sign is comprised in Diagrams A and B, which are illustrated on succeeding pages, and are of the full size required. By placing the cor- responding edges of these two diagrams to- gether with the corresponding dotted lines marked A and B together, one-fourth of the entire design will result, and by quadrupling the portion thus achieved the entire pattern The lines show where the corresponding sections will be reproduced. remaining dotted come together, and by comparing the dia- grams with the cushion illustrated the process of enlargement will be fully comprehended. When the design has been traced, it is gone over with liquid dye in a dark green shade, the application being made with a brush that is not soft enough to take up much at a time. The liquid is applied with quick, even strokes, and extreme care is exercised lest it go be- yond the outlines, as the beauty of the effect depends on the regularity with which the work is done and the strength of the contrast between and its the design background. When the design has been tinted in the requisite color and given plenty of time to bordered with a dry, all its outlines are button-hole stitching done with heavy rope- silk of the exact shade of the dye, and upon the background a network of outline stitching, broken here and there by a loop stitch, is made. The leaves are then veined with silk somewhat finer, but of the same shade, and the cover is ready for making up. The effect suggests rich appliqué work, and the process as thus described is illustrated at Figure No. 2 on another page. Sometimes it is the back- 14 NEEDLE AND BRUSH. ground which is tinted as pictured at Figure No. 3, while the design is left in the color of the linen; Figure No. 3 also illustrates the button-hole stitching very plainly, while Figure No. 2 clearly exemplifies the process of veining. When the design is geometric or architectural, or in any severely conventional their experience yet to undergo, the maxim of ‘““make haste slowly” may be repeated with have linen emphasis. We spoken of the sateen so much favored for this class of work. ‘ It is sometimes called “art linen” and is very firmly and smoothly woven; it is obtainable in cream and pure white shades, and, when Figure No, 1.—Sora CusHioNn DECORATED WITH SORRENTO EMBROIDERY. style, the tinted background is effective ; but foliage appears best when it is itself tinted. Almost everybody who has experimented much with the brush will exercise personal preference regarding the liquid dyes which are used for this class of work, and to such only the hint to profit by experience need be as have most of To such, however, given. enriched in the manner described, is counted suitable for association with the richest fab- portitres and tics employed for cushions, other decorative articles. Any other material woven so that the dyes will not spread too quickly may be used instead. Art linen or linen sateen resembles what is more famil- iarly or generally known as linen drilling. NEEDLE AND BRUSH. Those who attempt Sorrento embroidery with- out previous experimental knowledge, usually find Greéniés’ dyes the easiest to work with, be- cause with them they may procure a medium certain. effects, which to combine, and how much they may be diluted. If, however, the worker desires but one tint and is certain of obtaining that in perfection at the shops where FiGuRE No. 2,.—SHOWING THE Errecr or A TInrED DEsIGn. for mixing with them, which imparts body enough to hold them within even the most cir- cumscribed space, and because they are so few in number that a few trials will convince her which are the proper ones to use to produce such articles are kept, she may proceed even more fearlessly, but in no instance should she apply it to the article to be embroidered with- out first testing it upon a scrap of the same tex- ture. The fabric should be laid over a sheet of blotting paper in order to arrest the super- fluous moisture, and the first strokes should be made toward the edges of the design, in order to guard against overrunning. In gen- 3 | NEEDLE AND BRUSH. previous warning, that practice alone can teach the process thoroughly. Beginners will do well to limit their first efforts to producing uniformly tinted designs, but when they have Ficgukk No. 3.— SHOWING THE Errecr oF eral, it may be said that any dyes and any materials adapted to tapestry painting may be used for Sorrento work. Dut -it must be urged, even with the danger of repeating our A ‘TINTED BACKGROUND. progressed a little in this direction they will understand the possibility of developing shaded tints and of uniting different hues in the same design. NEEDLE AND BRUSH. 19 CELA Eire i) ROMAR EMBROIDERY HIS is one of the most beautiful varieties of fancy-work in vogue, and one that, owing to its adaptability to articles of use and adornment, may be truly classed among the most practical iin és Si a oy) | set of toilette articles comprising a cushion, perfume botile and bureau scarf. Figures Nos. 1 and 2 show the style of the cushion and bottle. The latter is round in shape, and easily procurable for a small sum. The cushion is oblong in shape and is simply a bag filled very solidly with whatever mate- Ficures Nos. 1 AND 2.—CUSHION AND BorrLe. with which a lady may employ herself. We have selected to illustrate its development a rial is preferred and provided with an outer covering of satin, which is drawn on very se - NEEDLE AND BRUSH, smoothly. Upon the top is laid a cover of Roman embroidery, wrought upon linen sateen and bordered with a fringe of rings and inner edge of the engraving show where to be- gin to increase the size. The dark background shows where the linen is to be cut away, and FiGurE No. 3.—DESIGN FOR CUSHION-COVER. tassels. The design of the cover is illustrated at Figure No. 3, which is one half of the actual size, the design being duplicated to produce the requisite dimensions The letters along the the finish of the edges, which is button-hole stitching done with flax thread, is clearly illustrated at Figure No. 7. Considerable care is required to insure regularity in cutting NEGDLE AND BRUSH. 2 fe ee away this background, and it is a question of personal skill whether the button-hole stitch- ing be done before or after the background is cut away. For one who is not an expert with the needle it would be easier to do the button- holing first, and this plan is followed by many who do not lack experience, because, they claim, the fraying or stretching of the edges often called linen drilling and by that name is easily obtained at almost any shop where such articles are kept for sale. The ring fringe, which is such a hand- some finish for the cover, is made of silk crochetted over metal rings, the process be- ing very accurately described and iilustrated in * Needle-craft,’ and a ring partially cov- FIGURE No. 4.—DESIGN The stitches are likewise done at whichever stage is thus avoided. netivork or cobweb the worker finds most convenient. Such work progresses rapidly in deft hands and is done on silk and bolting cloth, on duck and various linen sateen other fabrics as well as on the used in the present instance. The latter is FOR Borrle-CovERr. ered with the tassel attached being shown at Figure No. 5 of this chapter. Flax-thread, rope-silk or any material adapted to the making of fringes may be employed for the purpose. In attaching the rings to form the fringe, their adjoining sides invisible stitches and the are connected by te Nn NEEDLE AND BRUSH. fringe when completed is caught to the cover in the same way. Much of the good effect of Roman embroidery depends on bringing out cover is shown at Figure No. 4. ‘The pat- tern is duplicated as many times as is nec- essary to produce the requisite length, and FIGURE No. 6—BUREAU the pattern by laying it over a color present- ing a decided contrast. The design which enriches the bottle- SCARF. the lower edge of the cover, which extends almost to the bottom of the bottle and has a row of button-hole stitching along the margin, — NES hS 2 SR 4 NEEDLE AND BRUCE. is finished with a row of rings. covered with silk, Rings adapted to this purpose may be Figure No, 8.—CENTER SECTION O01 purchased ready for use at any fancy-goods shop. A ribbon bowed about the neck of the bottle completes the ornamentation, The isa charming exponent of Roman embroidery, bureau scarf shown at Figure No. 6 As, ENbD oF DestGn FoR BUREAU SCARF. and its practical value, joined to its beautiful effect, well repays the time and expense of making it. The embroidery designs shown NEEDLE AND BRUSH, 25 at Figures Nos. 7, 8 and 9 are in the full color, Brown with ew and red with cream, size of the sections they represent. ‘Pwo are effective combinations. When the em- corner sections like Figure No. 7 and broidery is developed upon any article which one like Vigure No. 8 comprise the width of the embroidery at each end, and the will require laundering it is of course best to limit the choice to fadeless colors, but when Picture No, 9.—Srerion oF DESIGN FOR Stipes oF BUREAU SCARF. requisite length for each side is obtained by duplicating the design shown at Figure No. 9. The network may be made as simple or as elaborate as personal taste desires and the needle-work may all be done in the same shade as the material er in a contrasting done on silk very delicate and effective con- trasts may be developed. Very delicate text- ures are sometimes rendered less liable to fray if they are sized with diluted white glue. white of ege, gum-arabic or some similar mixture before the background is cut away. NEEDLE AND BRUSH. DRAPING A WANTEL. How to do this so as to produce a graceful effect without involving a large outlay; or, even if the expense be a minor consideration, without producing too heavy and elaborate an effect is often a puzzling question. A simple but artistic arrangement is developed as fol- lows. A scarf of India silk, a little longer than the distance round the shelf, is bordered at the ends and at one of its sides with thumb fringe or little ornaments sewed on to form a fringe, and is run through a brass ring which is concealed by being button-holed or crochetted all over with cable silk. The ring is adjusted at the center or to one side of it, and the scarf is disposed with its untrimmed side on the shelf and its extremities falling gracefully at the ends. The edges which rest upon the shelf may be held in’ position by extending them beneath the heaviest orna- ments or pieces of bric-a-brac and the fulness may be drawn into innumerable graceful folds as it escapes from the ring. This great many variations may be rung. arrangement is one upon which a An ex- quisite effect is produced by using in con- ee AK )% OER PRT to pass about the shelf. _ SAAD. x the silk scarf as described above a piece of Irish point lace long enough junction with This may be ar- ranged plainly with its depth hanging below the edge, and the scarf, run through a ring, A bow of ribbon matching the scarf in hue might be disposed to overhang it slightly. fastened where the draping is made with the ring. Mantel draperies thus arranged are easily taken down, shaken and readjusted, and this fact alone is much in their favor, especially where open fires are used. Among the most beautiful of inexpensive material for draperies is a Japanese cotton crape, delicately figured in gold. Pongee, sateen, chintz, and all materials adapted to the purpose may be arranged in the manner described. Sometimes two shorter scarfs are passed through a large ring, and one end of each is carried to its respective end of the shelf; the remaining ends then disposed in any pretty fashion at the center, a favorite disposal being a fan-shaped arrangement which displavs to good advantage whatever decoration is upon them. ws * piano, NEEDLE AND BRUSH. 27 (Sen i i ri li imi in wi i win aT 3 CrLAPTER: IL. PIAN@O-GOVERS. OW can I make a piano-cover that which may be applied to a piano-cover of will be pretty, harmonize with felt, billiard-cloth, etc., with most. effective other furnishings and yet not re- and pleasing results. quire a large outlay of money, is a question often asked. In this Table or Piano Cover. chapter is illustrated a_ pretty Ficure No. 1.—This engraving illustrates cover suitable for a table or a table or piano cover that is handsome and and also a_ very effective border, not very expensive, if made at home. The FiGurE No. 1.—TABLE OR PIANO COVER. | 28 “NEEDLE AND BRUSH. fabric is dark-red cloth, and the border is strip is pointed, the outer ends being ex- made of rows of black velvet-ribbon applied tended some two or three inches beyond the we * % AZ. . FictrE No. 2.—PArT OF BORDER DESIGN. as illustrated with fancy sutches done with edge of the cover and tipped with a fancy silk floss in bright gold. Each end of each ornament of gold and red: thus forming a 3.—Parr or Borper DESIGN. FIGURE No. handsome and rich looking fringe. ‘Tassels may be loosened from old fringes and used with good effect, or any style of ornament may be selected. Long stitches are crossed upon the fringed ends of the ribbon, to ren- der them lighter and more elaborate in effect. A variety of colors may be introduced in the application of the ribbon, and the cover fabric may be of any color and of any preferred material. Border Design for a Piano-Cover. Ficurres Nos. 2 ANb 3.—These two engrav- ings illustrate a geometrical mosaic arranged as a border to a piano-cover. The best way to proceed in duplicating the design is to trace it on parchment paper, uniting the two sections on one piece of paper according to the capital letters, and then duplicate the size as often as may be necessary to obtain NEEDLE AND BRUSH. the requisite dimensions, making subsequent duplications so as to complete the shapes by bringing the small letters together. The un- broken lines indicate complete outlines, and the dotted lines show where parts of the de- sign are separated owing to the size of the pages. No difficulty in perfecting the outlines, need be feared, however, if the design be traced and matched according to the instruc- tions given. Such borders are worked with metallic cord sewed down invisibly with cot- ton, with fine silk cord purled with button- hole stitches, and with embroidery silk which follows the design in chain or herring-bone stitch. A handsome piano-cover, which may be made at small cost is of felt in old-red. with a border of olive velveteen, upon which this design is stamped and then reproduced with bronze and copper-colored metal cords. NEEDLE AND BRUSH. 3 CELA PIER. iy: SS ERY often the furnish- ings of a room which seem quite luxurious are the result of in- genious feminine fin- gers and_ taste, the development of artistic needle- work being not always completed tacks. without the driving of Just now there is a fancy for using old-fashioned chair frames and brighten- CHAIR DECORATIONS ARD CUSHIONS. and this chapter contains several illustra- tions of chairs, both modern and antique. From them many ideas may be gleaned which may be applied to possessions in hand. Decorated Chair. FicurE No, 1.—Any chair of like shape may be decorated in this way, and it may be gilded or colored, the gilding being exceed- ingly effective. A square, flat brocaded silk pillow or cushion is made of to fit Figure No. 1.—DrCoRAPED CHAIR. ing them up with pretty cushions and covers, the back as pictured, and the filling may be w to NEEDLE AND BRUSH. balsam, fir, cotton, down, etc. An edge of cord is added, and bows at the upper corners appear to secure it to the chair. Uy y , Di DY) : PQ 5 | — NS Na ~ . UM) na : SS . - \\ \ Af y] LVWND 4 SN Wy Ul \ HH III q Tj 1 . I P MWi4 _y 4 oP WY) ro U Uf ele Uy Uy Yy / | YYy yy i'}.\ ) I ATHY II // i ' \ ¢ \ WY f i) WM /))// [LP I) / 4, Hh Wi | | dl ff w7fi/M) ss . Gee cz : > x \ é - eT, Ur ] > /) J 7 if Uf 4/7 \ * Yay / iff) Pp, A /)] @ a / , WA Ly Decorated Chair. Figure No. 7.—Any fancifully shaped small chair may be decorated in this way. The wood may be of any handsome variety, or inexpensive wood may be beautified by paint and varnish. The cushion is made of fancy striped, loosely woven canvas or crash embroidered in oriental colors, according to the design pictured and described at Figure No. 8. sachet in two parts, To the top of the chair is fastened a one part falling backward and the other forward, and the two being tied FicurE No. 9.—CHAIR, EMBROIDERED CUSHIONS. WITH to the chair with ribbons. ‘The outer covering of the sachet is embroidered to correspond with the cushion and it is lined with the plain color. Embroidery Design for Chair. Ficure No. 8.—This design is used in embroidering the chair-cushion and_ sachet illustrated at Figure No. 7. Its colors are dark-cream, old-pink, old-blue, old-red, reddish- orange, dark and light olive-green, heliotrope and black. The black is used to outline the _ NEEDLE AND ) BRUSH. entire pattern and is done in short button- hole stitch, the stitches being taken up at comparatively long intervals. The filling stitch is Kensington and the colors are indi- cated by letters in the engraving, which, being méan: Ay cream: B, blues :C, FE opinkseGs dark-olive ; I, reddish-orange. interpreted, red: D, orange; E, light-olive ; heliotrope ; H, The stems are embroidered with gold tinsel thread, and the straight lines in the figures and the little cross designs are done with flat silver tinsel. FiGuRE No. 10.—EMBROIDERY DESIGN. Chair, with Embroidered Cushions. Ficure No. 9.—The frame of this chair is of a shape that may be purchased at any shop dealing in such articles, and the cushions are of velvet ornamented with outline designs done in silk. Such a chair in wood having a white enamelled finish, with blue satin cush- ions wrought in pale gold would be very ornamental in a drawing-room or boudoir. An ebony frame with yellow cushions would be equally effective. NEEDLE AND BRUSH. Embroidery Designs. embroidery, and the stems may be increased Ficures Nos. 10 AND 11.—These two fig- in length and blossoms added in prcportion ures illustrate the designs employed in em- to the size of the seat and back of the chair. FiGureE No. 11—EMBROIDERY DESIGN. broidering the chair pictured at Figure No.9, If solid embroidery be preferred to outline on the preceding page. Either satin or out- work the floral designs may be done in satin line stitch may be employed in doing the — stitch. They are equally pretty when painted. NEEDLE AND BRUSH. __ CHAPTER. Vv. TABLES AND TABLE-COVERS. HE fancy recently displayed for putting ornamental covers upon our tables has resulted _very happily; for the designer, in showing of what he is capable, also shows people how to work artistic- 65 ally themselves. Provided with a good design the worker need only “go Fine felt, flan- nel, cloth, Canton-flannel and Turkish tow- ahead,” for she is right. elling are all called into service for the cover proper, while all these materials, with silk, plush, fancy stitches, 7/ose//e and crewels, add to the ornamental part. Very simple tables of pine wood, with ebonized legs, be- come works of art, and dainty rattan ones There without unsightly tables that are absolute gain new beauties. are few houses necessities, and these a mantle of beauty should cover, so that use and beauty may form the proper partnership. Table, with Fancy Cover. Ficure No. 1.—The table illustrated is of rattan, the size being such that it commends itself to people who have all sorts of little things seeking for a resting place. The cloth is of the proper size to hang over the edges gracefully. It is of dark red felt, with its edges cut out in large points that round slightly, each one being ornamented with an and tipped with an olive appliqué design tassel of silk. At each corner, near the lower shelf, the slender legs are ornamented with a bow of satin ribbon. The appliqué pieces are securely button-holed to the cloth with bright yellow floselle. the best They are of fine felt, which is found material for such purposes, as it does not fray. Even when the cloth is of the other materials suggested, the pieces are usually of felt. Following are descriptions of the pieces, which are pleasingly varied in design. Appliqué Design. 2.—A used for this fan, while the embroidery is Ficure No. dark shade of blue is wrought out in bright yellow and dull brown. On one side the effect is Chinese and cabal- istic enough to delight the soul of her who is most eager for all that comes from Celestial lands. Appliqué Design. Ficure No. 3.—This broadly shaped fan is of light olive felt, with the embroidery upon 40 it cone The st in lig FIGURE itches NEEDLE AND BRUSH. dark cardinal fose//e. eht and FIGURE No. 2.—APPLIQUE DESIGN. employed in performing the work are all familiar ones, being the outline stitches No. p—TapsLe, wirin FANCY Cover. fi) i Y i i i! {| | ie ' i i | ua al! i mn Nee Ba a iors | {if i A i ) ms Bits. uN | m | Hla hi ‘ WW i), FIGURE N¢ ». 3-— APPLIQUE DESIGN, generally known as the South-Kensington, Appliqué Design. Ficure No. 4.—This slender fan design is shade so often seen on ght red of the li NEEDLE AND BRUSH. ar | brown, cream and very light blue. In cut- ting out these appliqués, it would be well to remember that very sharp scissors should Ficurk No. 4.—AveLiguE DEsIGN. A | i oi ant iG i | Ni i . No, 6.—APPLIQUE DESIGN. ) oy Was FIGURE Turkish embroidery and to which it owes its present popularity. The work is done in FIGURE No. 5.—APPLIQUE DESIGN, FiIGuRE No. 7.— APPLIQUE DESIGN. be used, so that the edges will be perfectly smooth. NEEDLE AND BRUSH. Applique Design. Ficure No. 5.—A fan of cream-white, embroidered in dark brown, forms a_ de- cided and pleasant contrast when compared The cat-tail is blooming, while with several strokes with the others illustrated. favorite of the needle a beaming Sol is represented, shining down upon it. Appliqué Design. 6.—A suggestive to the good and bad Ficure No. decidedly housekeeper alike, and which to one brings a shape that will be smile and the other a frown, is of pale blue, Appliqué Design. Ficure No. 8.—The seeker after Oriental- ism will be delighted with the crescent, which is of dull yellow and has dark and bright blue stars worked upon it, fully embodying the Eastern idea of the star and the crescent. Al- though this design is not visible upon the table cover it may be used for the embellish- ment of such an article with good effect. Appliqué Design. Figure No. 9.—The palm leaf fan is more exactly shown by having its miniature handle Dull the somewhat wrapped to look like the wood itself. plum color is chosen, and FIGURE No 8.—APPLIQUE DESIGN. scarlet and light yellow, giving to it more ornamentation than is accorded the article it so well represents, though it is, after all, a queer shaped Indian fan and not the more homely broom for which it might well be taken. Appliqué Design. Ficure No. 7.—A folding fan, opened to écru in its its extreme dimensions, is. of deepest shade, properly embroidered with bright cardinal and pale cream. The tiny flower at the top of each point tends to give effect, but fashionably the fan a wonderfully realistic does not prevent it from being esthetic. Ficurt No. 9—APPLIQUE DESIGN. elaborate work on it is in blue and pale pink. If an entirely realistic effect should be desired, pale straw-colored felt may be used instead of the darker shade. In such a case, the silk would correspond in tone, the result being very pretty. Embroidered Table-Cover. Ficure No, to.—This engraving portrays a table-cover that is novel in shape and very decorated with an beautifully embroidered border and a fringe of pompons. The cover is of plush, and is intended for an oblong or square table. It is cut in a large scollop at each side, the scollops falling at the sides n simulation of drop leaves. The scollops NEEDLE AND BRUSH. 43 may be lined with the material or with satin, course, any other design preferred by the Surah, silk, etc. ; and any kind of fringe or worker may be embroidered instead, or the ornaments may be added to the edges. ‘The decoration may be ev applique. Ficure No. 1o.—EMBROIDERED TABLE-COVER. Figures Nos. iL AND 12.—DESIGNS FOR EMBROIDERY ON TABLE-COVER. correct sizes of the flowers and leaves forming Designs for Embroidery on Table-Cover. the embroidery design used in this instance Ficures Nos. 11 AND 12.—The flower are given at Figures Nos, 11 and 12; but, of and leaf designs decorating the table-cover +4 NEEDLE AND BRUSH. pictured at Figure No. 10 are here shown in _ plain stitch, as illustrated, for the petals, and full size. The leaf may be worked in Ken- the knot stitch for the center. The leaves Figure No, 13.-—CoVvER FOR DINING-ROoM TABLE. Dracrams A, BAND C.—SECTIONS FOR DESIGN ON TABLE-COVER. sington or other embroidery stitch, but the may be cut from velvet, plush or cloth and flowers are done with a long loop and short applied, if preferred to embroidery. The NEEDLE AND BRUSH. stitches referred to are very clearly illustrated in the present flower design, and are easy to accomplish. Appliqués do not require extreme care in their attachment, and it is not so difficult to Hh sete seat Us 0 : rN Cover for Dining-Room Table. No. for the table when the dishes and other rem- It is FIGURE 13.—This handsome cover is nants of arepast have been remoy ed. made of billiard cleth, and its border deco- mar TM TK Oe Sy Q, Ti Ott eM a, at f i Nat oe es Tat My ge Png Nn, gg Ny EE Oo OD OS EO ONEN Kicgure No, 15 ) eee awn Ne ae mu al) vA I } ah i ay eae FIGURE No, 14.