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 in 2011 with funding from 
 The Library of Congress 
 
 http://www.archive.org/details/hardangerartneedOObyec 
 
HARDANOER ART NEEDLE WORK 
 
 By MRS. CLARA E. BYE 
 
 MRS. CLARA E. BYE 
 
 PHILADELPHIA, PA. 
 
 1616 Chestnut St, 
 
LIBRARY of CONGRESS 
 
 Two Copies Received 
 
 AUG 10 1904 
 
 Copyrteht Entry 
 
 CLASS «-XXe.Na 
 
 3qqu 
 
 OOPYB 
 
 COPYRIGHT1902 
 
 BY 
 
 MRS. CLARA E. BYE 
 
 
 
PREFACE, 
 
 It has been the endeavor of the author of this 
 little work to so explain each and every step of 
 '"Hardanger" art needlework, that it may readily 
 be learned by the most inexperienced. 
 
 The object has been to give with every 
 illustration a complete instruction (on opposite 
 page from cut) for working out the different 
 designs. By studying the general information and 
 closely following the instructions given with each 
 pattern the author is confident, that an earnest 
 worker will have no difficulty in mastering the art 
 in a comparatively short time. 
 
 Believing that it may be of interest to my 
 readers to know how this most artistic lace or 
 embroidery originated I will here give a short 
 account of it. 
 
 '"Hardanger" is a county in Norway, (Europe), 
 by the way one of the most beautiful spots in the 
 scenic Norway. It is the women of this place that 
 are the originators of this handsome art work, and 
 it has gained for them a renown that has spread all 
 over Europe and I confidently believe it to be only a 
 matter of a short time, before it will be known in 
 every art loving home in America. 
 
 The embroidery is both durable and beautiful, 
 and not so very difficult to learn for an earnest 
 worker, so for these reasons, it will and must 
 become popular. 
 
 •6 
 
GENERAL INFORMATION. 
 
 A heavy canvas cloth of open weave (which 
 can be obtained direct from ns, see price list in 
 back) is used for the foundation, of which three 
 grades are most commonly used, namely a coarse, 
 medium and a finer weave. Nos. 175, 85 and 205 
 respectively. 
 
 The outlining of the work is done with 
 pearl thread, and the bars and all other lace stitches 
 are done with Crawford linen floss, linen or cotton 
 thread (Clarks or Coates No. 12) linen thread to be 
 preferred. When the worker has decided on a 
 pattern, first work the outline with the floss, then 
 cut the intervening threads out as in drawn work, 
 and the design is now ready for the open work or lace 
 stitches. To more fully comprehend the work, the 
 readers are referred to cutsNos. 1 } to 10, inclusive, 
 (Pages 7 to 17) for full size photographs of all the 
 different stitches, separately. From these views 
 the threads and spaces can very easily be counted, 
 and also the manner of sewing are plainly shown. 
 I would strongly advise the new beginner to sew 
 each stitch separately, as shown in these half-tones, 
 before beginning any of the different designs, by so 
 doing much time will be saved in learning. Full 
 instructions are given with each design as it appears 
 from page to page. Tapestry needles are always 
 used for this work. 
 
WASHING OF THE HARDANGER 
 EMBROIDERY. 
 
 The following instructions must be observed 
 in order to retain the lustre of the embroidery. 
 
 Dissolve any good natural soap in boiling 
 water, then reduce the strength and temperature 
 by adding cold to between 95 and 105 degrees. 
 Do not rub soap on the embroidery but work the 
 article well in the lather, with as little rubbing as 
 consistent. 
 
 To re nove soap rinse first in warm water, then 
 in cold in which a tablespoon of salt to each half 
 gallon of water should be dissolved. Press the 
 article gently in the hand and do not wring, then 
 dry as quickly as possible. 
 
 The embroidery must not be boiled or allowed 
 to remain wet after being washed. 
 
 Do not use soda, washing powder, or common 
 soap. 
 