—TABLE-COVER. achieve a good result with them as with embroidery ; consequently the novice who is doubtful of success with the more elaborate varieties of needle-work will do well to begin her efforts by learning how to apply them. ration is produced by a vine-like arrangement of branches laden with pears and Jeafages all en applique. done in Kensington stitch, and the pears and The branches and stems are leaves are cut from velvet or plush and 46 applied in a gracefully natural manner. The shape and size of the pears and the leaves required are shown by diagrams A, B and C. ‘The veining of the leaves may be done with 7/ose//e, crewels or silk. If desired, the The way to produce a graceful effect is to outline leaves may be embroidered. simplest the pattern on the cloth and then baste on the leaves and fruit. Some of the pears may be green and some golden-yellow, or any combination of colors natural to the pear may be achieved. Felt-cloth, momie cloth or any preferred materials may be used for the cover. The edges may be pinked, fringe-trimmed or left plain, as preferred. Sections for Design on Table-Cover. Diacrams A, B anp C.—The correct size and shape of the pears and leaves for decorat- ing the table-cover shown at Figure No. 13 are furnished by these diagrams, and the lines for veining are also shown. Tissue or tracing paper may be used to duplicate their outlines, and these designs will be found quite as valuable as guides in doing all varieties of outline work as for the purpose illustrated, and very much more novel than stereotyped patterns. Table—Cover. Ficure No, 14.—For a square or oblong table this is a handsome and elaborate-look- ing cover. The material is cloth of dimen- sions to hang gracefully deep at all sides of the table. a little above the edges and fastened down at A wide band of velvet is arranged its edges with fancy stitches done with con- trasting silks. It is also richly embroidered near the top and bottom with simple stitches, which only require care in producing a very elaborate and pretty effect. The stitches used are illustrated at Figures: Nos. 15 and 16. The cloth may be of any pre- NEEDLE AND BRUSH. ferred color, and the band may be in very striking contrast and of ribbon, plush, velvet or any preferred material. Sometimes a contrasting shade in the same material will be used, with very pretty effect. The stitches may be done with one or many colors. Fancy Stitches. Ficures Nos. 15 AND 16.—These engrav- ings illustrate the stitches used in decorating No. 14. They can be very easily copied and may also the table-cover shown at Figure be classed among the stitches used for crazy work, Table, with Cover. Ficure No. 17.—A small table, with elabo- rately carved ebony legs will be found much more decorative when its cover is also orna- mental. The one illustrated is formed of alternate pieces of cardinal plush and _pale- blue satin, embroidered and trimmed with The arrangement of the pieces may be perfectly chenille fringe, tassels and cord. geen in the engraving, the fitting-in and finishing of each one being perfectly percep- tible. them upon, and each one has a chenille cord A lining of Silesia is used to mount between it and the next. Appliqué designs may be used with as good a result as if the sections were hand-embroidered. Section of Cover. 18.—This plush, embroidered in yellow silk to simulate Ficure No. section is of the miniature sunflowers. It is the shape of that portion of the cloth that fits in each corner, four being cut after this shape. Section of Cover. Ficure No. 19.—This section is part of the lambreguin-like portion of the cover, it being the one that falls immediately over the front. Similar sections are at each side and NEEDLE AND BRUSH. in the back. It is of the satin, and is worked in yellow silk to simulate young leaves. here illustrated. The material is satin, and the design a glowing red liliaceous plant, with FIGURE No. 18. Ficure No. 19. FIGURE No. 20. Ficgur& No. 17.—TABLE, WITH COVER. Section of Cover. Ficure No. 20.—The center section is its attendant leaves. Any preferred selection of colors for the embroidery may be made. 47 ape NEEDLE AND BRUSH. Section of Cover. Figure No, 21.—One of the square sec- tions is here shown, being of the plush em- | broidered in purple grapes and green leaves. Much taste may be shown in shading the fruit. | Section of Cover. Ficure No. 22.—This pointed section is of the plush wrought in dark green and scar- let, the work bringing forth bright berries and leaves. Four such sections are used, and they constitute the side pieces of the drooping portion of the cover. ee ise ti ii WA b. HI fe Figure No. 2r. Table-Cover. Ficurr No. 23.—Two shades of felt-cloth | are combined in this handsome table-cover, | the center portion being cut with undulating gilt spangles edges and decorated with small arranged in groups of three. Strips of velvet ribbon of varied lengths are applied and deco- with stitches done with tinsel rated fancy thread. Spangles are sewed below the long stitches applying the strips at the ends and The Two the nearest two strips at each side. edges of the cover are finished plain. shades of plush, felt and plush, or satin or silk with felt or plush, may be combined in a table cover of this kind, and the center por- tion may be embellished with hand-painting, embroidery or appliqués, if a very elaborate effect be desired. Knot stitches done with tinsel thread may be substituted for the spangles. Grecian Border. Ficure No. 24.—This engraving represents a Greek key pattern, traced by two lines of gilt braid. The pattern is either traced on tissue paper, which is basted over the portions FiGuRE No. 22. Ficures Nos. 18, 19, 20, 2. AND 22.—SECTIONS OF COVER SHOWN AT FIGURE No. 17. to be adorned, or it is stamped on the goods. The braid is then carefully stitched by ma- chine or hand to the article, the strictest preci- sion being observed in turning the corners. The paper, if used, is now torn away, and gilt beads or spangles are sewed between the lines of braid with sewing silk, so coarse that a single stitch will suffice to hold them to place. After fastening one bead, pass the needle to the place where the next one is to be sewn, long needlefuls of silk being preferable for the purpose, as the less frequently a new thread is started the smoother will appear the surface. NEEDLE AND BRUSH. This pattern is easily and very rapidly done, and is adapted to table and piano covers or scarfs. Table-Cover. Ficure No. 25.—This beautiful cover is made of olive-green cloth and is oblong shape. It is edged all around with a row used for elegant coverings of this style; and the fringe may be of worsted chenille tipped with acorns, or of ball, tassel, fly, finger or any other variety preferred. A very elegant cover of this style is of olive felt-cloth with a deep border of water-lilies and cat-tails embroidered in their natural colors with crewels, and a row of pretty worsted-chenille FiGURE No, handsome ball fringe, and has an appliquéed of bitter-sweet berries arranged in artistic order and For oval tables, the cover is very handsome; border consisting daisies, cat-tails and in their natural colors. square or the former style of table requiring a perfect square of cloth. Plush, cloth, felt-cloth, Turkish towelling, momie- satin, velvet and silk are all 23.—TABLE-COVER. fringe tipped with golden acorns. ‘The lilies and cat-tails may be appliquéed, if preferred ; or they may be formed of bead-embroidery, A great many illustrations of designs adapted to the decoration of such covers are given in this book and personal taste may be made umpire in deciding which is best adapted to the color and purpose of any special cover. on ¢ 1 NEEDLE AND BRUSH. ‘The Grecian border illustrated is adapted cord upon velvet or plush, and it possesses to the decoration of any variety of table-cover the advantage of being rapidly executed. Wbdda ZU = ye oD 4 nS Ficurré No. 25.—TABLE-COVER. large enough to form a background for it. When done with outline-stitching between two It is very effective when developed in metallic rows of metal cord, it is quite unique. % =a S oe t a | ayn (soe |- 2. jo a a , Ae s DT [be ON |---|} pale See See as 1) ERS | BeOS ° @ 3) Blea Sie I. 7-1 ea [| Ga |] GN ee oe 5 || eas | | arse | I IF pO NO | a he ChAP TER V1. eo | a HERE is scarcely a table or cock-blue silk. Velvet, plush, silk, satin or | ApOY: ae A KS shelf so uncompromising in any fabric preferred may be employed for the (a ¢ TS construction that it cannot be Jambrequin, and, if desired, the edge may be agley 4 | ‘ py made attractive by being taste- plain, with fringe the shade of the cover as | ~ fully draped, and the engravings a bordering. The method of embroidering in this department offer many sug- gestions which tasteful ladies will value. Among the pretty things in the way of decorations are peacock-feathers in their beautiful tintings, and they are used to em- bellish everything. Door-panels, lambrequins, table-scarfs, etc., are rendered beautiful and quaint by them, and they may either be painted or embroidered, or the real feathers may be applied, with very artistic results. Lambrequin for a Fancy Table. Ficure No, 1.—A beautiful lambrequin for a table to hold statuary or bric-4-brac is here illustrated. It is of felt-cloth of a hunter’s- green shade, and is made wide enough to cover the top of the table. The lower edge is cut in large scollops, which are very narrowly bordered with peacock-blue cloth, prettily pinked, and the lambrequin is elaborately embroidered in an artistic design of peacock- tintings. Between the feathers in natural scollops are fastened pendent cones of pea- free NEEDLE AND BRUSH. the peacock-feathers is described at Figure No. 2 of this chapter. Embroidered Peacock-Feather. Ficure No. 2.—The proper colorings for this design may be obtained from the natural done feather. The flues, eye and stem are all in the Kensington stitch. Very effective and artistic groupings of these feathers in embroid- ery may be secured. Lambrequin for Table. FicuRE No. 3.—This pretty lambrequin, especially suitable for either brackets, small shelves or tables, is made of alternate pieces of dark-blue velvet and pale rose-colored satin. On the velvet sections are applied flowers and leaves of pale-blue, while on the satin ones are geometrical beads. Gilt point, and from them fall full silk tassels of designs wrought out in pearl rings are pendent from each the blue shade. Gilt crescents may be used instead of the rings, and an equally good effect will be obtained with them. Silk-fin- 52 NEEDLE AND BRUSH. | ished Silesia will be found the most desirable of this illustration before folding. ‘They are lining for such a lambrequin. then folded as shown, and a narrow seam is NSS sav i a a a fl i u h a i A B j F ; FiGuRE No. 1.—LAMBREQUIN FOR A FANCY TABLE. Section of Satin Flower. taken, holding them together at the top and Ficure No. 4.—To form the satin flower on — slightly at the sides, after which they are the lambrequin, pieces are cut the shape turned inside out. NEEDLE AND BRUSH. 53 Ficure No. 2.—EMBROIDERED PRACOCK-FEATHER, on f& NEEDLE AND BRUSH. | ection of Satin Flower. A little deftness in turning it is required, so | Ficure No. 5.—This illustration shows the that, when completed, it may display the FicurE No. 3.—LAMBREQUIN FOR TABLE. FIGURE No. 4.—SECTION OF SATIN FLOWER. FicurE No. 5.—SECTION OF SATIN FLOWER. yjitig Ls Ficure No. 6.—SATIN FLOWER FOR LAMBREQUIN. petal after it is turned, and a few stitches, curled leaf effect noticeable in the petals of drawing it slightly, are taken at the bottom. natural roses. NEEDLE AND BRUSH. 55 Satin Flower, for Lambrequin. stitch and with pale-green silk, while the Ficure No. 6.—The flower is here shown leaves are cut out of the satin and then with its petals joined together and a natural- applied. FIGURE No. 7.—FANCY LAMBREQUIN. Figure No. 8.—VELVEr AND PLUSH LAMBREQUIN. looking center formed by several stitches taken Fancy Lambrequin. in knot fashion with pale-yellow silk. The Ficurr No. 7.—A handsome lambrequin of stems are done with embroidery silk in stem plush and satin is here illustrated. The plush 56 sections are embroidered with floss, the al- ternate sections showing different designs. Golden-rod or sumach and fern leaves make one effective combination, and daisies and grasses the other. The satin sections are feather-stitched about their edges, and all the sections are joined together by over-and-over stitches made on the wrong side. A lining of silk, Silesia, Surah or any preferred fabric is added after the parts have been joined, the A hand- some tassel tips each lambrequin point and result being very neat and pretty. may be of the color of the plush or satin, as preferred. Any two colors or fabrics pleasing to the taste may be made up into such lam- brequins; felt-cloth and satin or plush, velvet and satin, or two shades of velvet, plush, satin or cloth combining handsomely in such articles. Such a lambrequin may be used for draping shelves, tables, flower- mantels, brackets, stands, etc., with very beautiful results. NEEDLE AND BRUSH. Velvet and Plush Lambrequin. Ficure No. 8.—While suited to tables or cabinet shelves, this lambrequin is especially adapted to mantels. It is composed of alter- nate sections of pale-gray velvet and deep- crimson plush. The pieces are lined with Silesia, so that no hem is necessary; the velvet ones having the points tipped with dark-crim- son tassels, while the plush ones are finished with a full feathery fringe the same shade. On the velvet sections are embroidered in South-Kensington stitch elaborate designs of flowers and buds, humming-birds and butter- flies, that add much to the beauty of the drapery. A similar lambrequin, less expen- sive, might be made of felt in contrasting colors ; or one showing velvet and satin would be in good taste. If light materials are used, it will be found best to put some weight in the lower edge to keep the Jambrequin from swaying to and fro. NEEDLE AND BRUSH. 57 @ 6 aNd: (ae SENS NSN Bn CHAP PER. We SIDEBOARD ARD NE of the most desirable req- uisites of any decoration arranged upon a sideboard is that of laundering well, and this requisite is quite possible in both simple and expensive scarfs because cotton and linen and also silk for embroider- ing are now obtainable in fast colors, at a moderate price. Purlette applied with either silk or linen thread forms an effective decora- tion for any variety of linen scarf. Drawn- work and netted fringe, which may be devel- oped without adding anything to the cost of the work, are also very effective. Sideboard and Scarf. Ficure No. 1.—A sideboard of cherry, upon which is placed some of the pretty plates and bits prized by the mistress of the house, is here shown. The scarf laid across the top is of scrim, heavily fringed at each end and embroidered in scarlet and green crewels, the pattern being that of holly berries and leaves. Such scarfs are much in vogue, SHELF DRAPERY. as they not only protect the wood, but are also very decorative. Linen may be used, but, for its creamy hue and capability in the way of being fringed, preference is often given to the more accommodating scrim, Embroidery Design for Scarf on Sideboard. Ficure No. 2.—This pretty design will not only be in good taste for the scrim scarf, but it will also be found available for chair-scarfs, serviettes, tray-covers and, indeed, any of the articles that seem to need a border or a line of embroidery. It is usually worked in scar- lets and greens, but the berries could be made a reddish brown, with a very good result. Shelf-Drapery. Ficure No. 3.—The shelf, as represented, will be found a decorative adjunct that will tend much toward furnishing. The material used is cardinal cloth, which is first smoothly but securely tacked to the surface of the shelf wn on NEEDLE AND BRUSH. or table. The lambrequin-like drapery is cut securing it, suggests the more secure fasten- out, and has appliquéed upon it sunflowers ing which it really hides. Cloth, felt, velvet DO aT MEAT NZ = i Ficure No. 1.—SIDEBOARD AND SCARF. and fern-leaves in their natural colors. A or plush may be utilized in making such narrow band of velvet, with gilt-headed nails covers. ‘The felt flowers and leaves may be oo, talaga, eas 3 NEEDLE AND BRUSH. 59 procured at any fancy store and are easily dainty cover upon a shelf dressed like this, applied, and for such purposes are more one cannot but appreciate how much actual ce / VINTON \ | INA) a Rady) Wi Wy = | pn “Itt \ d FIGURE No. 3.—SHELF-DRAPERY. effective than fine embroidery. The edges beauty may be produced at very slight ex- are bound with velvet, but, if desired, they pense and with little trouble to willing and may be pinked. As the book lies open in its deft hands. NEEDLE AND BRUSH, LAVA WORK. Tus new and beautiful method of deco- rating Armenian pottery, vases, bottles, um- brella-stands, picture-frames, etc., is done in the following manner: The lava comes in cans; the top of the can is made of thin tin and over this is a loose cover of thick tin. Remove the outside cover and cut the thin tin close to the side all round. When not in use place the loose cover tightly over the can. See that the surface of the vase or bottle to be decorated is thoroughly clean and dry, and cover it lightly with gum shellac; then apply the lava with a palette-knife, spreading on a coating about an eighth of an inch thick. The next step is to produce a network of raised figures or designs in the lava. This is done by marking or scoring the surface with a sharpened pencil, the point being held firmly in the vase and moved about in a series of irregular curves; a series of ridges is pro- duced by tangled scroll-work over the entire surface. When the marking is completed the article should be set aside to harden, which will take twenty-four hours. When perfectly dry, apply a coat of lacquer evenly over the entire surface: this will dry in two hours. The lacquer comes in three- ounce bottles, and costs twenty-five cents. The work is now ready for the last coat, which may be any color of gold or bronze paint or any luster shade, NEEDLE AND BRUSH. 61 CHAPTER VIEL REFINED preference for faint aromas rather than for strong scents makes novel shapes in sachet cases for holding the delicate powder sought and eagerly for, ladies who have many of these pretty trifles always desire more. This chapter illustrates and explains a number of pretty sachets. Sachet. FicuRE No. 1.—Three varieties of pretty Ficure No. ribbon this beautiful sachet, and fancy stitching in colored silk is are joined to form made along the seams. The shape is three- SACHETS. cornered, and applied points of ribbon deco- rate one side, while the bottom is decorated with ribbons gathered to the lower corners and tied together near the left corner. Scraps of fancy silks, velvets or ribbons may be thus utilized, and frequently the three will be seen in one sachet. Of course, the customary fill- ing of cotton, well-sprinkled with sachet-pow- der, is requisite, but it should not be too compact. Japanese Sachet. Figure No, 2.—This engraving iilustrates (27 $id 7 laste atl ies iccay, seMMUUianl* I.—SACHET. a double sachet, which is made of a Japanese napkin showing an artistic design in pretty colors, The napkin is folded double, joined 62 at the sides and ends, and lehtly filled with ) ghuly cotton well-sprinkled with the favorite sachet- Ficure No. 3.—RIBBON SACHET. powder. A ribbon is tied tightly in a bow about the center of the napkin, and the filling NEEDLE AND BRUSH. is pushed toward either end, the ribbon divid- ing the sachet into two parts. The napkins mtn i i | i | | it i H ||| il) IM FIGURE No. 4.—FANCY SACHET. may be procured in great variety of sizes and designs, and they cost very little. Such ae NEEDLE AND BRUSH. sachets may be used like a chair scarf, or they may be fastened wherever they will be effec- tive. The ribbon may be of any preferred color, violet and heliotrope being used with sachets of those perfumes. Ribbon Sachet. Ficure No, 3.—Two shades of ribbon are united to form this sachet, which is in bag shape, the ribbon being joined by fine over- and-over stitches and the joinings decorated with fancy stitching done with different col- ored silk. The ends of the ribbon are rav- elled to form a deep fringe, which falls over The bag is filled in a cascade on either side. yy a, ye’ ui nvents HA Qi ahs i \\ \ AN A bag is faced with silk, and far enough below the top to form a full, pretty frill; it is closed by a wide feather-edged ribbon that is grace- fully tied in an immense bow, the words ” “ Birthday Greeting ” embroidered in bullion decorating the loops. Any preferred colors may be selected for the sachet, three shades of heliotrope, green, blue or yellow being especially effective. The ribbons may be of different colors. Sachet. Ficure No. 5.—A plain India silk hand- kerchief or a square of India silk hemmed at the edges may be used for this exhaler of FiGure No. 5.—SACHET. with cotton well-sprinkled with the favorite perfume powder, and is tied in with narrow ribbon of the two shades, the ribbon being tied in many long loops and ends. Any pre- ferred colors may be chosen, and the ribbon may be of one or two varieties, the width depending upon the size of the sachet. Fancy Sachet. Ficure No. 4.—Three shades of grosgrain The ribbons are frayed to form a deep fringe at the bottom ribbon are used in this sachet. and are joined to form a bag which is filled with cotton, well-sprinkled with the favorite perfume powder. Fancy stitching is made on either side of all the seams; the top of the delightful odors. The sachet is filled with cotton well-sprinkled with perfume powder, and tied together as pictured, the ends being spread out and each decorated with a different design done in Kensington outline or satin stitch in suitable colors. The correct sizes for the designs are given at Figures Nos. 6, 7, 8 andg. The handkerchief or silk may be of any preferred color. Embroidery Designs for Sachet. Nos. 6,. 4, 8 designs are the proper size for the sachet FIGURES AND 9.—These pictured at Figure No. 4, and may be done in satin stitch, solid Kensington or outline stitch, or they may be painted, as preferred. The rs 64 NEEDLE AND BRUSH. designs are also handsome for decorating closely, and _ tied together at the top with other articles, such as moucho’r and glove ribbon in two or three contrasting colors. cases, scarfs, tidies, etc. Each bag may be of a different color, or all © © 1S sar J FicurRE No. 7. Ficure No. 8. FicuRE No. 9. Sachet Card-Receiver. may be of one color, as desired. The bags Ficure No, to.—This unique card-receiver are filled with cotton, thickly sprinkled with | is composed of three satin bags drawn in sachet powder, and at the bottom of each | NEEDLE AND BRUSH. Es bag are formed two compartments for cards. effect is produced by leaving the compart- The bags may be elaborated with floral or ments plain. Satin, silk, velvet, plush, etc., other embroidery designs, or the cards in the will be handsome for accessories of this kind, compartments may be specified in prettily and any preferred combination of colors may embroidered or painted letters on each bag. be realized. Dea) aad ay is yu I \ ni ; te} ACL Be LT EIT ba Piya le al RSeiapsinty te ime Wi ia 2 apstety fat \ a Tl = ama at aa ARUN Ss GAN ro canner FiGurE No, 10.—SACHET CARD-RECEIVER. FIGURE No. 11. —HANDKERCHIEF- CASE, CLOSED. FLORELRERRURCE . OY = oe Soe Sa ay | R @ A i vi Ace ee SANA Cy (VE i i i oy My nied aaiaiesesee cae tS ieipliseiab eae a ——————— Figure No. 12.—HANDKERCHIEF-CASE, OPEN. One or all of the compartments may be deco- Handkerchief Case. rated with embroidery or hand-painting, but Ficures Nos. rr AND 12.—This is a very if the bags are elaborately decorated the best pretty and popular receptacle for one’s hand- BP - | NEEDLE AND BRUSH. kerchiefs. It is made of corded silk and _ the case was selected from Kursheedt’s Stand- lined with quilted satin of a delicate color. ard floral appliquées. A strap of ribbon, the At Figure No. 11 the case is shown closed, color of the quilted satin, confines the ends of while at Figure No. 12 it is seen open, with three strips of ribbon, on either side of the Ficure No. 13.—COMPLETED GRAPE. Figure No. 14.—SHOWING THE EXACT SIZE OF EacH GRAPE SECTION, AND ILLUSTRATING THE Ficurre No. 15.—GRAPE-SACHET. MeETHOD OF MAKING THE GRAPE. the handkerchiefs properly placed. A quille folding of the case, the ribbons extending to of ribbon borders the case on both sides, the the corners and the center of the front edges, colors matching the materials. The spray where they are gathered under the quille. of flowers appliquéed on the upper side of Plush, velvet, Surah, etc., may be used and NEEDLE AND BRUSH. the lining may be of plain Surah or satin, and amply wadded. that it is always well sprinkled with the favor- ite sachet-powder of the possessor. SSSSSSS Te SSaSS Se 4 '\)!))\\\\ peel are shown by Figure No. r4, which also Of course, it is understood © plainly illustrates how each section should be “yun” all around near the edge for gathering a it. The gathering thread is drawn up as NW IN | \\ i Ficure No. 17.—RIBBON SACHET. Grape-Sachet, and Method of Making It. Ficures Nos. 13, 14 AND 15.—These en- gravings illustrate a pretty and artistic nov- elty in sachet cases, and also show how exceedingly simple is the construction of this dainty perfume-holder. The exact shape and size of the sections used in making the grapes tightly as possible, and the little bag thus formed is filled with cotton lightly sprinkled with any favorite sachet-powder. A piece of wire is inserted for the stem, and then the grape is in the complete form pictured by Figure No. 13. When a suitable number of grapes have thus been made, they are grace- ee 68 NEEDLE AND BRUSH. fully clustered on a rubber stem taken from an artificial flower-spray, as pictured at Figure No. 15. The grapes should hang in abun- dance from the stem, and the leaf may be an artificial grape-leaf or may be cut from plush, velvet, felt cloth, etc., and have veins embroi- dered with silk or floss. Deep-prune, dark- claret, wine, black and dark-blue are suitable colors for such cases, and the material may be When proper colors are selected, the case looks like silk, satin or Surah, as_ preferred. a realistic bunch of this very delicious fruit. Sachet. Ficure No. 16.—For the bottom of the bureau drawers this pretty sachet is intended. It is cut the size of the floor of the drawer and may be of silk, satin, Silesia, cambric, crétonne, etc., and edged all round with cord. of cotton with perfume Layers sprinkled powder are added, and the upper side is decorated with tufts of embroidery silk. Ribbon Sachet. Ficure No. 17.—A very dainty perfume- Two ribbon, baby-blue in color and each holder is here illustrated. pieces of wide about five-eighths of a yard in length, are sewed together to within about five inches of the ends, the seams being drawn slightly so as to produce a little fulness. The parts are also joined between the ends of these seams, the bag thus formed being filled with cotton thoroughly sprinkled with the favorite sachet powder. The ends are carefully frayed out and fall in the full, fluffy cascades pictured in the engraving. Upon one or upon each side of the sachet in the lower right-hand corner, is embroidered a pretty spray of daisies, golden-rod, etc., and at the top, cs-ectly at the center of the seam, is fastened a very bow of Bordeaux satin large, full-looped ribbon; the bright yellow of the golden-rod, the gold and white of the daisies, the deep greens of the foliage and the deep rich red of the ribbon contrasting very beautifully with the delicate blue of the article itself. Of course, any combination of colors may be selected, and the design may be hand-painted instead of embroidered, or any other design may be adopted. The exact size of the spray and the method of embroidering it are illustrated and described at Figure No. 18. Spray of Wild Flowers. Ficure No. 18.—This handsome spray is used in embroidering the ribbon sachet illus- trated at Figure No. 17. It may, however, be selected to decorate table-scarfs, lambre- quins, book-covers, etc., and is given in about the correct size of the flowers. The petals of the daisies may be formed of white ribbon or of solid embroidery, and the centers of golden floss in knot stitch. The golden-rod should be done in chenille stitch to look natural, and the stems, leaves, and bud in South-Kensing- stitch. ton Only the outline of the design is given, so that the entire effect need only be outlined. Pale blue ribbon is used for corn- flowers. Ribbon Sachet. FicureE No. 19.—This dainty perfume- holder is made of two shades of ribbon woven in basket fashion. The foundation of the article may be a_ piece of cardboard, the ordinary blotting-paper covered, bag-like, with canton flannel or sheet wadding thickly sprinkled with whatever kind of sachet-pow- der is preferred. Fancy stitches are done with embroidery silks of different colors at the corners of the squares, but usually these sachets are finished without the stitches and are equally pretty when they are omitted. Bows of ribbon are fastened to three corners of the sachet, and a ribbon for suspension is NEEDLE AND BRUSH. 69 fastened at the remaining corner. The addi- features of the affair. ‘Iwo contrasting Figure No. 18.—Spray oF WILp FLowers. tion of the bows is one of the most ornamental colors are most effective in articles of this 7° NEEDLE AND BRUSH. kind, though sometimes only one color is and _ blue, olive with gold or crimson or blue, purple used. Orange and white, pink with lavender, green with crimson or gold, and blue with gold, pink or canary, are all ribbon selected is effective. The width of No. 3. Such sachets are often completed above the fringe, with two shades of very narrow picot ribbon bunched in many loops. A row of beads gonceals the joining seams, and the filling of cotton is well sprinkled with the favorite powder. Any two colors or shades may be combined in sachets of this kind, personal taste being the arbiter in such matters. Ficure No. 19.—RIBBON SACHET. without the fancy stitching, and to some tastes the less elaborate effect is the more refined. Sachet. Ficure No. 20.—Four strips of wide ribbon in two contrasting shades are joined to form this pretty sachet. They are deeply fringed at their ends and tied in tightly, just Violet Sachet. Ficure No. 21.—This dainty sachet is made of two strips of violet ribbon joined at the long edges and carefully fringed at the ends, the fringe being visible beyond a ruffle of deep lace, which turns toward it over the seaming. The filling may be done with cotton sprinkled with violet orris root, or dried violets may be used and a bunch of artificial NEEDLE AND BRUSH. 7 teal violets be fastened near one corner at the also may be painted. Any colors of ribbon top. The words “Sweet Violets” are embro may be used, though the violet shades are FicurE No 20.—SAcHET FiGurE No. 21.—VIOLEY SACHEY. Ficurre No. 22,—WorbD DECORATION FOR A VIOLET SACHET. dered in silver thread and are shown in a more suggestive of the fragrant perfume of graceful lettering at Figure No. 22. They which the sachet is redolent, and are, there- may be painted if preferred, and the flowers fore, more in harmony with the easemb/e. 72 NEEDLE AND BRUSH. Sachet Bags. together as illustrated, and their opposite Ficure No, 23.—A very unique arrange- corners tacked securely to each other. The ment for holding sachet powder is illustrated floral design is of course painted on each by these two bags which are filled with section of material before it is made up into gc Y Y Z % GY GY. Y IW Ficure No. 25.—SACHEY AND PINCUSHION. cotton that has been sprinkled with violet bag shape, as is also the Greek key design on powder, and then tied in miller’s fashion at the darker one. The ornamentation may be their tops. One bag is of light silk and the embroidered instead of painted, and any other other of dark satin, and the two are laid design admired may be selected NEEDLE AND BRUSH. Sachet Bag. Ficure No. 24.—The bag is made of a square of muslin, Silesia, sateen or cambric folded triangularly, sewed up and filled with cotton well sprinkled with the favorite per- fume. The cover is a larger square of silk fringed out at two edges, just enough to leave the unfringed portion the same size as the square forming the bag. The silk section is then similarly folded, with the fringe to fall beyond the edges; and the corners are tacked under pretty bows of ribbon. Watered, plain, striped or figured silk or satin or wide fancy ribbon may be used, and may be of dainty or The sachet may be large or small, as preferred, bright colors to please the fancy. and may be decorated with hand-painting or embroidery. Sachet and Pincushicn. Ficure No. 25.—This pretty cushion is made of scarlet satin and finished around the edges with a box-plaiting of Languedoc lace. Just above this, on the upper side, is flatly applied a bordering of lace, looking well on the rich background. In the upper left-hand corner the satin is turned back, showing a corner of yellow satin on which is painted a spray of flowers. Ladies not understanding the use of the brush can carefully, and with as good a result, transfer one of the decalcoma- nie or French Art pictures to the place where it is needed. In order to make this pincushion and sachet-case, it will be necessary to put a layer of cotton, on which some favorite powder has been thickly spread, next to the top. violet, and other Heliotrope, stephanotis faint odors are all desirable in sachet- powders. If preferred, darned lace or any variety preferred may be used instead of the Languedoc. NEEDLE AND BRUSH. A JEQIEL OF 7 BOX. PERHAPS it would be better to call it a flower of a box, as it is partially concealed by blossoms, but we will explain how it is made and then whoever duplicates it can decide upon a name for it. An ordinary white paste- board box forms the foundation, the size being best described by saying that it held a pound of confectionery. A scrap of blue satin covers the under side and another overlies the bottom, inside ; its edges being tacked beneath a piece of thin cardboard, which exactly fits into the box. Satin ribbon of the same shade and the narrow ribbosine used in fancy work are employed for covering the sides, the ribbon on the inside being laid in smoothly and tacked at the angles with a needle threaded with ribbosine, the ends of the latter being daintily bowed. Around the outside a ribbon is drawn smoothly, its ends being joined at one corner. That portion of the cover which slips over the box is now removed and the remaining flat portion is covered on both sides with satin, two tiny bits of the ribbosine being sewed beneath the lining at one edge. ‘The corresponding edges of the ribbon inside and outside the sides of the box are now neatly sewed together with an over-and-over stitch, except where the remaining ends of these short pieces of ribbosine are to be inserted—this being, however, left almost till the last. The cover is now overlaid with forget-me-not blossoms and their fine foliage, the leaves and flowers being detached from their stems wherever needful to permit of sew- ing them almost flatly. It is not difficult to do this but it takes care and patience to achieve the desired result. Having arranged the floral portion the loose ends of ribbo- sine are slipped into their places between the back of the box and its lining and securely fastened to form hinges. To the cover at the center of its front edge is fastened a piece of narrow ribbon, and to the edge of the box another. These two are tied together to close the cover, and upon each front corner of the What to do Well, the one we have described box is fastened a pretty bow. with it? constitutes a most attractive ornament for a dressing case where it serves to hold some trifle of use or ornament, and even if it an- swered no practical purpose it is its own suff- cient excuse for being. The one who devised it laughingly claims as her greatest talent the ability of being able to make pretty things out of scraps. That it is a pleasant one, no- body will deny. NEEDLE AND BRUSH. 75 SS i UB oe 6 SS Le alm a # 00000. <0<0< a > = LYE§ Nod ede) ook har ehohorar! ae ey BM BG Ec 8 EE ° rw ChOACACAGACACACAG) DIS ICLIILIL CE LINS tes Loko fe fo fo bo fo fo fo ko fo ko (ne CHAPTER Jk Artistic Designs for Patchwork Quilts and Sofa-Pillow. HE making of patch- " work quilts, without losing its commend- able attributes of economy and utility, has gained in artis- and effective tic possibilities, much appreciated. designs are Those illustrated in this chapter are sure to be admired, as they Lae Ciiiddas Herring-bone Patchwork Quilt, and Diagram for Shaping Sections. Ficure No. 1, AND Diacram A.—The patchwork quilt illustrated at this figure is made of black and orange calico and lined with light-blue. These colors are well calcu- lated to secure the appearance admired in quilts of this kind, but any others preferred may be substituted for them. The . shape of the sections is pictured at diagram gorgeous KS LED pgs, FicGure No. 1. are very pretty and not too elaborate. DIAGRAM A. FicureE No, 1 AND DIAGRAM A,.—HERRING- BoNE PATCHWORK QUILT, AND DIAGRAM FOR SHAPING SECTIONS. A, which also shows the correct size, no 76 allowance being made for seams. The strips are joined as follows: Two pieces are placed at right angles with each other, the end of one being joined to one long side of the other near its end. After a number of parts have been connected in this way, they are joined together so that the angles fit in smoothly. The utmost care must be taken to have all the parts uniform. Figured goods in two colors may be used instead of plain, with good effect. Sometimes the pieces are basted over stiff paper and then top-sewed together NEEDLE AND BRUSH. ments of the sections pictured are shown at diagram F. For each oblong, ten sections like diagram A, two sections like diagram B, nine sections like diagram C, four sections like diagram D, and four sections like dia- The inner lines The shown at gram E, will be required. show where seams are to be made. parts are to be arranged as diagram F, and when properly placed will look as in diagram G. When the sec- tions are all with joined, the rays are put in lines of floss, which may be of Ficure No. 2.—Sun-Burst PATCHWORK. to insure uniformity, the paper being removed when the parts are joined. Sun-Burst Patchwork, and Diagrams for Shap- ing and Arranging the Sections. Ficure No. 2, anD Diacrams A, B, C, D, E, F anp G.—At Figure No. 2 the quilt is pictured made of black velvet and orange silk —a specially suitable combination. The cor- rect sizes and shapes of the sections are given at diagrams A, B, C, D and E, and half the size of the oblong and the proper arrange- contrasting color as shown at diagram G. When enough oblongs for the quilt are com- pleted they are joined together. Sometimes several colors will be introduced in an oblong, and the arrangement of colors and materials will be different in several sets of oblongs. Sofa-Pillow. Ficure No. 3.—This handsome sofa-pillow is made of velvet and plush, applied in uni- formly shaped sections to a square of satin with a variety of pretty stitches in numerous NEEDLE AND BRUSH. 77 shades of silk floss. The edge oD s of the pillow the square forming one side of the pillow, and are bordered with heavy cord. The effect of also the diagram for obtaining the exact size 78 NEEDLE AND BRUSH. and shape of the sections are illustrated at illustrates the Japanese effect in the peculiar Figures Nos. 4 and 5. management of its uniformly shaped pieces, DIAGRAM G. Dracrams A, b, C, D, E, F anp G.—SHAPES AND ARRANGEMENT OF SECTIONS FOR Sun-Burst PATCHWORK. Square of Patchwork for Top of Sofa-Pillow. and the mosaic or crazy effect in the brill- Ficure No. 5.—This square of patchwork iancy of its coloring and the variety of its NEEDLE AND “BRUSH. 79 | stitches. ‘The sections are all shaped exactly or silk, so that the points fit perfectly in the like the diagram shown at Figure No. 4, which angles, and the contrasting background is Figure No, 4—DIAGRAM FOR SITAPING SECTIONS OF PATCHWORK FOR SoOFA-PILLOW. is of the correct size. They are then visible in triangles between the sections. arranged upon a square section of bright satin Every variety of known fancy stitch is used in NEEDLE AND BRUSH, applying and embellishing the sections, and ting velvet or plush, it is best to cover the also in decorating the triangular spaces. back with a thin layer of mucilage, shellac, Velvet and plush for the sections, and satin white of ege, or some other gummy _ sub- 55) Ja As oo Sh ie ey La \Y Vana Gx FIGURE No. 5.—SQUARE OF PATCHWORK FOR Tor OF Sora-PILLow. for the background, make a handsome combi- — stance, and allow it to dry well. This pre- nation. shades Velvet, plush or silk in contrasting vents the material from fraying and keeps the also results beautifully. Before cut- sections in proper shape. NEEDLE AND BRUSH. > 09 ee eo eo eoeeo eo oe AGNI AIG) ie OF el a ae jaf Yo g@ul Jo Sta (@) a Yel yal Jol Jal al OM Ee cot eC oD he <6. ES SAS Ore Otis Oty CHAPTER Xx, TENNIS-RA of tennis-racket covers sup- plies pretty and interesting MO! occupation to ladies who play, or \ { whose friends enjoy the game. That Ag a these covers may be made things of 65 5 beauty as well as use is undebatable, but the Sif y CKET COVER. shaped; that found, neatness of execution in putting the parts together and in the decora- tion is all that is needed to achieve perfect success. Linen, felt, cloth, flannel, pongee, plush, crash, etc., are used for the covers, and the initials of the owner are painted or solidly \ ) Ficgukké No. 1.—PENNIS-RACKET COVER, first and all important requirement is a suit- able pattern by which they may be perfectly worked, or outlined in Kensington stitch on the front, while a large floral or other decora- 8 82 tion elaborates the back. This design may be painted, embroidered or ex appliqué. In- stead of flowers the insignia of the club or some original design may be used, if pre- ferred ; and the initials or monogram may be in metal. Dark colors are favored, but any preferred color may be used; and original effects may be achieved in color and decora- tion. The cover pictured shows only one of the many beautiful results that may be achieved, and for those wishing to produce the eee NEEDLE AND BRUSH. across the edge of the Jap, and the initial let- ters are worked in solid embroidery. The out- lines for the letters are shown at Figure No. 2. The handsome spray decorating the back is also done in solid embroidery in colors im- itating Nature and is very realistic-looking. The correct size of the spray is given at figure No. 3 on the following page. initial Letters for Racket-Cover. Ficure No, 2.—These letters are the proper Se FIGURE No. 2.—INITIAL LETTERS FOR RACKET-COVER. same effect the correct sizes of the initial letters used and the floral decoration are re- presented. Tennis-Racket Cover. Ficure No. 1.—Cloth in one of the new green shades was used in making this racket- cover, which is shaped by pattern No. 1510, price sd. or ro cents. It is perfect in shape and is closed at the center of its lap with rib- bon ties. A row of fancy stitching is made size for the racket-cover, and may be outlined or worked solidly, as preferred. They may also be used to decorate other articles. Spray for Decorating Racket-Cover. Ficure No. 3.—This beautiful spray of daisies may be done with outline stitch or in solid embroidery, as preferred; but to be effective the natural colors should be chosen. NEEDLE AND BRUSH. Embroidery Designs. Bargarran cotton or with crewels, linen or Ficures Nos. 4 anp 5.—The balls and silk. The exact outlines are readily repro- rackets illustrated :n these engravings are sim- duced by any one who has a correct eye, and FIGURE No. 4. Picure No. 5 ple but effective garnitures for a racket-cover. they may be traced by those who do not care They may be done in outline stitch with to rely upon keeping them in mind, & tA a ay ERLE PL Pool BF NEEDLE AND BRUSH. — ee 85 EVO VOI) OFC i CHAPTER Al, sl. XQUISITE bindings soon become ruins if they are not protected from the rays of the sun and Zi Ge7It from the dust. Not all the care | in the world will preserve a book * | * exposed to these evils, unless it is aS covered; and as the owner is i; loath to hide the beauty under a ae muslin or paper cover, so artistic Fancy Book-Cover, and Cases for Books and Engravings. ual taste may govern the materials employed or the designs wrought upon them, so that a fine field offers for the woman with ideas. Bible, with Cover. Ficure No. 1.—This illustration shows the bible in its cover, carefully closed and _pre- served. The outside is of royal purple vel- vet, the monogram in old-gold and _ scarlet, taste comes to her help and devises and the ribbons of Ottoman, which is soft and FIGURE No. 1.—BIBLE, WITH CovER. just what is needed. The family bible, ties easily. Silk, satin or cloth may be used the photograph album or, indeed, any book of value, may be enclosed in a cover like the one represented, and with a little care a fine effect may be produced. Individ- for such a cover, and myrtle, bronze, cardinal and dark blue would be suitable tints for other books. Purple, however, seems the most proper to use for any book of a religious character, as it is so essentially an ecclesiasti- cal color. Book-Cover Opened. Ficure No, 2.—As will be seen by this engraving, the cover is very easily made. It is cut the size desired in one piece, lined with quilted satin of the same shade, and has rib- bon ends which are only employed when the book is closed and the cover fastened. The quilting is done in the familiar “‘diamond ” design and a single sheet of wadding is added NEEDLE AND BRUSH. Monogram, in Full Size. FicurE No. 3.—The sacred monogram I. H.S., signifying Jesus Hominum Salvator— i. e., Jesus, Saviour of Mankind—is here rep- It is worked in the satin stitch, with silk floss of resented as suitable for a bible cover. bright gold and cardinal shades, which con- trast well with the royal purple background. On other books, or even on a bible, mono- grams of the owner or giver are in good taste. If the workwoman understands how to handle +) RN Figure No. 2.—BooK-CovER, OPENED. as lining, which tends to keep the book from being scratched. Any more elaborate quilt- ing pattern is admissible; but, as this style may be bought already quilted at the shops, it is oftenest seen. The lining and outside por- tion are bound together with satin ribbon, which is of the old-gold shade noticeable in the monogram. Care should be taken that a sufficiently wide seam is allowed, or the edges will soon obtrude and present a very ugly appearance; there being no decorative result coming from poor work. brush and pigment, she may paint instead of embroidering the monogram desired, though it is well to remember that one may take out a mistake that is embroidered, while one that is painted is irreparable. Embroidered Inscription. Ficure No. 4.—The inscription illustrated will doubtless be preferred by some to the even though it monogram, represents a greater amount of labor. For a purple back- ground, it is done in the deep shades of crim- NEEDLE AND BRUSH. 87 son and the light ones of yellow, artistically and will have no trouble in following them. combined. Silk floss or even arrasene may The outlines are embroidered in satin stitch, be used for this purpose, and a rich effect will the close dark spaces in the well-known darn- FicurRE No, 3.—MOoONoGRAM, IN FULL SIZE. be produced. As the letters are shown in ing stitch, and the other spaces by crossed their full size, any one who embroiders even threads of floss or silk held at the crossings just a little, can very easily see the details by knots or beads. NEEDLE AND BRUSH. “a a) GLEE gre I G38 Figure No. 4.—EMBROIDERED. NEEDLE AND BRUSH. | 89 Table Book-Case. Ficure No. 5.—This useful bookholder may be easily made at home. ‘The frame is of wood, and may be purchased ready for decoration, if desired. It is covered on one side with silk and on the other with velvet, the bottom or floor portion being usually covered Book Satchel and Diagram for Same. Ficures Nos, 6 AND 7.—These two en- gravings present a neat satchel for a school- girl, and a diagram showing its shape when open. Canvas, an interlining of pasteboard, a lining of stout muslin, and a pair of handles are necessary in constructing it, with ribbon te a ir itll ie Er ta TE aaa a ae ST ay I i mn 1 nto \ v Li Ea TMi NEMA aon = hes Hl ty io Si fam Ke ‘ ' E afi Ficures Nos. 6 AND 7.—BOOK SATCHEL, alike on both sides. The balls may be of gilt, silver or wood, and are sold ready for use. The velvet on the upright portions is decorated with a beautiful embroidery design, for which appliqué or painting may be substi- tuted, if preferred. oT aM Gi oh at nl iy J fed AND DIAGRAM FOR SAME. as a finish. The word “ Books’’ may be em- broidered on one side, and the name, initials or monogram of the owner on the opposite side. The lining, interlining and outside are bound together with ribbon, and a handle is end at the perforations fastened at each go NEEDLE AND BRUSH, Ties of ribbon to each side to hold the books in under ribbon bows. are also fastened place ; but an end-piece may be used in place of the ties, if preferred. Any other material may be used for the outside, from gingham to kid; the stances, selection depending on circum- shape the sections are to be cut may be ob- tained by referring to Figure No. g, which shows the case open, with its overlapping side edges tied in place by ribbons. The sewing should be neatly done and the edges accu- rately cut. At Figure No. 8 a view of the case as it appears when closed may be seen, Ficure No. 8.—CASE FOR ENGRAVINGS, CLOSED. Case for Engravings. Ficures Nos. 8 AND g.—These two en- gravings present views of an article that is as useful as it is decorative, and is a_neces- sity wherever cultivated tastes indulge in the collection or photogravures. of engravings Plush, kid, velvet, satin, leather or any fabric adapted to such uses may be chosen for the outside, and the lining may be quilted silk or satin, chamois or sateen. A good idea of the the word ‘“ Engravings” being worked on one side. Upon a case of ecru linen this word might be etched with pen and ink, upon leather, satin or plush, it might be painted and the ornamental effect hanced by Personal might be en- entwining it with roses or foliage. taste is sole arbiter in this matter and often suggests ornamen- tation in harmony with the collector’s special preferences in the way of pictures. She who NEEDLE AND BRUSH. gt admires natural scenery will find an apt quo- tation to inscribe upon the case which pro- presentments of great musicians often in- scribes upon the case a few bars from some Ficure No. 9.