 If found necessary to iron, place the finished 
 side on a soft cloth with a piece of linen between, 
 then iron on back with a fairly hot iron. 
 
CLASSIFICATION OF STITCHES. 
 
 FIG. U 
 
 This half-tone illustrates the most important 
 stitch in Hardanger art embroidery, and the work is 
 always commenced with this stitch. 
 
 As can be plainly seen from the figure, the floss 
 is worked five (5) stitches over four (4) threads, 
 turning at right angles, entering the needle in the 
 fifth opening in canvas, always holding the work 
 so as to sew from you, or in a straight border live 
 (5) stitches is worked over four (4) threads, then 
 jump four (4) threads and enter needle in fifth (5) 
 opening and repeat. 
 
 The reason why this stitch is so important is 
 because it holds the squares together after the 
 intervening threads are cut out. 
 
FIG. I 
 
FIG. 2. 
 
 Fig. 2 illustrates a common button hole stitch, 
 and is used only on outer edge when work is to be 
 cut out (scalloped). In sewing this stitch always 
 hold the work so as to sew towards you. 
 
 Five (5) stitches (floss) is sewed over four (4) 
 threads, forming the corner in the last space. 
 
 FIG. 3. 
 
 Fig. 3 illustrates the bar stitch and open work. 
 The threads must be carefully cut with a pair of 
 sharp embroidery scissors. The openings are formed 
 by cutting away four (4) threads and leaving four 
 (4), these latter form the edges of openings and are 
 worked solidly with linen thread (except where 
 otherwise noted) into bars. To form the bars, lead 
 with the needle under two (2) threads respectively 
 in both directions, pulling the thread firmly. 
 
 
 
FIG. 2. 
 
 FIG. 3. 
 
FIG. 4. 
 
 Fig. 4 illustrates two squares, the upper 
 finished, and the lower ready to be cat out. The 
 same rale applies here as in figure 3 for cutting 
 out, also for forming the bars, except the French 
 knots, which are seen plainly in figure, these knots 
 are formed by twisting the thread around needle 
 twice, and drawing firmly, repeating this on other 
 side of bar. The floss outlining, as 1he figure 
 shows is sewed a short and long stitch or four (4) 
 stitches over four (4) threads, and five (5) stitches 
 over eight (8) threads alternately. 
 
 FIG. 5. 
 
 Fig. 5 illustrates a square formed by four 
 triangular shaped blocks. To sew this, begin 
 work in one of the corners. The first stitch is 
 sewed over four (4) threads, then increasing one (1) 
 thread on canvas for each stitch, to the seventh (7) 
 stitch, reversing this for six (G) stitches, making in 
 all thirteen (13) stitches, which completes one of 
 the triangles. Floss is used for this design. 
 
FIG. 4. 
 
 FIG. 5. 
 
 L.ofe. 
 
 11 
 
FIG. 6. 
 
 Fig. 6 illustrates four (4) small squares, which 
 are used with good effect in "Hardanger" art 
 needlework. To form a square sew four (4) stitches 
 over two (2) threads, (on each side of square), 
 always leading the needle from centre space, 
 drawing the thread firmly. 
 
 Linen thread is used. 
 
 FIG. 7. 
 
 Fig. 7 illustrates a cross used very effectively 
 on sofa pillow designs. Begin work on one of outer 
 points, sewing seven (7) stitches over four (4) 
 threads, on the bias of canvas, towards center of 
 cross, turning at right angles, continuing this 
 around the cross. 
 
 Floss is used. 
 
 12 
 
FIG. 6. 
 
 FIG. 7. 
 
 13 
 
FIG. 8. 
 
 Fig. 8 illustrates an eight point star, sewed 
 with floss only. Commence work from the outside 
 on one of the points, then work from centre of star 
 on the second point, and so on until finished. The 
 first two (2) stitches are sewed over two (2) threads, 
 the next two (2) stitches over four (1) threads, two 
 (2) more over six (6) and the two middle si itches 
 over eight (8) threads, then reverse this towards 
 the centre of the star, making in all fourteen (1-i) 
 stitches in one point. 
 