—CASE FOR ENGRAVINGS, OPENED. tects her favorite views, while the musician who delights to gather about her counterfeit famous composer’s work, or perhaps transfers 7 thereto her impression of some queen of song. NEEDLE AND BRUSH. Chings that are Thrown Awav. AMONG them are a variety of baskets vary- ing in size and shape from the dumpy, under- sized strawberry-basket to the more generous one capable of holding two or three dozens of eges. ‘They are all rather frail in construc- tion (that is, those which the marketman leaves his goods in), but they are quite strong enough to answer a variety of purposes. A strawberry-basket held under running water and scrubbed lightly with a brush may be freed from fruit stains, if it have any, but very often a basket free from stain is obtained when the early fruit is purchased. Having received whatever freshening it requires, paint the outside with blue, white or pink enamel or with any of the metallic paints, applying the latter with their own special medium or with French glue or thin white mucilage. Line it with Silesia, sateen, India silk or any similar material and its manifold uses will at once suggest themselves. If it is at all uneven or ragged about the top sew on a puffing of the lining material. Should a handle be essential to its usefulness fasten a splint upright to each side and through the tops of these uprights run a ribbon matching the lining, tying its ends in a bow. A little forethought will enable any one who takes pleasure in adding dainty and useful articles to their surroundings to use advan- tageously many trifles which to the unthinking have no value. Enamel may be bought in pound cans and applied by anybody who can handle a brush. NEEDLE AND BRUSH. CHAPVER. X4il. DECORATED EASEL. IGURE No. 1.—Such easels may be purchased at any furniture ware- house. The one here pictured is of gilt and The be easily made, and ebony. lambrequin can loving fingers are always ready for work that beautifies the home. This lambrequin is of olive cloth and is very elaborately garnitured with artistically arranged sprays of luscious- The lower edge is cut in alternating deep and looking grapes and full, short tassels. short points, from each of which depends a tassel. In each short point is applied an arrow-head of garnet velvet, and the rest of the rich garniture consists of the grape-sprays The sprays is illustrated and described at Figures mentioned. method of making the Nos.2 and 3. Plush, velvet or any lambre- quin fabric may be selected, and may be of any preferred color; and the tassels may be as handsome as desired. Spray of Grapes, and Method the Grapes. of Making Ficures Nos. 2 anp 3.—The bunch of luscious fruit shown at Figure No. 3, with its knotty branch and handsome leaf, is effect- ively used in decorating the lambrequin on The leaf and branch are embroidered with arrasene in the easel pictured at Figure No. 1. South-Kensington stitch, but the fruit itself is made as shown by Figure No. 2. Take a piece of silk, satin or Surah, cut out the shape of an English shilling or an American twenty-five-cent piece, and over-stitch the circular portion along the edges as shown by Draw tightly, stuffing the bag thus formed loosely Figure No. 2. the thread together with cotton. This forms a grape. In apply- ing the grapes, they are pressed slightly flat and slip-stitched on. They should be bunched as nearly as possible like the natural bunches, and may represent any variety of grape. The leaf and stem should, of course, be of natural tints, and it is not impossible to have the similitude extend to the fruit if care be ex- ercised in the choice of colors. Such sprays may be grouped or arranged in vine or other designs, with handsome effect, on all kinds of table Hand painting or embroidery may, if pre- lambrequins, scarfs and covers, etc. ferred, take the place of the decoration de- scribed. | 94 NEEDLE AND BRUSH. | Easels of this, or any other shape pre- driven in to develop some artistic arrange- ferred, made of unfinished wood, may be ment and the effect is especially attractive. | purchased and covered with plush or vedours, The brass-nail work is easily done by femi- wa Ficure No. 1.—EasEL DECORATED. the covering being held in place with short, nine hands and is very fascinating. The fancy brass-headed nails. Similar nails are tacks or nails may be purchased by the NEEDLE AND BRUSH. 95 dozen, ounce or gross for a moderate sum and judge how much force is necessary to send the shape of the article to be ornamented each nail into the wood with one blow. Figure No. 2. FiGurE No. 3. Ficures Nos, 2 AND 3.—SPRAY OF GRAPES, AND METHOD OF MAKING THE GRAPES. usually suggests appropriate designs. A Repeated hammering is apt to decapitate little practice will enable a novice to them. ——— LUFF 96 NEEDLE AND BRUSH. A Gouple of Carriage Robes. ONE is of dust-colored linen, and its border decoration is a scroll design worked in button- hole stitch with Bargarren cotton over a fine purlette cord. The button-holing is in red and.the cord is a shade lighter than the linen. ‘The one whose pretty phaeton claims the robe has her interlinked initials worked in the cen- ter in the same manner. The finish is a fringe of Bargarren cotton in the three shades. Such a fringe may be knotted in or purchased ready for sewing on; its purchase being com- mended to those whose leisure time is limited. The other robe is quite as simple, but so dainty that it is at once recognized as belong- ing to the carriage of His Majesty—the Baby. It is an oblong section of delicate mode colored felt, and its edges are cut in large pinked scollops and underlaid with a border of similar scollops cut from sky-blue felt. Inside the inner scollops of each side cross- wise slashes about an inch and a half wide are made at intervals of an inch apart. ‘Through these slashes are run blue ribbons matching the outer scollops, their ends being frayed out to form a fringed finish and falling even with the ends. At the top and bottom of the robe slashes are made in the opposite direction and through these are run ribbons, the ends of which are fastened to the robe underneath. The effect is especially pretty and the cost is a mere trifle, while the short time consumed in making such a robe is cer- tain to win favor for it with busy women. If the saving of time be a matter of lesser importance, a felt robe may be elaborated in the following manner with very pleasing results. After the edge has been scolloped, a pretty design is traced or stamped inside the margin and then cut out with sharp, short- bladed scissors. Contrasting material is then applied to the under side so as to show through the open spaces, and the edges of the design are button-holed with silk or flax thread. A very pretty robe elaborated in this style is of fawn-colored billiard-cloth, with the same material in a darker shade underlying the The and gold design, which is in clover-leaf pattern. edges are couched with brown Jiloselle. scribed and The exact process is accurately de- clearly illustrated in XLIII. of our book entitled “ NEEDLE-CRaFT.” Chapter NEEDLE AND BRUSH. 97 ‘F 0 i ! BEANE AA ATA UTUTUTL AAT TUTLTT CHAPTER 2b HE woman of fine taste does not permit the walls of her house to seem bare and out of harmony simply because she cannot afford expensive pictures to hang upon them, because she knows that in- genuity and good taste some- times produce more effective results than a large outlay of money. Pretty banners and panels which may be hung where they will illuminate a sombre tone or refine a too bril- lant effect in coloring; screens and number- less other fancy articles may be fashioned by any lady who embroiders or paints, sews neatly and once in a while drives a few tacks, and several very attractive specimens are illustrated in this chapter. The plain calendar of some time ago has grown into a beautiful bit of decorative art with the most and may be made to accord elegant surroundings. All sorts of odd con- ceits are seen in it, and the more unique the more are they valued. Individual be fully colors and materials for them. fancy may indulged in the selection of Tancy ribbons the foundations, and if very often cover WALL DECORATIONS, CALERDARS AND SCREENS. these ribbons show a decided pattern it may be followed with tinsel thread, which achieves a gorgeous effect. Cord or narrow ribbons may be bunched in profusion upon them, but As a gift to a friend of either sex the calendar is much the disposition should be artistic. favored. Calendar Panel. Ficure No, 1.—This beautiful panel is cut out of thick cardboard and smoothly covered with corded silk. Sprays of blooms and their foliage are painted on it in oils or water colors, and just above the sprays a small cal- endar is invisibly fastened. Near the upper corners bunches of loops and ends of ribbon are tacked, and from them extend two ribbons that are used to suspend the panel. The colors of the ribbon and silk may be chosen to please the fancy, and the two may be alike or different, as preferred. The sprays may be embroidered, painted or applied, with good effect. Sometimes plush, velvet or satin will be used to cover the panel. Banner-Screen. beautiful screen is No. made of a handsome piece of Ottoman silk FIGURE 2.—This 98 NEEDLE AND BRUSH. on which are applied with gilt thread the golden buttercup in satin and its pretty green leaves in velvet. The veining is done with green silk. A row of gold cord borders the edges of the banner and is arranged in a trio of short loops at the upper corners and in long loops and ends at the lower corners, the ends being tipped with gold-colored pompons. with silk on the other, and edged all round with silk cord of the same or a contrasting shade. Through one corner is drawn a loop of cord that serves to suspend the square, and the opposite corner is rolled over so as to deeply reverse the lower part of the square, making a compartment for the reception of pencils, pens, etc. At either side of the roll FIGURE No. 1.—CALENDAR PANEL. Such screens may be developed in any colors, and the decoration may be flowers and leaves of any variety cut from velvet, silk or satin. If preferred, the design may be done in Ken- sington embroidery. Ornamental Calendar. TFIGuRE No, 3.—A unique style of calendar is here illustrated. A square of cardboard forms the foundation, which is covered smoothly with plush or velvet on one side and is fastened a silk cord which is carried for- ward diagonally and tied in a bunch of loops and two ends some distance below, the ends being tipped with tassels. A bunch of loops and two ends of cord are also fastened where each cord starts from, the ends also being tipped with tassels. Above the roll a grace- ful rose-spray is hand-painted, embroidered or appliquéed. The calendar is fastened under- neath to the bottom of the roll from which it depends. NEEDLE AND BRUSH. 99 Pocket-Pane!. licurr No. 4.—A Japanese screen forms the back of this unique wall-pocket, and to its lower part are fastened two rows of long, fluffy tassels, the tassels in the upper row fall- EP, Gay OBE AOR OO ELAR IO ROAR Figure No, 2.—BANNER-SCREEN. The front of the pocket is formed of a crescent- ing between those in the lower row. shaped section of cardboard covered with plush and decorated with a graceful design selected from Kursheedt’s Standard floral J % ve Nace xa ac eccechiccsacba ee EI a rath SS \ appliquées. Very artistically made bows of ribbon are fastened to the ends of the cres- cent, and thick silk cord is used to suspend | the pocket, being passed through rings fast- ened at the upper corners of the screen and eS EEF tied very effectively. Ribbons may be used to suspend the pocket and, instead of the floral appliqué chosen in the present instance, embroidery or hand-painting may decorate the crescent. 100 NEEDLE AND BRUSH. Decorated Panel. litre No, 5.—This panel is of dark-green plush and has embroidered upon it a full- blown pink rose with long branches and buds FIGURE No. 3.—ORNAMENTAL CALENDAR. in their natural shades. The frame consists of a narrow puff of pale-pink satin inside and abroad brass moulding. The latter may be purchased, but the puff must be added to the plush portion, Banner-Screen. Ficure No. 6.—In this engraving is illus- trated a very handsomely decorated banner- screen of wine-colored satin. It is decorated FIGURE No. 4.—POCKET-PANEL, along the lower edge with a fringe of fancy ornaments of chenille, silk and metal; and in the upper right-hand corner is fastened a full ribbon. rosette-bow of A wise-looking owl, perched upon a bough of dogwood, is em- NEEDLE AND BRUSH. broidered in his real hues in South-Kensing- ton stitch, the bough, with its pretty leaves and blossoms, being also embroidered in nat- ural tints in satin stitch. Velvet, plush, silk, WA Cords run through rings in the ends of the bar are tied ina bow at the top ef the stand, the ends being tipped with fluffy tassels. The colors of the silk and the ribbon may be chosen to please the taste, but black velvet ribbon is very effective on all colors. Plush, velvet, c7épe or any preferred oi im me CP cp FIGURE No. $.—BANNER-SCREEN. material may be used for the screen, and on the first two fabrics fancy, more or satin ribbon may be used. Any preferred design may be embroidered, appliquéed or hand- painted, as preferred. Instead of the velvet ribbon used in this instance, a band of plush, velvet or some fancy ribbon may be applied with faney stitches to the bottom of the screen, with very pretty effect. Decorated Banner. Ficure No. 9.—This engraving illustrates a 9 5 SD ‘The land of pansies is selected from Kursheedt’s gar- handsome banner of heavy. silk. FicurrE No, 9,—DECORATED BANNER. Standard floral appliquées, and is applied as No. to. velvet ribbon are arranged about the lower described at Figure Two rows of edge, which shapes a deep scollop at the center and a smaller scollop at each side. Over the ribbon is gilt braid, arranged in a scroll design; and depending from the lower 104 NEEDLE AND BRUSH. edge is a row of tassel ornaments. Similar ornaments are fastened to the ends of the cords attaching the banner to the stand. Method of Applying Floral Appliquées. Ficure No. methods of applying floral garnitures is here 10.—One of the most effective No. 10.—METHOD OF APPLYING FLORAL APPLIQUEES. FIGURE shown. The garniture is basted flatly on in the position it is intended to occupy, and then silk floss, whichever be preferred, are arranged above several strands of arrasene or the margin and held down with over-and- over stitches of gold thread. Of course, the threads are arranged while making the over- and-over stitches and require no needle, as they may be held in the left hand. Among the unique things in decorative art is ““A subtle spider which doth sit, In the middle of his web, which spreadeth wide,” and, though he is not a living specimen of his Pp kind, he is so real-looking, and his fairy web so like his own filmy home, that the illusion 11.—ORNAMENTED PANEL. FIGURE No. is only dispelled after an examination of the delicate work. Then, too, the ever-curious fly is walking into “the prettiest little parlor ) that ever you did spy,’ never dreaming that y P) 8 his wily coaxer has in anticipation a most delicious feast to be enjoyed as soon as he is within grasp. One of the most realistic ar- rangements of the decoration is shown in the panel illustrated at Figure No. r1 NEEDLE AND BRUSH. Ornamented Panel, Figure No. 11.—An unique mode of orna- menting an oval or square cornered panel covered with plush, velvet or any decora- tive material, is here illustrated. A prettily shaped branch may be cut from the silver maple, apple, sugar maple, cherry, walnut, 105 fly. ‘These may be of metal or may be made of embroidery, as preferred. ‘The branch is then fastened to the panel under a many- looped bow of pretty satin ribbon. Wall Decoration. Ficure No. 12. A good way to arrange peacock feathers, as well as to make an Figure No. 12,.—WaALL DECORATION. peach or any available tree. From twig to twig are arranged lines of fine silk that all meet at one point, and between these lines are cross-lines of silk, which, if carefully ar- ranged and selected in the proper color, will result in a very realistic-looking spider web, in which are placed the veritable spider and artistic decoration, is here shown. A founda- tion of the desired size and in fan shape is cut in pasteboard, and this is smoothly cov- The feathers The stitches may be long, but they must be firm, ered with sapphire-blue velvet. are then laid on in a careful manner. and nearly always they can be hidden by the 106 NEEDLE AND BRUSH. next feather. The bow is of sapphire satin a handsome lamp-screen, which will prove as ribbon and is an especially pretty finish. useful as it certainly is ornamental. The Over a cabinet or a low bookcase, or on a_ frame is of brass, but may be of rattan or door, this is a desirable decoration. Velvet, some fancy wood, or silvered or gilded metal, i I Hi il HN , nt Yr" ‘ Ficurr No. 13.-—DECORATED LAMP-SCREEN. plush or silk may be used for the background, as preferred. The rings suspending the as preferred. screen are usually of the same material as Decorated Lamp-Screen. the frame. The screen is of heavy silk and Ficure No, 13.—This engraving illustrates is cut out in three large scollops at the lower NEEDLE AND BRUSH. No. 14.—RIBBON CALENDAR. FIGURE 108 NEEDLE AND BRUSH. edge, the middle scollop being deeper and larger than the other two. ‘The upper half of the screen is decorated with a pretty hand- painted design, but may be embroidered or plain, as desired. The lower half is covered with satin, which is gathered at its lower edge divide the scollops into three pockets, which are quite ornamental in appearance. A row of handsome fringe borders the lower edges of the scollops. To the ends of the cross-bar of the frame are knotted cords, which are carried up to the lengthwise bar and similarly Figure No. 15.—WAL1-POCcKET. to the edges of the scollops, and also at its upper edge to form a pretty frill, the upper edge being loose from the screen, except where it is fastened at the ends and twice between the latter under pretty ribbon bows. The satin is then sewed to the screen so as to knotted, all the ends of the cord being tipped with handsome tassels. Ribbon Calendar. Ficure No, 14.—One of the prettiest de- vices for a calendar is here shown. A square | NEEDLE AND BRUSH. 109 of ivorine, celluloid, thick parchment-paper, three ribbons run through them. One ribbon, bristol-board, etc., may be used, and on it with the abbreviated names of the days of Ficure No. 16—DESIGN FOR WaALL-Docker. are painted the year and the designs pictured. the week painted upon it, is drawn through Slits are cut in the positions illustrated and the two slits near the upper left-hand corner, 11O NEEDLE AND BRUSH. so that the ends come at the back. The middle ribbon has the days of the month pointed and q SS SX < S x FiGuRE No. 17.—BANNERETTE. painted on it, while the remaining ribbon has the abbreviated names of the months painted any preferred shape. upon it. The ends of which may be of metal, chenille, etc., and of these ribbons are tipped with fancy ornaments, The calendar is hung NEEDLE AND BRUSH. IIe by ribbons, which pass forward from behind the upper corners and are tied in a bow. Any preferred design may be painted on the square, or a motto or some suitable quotation The ribbons may be of different colors or all of in fancy lettering may be substituted. one color, as preferred. ii, ae py) fl Fi hi ) over stitches. A row of gold cord edges the circular piece and is tied in many loops at the point of suspension, the ends of the cord being tipped with gold tassels. ‘Phe circular piece has on it a design representing the god- dess of the morning floating in the air and dropping flowers from her rosy fingers instead Ficure No. 18.—FIRE-PLACE SCREEN. Wall-Pocket. Ficure No. 15.—This novel style of wall- a full shaped piece of cardboard for its foundation. pocket has a crescent and circular- The circular piece is covered with crimson satin and the crescent with gold satin, and the parts are joined together with over-and- of sparkling dew, and this may be traced with pen and ink or done with the Kensington stitch. The design is shown in full size at Figure No. 16. Plush, velvet, silk, crétonne, felt, etc., may be selected for such useful ornaments, and any pleasing contrast may be developed. 112 Design for Wall-Pocket. Ficure No. 16.—This design is in the full size for the wall-pocket illustrated at Figure No. 15. It may be done in South-Kensington outline-stitch or painted, or it may be a pen- and-ink sketch, as preferred. Bannerette. Ficure No. 17.—This handsome ornament is made of white corded silk lined with apple- green satin. It is of pretty shape and is suspended upon its gilt standard by tiny gold rings and a bunch of narrow white ribbon at ” each corner. The words “Easter Greeting ’ are embroidered in one corner, and a calla lily and several golden butterflies are artisti- cally painted upon it. Bullion fringe outlines the lower edge. There is much scope for the exercise of individual taste in making these decorative screens, and as accessories of the library table they are most ornamental. Fire-Place Screen, Ficure No. 18.—A very handsome screen to put in front of an unused fireplace is here NEEHLE AND BRUSH. illustrated. The stand may be purchased at any furniture warehouse, and may be of any The screen is shaped from cardboard and smoothly preferred wood or cane. variety of covered with velvet, plush, or any desired ma- terial. A border of fancy stitching is made about the rounding edge with floss or embroi- dery silk in one or several colors. The lower part of the center is prettily embroidered in a simple design, and outside the design, in the curved outline of the upper edge of the screen are applied, with fancy stitches, three rows of simply embroidered plain ribbons of contrast- ing colors. The outer ribbon conceals the lower extremities of conventionalized leaves in two shades of silk, the darker leaves over- lapping the lighter ones, and all being applied by fancy stitches and further elaborated by other stitches of various kinds, the result pro- duced being mosaic and very handsome. Yellow daisies growing among the grass con- stitute an effective design for such decora- tions. NEEDLE AND BRUSH. T13 Cagaaa! 2 =e S Za i @ oe ((( CHAPTER xXI1V FOR AND ABOUT THE WORK-TABLE. UGGESTIONS for work-bags answer for holding the pretty scraps she and for such accessories of the work-table as busy women and _ their industrious sisters who ply the iA needle or crochet-hook for pleasure require, are in such demand, that this chapter meet the is included to requirements of many whose requests all hinge on the matter FicurEe No. of combining the pretty with the practical. One wants ideas for a bag that will of reach of inquisitive little people is collecting for a mosaic quilt—once she would have called it a crazy quilt; another asks for an illustration of some method for using to advantage short lengths of contrasting ribbons; still another utters the wish of many when she asks for designs for fancy-work receptacles that may be hung out 1.—CATCH-ALL, OR WoRK-Bac, ; a mother of several boys asks how to make a darning 114 bag that will have space for the unmended hose, as well as for the implements needed in their renovation. That none have been for- gotten the following pages prove. Catch-All, or Work-Bag. No. pretty bag is an oblong basket, which may be FIGURE 1.—The foundation of this Ficure No. 2—Fancy—-Work Bac. The ag is formed of upright strips of ribbon of gilded or tinted or left its natural color. b different colors, joined together and fastened about the top of the basket; its top is turned under deeply and sewed to form a casing a little below the top. In the casing are run ribbons, which draw the bag in and form the top into a frill. Orange and black, scarlet and black, olive and pale-blue, olive and gold NEEDLE AND BRUSH, or orange, or two shades of any color will combine prettily in the bag. Sometimes but one color will be used, and the contrast will be developed with two kinds of ribbon. Fancy-Work Bag. Ficure No. 2.—This dainty bag has for its foundation a tripod of cane, each stick \ mann mii in Ficure No. 3.—CASE FOR EMBROIDERY SILKS. being surmounted by a round, gilded knob. The bag portion is made of pale-blue Surah, and the gathered frill which forms the finish at the top is arranged before the bag is put in place, so that only one seam is necessary, and that is at the side and invisible. Where the bag is drawn in at the lower edge are tied pale-blue and yellow ribbons having their ends tipped with gilt balls, and at each corner NEEDLE AND BRUSH. 11s are ribbon loops and ends decorated in the same way, If one did not care to use this as a receptable for fancy-work, it could stand in the drawing-room and hold my lady’s fan, Ficure No. 4.—R1IBBON CHATELAINE, handkerchiefs and smelling-bottle; for even then it would be of absolute use, because these are the very things that are always be- ing mislaid. maroon shade. Case for Embroidery Silks. Ficure No, 3.—This handy case is made of a strip of heavy grosgrain ribbon in a deep Each end is folded over about Ficure No, 5.—CHuAreLaAINnE CoMPANION. two inches and caught to place by herrine- bone stitching done in light-vellow floss. A length of cream-white ribbon is then arranged over the center of the maroon strip so as to NEEDLE AND BRUSH. form several compartments, lengthwise lines of Each compartment is used for holding a skein of machine stitching ak holding it in place. twist or silk, and the convenience of the case is at once apparent. Cashmere, satin, silk or sateen may also be utilized in making such cases, and a monogram or floral spray will sometimes decorate the reversed ends. Fancy stitching may be used instead of the machine- stitching, if preferred. Ribbon Chatelaine. Ficure No. 4.—Any variety of ribbon The ribbon with five may be used for this accessory. :s wide and is made into a bow graceful looking loops. Two long ends de- pend from the bow, and to one of them is fastened the scissors, while to the other end is secured a small cushion for the needles and pins. The cushion is shaped like a small tomato and is formed of sections of scarlet or yellow cloth, suitably stuffed. Any preferred shape may be adopted for the cushion, but it A latch- pin will fasten the chatelaine to the dress and should be small and carefully made. if secured to the bow will always be in place for use, Chatelaine Companion. Ficure No, 5.—The scissors, needle-book, emery ball and work-bag are all most agree- ably combined in this unique chatelaine. The bag is of crimson velvet, and elastic cord is used to draw it in near the top. To each side is fastened a ribbon, the other ends of which are fastened under the long-looped bow which covers the fastening of the chatelaine to the dress. A similar ribbon is run through the thumb and finger holes in the scissors and fastened also under the bow, from which de- pend two other ends of different lengths. To the shorter end is fastened the emery ball and to the longer end is fastened the needle-book, which is of crimson velvet to match the work- bag, with the customary notched leaves of flannel. In each corner of the book a simple design is worked with silk floss. The initials or monogram may be embroidered on the book, with pretty effect. The color of the ribbon and velvet will be regulated according to taste, and any preferred materials may be used instead of velvet for the book and bag. The emery ball is usually purchased ready for attachment. Darning-Bag. Ficures Nos. 6 anp 7.—This bag is easily made, ancl is a treasure when completed. Its foundation is three pieces of pasteboard, straight across their upper edges and oval at the bottom. Two of them, which are first smoothly covered with satin, crétonne, etc., form the bag, being joined together at their rounding edges by a full puffing of satin, which is sloped off so as to be considerably narrower at the corners than at the bottom. Upon the outside of one of the pieces of pasteboard are sewed three pinked leaves of flannel in different colors for a needle-book, and one side of the remaining piece of board is plainly covered and has a strip of silk arranged diagonally upon it and_ stitched crosswise several times, just enough fulness being allowed between every two rows of stitching to form pockets for skeins of floss, etc. This third section of pasteboard is now covered in bag style on the opposite side and sewed to the side of the real bag, having the needle-book attached with the thread-pockets on the inside. A little double ruffle is sewed e, and rib- inside the edges of the bag-opening, bon strings are fastened at the corners to hold it, and their ends are tied ina bow. A bow is also fastened at the top of the simulated bag. The effect is very rich when plush is used for covering the sides and silk for the puffing. NEEDLE AND BRUSH. 117 Cashmere in pretty colors may, however, be used, with very pleasing results. Fancy-Work Bag. Ficure No, 8.—This dainty bag, which may also be used as a catch-all, is made of strips Ay B. | {ut | ‘ , ia (es a I) EN\\ REA\\\\ My," \Y <. —SSzaz77 Saaz together at the top is done with silk cords, and a fancifully made bow of crimson satin ribbon is placed just in front. Velvet may be used instead of plush, if preferred, and gilt crescents may take the place of the chenille pendants. if Ficures Nos. 6 AND 7.—DARNING-DAG. of material sewed together. Two area pale rose-colored brocaded ribbon, another is of deep crimson plush, and the other plain satin ribbon. The lining is of rose-colored Surah, and the chenille pendants that finish the lower edge are of the crimson shade. The drawing Button-Bag. Ficure No. 9.—A pretty bag in which to keep miscellaneous buttons is shown in this engraving. The bag is made of two sections of chamois that are slashed at close intervals for several inches at the bottom to form a heavy fringe; the sections are joined together along the top of the fringe and also at the side edges, a row of buttons binding the fringe. A piece of silk several inches deep is joined to the top of the bag, turned over on the out- side and then sewed again to the bag, tar Ficure No, 8.—Fancy-Work Bac. enough from the top to form a casing for the ribbon draw-strings, which are pulled through openings finished for them at the seams. When the strings are drawn up the silk forms a handsome flounce. Buttons of as miscella- neous variety as the bag holds are sewed on NEEDLE AND BRUSH. the outside in the fantastic manner pictured. The silk and ribbon may be of any preferred color and variety. Scrap-Bag. Ficure No. time coarse 10.—For some \ \ SK f XX Ficure No. 9.—Burron-Bac. straw hats have been utilized as flower- baskets, but the latest inspiration of genius has also transformed them into scrap-bags. Take any new or unsoiled coarse or fancy straw hat with a wide brim, and bend the latter close to the crown at each side under a NEEDLE AND BRUSH. 11g cluster of dried grasses, bleached grain or artificial flowers, and then attach a bag of satin or silk to the crown in the same way as you would sew in a lining, except that it is slightly gathered. Make a shirr at the top so as to leave a narrow ruffle, and insert a ribbon draw-string, by which to hang it up. The SS GOW a \ 10.—SCRAP-Bac. Ficure No. effect is even more pleasing than the engrav- ing represents it, and is both picturesque and ornamental. Work-Bag. Ficure No. 11.—A circular piece of card- board is carefully cut and covered with the brocade as the foundation for this bag. A straight strip of the brocade is then gathered quite full and sewed in over-and-over fashion to the bottom. A casing is arranged at the top, the plain silk used for it extending to the edge and forming a pretty contrast with the richer material. Broad satin strings are then drawn through the casing and tied ina pretty bow at the top. There are few houses where FiGurE No. 11.—WorkK-BAG. a strip of brocade cannot be found, and, if one has been saving, pieces of ribbon may also be in some hidden box;then all that is needed a little time and care. will be Quaint and antique looking brocades are liked, and old-fashioned, printed silks are often combined with more modern fabrics in the formation of such bags. NEEDLE AND BRUSH. Lace-Covered Bag. Ficure No, 12.—This bag may be made of satin, silk, fine Silesia or any preferred mate- rial of a light or delicate hue. About it is arranged a cover formed of three rows of deep lace, sewed together so that each of the upper two rows overlaps the top of the one just be- The bottom of the bag is gathered closely, and to it is sewed a shirred ruffle of the deep lace, which droops below a full ruffle of the narrow lace and makes a very pretty effect. The ribbons should match the fabric forming the bag, in color, and the lace may be of any preferred variety. Nt Da Ficurre No. 12,—LAcE-CoverepD Bac. low. The upper row is headed by a standing row of narrower lace, and then the lace cover is arranged over the bag and the two are sewed together at the top by three rows of stitching made far enough apart to form two casings. Into these casings are run the rib- bons that draw the bag in suitably at the top, the narrow lace standing in a frill above them. Ribbon Work-Bag. Ficure No. 13.—This bag is made of strips of wide ribbon in two shades of green; they are sewed together and cut in points at the top, which is deeply underfaced with the same kind of ribbon. Along the bottom of the facing is formed a casing, in which ribbons are run to draw the bag up. A_ strip NEEDLE AND BRUSH. Ficure No. 13.—Rispon Work-bac. Ny p} Wy! ius Ficure No, 1§.—SPpRAY OF BLACKBERRIES AND LEAVES. i) Figure No. 14.—HANGING NEEDLE-Book, to ty NEEDLE AND BRUSH. of wide, watered ribbon is joined to the which may be easily hung up without chance bottom of the bag, turned up on the out- of dropping any of the spools. Any preferred side and sewed at the joinings of the shades and varieties of ribbon may be used, Ficure No. 16—CoMBINATION NEEDLE-BooK AND PINCUSHION. strips to form compartments for the different and new ribbons need not be purchased, as spools of silk, thread, etc. When the work is those taken from discarded hats and dresses to be laid by it may be placed in the bag, are often suitable. NEEDLE AND BRUSH. Hanging Needle-Book. Ficure No. r4.—Among the useful things of the sewing-room is the needle-book, and a very pretty article of this kind to hang on the wall, work-basket or work-table, is here por- trayed. Its foundation is a piece of card- board shaped as pictured and smoothly covered with plush, velvet, silk or satin, and embroidered or hand-painted in some pleasing bons and covering may be of any preferred color. The method followed in embroidering the spray is explained at Figure No. rs. Spray of Blackberries and Leaves. Figure No, 15.—This pretty spray is used in adorning the needle-book illustrated at Figure No. 14. The berries are made with the knot stitch, and the leaves and stems . ~ . wh ( bp, (N Sn ‘ FIGURE No. 17.—SPRAY FOR DECORATING NEEDLE-BOOK. design. light or No. 1, and the deepest tint, which 5 enters into the rich dark shades in nastur- tiums and similar flowers ; lemon-yellow, In- NEEDLE AND BRUSH. dian-yellow, King’s-yellow and chrome-yellow —the latter is in four shades one of which, the lightest, is sufficient for the beginner. Light-red will serve many purposes, being susceptible of numerous gradations. Vermil- ion, both alone and mixed with yellow or car- Raw Sienna and raw and burnt umber are both mine, is equally valuable. and burnt extremely useful and have a wide range of values. Permanent-blue, Antwerp-blue and cobalt-blue are capable of yielding, when lightened or darkened, the blue tones and tints most in demand for flower painting, but Prus- sian-blue may be added to the list. Terre-verte, Verona-brown, rose-madder, pink-madder, Vandyke-brown, ivory-black, chrome-green in its light and deep shades, and (if you hesitate to experiment in the production of this need- ful color) in its middle tone as well, will com- plete the number that need be purchased until some degree of proficiency has been acquired. For brushes, Nos. 2, 4, 6,8 and 12 sables, with a No. 3 bristle brush, all having long handles, will suffice ; of course you must have a palette of hard wood or porcelain, a palette- knife and, for using with some of the yellows a horn or ivory spatula, a small bottle of pale drying-oil and a little turpentine to be used as a mixer. Having provided all these things and a drawing-board the beginner may hope to proceed with the consciousness that she has excellent facilities for developing her in- herent taste. It is not unlikely, however, that if she be unacquainted with the proper- ties of different colors and their effect upon each other she will feel some diffidence in mixing, and for her benefit the following sug- gestions regarding color mixtures are included in this chapter. Ivory-black and kremnitz-white may be mixed to produce various gray tints, and a little practice gives the exact proportions for shading white flowers, Warm, delicate grays are produced by mix- ing yellow-ochre, cobalt-blue and rose-mad- der; where the greatest depth is required a touch of black may be added. Rose-madder and permanent-blue, with a slight touch of carmine, yield a deep royal purple, and by increasing the proportion of rose-madder the lighter shades may be produced. Yellow and blue in varying proportions pro- duce several different shades of green, and the addition of a little rose-madder removes the tendency toward crudeness. Green, of the brownish hue frequently seen in autumn foliage and in rose stems, may be compounded of raw-umber and chrome-yellow. A beautiful range of cool greens is produced by mixing brown-ochre and Antwerp-blue. Raw-Sienna, burnt-Sienna and Antwerp-blue produce deep olive greens. without supplementary Terre-verte, any color, gives a rich dark green possessing con- siderable depth of tone. Chrome-yellow added to chrome-green No. 1, produces a brilliant light green. Burnt-Sienna alone is a warm, light-brown. Rose-madder and white may be mixed to give an infinite variety of pink shades; and very rich pink shades are also developed by using geranium-lake. The entire gamut of light yellow shades may be produced by uniting lemon-yellow and white. King’s-yellow, used alone, is clelicate. Prussian-blue, without any admixture, gives a good dark shade of blue; cobalt-blue alone produces a medium and very clear shade, and permits of adding considerable white accord- ing to the tint desired. For very light blue, considerable latitude is permitted, permanent-blue and white being frequently mixed, though many artists com- bine all shades of light blue to produce the tint sought. NEEDLE AND BRUSH. 2a Brown-madder, used alone, has a_reddish- brown tint, and Vandyke-brown, alone, a dark tone. alone gives a Vermilion or scarlet-lake bright red, resembling brick-red. Carmine alone gives a darker and softer red, and mixed with crimson-lake yields still softer shadings. A tint between yellow and green, frequently in demand, is obtained by using greenish Naples-yellow. Ivory-black alone gives deep black. Brownish red, which differs from reddish brown only in having more brown than red in it, is produced by the use of burnt-carmine. It appears in the dark spots in dark yellow nasturtiums. The secrets of the color-box cannot long baffle anybody who resolutely sets to work to learn them, and takes for models natural studies. A pane of glass is a convenient addition to the amateur’s outfit, because the separate colors can be mixed upon it and then trans- ferred to the palette. A painting apron, ample enough to protect the dress, and a pair of outside sleeves (unless the apron be pro- vided with sleeves) are essential to the para- phernalia of an amateur, who is quite apt to decide important color problems with her brush poised at a dangerous angle. all should be done before applying them to the Bear in mind that mixing of colors goods and that a brush should be cleaned before dipping it from one color into an- other, All work should be allowed to dry before removing the tacks which hold the fabric in place upon the board. In painting upon satin, pale drying-oil used sparingly is a good mixer, but on plush and velvet, the penetrating qualities of turpentine are valuable. zd to ty oh NEEDLE AND BRUSH. Megilp is preferred by some artists for mix- ing light colors. Sicative Courtray is a valuable dryer for dark colors, which are naturally slow dryers. It should not be used with light colors, as it impairs their brilliancy. Soft brushes are best adapted to satin, and clipped sables or fine bristle ones to velvet and plush. To clip a sable brush, use sharp scissors and trim it diagonally at the sides and then take off a little of the top. Fine, medium and medium-coarse brushes are use- ful for fabric painting. In painting flowers have if possible the nat- ural blossoms within sight. If this is not practicable the amateur cannot do better than to avail herself of a good study. In looking at a study, however, she should avoid bring- It should be placed where the subject is shown in the most ing it within too close range. favorable light, and the aim should be to work for the same result. If the fabric requires sizing and the design is a spreading one which leaves much of the surface uncovered it is best to draw or stamp the design and then apply the sizing only to the portions that are to be painted. There are many points which the student will learn by experience, and among them are the amount of moisture the brush will carry, how much the fabric will receive and how much time is needed for drying by various colors. Indeed it is only by experience that these and other details are acquired. It is wise, however, to always press the brush against the side of the palette before carrying it to the fabric, and to give body-colors time to dry before attempting to retouch them. When attempting a large piece of work an easel is necessary and a rest or mahlstick for the hand is essential to the protection of the work. Most artists prefer a north light. It may be added that the worker should sit so that the light will fall over the left shoulder. Odors of Araby. Beauty dispenses them nowadays every time she waves her fan, and this is one of the ways she contrives to imprison within its dainty texture the faint aroma of her choice. She makes a bag that is long and narrow, using for it velvet, ribbon or plush, in two highly or slightly contrasting colors, or perhaps in a uniform tint. The top she turns in to form a frilled heading above a casing in which she runs narrow ribbons to draw in opposite direc- tions and by these she suspends the bag after she has placed in it a tiny bit of gauze con- taining cotton sprinkled with sachet powder. In this bag she places the fans that she carries most frequently and she argues wisely when she says that it is a more convenient receptacle for them than a frail box, besides being a very attractive bit of color when hung near her dressing-case. iS iS 245 247 ade WM nf An ebonized frame always associates harmo- niously with all varieties of handsome furniture and one of pine or maple simply coated with shellac or varnish is in keeping with less elaborate surroundings. The screen repre- sented has an enamelled frame and one of its panels is of satin in a deep art-shade of old- gold, while the panel on each side of this is of the rich, mellow and yet lively tone called old-blue. covered with sateen of the old-gold shade. The reverse sides are uniformly The decoration is hand-painted and is done in oil, all the subjects being treated in a bold, but somewhat conventional manner. Each design is given in six sections in this chapter, the per- fected outlines being obtained by bringing to- gether the edges marked with corresponding letters of the alphabet. For instance edges marked G are adjoining edges and so are those marked H. The design may be traced on transparent paper, and if the artist be sufs ficiently expert to proceed without duplicating the outlines upon the material the tracing may be pinned upon a large sheet of white paper and pinned up within sight for a study. Ordinary tissue paper may be used to trace on, a rather soft pencil being essential with it, and even if the amateur feel the need of having the exact outlines transferred to the material she may obtain them from it by lay- ing strong parchment paper over it, duplicat- ing the design in pencil upon the latter, which though semi-transparent is quite tough in fibre. rated with a tracing-wheel or with a sewing- The parchment paper may be perfo- machine and the design transferred to the fabric with powder or tracing ink. Tissue paper is particularly recommended in this connection because its texture permits of lay- ing it over the page sections without the danger of tearing which characterizes tougher We would advise fibered paper. any one NEEDLE AND BRUSH. who desires to make progress with each piece of work to take each design off by connecting the sections, pin it up and then use it as a guide in posing, etc., but those who have not the time or inclination to acquire the art of drawing and cannot lay in the colors without having the outlines directly before them may, of course, trace the design upon the material. The subjects illustrated are effective upon canvas, artists’ board, or any textile fabric in vogue for the purpose and they may be painted in water colors as well as in oils. Any of the three designs may be selected for asingle fold screen and the poppies are especially effective upon burlaps or matting. The order in which the sections for each design is put together is the order in which they follow each other in the pages of this the marked A and B at their tops form the base, book. For the first design sections as will be at once perceived on observation. Then next to these come the sections marked respectively A and B at their bases and C and D at their tops. The remaining two sections perfect the design, being joined to the tops of the middle ones at their edges marked C and D. In the next design the sections marked E and F at their tops form the lower portion and next to them come those marked E and F at their lower parts and G and H at their tops, the other two sections marked Gand H at their lower edges completing the design, In the third and last design the base, or lower portions, are those marked I and J at their tops, and those which come next to them are marked I and J at their lower edges and K and Lat their tops, the remaining two sections being of course marked K and L at their lower edges. Each design isin the full size required for a panel of such dimensions as is adapted to any screen of fashionable size and shape. NCEDLE AND BRUSH. SAEEeeKy iG icon nens 356 9 se CHAPTER XAXAAIL DESIGNS FOR DECORATIVE PAIRTING. Study of Wild Roses for Painting in Oils. N this chapter a beautiful design for the ornamentation of a panel, a sachet, or any article to which such a decoration is adapted, is illustrated. It is divided, ow- ing to the limitations of space, into two sections, that are joined to produce the perfected design by bringing together the corre- sponding edges at the inside margins of the two pages upon which it is illustrated, these edges being designated by the letters E and F. The following colors were used in paint- Kremnitz-white, rose-mad- ing the design : der, lemon-yellow, ivory-black, burnt-sienna, chrome-green and emerald-green. The entire design may be first sketched or stamped upon the material (provided the worker does not feel competent to proceed without this preliminary help), and is then painted in Kremnitz-white mixed with a little pale dry- ing oil, After this is dry the natural colors are laid on the, leaves being painted in the two shades of green, with a little lemon-yellow added to produce the light tints. The rose petals and the pink portions of the buds vis- ible between the bursting calyxes are painted with with rose-madder, cooled by mixing it white. Where the shadows are deepest a faint touch of ivory-black gives the desired effect. After the parts designated had be- come dry the stamens were added with lemon- yellow, and the tiny green spot in the center of each rose put in with a fine brush dipped in pure chrome-green. The retouching of the stems and calyxes was done with burnt-sienna, While it is method of students by assuming that the same not intended to cramp the study should always be painted in exactly the same colors, amateurs will find the list enumerated a safe one to provide for this design. Ifa natural study of wild roses can be obtained, which is an easy matter in the country, the artist may experiment with her colors to bring out the various effects observ- able in the growing sprays. Some roses will be a deeper pink than others, some will have irregular petals and some will have very ten- der foliage growing clese to that which is darker and more advanced in growth. A beautiful illustration of the adaptability of this design is a screen of olive satin framed to on oo | NE€VLE AND BRUSH. in brass, with the roses painted in the method described. The design is posed near the top of the panel and from the largest rose a couple of petals have dropped out and appar- The effect ently being caught lower down. is especially artistic and natural. Another instance in which this study is developed with pleasing effect is in the deco- ration of a linen handkerchief-case which is perfumed with rose sachet powder and has its edges fringed out to form a pretty finish, when they meet at the sides. Morning-Glory Design, Painted in Oils for Decorating a Photograph—Case. THE case decorated with this design was made of éru satin with narrow brown satin ribbon laid on to form a lattice or trellis as represented, The morning-glories, or, to give them their more ambitious Latin namie, the convolvuli, were painted in the transparent, roseate white, in the deep purple and the pinkish lavender tones belonging to the nat- ural blooms, and the effect when the edges of the affair were bordered with metallic cord was exquisite. The colors laid on the palette for the design may be varied according to the natural study or the artist’s remembrance of the growing blossoms. The purple ones may be painted with permanent-blue and madder- lake mixed with white and ivory-black, the two latter colors being proportioned to pro- duce the depth of tone required and raw-um- ber and burnt-sienna being employed for the shadows. The light lavender or violet blossoms may be painted with madder-lake, yellow-ochre, permanent-blue and as much white as will reduce them to the requisite tone. Those which seem almost white are usually painted in a warm, light gray made of white, vellow- ochre, with a little madder-lake and cobalt. To produce the high lights and the streaks of color which flush the more delicate specimens one must experiment. Yellow-ochre and madder-lake mixed with White and light cadmium with just enough ivory-black white are effective for the lights. to cool down its yellowish tone agreeably will give the shade needed for the streaks in some blossoms ; for the pink dashes in others madder-lake and white with a little ivory Cobalt, white and ivory-black may be mixed for blue black is a satisfactory combination. shadings, the color being deepened toward the edges of the petals. Pink morning-glories may be painted with white, yeliow-ochre, black deepen the tone to the degree seen in nature. madder-lake and as much as. will The vivid markings which