 FIG. 9. 
 
 Fig. 9 illustrates another form of star, also 
 sewed with floss. As the half-tone shows, all 
 stitches in this star are sewed over nine (9) threads, 
 in other respects work the same as figure 8. 
 
 24 
 
FIG. 8. 
 
 FIG. 9. 
 
 15 
 
FIG. 10. 
 
 Fig. 10 illustrates a chain stitch, which may 
 puzzle a worker somewhat, but by studying the 
 figure closely, there will be no difficulty in master- 
 ing it. The upper or single chain is sewed on the 
 bias of canvas, with linen thread. 
 
 Begin chain in one corner leading with the 
 needle under two (2) threads respectively in two 
 directions. The double chain is a repetition of the 
 single, leading with the needle from centre spaces, 
 as shown in double chain. 
 
 16 
 
FIG. 10. 
 
 17 
 
PLATE DOILY, 
 
 The doily illustrated in figure 1 1 is a very 
 simple, but effective design in Hardanger art 
 needlework. Cut a piece of canvas (white medium 
 weave No. 205) 6 inches square on the bias. Begin 
 work in one of corners with outlining stitch No. 1, 
 1-2 inch from edge, continuing this around 
 doily relying on counting threads, from figure. 
 This finished, sew the little squares inside, also 
 with stitch No. 1. Then sew the outside border 
 with stitch No. 2 or buttonhole stitch. The 
 intervening threads are now cut out and stitch No. 
 3 is used. The small stars shown is worked with 
 floss. To hold buttonhole stitch firmly stitch 
 around on machine, close to edge, then cut 
 scallops. This completes doily. 
 
 Materials : 1 skein lustre, size B. 
 
 18 
 
FIG. \l 
 
 19 
 
CORNER OF SOFA PILLOW COVER AS 
 BEGUN. 
 
 Fig. 12 illustrates a very attractive pattern for 
 sofa pillow cover or corner of scarf as begun, 
 worked on coarse weave canvas, No. 175. It is 
 unlike any of the other patterns in this way, eight 
 (S) stitches is sewed over four (1) threads, making 
 the open spaces twice the regular size. In all other 
 respects, the same stitches, as in the others is used 
 throughout. First, stitch No. 1 is used in outlining 
 the little squares as shown. Second, cut out and 
 form bars as explained in figure 3. The Mexican 
 stitch beautifies the work, and can be added in as 
 many open spaces as desired. Remember in form- 
 ing the openings, to cut away eight threads and 
 leave four. 
 
 20 
 
FIG. 12. 
 
 £i 
 

 DESIGN FOR CENTERPIECE. 
 
 A very pretty centerpiece is illustrated in 
 figure 13, worked on a medium weave white canvas 
 No. 205. Cut a piece of canvas 15 inches square, 
 and commence work in one of corners two inches 
 from edge, with outlining stitch No. 1, continue 
 this around centerpiece, next conies the eight (8) 
 oblique figures to be outlined with stitch No. 1. 
 On the groundwork of these oblique figures are 
 worked, figure 4 or long and short stitches, also 
 with floss. Then sew the eight (8) crosses as in 
 pattern, with stitch No. 1. This finished, work 
 the inner border, as explained in figure 1, being 
 careful to begin corner on same thread as second 
 scallop on outside border. The buttonhole stitch 
 is now sewed to form scallops. The intervening 
 threads for the lace work are cut and drawn care- 
 fully and sewed as explained in figures 3 and 4. 
 The Mexican stitch is added with very good effect. 
 To finish, the scallops should be carefully stitched 
 around on machine, close to edge, before cutting- 
 out. 
 
 Materials : 3 skeins lustre, size B 
 
 22 
 
FIG. 13. 
 
 23 
 
PLATE DOILY. 
 