distinguish blos- soms of this color may be done with light red and a little raw-umber. Some of the foliage may be painted with light cadmium, light red, Antwerp-blue, white and ivory-black, and for the remainder mad- der-lake, permanent-blue, white-cadmium, white and ivory-black, the admixture of the latter colors producing cooler tones than the former. The stems and tendrils may be painted in chrome and emerald-green, deep- ened with ivory-black and warmed with light cadimum, Antwerp-blue, and _ burnt-sienna being used where shadow effects are desired. In making up the case the edges are pro- vided with tasselled cords, which tie them together. The trellis may be painted in wood tints or NEEDLE AND BRUSH. simulated with metallic cord instead of with ribbons, The two sections composing the design are brought together at their edges marked C and D, in order to perfect the size. Of course the design may be used for the decoration of a variety of articles, which will suggest them- selves to those interested in such work. Drapery BEAUTIFUL effects in upholstery are produced by the use of fringes with deep, netted headings from which tassels or pompons are pendent. Such fringe is expensive when pur- chased ready for use and adds largely to the cost of articles that are decorated with it in the shops; but as the materials for its con- struction may be purchased and the making done at home the expense may be much re- duced by any one who is willing to bestow a little time on its manufacture. A very hand- some variety is made of silk cord and chenille with tassels that are partly of lambs’-wool, but at first sight appear to be all silk. The home fringe-maker will find the simplest method of procedure as follows: Ascertain the length of the piece of fringe needed and cut a piece of flat fringe-gimp to correspond. To this at regular intervals sew pieces of silk cord, which should be as long as itis desired the fringe shall be deep when completed. An inch to an inch and ahalf between these cords provides for an effective netting. After the cord is firmly attached, begin to form a diamond-shaped net- ting by bringing every two adjacent lengths together about an inch from the top, and fasten- ing them with a few stitches done with a nee- dle and strong thread. Continue the netting as far down as the length of the cord will per- mit and then finish the ends of the cords with tassels, which may be purchased or made at home according to any of the methods illus- Fringe. trated and described in the chapter on fringes in “NEEDLE-CraFT.” Before adding the fringes, however, the stitches which form the netting should be concealed by being over- wound with fine silk cord, chenille or crewel, according to the material chosen for the fringe and the degree of richness it is desired to im- part toit. Considerable variety in the arrange- ment of the tassels is possible. Each cord may be tipped with a tassel or the ends of each two adjoining cords may be brought together to complete the netted design and be concealed under a tassel. Sometimes the sections of cord will vary in length in regular alterna- tion, so that a short tassel will swing between two long ones. If a fringe is required to arrange about continuous curves, or to carry about any article that has many corners or angles, the network should be quite open and not too deep. Such fringe forms a beautiful border for a mantel shelf, for the base of a handsome chair or sofa or for any article of furniture that permits or requires such a dec- oration. The difference of cost between the product of the home manufacturer and that purchased at the shops is considerable, while in ap- pearance there is little or no difference if the work is neatly done. A moss heading or a handsomer gimp than serves for the founda- tion, provided the latter is not a suitable com- pletion, may be sewed or tacked on for a finish. o | 4 262 NEEDLE AND BRUSH. Gila tro, Design in Kensington Painting: HE wise-looking birds chosen for this study are favorite selections with amateurs in bird- painting, and they are excel- lent subjects for practice. As here represented they are well adapted to the decoration of blotters, station- ery-cases, banners, lamp-screens, etc. The method known as Kensington painting is much favored for such subjects. It is done as follows: the design is first sketched or stamped upon the material, and then the colors necessary are prepared upon the palette. Upon some materials they may be used just as they come from the tube, while on others, velvet or plush, for instance, many prefer to add a few drops of turpentine to each color as it is taken out upon the palette. A strong writing pen, preferably one of the long, stiff bank-pens used by business men, is used to do most of the painting. To do the painting fill the hollow of the pen with paint, wipe off the back and proceed to paint the most striking features of the birds, draw- ing the pen toward you with firm even strokes so as to cause the nib to spread and form the feather stroke which is characteristic of the method, The pen is held with the hollow ol Owls on a Branch. side upward, and should be placed firmly upon the goods and drawn with light, yet secure, touches. Should the pen turn over and deposit the paint in a heap do not attempt to take it up, but draw the pen through it, as if painting, until it is distributed. These owls are of the large brown and white variety. The coloring of the breast feathers is produced by mixing Vandyke-brown with white and a little lemon-yellow. Occasion- ally a feather of pure brown is painted, and the wings are principally white, a mottled effect being obtained by drawing short pen- strokes of brown through them. The tails are made very dark with ivory-black, and have a smoother effect than the wings and breast, owing to their longer and fewer feath- ers. Asmall brush may be used to lay the color on the bills, Vandyke-brown being used. Around the white is used, the male owl having darker heads and faces considerable markings which are painted with yellow and brown. To bring out these points well a single feather here and there may be painted quite dark, but the effect is marred if the The work on the claws is best done with a strong whole head be very much darkened. but fine pen, using Vandyke-brown livened 264 NEEDLE AND BRUSH. with yellow. ‘The eyes are large and nearly all white. They are painted with a fine brush, which is held almost straight up and down. The brown spot in each is put in after the white has become dry. The branch may be painted with Vandyke-brown mixed with a trifle of white and yellow, and the leaves may be done in chrome-green light- ened with emerald-green, the veining being done with Vandyke-brown lightened or deep- ened according to the play of light and shade sought. A coarse pen or a fine brush may be used for the leaves and branch. If a pen is used for the leaves the strokes should be made so as to imitate stitches, it being from the resemblance to Kensington embroidery that the method takes its name. The out- lines having been covered the pen is drawn toward the center in the same direction as stitches would be made. All the shades nec- essary to produce the tint or tone desired may be thus applied, and the same method is followed, no matter what size of leaves or petals are being painted. Very large leaves may be more quickly done by laying on the and When a very slightly roughened surface is desired, a color inside the outlines with a brush scratching it with a pen afterward. needle may be used to do the scratching, which is imitative of embroidery. There is a “knack” in counterfeiting the embroidery effect which can however be easily acquired. It is wise to allow the work plenty of time to dry as the paint is necessarily laid on thickly and deposits itself in little rolls which crack if disturbed while damp. All varieties of birds, flower-pieces, fruit and foliage designs may be painted in Ken- sington style with good effect, and as the work may be done rapidly it is very fasci- nating for those who like to see their impres- sions take rapid shape. A Gonvenient Grifle. Ir is a little box lined with rubber cloth or oiled silk, and covered on the outside with imitation leather, heavy paper, canvas or any material that looks well and is not too frail to withstand close packing in satchel or trunk, because the box is designed to hold brushes and blacking, or dressing for the shoes. A catch that will keep it securely closed when its contents are not in use, is essential, and if a box possessing such an attachment is not available, a small leather strap with a buckle may be tacked firmly to the back to take its place. Even if the liquid shoe-dressing be packed in such a box, the possessor’s mind may be at ease, providing she lines her box with some material impervious to moisture, and takes the extra precaution of laying above and below the bottle a layer of wadding to ab- sorb the liquid in case the stopper should be jostled out of place. A case for holding this requisite, which is easily duplicated, is merely a small pine box having its cover arranged to slide in grooves. The lining, which is a piece of rubber gossamer, is held in place by thumb tacks, and the outside is stained with cherry stain. Upon the cover the words “ Shoe ae Dressing are wrought with small brass- headed tacks. A strap and buckle, relic of a worn-out shawlstrap, impart additional se- curity to the position of the cover. NEEDLE AND BRUSH, CEhAPLER 2.01. Aatumn-Leaf Design for ULTE. as artistic effects may be indicated much appreciation for with the needle as with the brush, and this design is particularly adapted to the development of realistic effects in embroidery, oo ey though its value as a design for painting in oils or water colors is quite as apparent. In the chapter entitled Flower Painting in Oils the method of tracing and transferring any design is explained, and assuming that this has been stamped upon a piece of olive-green sateen and is to be worked with crewels we will select the most desirable colors for it. Taking for a study a maple tree in autumn as it bursts into a blaze of gold and red, with here and there a green “leaf left to remind the beholder from what cool, umbrageous shades the change has pro- ceeded, we find that though the effect is gor- geous its splendor is brought out with the aid of many sober accessories. As our embroid- ery is to be painted with the needle we will Noth- ing could be better than the fine crewels choose a good medium for the work. which are procurable in all known shades, and of these we will select the full range of olive browns, giving the balance in favor of quantity Embroidering or Painting. to the lighter and deeper tones, but not ignor- ing the middle tones altogether; of the reds we will select a fair proportion of the vivid shades, gauging the quantity by glancing at the natural study or a branch from it, some of the deeper tones and a little that has only the subdued glow of red init. Turning then to the yellows and comparing them with olive browns we decide that the shades we want are the sunny, brilliant tints, those correspond- The olive greens we pass by, not because they are ing to aureolin tints in water colors. not valuable, but because they run too quickly into the shade of the background. Lastly a small quantity of leaf green, not the green of the tender foliage in early summer nor the rusty hue of that which clings latest to the branch, but the ripe, yet subdued shade sug- gested by the green tints that mingle with the changing foliage. By observing the natural bough groupings of color will suggest them- selves, but some discrimination and allowance for the different light in which the embroidery If it is to be placed in a dim light the outlines of the will be placed, must be made. leaves may be boldly “sketched” with the strongest shades, the fainter tints being used inside of them. This method will preserve 266 bo aD nm NEEDLE AND BRUSH. the outlines and give distinctness to the design, whereas if the embroidery is to occupy a prominent position in a strong light the effect of delicate shading will be more admired than boldness of outline. The shading of the drawing suggests the position of the deepest and brightest colors. Where two or three leaves in bright colors come so near together that their individual outlines are in danger of being obscured by the mass of color a leaf or part of one may be worked in dark cool green, broken by stitches of light olive brown that suggest the beginning of the Here and there a dark spot by The work should be turning process. may be counterfeited grouping — short stitches of dark brown. done from the margin toward the centers, but a little practice will enable the worker to make the return stitch without carrying the crewel back to the starting-point underneath. The knack of doing this is worth acquiring in view of the rapidity with which chenilles, silks and arasenes disappear when a large design is being worked. The veining is done with darker shades than the body of the leaves and like the branch and stems should all be worked one way—that is with the stitches proceeding in a uniform direction. As the work progresses it may be viewed from a dis- tance to note the effect, and the high lights subdued or the darker tones lightened by juxtaposition with darker or brighter tints. The entire range of olive greens in crewels, silks, chenilles, and all embroidery materials may be used with advantage in embroidering foliage upon any color that is not itself of a green which is too easily assimilated with the applied colors. There should, of course, be harmony, but when the decoration is not sufficiently contrasted with the background the effect is apt to be monotonous. In em- broidery as in painting the exact hues of the natural flower are not to be too closely copied, but these hues as they are affected by dis- tance, atmosphere and other conditions. Except in a design where a great many col- ors are needed to produce a desired effect it is best to avoid introducing a conglomeration of colors. A color that forms a friendly back- ground to one shade may destroy the beauty of another, though both may represent tints found close together in Nature, who, however, sets her gems as no master in all the arts can hope to equal. Green and blue in solid masses are colors that the needle artist will do well to avoid. The secret of using green she may hope to learn with experience, but the cold, unresponsive tone of the blue she cannot overcome. Nevertheless, light feathery foliage, embroidered as if growing from the ground and starred by the tiny blossoms of the forget-me-not, constitute one of the most effective decorations that can be worked on browns and sage greens. The neutral gray and éru shades of canvas and linen are receptive to pink and all red shades, and the deeper browns are in sympathy with gold, maize and their various kindred. Let the eye assist the worker to formulate a scheme of color, and then having selected the tints and tones composing the harmony, study the play of light and shade to determine how to use them. In a repeating design, such as would be employed for a mantel-drapery, or a bor- der of any kind, avoid a monotonous repeti- tion of just the same shades of color at regular intervals, as such an arrangement is a foe to artistic results. Purple and lavender shades such as are found in wisteria, pansies, lilacs, etc., are not easily applied to any colors save black, white and light yellow, though occasionally superior artistic taste develops a symphony in color, in which these shades are harmonic links between strongly contrasting The threads which have recently been made place tones. improvements in dyeing flax NEEDLE AND BRUSH. 269 them little, if any, below silks in the artistic scale and they are used with most successful results for conventional embroidery upon can- vas, crash, burlaps, linen, sateen, pongee and similar fabrics. The two sections composing the design of autumn leaves.given in this chapter may be united at their edges having dotted lines and marked a and b, and the design will be found an effective one for screens, banners or any article to which such a decoration is adapted. It is as has been previously suggested, quite as well adapted to painting in oil or water col- ors as to embroidery. A Pretty @lock—Gase. Ir presents a very effective contrast, brought out by using fancy-headed nails upon a background of ruby plush, but its foundation is only a cigar-box, with a round opening cut in it, through which is visible the face of a little nickel-plated clock, such as The opening must be a perfect circle, and the may be purchased for a small sum. plush, to look well, must be smoothly applied. To fit it around the circular opening, it should be slashed crosswise and lengthwise through the center, the slashes extending almost to the margin of the opening, and short slits being made between them to permit of draw- ing the margin of the plush inside, where it may be held in place with the tiny tacks used for this and similar purposes. All the outer edges having been secured with these tacks, the face of the box is decorated with orna- mental tacks having star-shaped heads, their arrangement simulating a pretty scroll design around the opening. Sometimes a second box is covered, and set flatly for a base upon the shelf or table supporting the clock, and the clock cover or case is set in an upright position upon this. The ornamentation may be embroidery or painting instead of the brass-nail work, but the latter is just now much favored for decorating almost every article of furniture, both large and small. Sat CEA TER: 2K. SKETCHING IN WATER COLORS. 270 (33) Ga SG OF SY Petar an Co = YT as VERY one who possesses the artis- om > tic temperament knows the fas- cination of sketching in water colors, but the number of those who comprehend the requirements of a well-finished sketch or master the art of water-color painting is comparatively few. The novice who fails in this branch of art may develop considerable skill in oils, but the fact does not argue that permanent and suatis- fying effects are not attainable in water colors. This chapter is written for the benefit of students who are not so fortunate as to have a good teacher always within reach, and in it, therefore, such details as will be of advantage to them to understand will be considered, it being too often the case that much valuable instruction which might be made quite as the novice as to the available to more advanced student, is lost to her through ambiguity of expression, or the use of tech- nical terms understood only by the habitués of the studio, A natural study is the best guide, though the novice, untaught in the use of colors and the handling of the brush, may gain valuable practice by copying a few good sketches or bringing out in colors the possi- bilities of a black and white drawing. Having acquired this practice contentment with mere copying cannot exist in the same mind with the true artistic spirit; but a great deal of time and the waste of materials may be pre- vented by acquiring facility in the use of the brush and firmness as well as Such cannot be acquired at once, but delicacy in the application of colors. knowledge the novice has made some progress toward it when its The paraphernalia for sketching out of doors may importance has been comprehended. then be prepared, and the pupil may proceed to study under the tutelage of the best of all In outdoor work, a sketching stool, which, when teachers—Nature. preparing for unfolded, also forms an easel, is desirable. Such a stool is not expensive and, with an umbrella having a handle that may be stuck in the ground, is among the indispensables of a sketcher’s outfit. Of course there are within the mental vision of almost everybody spots where the artist may obtain delightful views for sketches without the necessity of leaving the shadow of a vine-covered porch or spread- ing tree; but we have mentioned the stool, easel and umbrella because of their value to the student who hopes to progress beyond the EE Oe eer eS boundaries of the cool and shady retreats where the dilettante loves to linger. A sketch may be brilliantly sun-lighted, without compelling the artist to endure the glare of the sun. Indeed, no one should work with the sun shining directly upon the draw- ing, as such work is fatal to a correct repro- duction of the play of light and shade which dominates all color effects. There is another objection, by no means the least serious, to working with a flood of white light upon the paper, and that is its effect upon the eyes; blindness and headache are its consequences. Whatman’s thick imperial paper in quarto or octavo blocks is a good selection for ama- first lessons in out-of-door teurs for their sketchin It is easiest to gain a free and g. uncramped method by accustoming the hand and the eye to deal with dimensions that tend toward neither extreme. The same regard for a happy medium may be advised in rela- tion to the texture and finish of the paper. That eminent authority on the principles of water-color advises a sketching, Penley, medium texture for the first efforts of the amateur, though he praises the rough paper (ninety pounds to the ream) for its receptivity to large washes and its adaptability to broad treatment; but even this, he argues, is most satisfactory when procured in a moderate degree of roughness. His observations are verified by the experience of all water colorists and are briefly summed up in the following remarks: fine-grained papers are most desir- able for small sized sketches in which details are minutely treated, while the coarser varie- ties are more desirable for larger sketches and for work in which detail gives way to broad and bold treatment. Quoting directly from Penley, whose influence the writer gratefully acknowledges, the choice of papers may be made with the following hints in mind: ‘In speaking of papers, of NEEDLE AND BRUSH. 271 course much depends upon the style and man- ner of the sketcher. Some may be extremely careful in their drawing, attending to every detail, and thus produce a faithful rendering of the scene. Others may be so charmed with color as to generalize the accuracy of the drawing > and only represent their impression of the landscape by some peculiarities of har- Many, without monizing and contrasting tones. doubtless, will combine the two neglecting either, and thereby ¢ransmit to their Papers the most agreeable and recognizable effect. It matters but little in what style the drawing is given, provided the mind has been employed upon the work and a due share of careful handling exhibited.” The italics are our own, and the words italicized are emphasized because they sug- gest one of the most important facts which the artist must master, and that is that it is the artist's impressions and his method of transmit- tng them which constitutes the special advan- tage of the drawing. The best paper and all the colors known to the artistic profession overcome the effects of weak or The by experiment that very light boards will warp cannot slovenly handling. amateur will learn under heavy washes and even cockle under slight moisture, and that those having a posi- tive tint are inimical to the life and brilliancy of some transparent colors, and will finally arrive at the conclusion that it is inexpedient as well as inartistic to rely upon any fancied effect which the board may impart through its text- ure or color to the sketch, save in their general harmony and receptivity to the impressions that are to be transmitted to it. White paper is by all means the best choice for colored drawings. Black lead pencils, H B, B and F, comprise the grades usually required for medium smooth and rough papers. Black sable brushes are commendable because of to ~ te their durability and also because of their com- bined firmness and flexibility. A large flat brush is sometimes needed, and it is well to include it in an outfit, but the amateur should beware of depending on it for laying on color. Its proper function is for wetting the paper and laying on large washes. The swan quill is useful for putting in cloudy and atmospheric washes in raised distances, but its use is only advisable in small sizes which are not liable to become overcharged with color when indi- viduality or detail is to be strongly brought out. While the student must avoid the gen- eral use of the very small sizes in brushes, it is well to have one or two very fine ones. The times for using them will be suggested by the progress of the work. Some blotting- paper to absorb moisture and such receptacles as are planned with reference to the preserva- tion of the articles in use are essential. Now for the color-box. It may contain from twelve colors up to almost any number coming within the range of the color-men’s discoveries. A box containing the colors which a sketcher is likely to need for subjects including both land and water views may be stocked with the following: yellow and brown ochre, raw and burnt sienna, crimson-lake, light-red, aureolin, cobalt and Antwerp-blue, gamboge, Indian-yellow, Vandyke-brown, Sepia, brown-madder, indigo, and Naples-yel- low, vermilion, Chinese-white and blue-black. The properties of these colors may be briefly Yel- low and brown ochre are each much esteemed explained with advantage to the novice. in water-color painting, The yellow ochre is often used for a fundamental tone and enters into the composition of almost all shades of gray, producing in combination with cobalt and lake the tints frequently seen in clouds and reflected in water, and on the sides of hills. proportioned as to be used for near and far The combination mentioned may be so NEEDLE AND BRUSH. distances and tor effects in which soil, wood tones (such as are seen in old buildings, fences, etc.) are desired. Brown-ochre is more dusky, and as its It is valuable in painting broken ground and for name indicates it is of a brownish hue. any subject where deep, dusky tones are required. Raw-sienna is a most agreeable color to use sparingly, and is considered a natural ally of lake in landscape painting. It is a warm but broken yellow, and judiciously used it yields transparent tones which are full of life and brilliancy. Burnt-sienna has an equally wide range of usefulness, and is even more in request than its uncalcined relative. It com- bines well with all tints used for foliage and foregrounds, and possesses the special advan- tage of not losing character when applied in light washes; it may also be applied with con- siderable depth without overshadowing less assertive tones. Of crimson-Jake it must be admitted that its lack of permanence places it second to rose- madder when spirited effects in light tones are required, but it possesses a place in the color-box which no other color can usurp. It assimilates admirably with gamboge, and these two colors, with the addition of indigo, pro- duce soft, gray shadow tones. Light-red is used by itself more frequently, perhaps, than almost any other shade of red. It is also mixed with blue and indigo for atmospheric effects, and with brown-ochre and Antwerp-blue for roads, banks, etc. Aureolin is one of the most valuable of yellows in water-color painting. It is clear, transparent and permanent, and may be em- ployed in producing every shade of green. It is useful in sunset tints and sky effects, and, indeed, in all landscape work. The merest amateur soon learns the value of cobalt, which has to be replaced oftener NEEDLE AND BRUSH. : 27 than any other color in the box. It enters into all grays and is indispensable in giving the vaporous, far-off tones, as well as the more tangible effects of middle distances, Antwerp-blue possesses a vividness and body which make it a valuable ally to the siennas, ochres and crimson-lake in producing the depth of shade concentrated within small Innits in middle distances. Its abuse is to be guarded against. Gamboge may be called the foliage and herbage color, because it may enter into all shades and tones seen in either. It may be mixed with burnt-sienna and indigo to pro- duce deep, luxuriant greens, and with Van- dyke-brown and indigo for cooler shades. It is also useful in bringing out the brilliancy of sun-touched foliage. often Indian-yellow is used for foliage painting in conjunction with indigo and burnt-sienna, and it has this advantage over many of the yellows—of looking light, even used thickly. It is for this when reason liked for figure painting, or such portions of figures as call for yellow tones. Vandyke-brown is a color in much demand for foregrounds, and also enters into the tints seen in trees; for the latter it mixes well with gamboge and indigo. Sepia is another of the colors most used in foregrounds, and wherever deep, warm or cool, permanent brown tones are in request. Mixed with rose-madder and cobalt, it gives warm, cloudy, but not muddy, grays; with lake and indigo it produces the color which is sold as “ Payne’s gray,” and which is use- ful for rocks, water in shadow and still-life subjects. Brown-madder is a general utility color, which by being mixed with other colors be- comes tender, strong, brilliant or subdued, according to the power of the supplementary Where warm = shadows color. are seen on buildings, shelving ground or any eminence, itis likely to be used and may be counted upon, in combination with yellows, as an ex- cellent color for changing foliage, while in the lingering warmth of sunset reflections, its glow may often be traced. Indigo does not enjoy the prestige of being a permanent color, but it is the landscape artist's vade mecum in many instances. It is useful in imparting the purplish gray shades which envelop the horizon when the daylight is leaving, and it is also permissible under certain conditions in foregrounds. Naples-yellow often takes the place of all other yellows in producing the distinct but ‘floating lights which are perceptible in ex- treme distances. It is also, by admixture with cobalt and rose-madder in varying pro- portions, according to the depth desired, ap- preciated for soft air-tones which are more like a luminous haze than anything else. The artistic value of vermilion has been attested by many artists whose works live after them, but it must be judiciously used to make an agreeable impression. It is apt to precipitate unless applied quickly, and is most satisfactory when used where the effect It is a color which the student can only hope to sought permits of laying it on pure. learn the values and dangers of with time and study, but, for all this, it is essential to certain effects which no other color will yield. Perhaps there is no color whose use is so belittled as Chinese-white. It is an excellent body color, and mixes with all other colors without impairing its free working qualities. It may be laid on in thin washes or in heavy touches, but beginners who make choice of thin board or paper should beware of resort- ing to it unnecessarily to fix or hold thin washes, because, thus used, it is apt to detract from the clearness and transparency which the artist is striving to attain. tN Blue-black is a valuable color to use in breaking greens and deepening grays. The general knowledge is practicable on the sub- amateur, having obtained whatever ject of color (such knowledge, as has been previously stated, being facilitated by the prac- tice acquired in copying some good sketches), may proceed to choose a subject from Nature, but should beware of undertaking too massive or complicated a sketch. It is best to aim at depicting one or two features perfectly or at least with a fair degree of naturalness in a single small sketch, and then after a few ex- periments endeavor to bring contiguous ob- jects into proper relation in a larger sketch, than to attempt too much and become dis- heartened, because of failure to represent a multiplicity of objects properly. Perspective, form and color are distinct branches which must be studied separately and together. The eye is too often caught by grand and impressive objects, before the mind has be- come trained to comprehend the method of suggesting their grandeur and impressiveness within the scale which they must occupy upon the board, and the result is defaced by the ap- parent exaggeration of the most prominent feature and the dwarfed appearance of others. To obviate such results, let the novice select for first efforts a subject not too markedly conspicuous, but possessing enough variety to make it interesting. A glimpse out of doors in any direction will reveal such studies in infinity. However simple the view may ap- pear, the student must endeavor to represent it with fidelity and with reverence and love for the great teacher whose works are the in- spiration of all true artists. Supposing that the sketcher selects for representation a landscape with water in the foreground, mountains or mountainous elevations in the distance, their altitudes being broken and gradually reduced in the NEEDLE AND BRUSH. middle distance, and the foreground nearly level. There will of course be some verdure, and the scene will hold infinite possibilities in air and cloud effects, but it is as simple a theme as can be suggested for adequate prac- tice. Its clouds and mists, its play of light and shade will vary with the daily round of the sun, but the relative positions of the ob- jects which compose the scene are unvarying. Consequently, they are among the first points for the student to determine and locate in the drawing. This may be done very faintly, and yet with sufficient permanency to serve as a guide for the untrained sketcher, by first marking the right lines which designate the The easily located, and so also are the water-lines, principal objects. horizontal line is but the fact that Nature delights in curves, and apparently abhors angles and straight The careful observer will notice how gracefully lines, will soon dawn upon the student. even in her grand and stupendous forms, she leads up to or recedes from absolutely hori- zontal or straight lines, and the smallest afford studying her infinite variety. sketch will ample opportunity for In order to train the vision to locate cor- rectly the positions in the sketch of the vari- ous features, the student, having determined the line of the horizon, may obtain a reliable idea of the relative positions of other horizon- by on a level with the eyes, and, tal objects, holding the brush or pencil horizontally closing one eye, focus the other upon the ob- ject whose location is to be determined ; its position may thus be easily compared with the line of the horizon. This simple expedi- ent will aid amateurs in establishing relative distances and elevations ; and, by holding the brush or pencil perpendicularly in line with the most prominent perpendicular object, the relative positions of less prominent features may be accurately estimated. In order to avoid jaggedness and what may be called a geometrical arrat gement in nat- ural scenery, observe closely by what grada- tions ascents from height to height are made. Note all projections, as they are of especial value in determining g different distances, and make upon the paper whatever indications are essential to keeping these before the eyes. Rocks and depressions of sufficient impor- land- tance to add a marked feature to the scape must not be ignored. Too much study cannot be given at this stage. The eye should become well acquainted with the different features, and the sketcher thoroughly satished that the relative positions of the ob- jects composing the view are correctly under- stood, Having assured herself of this by studying the outlines and comparing them with the original, the preliminary washes may be laid on and the deeper colors added. At this stage of the work the amateur, if in- terested in the completion of the sketch, is apt to sacrifice a great deal to the desire to see it finished. Against the habit too much can scarcely be said. If the original inten- tion was to paint a placid lake-scene, with the mists of early morning disappearing before the sun, the novice can scarcely hope to rep- resent the soft, aérial effects essential, except by faithfully studying them, and until suffic- ient rapidity of execution is acquired to war- rant her in hoping to transmit such views as they really are, she will do well to make her studies at times when the clouds and vapors are less transitional. The trained eye and practised hand alone can represent rapidly fleeting effects, and while the amateur must cultivate the ability to catch them as they pass, too much must not be attempted at once. find worthy of consideration is this: Paint as the Another hint that the amateur will object appears to you; no matter what pre- conceived opinions you may have of it. This, NEEDLE AND BRUSH. of course, presupposes that the sketch is being made within proper range of vision. It is really of no consequence that the herbage upon a distant hillside is green, if the play of light and shade and the distance at which it seems to be, combine to make the effect only broken shadows and indistinct outlines. It is an amateurish weakness to attempt to strengthen a sketch by perfecting details to extent that all idea of distance is such an lost. If the novice who realizes a weakness in this direction will resolutely set to work to cure herself by rigidly disciplining her percep- tive faculties, she may take the following Let her choose a flat study of growing grass, seek- course of treatment with improvement. ing if she may, one that disappears in the horizon without having its level surface broken. She may begin by painting the grass beneath her feet its natural shade of green, and follow faithfully the color as she limits which bound her sees it toward the vision, Before advancing very far her predi- lection for absolutely green grass will have to give way to the effect of air, light and shade, or else she cannot be said to make a faithful sketch. The experience gained from a flat study of this nature cannot fail to cure her of the tendency to paint separately and in vivid green each blade of grass growing on elevated ground, presumably at a distance, In selecting a site for sketching, the artist should of course endeavor to secure the hap- piest effects. Rugged, angular views may be picturesquely represented upon large canvases in conjunction with objects which afford har- monious surroundings or contrasts, but for small and medium-sized sketches, views which represent nature in softer moods and in such forms as win admiration through their power to soothe rather than overawe, are mMOSst Sat- isfving, and thev certainly are most advisable as studies for beginners. Upon another page Mein ‘ mM iy ; i Ud i il ry u i ie he We A a landscape study in black and white is given, and accompanying g it isa description of the NE€DLE AND BRUSH. 277 method followed in painting the colored sketch from which it was engraved. » STUDY +1) + WATER + COLORS. THE landscape from which this study was engraved was specially prepared for “ Needle and Brush,” and the treatment of the sketch is explained at considerable length for the benefit of amateurs in water-color painting, whom it is intended to aid. The subject is a pleasing and fascinating one, and one also that permits of considerable beneficial practice. In preparing a palette for it the colors used were aureolin, cobalt, crimson-lake, yellow-ochre, brown-ochre, raw- sienna, burnt-sienna, light-red and Antwerp- blue. The sky was washed in with aureolin and cobalt, the sunset glow of the former tint fading imperceptibly into the azure hue of the cobalt, and a few light, floating clouds break- ing the monotony. The clouds are hghtly washed in with crimson-lake, and the further distance is painted with cobalt, aureolin and crimson-lake, while the stronger effects and less vaporous shades of the middle distance were brought out with yellow-ochre, crimson- lake and Antwerp-blue. For the foreground raw-sienna, burnt-sienna, brown-ochre, Ant- werp-blue and crimson-lake were used, while for the broken ground, brown-ochre, light-red and Antwerp-blue were employed to produce the desired tints. The water reflects the tints of the sky and the shadows of the trees and herbage border- ing upon it, but there is no commingling of colors which might tend to produce a muddy aEhie unbroken and clear, and beyond the bend in or disturbed appearance. surface is the middle distance there are visible between the trees glimpses of it which are quite as effective as any feature in the landscape in suggesting the idea of distance and the feel- ing of openness which impart a sense of space and freedom to the view. There is no attempt at working up the details of the The effect by positive touches, and in order to achieve picture. aimed at is brought out a similar result the student should consider well the relative features of the landscape and then make every stroke of the brush serve a purpose in reproducing them in colors. A great deal more is suggested than is actually revealed, and this, it will be well to remember, is significant of every branch of artistic work, One instinctively feels in looking at the sketch under consideration that deep, cool retreats may be gained by following the worn path and that further on, the purplish mists give place to clear, high outlooks, beyond which the view broadens into wide vistas, of which the scene before is but a glimpse. To bring this feeling into a landscape the student must first comprehend that while the sketch must be kept within the limits laid out for it, it must not be treated as if the view it represents were, or could be, bounded by the size of the board. Amateurs who desire to gain experience in water-color drawing will find this sketch a most desirable one for copying. No better means of acquiring a reliable knowledge of the use of colors could be sug- gested than such a sketch affords. It may be copied many times, without exhausting its to ~ w possibilities as a study, or the artist’s oppor- tunities for helpful experiments ; and by com- paring the finished sketches with natural NEEDLE AND BRUSH. effects the student will obtain helpful hints regarding their deficiencies, as well as hopeful inspirations for their improvement. t+ 0 00 os 4 eo oo 8 ee Tijodelling HanpsoME results are obtainable ,by the exercise of skill and care in this kind of work. First stamp the design on a plaque, panel or box-lid, whichever you may wish to decorate. Then if a flower design is used, stamp it the second time on white foolscap paper. Set the stamping by holding it before a moderate fire two or three minutes, Cut patterns of the leaves and petals of the flowers from the de- sign stamped on the paper. Add enough linseed oil to the putty to make it work perfectly smooth, and roll it well with a rolling-pin on a clean pine board. Cut the petals of flowers and the leaves with a sharp penknife, and arrange them to corre- spond with the petals and leaves on the panel or plaque. Press down lightly with the finger; then add the stems, cutting narrow strips of putty and rolling them into shape for the purpose. Make the veins with a darning needle. Set the design in a cool, airy place in Putty. until the putty hardens. The luster colors— gold and silver—are used for painting this kind of work. Pale drying-oil may be used to mix the luster, but only a little color should be prepared at one time. Paint the leaves and stems with gold, and the buds and blos- soms with silver. The luster color known as “fire” is good for shading and for making and acorns are If flowers may be painted in natural colors. stamens. Oak-leaves very pretty in this kind of work. desired, A wild rose design makes a handsome panel in The black panels may be used as a foundation. this kind of work. ebonized Rose madder, white and scarlet-lake should be used for painting roses and tips of opening buds, and zinnober and chrome-green for the stems and leaves, retouching the stems with a little burnt-sienna and veining the leaves with the sienna. The latter color may be deepened or lightened, according to the leaf represented. NEEDLE AND BRUSH. 279 TRC) RS Dow sv LO RS Lom Ss + > ee ee ‘\ s. 7 => “ J as as 7 c > w ORO Rae ae ay Were on © PN Nee Pie ME SEOUL! ae Che —. gear Stee eee hs I eI RS RO ORO mC Soe SS : eZ. iS > CHAPTER 2204 V1 LUSTER PAINTING. HIS variety of decora- tive brush-work is es- pecially effective up- on curtains, portieres, table-covers, etc., and a knowledge of it may be acquired by anybody who will devote to it a little time and study. It may be developed upon felt, satin, plush, thin silk, linen can- textile indeed almost and vas fabric. It is mixed with a medium, which is either light or upon any done with metallic powders dark, according to the color of the powder used ; bristle or sable brushes, Nos. 3, 5, 8 and 11, and the usual implements in the way of a palette, drawing board, etc. The palette should be one with little cup-like hollows in it, or if such a palette is not available small egg-cups, inverted so as to use their smaller portions for mixing the colors in, will answer the purpose very well. To this list of essen- tials may be added the dry colors used in tinting wax flowers, because, though luster painting may be done without them, they are indispensable to the production of some of its finest effects. The dark medium used for mixing is simply asphaltum varnish, and it may be used for all except the delicate and pale colors. For these a medium composed of spirits of tur- pentine and white balsam of fir, the propor- tion being about three parts balsam of fir to The need not, however, depend on her own ingenu- two parts spirits of turpentine. novice ity in compounding it, as both mediums, ready for use, may be procured, with all the other implements, at the shops of dealers in artists’ materials. Other mediums are sometimes used with temporary success, but those mentioned the others of possess advantage over ali not cracking. They are rapid dryers but have sufficient elasticity to hold the powders while they are drying. The bronze powders most in demand for luster painting are steel, silver, maroon, violet, mauve, brown, fire, lemon, orange, green in dark and light shades, and in a brilliant and also a faded or antique tint, gold in a pale, a greenish and a rich yellow hue ; copper which is a pinkish hue, purple in deep and pale tints, pale blue, dark blue, flesh pink which is a medium tint and car- mine. These are all labelled on their bottles so that no doubt as to the exact color pur- chased need exist. The dry colors which supplement them most effectively are green in 80 NEEDLE AND BRUSH. three shades known as dull, dark-dull and light-dull, silver, a dull Indian-red and dull- blue. Exact rules for combining the metallic powders with the dry colors cannot be laid down, as in all varieties of painting the sub- ject treated should suggest the colors used, but in luster painting the natural hues are rarely ever followed, though the artistic merits of the work are very much enhanced by sug- gesting them. Sometimes this can be done by of green may be obtained by experimenting ‘with the various dry powders and metallic paints. For bringing out the high lights in greens the green-gold metallic paint is effec- tive. Any of the metallic paints is intensified by admixture with its corresponding dry color; and frequently shades which cannot be produced by any combination of metallic paints are easily achieved by substituting a dry color for one of the component parts. What known as metallic flitters are are Ficure No. combining the metallic powders according to their relation to the color sought, but more frequently it is attained by resorting to the dry colors. For instance, to obtain a deep blue metallic tint add dull blue dry color to the metallic blue. Various shades of red may be produced by experimenting with dull red The dry color mixed with the medium may be dry powder and fire metallic powder. applied alone where very heavy shadows are desired and afterward lightly dusted over with whatever metallic powder is used for the high lights and brilliant effects. Any shade I.—CHAIR CUSHION, ORNAMENTED WITH DESIGN IN LUSTER PAINTING. sometimes used to bring out striking irides- cent effects, but their use in connection with luster painting on textile fabrics is scarce as commendable as on pottery painting. If desired they may be purchased in green, purple, gold, orange, silver, blue and red. They are much coarser than the metallic powders, and are dusted on or laid on with a fine brush, before the painting is dry. In this chapter are illustrated three speci- mens of luster painting, one of them g, being a chair cushion in saddle-bag style. This is illustrated at Figure No. 1, and is 2— DESIGN IN FULL SIZE FOR LusreER PAINTING. FIGURE No. aay 3-— DESIGN IN z Ficurkr No. 282 NEEDLE AND BRUSH. 