 A handsome plate doily is illustrated in figure 
 14, worked on a medium weave white canvas No. 
 205. Cut a piece of canvas 14 inches square, 
 beginning work 2 1-2 inches from edge with 
 outlining stitch No. 1. As will be seen from 
 pattern, the corners differ from the other four 
 oblique figures, by having an extra row of flos-s 
 sewed on three sides. The inside and outside floss 
 stitch (next to hem stitch) is also worked with 
 stitch No. 1, To form the open squares, proceed 
 as explained in figure 3 and to form French knots 
 as explained in figure 4. For hemstitching, two 
 (2) threads are drawn, two (2) left and two (2) more 
 drawn, this leaves two (2) threads in centre to be 
 worked over. If a more open hemstitching is 
 desired, four (4) threads may be drawn on each side 
 of the two (2) centre threads. To make hem-stitch 
 insert needle in one space, bring it under four (4) 
 threads, pull through and throw thread to form 
 buttonhole loop. Finish with spider web in 
 corner. Make hem wide or narrow as preferred. 
 
 Materials : 2 skeins lustre, size B. 
 
 24 
 
FIG. 14. 
 
 25 
 
STAR DESIGN DOILY. 
 FIG. 15. 
 
 It is difficult to realize the beauty of this doily 
 from half-tone, one has to work it before the real 
 artistic effect can be appreciated. Cut a piece of 
 canvas (medium weave) No. 205, 20 inches square, 
 begin work in one of the corners, about 4 inches 
 from edge (this leaves plenty of space for hem) 
 with stitch No. 1 outlining the little squares as 
 shown, making eight of these to complete one of 
 the 24 oblique figures shown in pattern. The edges 
 of the two (2) rows of open work is sewed solidly 
 with floss over four (4) threads. 
 
 This completed, cut threads and work into 
 bars as explained in figure 3. The Mexican stitch, 
 as the figure shows, is used in center rows of open 
 work, also in center squares of the oblique figures. 
 Stitch No. 6 is used for the outside border instead 
 of hemstitching. 
 
 Materials : 3 skeins lustre, size B. 
 
 26 
 
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 27 
 
DOILY FOR TEA WAITER. 
 
 A very handsome, oblong shaped doily for a, 
 tea waiter is shown in figure 16. This design is 
 worked on a coarse weave cream canvas No. 175. 
 Begin with stitch No. 1 outlining the little squares, 
 as in pattern, work five (5) stitches over four (4) 
 threads, except in corners, where thirteen (13) 
 stitches are sewed over four (4) threads. Use bar 
 stitch, as illustrated in figure 3 for open work. 
 In the center of the three (3) middle squares, stitch 
 No. 5 is used, as shown in cut, or four (4) trianglar 
 shaped figures is sewed to form the block. 
 
 The four (4) crosses shown, is worked thirteen 
 (13) stiff* lies over four (4) threads, also with No. 1. 
 No threads are cut away for the open work in these 
 crosses, but simply worked with linen thread as 
 explained in figure 6. The rest of the floss work 
 may readily be counted from pattern and needs no 
 further explanation. The scallops are worked with 
 stitch No. 2 or buttonhole stitch. Stitch around 
 on machine, close to edge, before cutting out. 
 
 Materials : 4 skeins pearl thread. 
 
 3 " Crawfords linen floss, size a. 
 
 88 
 
FIG. 16. 
 
 29 
 
CENTERPIECE (STAR DESIGN). 
 
 Fig. 1 7 illustrates a very pretty design for a 
 centerpiece, and in this special case all outlining is 
 done with, floss, (orange shade) which gives a very 
 pleasing contrast to the open work and foundation. 
 Cut a piece of canvas (medium weave) No. 205, 27 
 inches square, and I would suggest beginning work 
 on one of center squares in side, by measuring off 
 13 1-2 inches one way and 6 inches from edge, as 
 this is not so trying to the eyes as counting threads. 
 Work all floss stitches as explained in figure No. 
 1. Twenty (20) of these squares are sewed around 
 centerpiece. 
 