283 made of plush, in a rich golden-brown hue. The lining is of India silk and the two sections forming the cushion are laced to- gether at their tops with ribbon matching the lighter tone of the lining. The ribbon lacings are run through rings covered with a crochet of brown cable-silk, and are bowed at one end of the cushion, their ends being tipped with small pompons. Upon the front section is painted a branch of pears and their foliage, the fruit being done in the greenish tones seen in the growing fruit with a tinge of red upon the high lights. For the leaves darker greenish tones were used, a yellowish tinge suggestive of their autumnal state being given to some of them. The size of the pears and leaves composing the design is given at Figure No, 2, and the method of painting is as follows. The pattern is first stamped or outlined upon the goods and the paints are laid on with a medium large brush, two or three being kept at hand, so as to avoid dip- ping from one color to another or having to clean too frequently. They are laid on thickly, but lightly, any prolonged effort to spread or drive them in being fatal to a good effect. Only a little paint is taken up on the brush when the more delicate parts are to be done, but in the design under consideration a free and rapid method is permissible. It is consequently an excellent selection for first efforts. It is a matter of choice whether the design be uniformly covered and the high lights and shadings subsequently touched on, or painted from the margin with the paint gradually becoming thinner toward the shad- ows, so as to accentuate the latter by partially revealing the background. In convention- alized floral designs the latter method has been found very satisfactory, but for fruit and geometric designs the former is preferred by many, but in painting on velvet or plush the brush strokes should go with the nap— never against it, At Figure No. 3, a design for a fine cluster of grapes is illustrated. It is an ex- cellent study for luster painting, and may decorate a cushion of the style pictured, or any other article to which such a decoration is adapted. A curtain to a book-case might be handsomely decorated with similar clusters in the corner, and conventionalized grape-vines minus their foliage running down the sides and across the top and bottom. Luster painting is often associated with flower painting in oils, and when white flow- ers are chosen as subjects the effect if artis- A. scarf of gobelin-blue plush, ornamented with annun- tically developed is admirable. ciation lies in a large conventionalized pattern, has the flowers painted in all white. Upon this body color silver in its white metallic form, and sparkling silver are laid on with the medium, and in the shadows the deeper tones are brought out by the skilful use of metallic steel powder. The work was done by an amateur, who experimented carefully to obtain the desired result. to NEEDLE AND BRUSH. - VEU BY < INGE AS OS CHAPTER RAKVI. CRYSTALLIZATION PAINTING. Sa CAS , a OS We “a »HIS variety of painting, By) te though not an entire ft say , A Hs ‘ o Be és novelty, is more ad- mired now than at any be- cause of the resemblance time in its history, to illuminated or jewelled glass effects which may be developed in it. Two specimens of crystallization painting are included in this chapter. At Figure No. r a design mounted as a fire-screen is shown. The subject is a floral stretched wings, poised upon a branch. one, and includes a bird with out- It is painted on glass, which should be clear and free from flaws of every kind. Before pro- ceeding to paint upon it, the worker will do well to assure herself that it is absolutely clean, by polishing it with alcohol and chalk, and rubbing it with tissue paper or chamois. The design which is to be followed is then placed upon a table and the glass laid over it. With a fine brush dipped in bitumen, all the outlines are accurately traced upon the glass and the general effect of light and shade is in- dicated by shadows may be thrown upon the portions but for those further removed the treatment may free strokes. Strong lights and directly in the foreground or first plane, be more uniform, though they should not by any means be thrown into a heavy shadow, unless such treatment is essential to the ar- rangement. Having given the subject the prominence upon the glass which the out- lining and the laying in of the shadows pro- duces, the unpainted portion of the glass is overlaid with a thick coat of bitumen, a coarse brush being used for the open, and a fine one for the interspaces. Extreme care is neces- sary in this stage of the work. The outlines should be kept distinct and the glass free from soils, as it is the side the painting is done on that will be enclosed, and no subse- quent treatment can quite obliterate soils or finger marks. In using the bitumen turpentine is mixed with it in greater or less quantities, according be thinned with the liquid to the consistency re- to the effect to be produced. It may quired for the lightest washes, and it may be put on as nearly pure as its easy manipulation with the brush permits. Between these ex- tremes its intermediate gradations are many, and they are regulated according to the depth and brilliancy of tone which the subject treated is to display. Having permitted the bitumen ample time to dry, the principal por- NEEVLE AND BRUSH. Nv oo mn tions of the design are painted in their nat- ural colors. whether oil or It is immaterial water colors be used, provided either are of When effect is desired the colors are laid on quite the best and are transparent. a vivid thickly, and as nearly in their pure state as may be. The less conspicuous portions of the design, such as the stems and branches of the flowers, the beak and claws of the bird, at a consistency that will give them a semi- subdued effect. When the natural colors are dry, such portions of the design as are to pre- sent a very brilliant effect are varnished with copal varnish, and the glass is backed with tinfoil or silver paper (the kind that is highly illuminated on one side and dark on the other), such as underlies pearl buttons upon This should be the card, is the best. paper Ficurr No. are painted with opaque color, ochre, Naples yellow, vermilion and lead-white constituting a list from which the artist may select those ordinarily in demand for such subjects as are For the plumage of the bird very brilliant colors most admired for this style of painting. may be used, if the bitumen has been applied I.—FIRE-SCREEN, ORNAMENTED WITH DESIGN IN CRYSTALLIZATION PAINTING. crumpled in the hand and then drawn out almost smooth again, and a space of about one-fourth of an inch should intervene be- tween it and the glass. To prevent the paper from impinging upon the glass, place tri- angular bits of pasteboard back of the corners and attach the paper to these, taking care a NEEDLE AND BRUSH. that it is adjusted in such a way that it will not strike the glass at any point. g The glass is now ready for framing. The fire-screen illustrated is framed in a narrow moulding ot brass, and the standard which supports it is of brass. The backing visible outside the paper may be wood, metal or a glass similar in size to the one painted upon. If the paint- ing is to be mounted in the manner repre- sented, glass is the most desirable selection, lines of gold. The easel which supports it harmonizes with the frame. A list of transparent colors containing those most in request for crystallization painting is as follows: aureolin, gamboge, Italian-pink, gall-stone, Indian-yellow ; all the madders and crimson-lake ; Prussian-blue, indigo and ultra- marine; orange and burnt-sienna; brown- madder, Vandyke-brown and lamp-black. Asphaltum or any good varnish of the Ficure No. 2—DEsIGN IN CRYSTALLIZATION PAINTING. while if it is to be hung upon the wall a wooden backing is adequate. Figure No, 2 represents some variations in the treatment. The design was outlined with bitumen, and the lights and shadows washed’ diluted bitumen in the manner de- but painted a semi-translucent shade of white, in in with scribed, the unpainted portion was contrast with which the brilliant hues of the design present a very effective appearance. The frame of the picture is a narrow one, enamelled in white, slightly relieved by faint grade used for oil painting may be employed for adding to the brilliancy of crystallization painting. Some color mixtures which have been tested and found very successful for this style of work are as follows: for light green, Ital- ian-pink and ultra-marine blue; for some shades of dark green, indigo is valuable ; for others indigo and burnt-sienna may be mixed. Roses, which are particularly effective selec- tions from the floral kingdom, may be painted and brown- in crimson-lake, rose-madder madder, the most vivid colors being used for those that are to appear most conspicuous in the drawing. > Colors that take a long time to dry may be mixed with Japanners’ gold size and a little turpentine. Water, correctly painted, has a very good NECDLE AND BRASH, 287 which should be quite dark in the front of the picture and gradually lightened toward the background. Mountainous or elevated dis- tances may be represented with the aid of For such subjects only a semi-transparent effect neutral tnts mixed with a little white. is desirable. Glass for painting on, cut to the requisite size, is easily obtained. >O) THE LTABLE.< effect in this variety of art. It should be shaded with long, straight, broken lines, An extremely pretty and quite durable table-runner, which is the name applied to the narrow, oblong mats spread over the center of the cover, may be made as follows: Take a strip of fine linen sateen about four feet long and from twelve to fourteen inches wide; using work a design in Roman embroidery, white flax thread for the button-hole stitching, and underlay the design with the strong white net which in weave resembles coarse Brussels net, and can be purchased at all fancy goods shops. A pretty stand for the coffee or tea-pot con- sists of a flat tile. If you have a taste for china painting, you can decorate a few in blue, red, yellow or in any of the neutral or dull colors now admired for china decoration. To beginners in the study, a hint may be given, that considerable valuable experience in grounding or tinting may be gained by making up a few color designs on tiles, and For shades of noting the effect after they are fired. instance, a tile tinted in four blue arranged in a geometric design or in two shades of blue, with coral and gray, would enable one who contemplated doing a set of plates in these tints to judge of their exact effect after being fired. A pretty set of cups and saucers for choco- tinted in a late is warm but not deep chocolate color. The decoration consists of small branches of cocoa palms, two of which are bound together at each side of each piece with a golden ribbon, this being bowed in Pom- padour fashion at the point of crossing, and The latter are painted a dark brown with out- arranged in a scroll between the palms. linings of gold. NEEDLE AND BRUSH. CHAP ER eee nie PAIRTIRG asked to mention the most important precaution for the novice in china painting we should reply absolute neatness in the care of palette, brushes and colors; and we are certain that as the beginner progressed in the art the full value of the advice would be understood and appre- ciated. Colors must be kept separate until the proper time for combining them upon the palette arrives, and this can only be accom- plished by having separate receptacles for holding the turpentine used for cleaning brushes and that which is mixed with the paint, and by having at hand rags and alcohol for wiping brushes upon, and for cleaning the palette, etc. This chapter, while illustrated with designs which advanced artists will find adapted to their purpose, is written principally for the help it may be to those who must obtain their knowledge of the art of china painting principally from experience, and who desire to reduce as much as they may the which tuition fees this teacher usually re- quires. To those who have the courage and the patience to experiment carefully and per- OR CHINA. sistently success is sure to come, because while there are many perplexing details to master, they simplify rapidly if the beginner only takes pains to learn the cause of her fail- ures. The bugbear of amateurs is the revolu- tionizing process which the firing is supposed to produce. There is no question but that many pieces of china emerge from the kiln defaced in ways that are past accounting for, but the statement sometimes made that the decorator can never tell beforehand what colors her design will appear in after its trial by fire, has no foundation in the experience of artists who work with the best colors and have their firing done by competent persons. Occasionally a doubtful color will emerge more doubtful than it went in, and then the artist is sure to wish she had subjected it toa practical test before deciding to use it in con- junction with other colors. Even if the expense of an outfit is a problem which must be settled by limiting the outlay to the smallest practical sum, the would-be artist need not be discouraged, as several colors, brushes, oils, a palette knife and a glass palette may be procured for less than in artists’ materials four dollars. Dealers may usually be relied upon to fill an order according to the specifications given them, but if requested to send what //ey consider a nec- essary outfit will almost invariably advise one costing a sum far in excess of that mentioned, The cost of each item has not been specified in our estimate because it varies in different localities. In this instance we have given the aD aggregate in figures which would cover the NE€DLE AND BRUSH. 289 yellow and mixing yellow; the brown which is catalogued No. 4 or 17; pearl-gray No. 6 and ivory-black. Our expenditure of four dollars includes six camel’s-hair brushes, two or three of which may be very fine, one flat black one and two medium sized ones. A bottle of what is technically called fat-oil is also provided for by this sum. The turpentine and alcohol are local commodities for which Ficure No. 1.—Rose Jar. cost in New York and probably in most cities. It includes a dozen colors selected from the list of Delacroix colors, and these will be found sufficient for the requirements of the beginner. They are chrome water-green which is a ground- ing or tinting color; carnation No. 1 which is one of the most satisfactory and adaptive of the reds, deep red-brown ; brown-green, emer- ald-green and No. 73 dark-green ivory- no estimate has been made, and it is pre- sumed that the decorator has at hand lead pencils, a pen-knife and a few cheap tiles. It is upon these latter the experiments in colors are to be made. Do not attempt the slightest thing in the way of a design until you have sent a tile covered with specimens of your twelve colors to the kiln and noted the effect of firing upon them. A medium sized brush 290 NEEDLE AND BRUSH. will carry all the color needed for experiment- ing, and of each color only a very little need be laid upon the palette. To smooth each little heap of color as you take it out, dip the palette knife in some turpentine, which you have previously poured into a cup (but do not take up any more of the liquid than adheres), 6c and “ grind” or rub the color to a perfectly smooth consistency. Before laying your knife down wipe it clean upon a rag; then dip your brush in turpentine, rub out all the moisture that will come out easily by pressing it gently against avother rag; dip itin the color you have on your palette and lay this color ina little square upon your tile. Lay the color on so that it will be heavier at one side of the square than the other, and upon another tile having the same dimensions and marked off into twelve squares equal to those of your test tile make another square of the color you have used. To avoid the possibility of mistakes number the top of each tile 1 and the bottom 2. Now clean the brush thoroughly in a cup of turpentine (by no means dip it in the same cup as the knife was moistened in) and go through the same process with all the other colors, being careful not to have them overlap upon the tiles or become mixed upon the palette. When all the colors in your supply are represented by a square of each upon each tile send one tile to a firer and await, with as much patience as your zeal will permit, its return. When it comes back to you study carefully the changes in color which the process of firing has wrought by comparing it with your unfired tile, and keep both by you for future reference. ‘The result cannot be said to be an absol/ute/y reliable one, because some of the colors tested would, if fired sepa- rately by a person who thoroughly understood the process, be subjected to a greater or less degree of heat than the others, but the test is the most practical one that can be recom- mended, and the colors on the fired tile usually show but little difference from those that have not been inside the kiln. The clesign; one representing but few colors is beginner may now essay a simple best for the untrained decorator, and before attempting it the palette must be thoroughly clean, and the brushes freed from all traces of color. The fat-oil is incorporated with the colors in mixing after they have been ground with the palette knife, and it is invaluable, but it must be judiciously used, as must also the turpentine, which is an excellent dryer. The fat-oil should not be mixed with the paint as it lies on the palette because half a drop of it sometimes goes much further than the ama- teur’s knowledge of it. Too much of it pre- vents the paint from drying and its superfluity is indicated by a permanent gloss upon the’ colors before they are fired. Colors which show a very high luster when dry should not be sent to the kiln as they never fire satis- factorily. A few drops of fat-oil upon the palette are enough to work with, and the brush may be dipped in it after it has been moistened in clean turpentine and dabbled upon a clean rag to rid it of the excess of moisture which it takes up. Having pro- ceeded according to this method you may find that you have too much turpentine—this being indicated by difficulty in working the color, which, instead of remaining as you laid it with the brush, will run in streaks. If such is the case you may be assured that you have not quite comprehended the method and proceed to gain further knowledge by experimenting. For some time (until you are prepared to admit that your experience has brought you practical knowledge), confine your efforts to conventional designs and simple flower-sub- jects, or to designs which embody your special forte in coloring or drawing. If you wish to save expense take your first ten or twelve les- sons on small tiles ; you can procure them for a trifling sum, and you will feel less regret upon contemplating those which you pro- nounce failures than if they were vases or plates. Should they turn out satisfactory you have in them the material for a lovely window- box or jardiniére. We will suppose that you are going to paint a cluster of yellow roses NEEDLE AND BRUSH. 291 place it in an oven for a few minutes, but do not begin to work upon it until it has become cool. Draw the outlines of your design and prepare your palette with the first colors, which may be pearl-gray and brown-green. Paint in the whole design with pearl-gray, lay- ing on the darker color where you desire the heaviest shadows. Lay the gray on very thin FicurE No. 2.—DECORATED PLATE. and their foliage upon a tile, and you are in doubt about the colors. Well, first prepare the tile by washing it in alcohol, then rub two or three drops of turpentine upon it, wipe it as carefully as if it were a piece of a cut-glass table service, and, if the atmospheric condi- tions are such that it does not dry perfectly, in medium shadows and treat your high lights as you would in water-color painting, working toward them and leaving the tint of the tile to show through where they are most pro- nounced. The piece is now ready for its first firing. When it comes back to you paint in the local color of the roses witit mixing-yellow eee NEEDLE AND BRUSH. and ivory-yellow, and strengthen the shadows yellow glow into the reflections. For the 4 ___—__ BELDING’S WASH SILKS are the best made. Phoenician Dyes and Fast Colors. “WASH ETCHING” for Fine Outline Embroidery. “WASH TWIST” Embroidery for Heavier Work. “OUTLINE OR FILLING FLOSS,” which may be split to any fineness for delicate work on Bolting Cloth, Gauze, Silk, etc. “ROPE SILK." For raised work on Plushes, Chamois, etc., where elaborate effects are desired. These Goods are Unexcelled for LUSTRE, PERMANENT COLOR and REGULARITY. BELDING’S SUPERIOR KNITTING SILK. DO NOT BE DECEIVED. THE EEST IS THE CHEAPEST. Don’t allow your shopkeeper to impose upon you by selling you some other Silk, repre- senting that it is “just as good as BELDING’S.” Every spool of BELDING BROS. & CO.’S “Superior” Knitting Silk has a blue label printed on the end of the spool, of which the illustration here given is a fac simile, and each spool of the silk is warranted by them as made of pure thread silk, identical with that used by them in the manufacture of their well-known Machine Twist and Sewing Silk, which have the highest reputation and have always been awarded PRIZE MEDALS for superi- ority, over all competitors, wherever exhibited. BeLCetice BReOe..c oo. New York Office-—-455 and 457 Broadway. MILLS: BRANCH HOUSES: Rockwvalle, Conn. Chicago- Boston. Northampton, Mass. St- Paul. Philadelphia. Montreal, Canada. Cincinnati. San FPrancisco. San. Francisco, Cal. Montreal, Canada. NEEDLE AND BRUSH. Good in Everything. THe home decorator, who fully under- stands the variety and the possibilities of decorative art may be fitly said to compre- hend the poet’s meaning of book is painted on a common, wayside stone, distinguished from thousands of others only by being unusually smooth and of an oval shape. Both oil and water colors may be used DECORATED STONE ON EASEL. “ Sermons in stone, Lessons in running brooks, And good in everything,” For beneath her touch uncomely objects gain grace and beauty. The pretty landscape which forms the concluding illustration in this for such work. The easel is of wire. Some- times such a stone, after being painted upon, has asemi-covering of plush drawn over it so as to form a rim or frame around the painting, and the easel is covered with plush of the same color. NEEDLE AND BRUSH. 393 | ~— KURSHEEDT’S STANDARD SILK-EMBROIDERED APPLIQUES IN NATURAL COLORS, A full assortment of Silk Embroidered Appliqués can be found iu No. 22 of KursHEEpT’s STANDARD FASHIONABLE SPECIALTIES. KURSHEEDT'S STANDARD FASHIONABLE SPECIALTIES { | 1 | | | is sent free for one year to partics ordering goods to the value of One Dollar or over. Published four times a year. Single Copies, | 7 cents. Yearly Subscription, 25 cents. | Ploase mention Naevius anp Brus. Avpress: THE KURSHEEDT MANUF’G CO., New York City. BN & qe SS No. 7?1.—Kursheedt’s Standard Basket of Flowers. Price, 13 cents each. Al No. 953.—Kursheedt’s Standard Moss Rosebud Cluster. Embroidered in either Red, Yellow or Pink. Price, 7 cents each. No. 920.—Kursheedt’s Standard Cluster of But tercups. Embroidered in either Red, Yel- low, Pink o> White. Price, 8 cents each. a ‘ No. 911.—Kursheedt’s Standard Pansy. Em- iN broidered in either Purple, Yellow, White \ or Lilac; also Yellow and Purple, and Lilac " VJ and White. Price, 14 cents each. A “ \\ WN Y AN oe AAS va : \ Wy ANY ‘ A . ‘ ¢ CAML RAIS SN nf (We ‘ Poe AN \ AN NNN, NYY Fs wh No. 827.—Kursheedt’s Standard Spray of Buttter- No. 705.—Kursheedt’s Standard Pea- No. 916.—Kursheedt’s Standard Daisy. Em- cups. Embroidered in either Red, Yellow or cock. Natural Colors. Price, 28 broidered in either Red, Yellow, Pink or Pink. Price, 9 cents each. cents each. White. Price, 8 cents each. oes te te eee - ee a ee ee soe eel 304 NEEDLE AND BRUSH. LE EE Ee TE IT IES IE LOOT IES DE ARSE EE SIT By HOME MACAZI N E > Single Copies 15c. $1.00 per year. HAVE : It is a tinely illustrated Monthly Magazine of 64 pages, devoted to Home Decoration, kancy Work, Art Painving, Domestic Helps for the Home, etc. LIDA and M. J. CLARKSON, the popular artists and authors, write only for Ingauus’ Home Magazine. This Magazine, once in Y Oo U Ss E E N three months, contains, a FULL-PAGE COLORED PLATE. Also full instructions for its treatmeut, being reproductions from ORIGINAL PaINTINGs by LIDA CLARK- 5 SON. The Four Colored Plates are vorth the price of uw year’s subscription. Send I N @ A L LS your full address and one 2-cent stamp and we will send youa sample copy. Address J. F, INGALLS, Lynn, Mass. USED FOR STAMPING VELVET, PLUSH «DARK GOOD ALLTUBES 'Secrs. LARGE T! Mid POSttg e Pate We send a Tube of INGALLS’ STAMPING PAINT also STAMPING BRUSH, FEVEE, with I NGALLS’ 1889---- $1.00 Stamping Outfit. es OUTFIT contains a Tube of Ingalls? Stamping Paint (used for Stamping Plush, Vel- vet and Dark Goods), Stamping Brush, Box Powder, Pad, Book of Instructions for Stamping. and INGALLS? 1889 CATALOGUE OF STAMPING PATTERNS, and the following list of FULL SIZED Stamping Patterns: oO ANDSOME ALPHABET of 26 letters, ornamented with DAISIES AND WHEAT, size two inches high—DESIGN OF APPLE BLOSSOMS FOR SCARFS, etc., size, 16x8 inches—-BORDER DESIGN OF ROSEBUDS FERNS, etc., size 20x8 —CAT-O'-NINE-TAILS, 16x8—DAISIES, 14x7—GOLDEN ROD, 14x8—IRIS, 14x7 — DESIGN FOR TIDIES, SOFA - PILLOWS, SHOPPING BAGS, APRONS, SCAREFS, ctc.—CALLA LILY, 10x9—FUCHSIAS, 10x8—CLOVER, 8x8—NASTUR- TIUMS, 8x8—MORNING GLORIES, 8s7—SUMAC, 8x6— TIGER LILY, 8x6— PANSIES, 8x6—COXCOMB, 8x6—TULIPS, 8x5— LILIES-OF-THE- VALLEY, 7x6— EASTER LILIES, 7x8—SCALLOPS, 1% and 214 inches wide—TRAY-CLOTII DE- SIGNS — TURKEY ON PLATTER — STRING OF FISH — STRAW- BERRIES —CHERRIES AND GRAPES—SMALL DESIGNS FOR CRAZY PATCHWORK, etc.—-OWL—BUTTERFLIES—BUGS—TENNIS RACK- ETS—CHILD’S HEAD—SNOW-BALLS—DAISIES—PINKS— FORGET- ME-NOTS — WHEAT— BUTTERCUPS — WILD ROSE — TRUMPET FLOWER, etc — TINSEL DESIGN, 6 inches wide — LARGE DESIGN FOR TABLE SCARFS AND COVERS—SPLASHERS -—- PANELS — TINSEL WORK, etc. POND LILIES, 15x7—POPPIES, 12x8—SWANS, 20s8-—WILD ROSES, 16x18. We send this Outfit by mail, post-paid, sor $1.00. This is the best $1.00 Outfit that we have ever advertised. With this Outfit you can save money by doing your own Stamping, and make money by doing Stamping for others. The Pat- terns in this Outfit are made on 15 sheets of our best Parchment Paper (size of each sheet, 22x9 inches). These Patterns are made especially for this Outfit and are a¥ different from the Patterns in our 1897 $1.00 Outfit. Send $1.00 for this Qutfit, and you are sure to be more than satisfied. Address all orders to J. F. INGALLS, Lynn, Mass. We will send you INGALLS’ 1889 $1.00 EXTRA eription to INGALLS’ HOME MAGAZINE, SPECIAL all fox $1.75. re) F F E R J Address J. EF. INGALLS, Ibyun, Mass. a Mention ‘‘ NEEDLE AND Brusg#.” STAMPING OUTFIT, and a Year’s Subs-— NEEDLE AND BRUSH. 305 | T i (COPYRIGHTED. ) Miss MEppLEsomE (to her mamma.)—“Ah! We have now discovered the secret of her gracefully draped dresses, which have i he envy of our lives. Look! She has the Hatu’s Bazar Form. We shall send for one at once! It can be adjusted to fit ‘ither of us.” _ Miss FasHION PLaTe (soliloquising.)—“* The effect is simply charming. It would have been impossible to produce this result without Hatu’s Bazar PorTaBLE Form. I can now make over and drape my own dresses and not become worn out standing for the dressmaker. This Form was a happy thought, and is worth more than its weight in gold to ladies easily fatigued by standing.” Kf LT A ms led \, BAZAF ss P : er RAS NORA RAN S AS AY \\ \ \ ‘ \\ St SS SS \ N A AK SS \ AN