 The sixteen stars shown in pattern are sewed 
 with stitch No. 9. The star in center of second 
 squares from corners is sewed with stitch No. 8. 
 The open work in corner squares is worked with 
 stitch No. 3, and in the second square with stitch 
 No. 4. The Mexican stitch is added in the corner 
 squares. Eight (8) threads are drawn for hem- 
 stitching, sew with stitch No. 3. Hem may be 
 made to any desired width. 
 
 so 
 
FIG. 17. 
 
 31 
 
INSERTION PATTERN. 
 
 The exquisite insertion pattern illustrated in 
 figure IS, is desirable for nearly every kind of 
 "Hardanger" lace embroidery. It is used very 
 effectively on tea table covers, scarfs, pillow shams, 
 etc. The insertion (medium weave canvas No. 
 205.) is begun with stitch No. 1, outlining the 
 border on each side of lace work. Close to this 
 outlining stitch, the double chain stitch is used as 
 illustrated in. figure 10, work from left to right. 
 In upper left hand triangle half of an eight pointed 
 star is sewed, as explained in figure 8. Three of 
 the little squares shown, is sewed in each corner of 
 triangle and one in the center of star. Figure 6 
 explains these squares. In the next triangle the 
 outlining is done with stitch No. 1. The interven- 
 ing threads are cut and stitch No. 3 is used with the 
 addition of the French knot as explained in figure 
 4. Continue this alternately on both sides of 
 insertion. 
 
 32 
 
FIG. 18. 
 
 33 
 

 STAR DOILY FRINGED, 
 
 Fig. 19, illustrates a beautiful fringed star 
 design, for doily. Cut a piece of canvas (medium 
 weave No. 205) 21 inches square. Begin work 
 3 1-2 inches from edge outlining the twelve (12) 
 squares, as in pattern, with stitch No. 1. On the 
 groundwork of these squares, stitch No. 4 is used, 
 or long and short stitches, sewing only on three 
 sides of each figure, leaving the fourth side for bar 
 stitch. For cutting out, bar stitch and French 
 knot, see figures 3 and 4 respectively. The four 
 stars shown in pattern are worked as explained in 
 figure 9. The outside floss border, is sewed, first 
 stitch over four (4) threads, increasing one (1) 
 thread for each strch to seventh stitch, reversing 
 this for six (6) stitches, or the same as explained 
 in figure 5 for one of triangles, alternating this 
 around doily. To finish, draw threads for fringe. 
 
 Materials : 5 skeins pearl thread. 
 
 3 skeins Crawford linen floss, size a. 
 
 34 
 
FIG. 19. 
 
 35 
 
A BEAUTIFUL DESIGN FOR DOILY. 
 
 Fig. 20 shows a highly artistic centerpiece 
 used for polished tables. The real beauty of this 
 centerpiece cannot be pictured on paper, as the 
 silky appearance of the canvas, together with 
 the pearl floss and open work, gives to it a most 
 beautiful effect, that cannot be reproduced in a 
 half-tone. Cut a piece of canvas (coarse weave 
 No. 175) 30 inches square, this leaves plenty of 
 margin as the finished doily is 25 inches square. 
 All outlining is done with pearl thread in 
 stitch No. 1. The worker must depend on 
 counting from cut the number of stitches and 
 canvas threads to be worked on, and be very careful 
 to count correctly, so that the work may prove 
 uniform. The button-hole stitch is explained in 
 figure 2. For cutting oat open work and bar stitch 
 see figure 3. On the groundwork of the 8 large 
 squares, the long, and short stitch is used, this 
 with the French knot is explained in figure 4. 
 The open work in center square is worked in a bar 
 and Mexican stitch. Stitch around on machine, 
 close to edge, before cutting out scallops. 
 
 Materials: 20 skeins pearl thread. 
 
 36 
 
FIG. 20. 
 
 37 
 
CORNER FOR SOFA PILLOW COVER. 
 
 Fig. 2 1 illustrates a very handsome design for 
 a sofa pillow cover as begun. I should advise 
 using a coarse weave canvas (No. 175) for this 
 design to get the best effect. Begin work with the 
 short and long stitch, see figure 4, outlining squares 
 as in pattern. Twenty (20) of these squares form 
 a corner or large square. Continue this until the 
 desired size of cover is formed. Be careful to 
 count threads correctly. Between the squares and 
 open work, sew the double chain stitch as in figure 
 10. On the groundwork of the large squares two 
 rows of outlining stitch No. 1 is worked, leaving a 
 space of twelve (12) threads between inner and 
 outer row for bars or lace work. The bars and 
 French knots shown in pattern are worked according 
 to figures 3 and 4 respectively. For cross in center 
 of squares see figures 7, the four small open squares 
 
 as in figure C> and the eight pointed star as explained 
 in fio-ure S. 
 
FIG. 21. 
 
 39 
 
PLATE DOILY -DIAMOND DESIGN. 
 
 The size of canvas, medium weave ISTo. 87, to 
 be cut, for plate doily illustrated in figure 22, is 
 14 inches square. Begin work 3 inches from edge, 
 outlining 8 little squares, which forms one of the 
 twelve oblique figures, a jump of four (4) threads is 
 made between each figure. The floss outlining 
 next to hemstitching is worked five (5) stitches 
 over four (1) threads, a jump of four (4) threads is 
 made and the five stitches repeated. The inner 
 border is sewed after the same method, see figure 
 1. The cutting and drawing of canvas threads in 
 '•Hardanger" needlework is practically always 
 the same, and is explained in figure 3. The plain 
 bar stitch is used for all open work except in center 
 of the 12 oblique figures, where stitch No. 4 or 
 French knot and Mexican stitch is added. Draw 
 as many threads as desired for hemstitching. In 
 this pnrticular case 6 threads are drawn and hem is 
 one inch wide. 
 
 Materials : 2 skeins lustre, size B. 
 
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 41 
 
VASE DOILY. 
 
 The doily illustrated in figure 23, is worked 
 on a medium weave cream canvas, No. 205. Cut 
 canvas 6 inches square, begin work 1-2 inch from 
 edge. The floss outlining is done according to 
 figure 1, or 5 stitches sewed over four (4) threads 
 of the canvas turning at right angles, entering the 
 needle in the fifth opening, and the five (5) stitches 
 repeated, and so on until four (4) sides of the little 
 squares, as in patter a, are finished. The cross in 
 center of the doily is also worked with stitch No. 1. 
 For the two border rows, stitches 1 and 2 are used 
 respectively. For lace or open work see figure 3, 
 and for French knot see figure 4. Stitch around 
 on machine, close to edge, before cutting out 
 scallops. 
 
 Materials : 1 skein lustre, size B. 
 
 42 
 
FIG. 23. 
 
 43 
 
INSERTION PATTERN. 
 
 The exquisite insertion pattern shown in 
 figure 24, can be made into a very handsome sofa 
 pillow design, by continuing tli3 work into squares 
 where the half stars are now shown. It can also be 
 used for border of center pieces. This particular 
 pattern is worked on cream linen canvas No. 103, 
 with two grades of linen floss. All outlining, stars 
 and the cross shown is worked with the coarse 
 grade No. a, and the bar stitch, Mexican stitch, 
 double chain and the small squares is worked with 
 the fine grade No. 4. For outlining stitch see 
 figure 1. The cross is worked according to figure 
 7. The star is worked a little different from the 
 one illustrated in figure 8. The first four (4) 
 stitches are sewed over four (4) threads, four (4) 
 more over eight (8) threads, then five stitches over 
 twelve (12) threads, repeating this toward center of 
 star, making in all 21 stitches in one point of star. 
 For double chain stitch see figure 10. The small 
 squares are worked after figure 6. For open work 
 and bar stitch see figure 3. The Mexican stitch is 
 sewed with the bar stitch. 
 
 44 
 
FIG. 24. 
 
 45 
 
CORNER DESIGN. 
 
 Fig. 25 illustrates corner for sofa pillow or 
 scarf as begun. The outlining of the squares is 
 worked according to figure 4, or short and long- 
 stitches, leaving out the fourth side for bar stitch 
 or lace work. Four of these figures forms one 
 square, and four (4) squares forms a corner. Close 
 to the squares a double chain stitch is sewed, see 
 figure 10, then the outlining stitch as explained in 
 figure 1 and still another chain stitch, leaving 1 lie 
 outlining stitch between the two rows of chain 
 stitches. The eight pointed star shown in pattern 
 is worked with stitch No. 8 and the little squares 
 as explained in figure 6. 
 
 46 
 
FIG. 25. 
 
 47 
 
PIN CUSHION. 
 
 The pin cushion cover illustrated in figure 26 
 is one of the latest novelties in "Hardanger" needle 
 work, and is very handsome on a colored silk pin 
 cushion. As all other ''Hardanger" lace, it is very 
 durable, and can be laundered every week if 
 desired, and still retain its beauty for an almost 
 indefinite period. Cut a piece of canvas (medium 
 weave No. 87) 18 by 10 inches. Begin work with 
 stitch No. 1 sewing the inner and outer floss out- 
 lining as in pattern, leaving a space of 20 threads 
 b-tween the two rows of outlining, for open work. 
 For button-hole stitch see figure 2. For bar stitch 
 and French knot see figures 3 and 4 respectively. 
 Stitch around on machine, close to edge, before 
 cutting out scallops. 
 
 Materials: 3 skeins pearl thread. 
 
 48 
 
FIG. 26, 
 
 49 
 
STAND COVER. 
 
 A very simple but effective stand cover is 
 illustrated in figure 27. The canvas (coarse weave 
 No. 175) for this cover is cut on the bias 26 inches 
 square. First sew the two rows of outlining with 
 pearl thread leaving a space of 20 threads 
 between for open work, counting the threads 
 diagonally on canvas. The button-hole stitch is 
 used to form scallops (see figure 2 for this stitch). 
 The open work and French knot shown in pattern 
 is worked according to figures 3 and 4 respectively. 
 Stitch around scallops on machine before cutting 
 out. 
 
 Materials: 5 skeins pearl thread. 
 4 skeins Crawford linen floss, size a. 
 
 50 
 
FIG. 27. 
 
 51 
 
SIDE BOARD OR BUREAU SCARF. 
 
 A very effective side board or bureau scarf, as 
 begun is illustrated in figure 28, worked on a 
 medium weave canvas No. 205. This particular 
 pattern is made 60 inches long and 30 inches wide. 
 Any desired size may be made, (about half of scarf 
 shown in cut). Begin work in one of corners, 
 outlining 72 of the little squares around the border, 
 as in pattern, (see figure 1 for this stitch). Another 
 row of outlining is worked adjoining this on the 
 inside. A space of 20 threads is left for open 
 work, then another row of squares, like the one 
 just explained is worked around scarf. The 
 scallops are worked in buttonhole stitch, see 
 figure 2. 
 
 Threads are now cut away, and the bar stitch 
 and French knot, as explained in figures 3 and 4 
 respectively, is used for all open work. Stitch 
 around scallops on machine before cutting out. 
 The border may be made to any desired width by 
 repeating the outlining of squares. 
 
FIG. 28. 
 
 53 
 
PILLOWS. 
 
 Pillows have become the most fashionable of 
 house furnishings, and rightly so, as nothing can 
 beautify a home more. For the "cozy corner" they 
 are unsurpassed both for comfort and style. 
 Covers worked in Hardanger lace, makes the most 
 artistic and handsome pillows imaginable and as 
 this needle work is very durable and can be 
 laundered at any time, it may conservatively be 
 said, that they are the prettiest and most practical 
 needle work pillow covers ever made. 
 
 To buy these pillows in the market is as yet 
 impossible as the designs shown here are new and 
 entirely original. Even if the pillows could be 
 obtained, the price would be prohibitive to many, 
 as needle work is always very costly.- The material 
 for these jjillows is a very small item of cost, so 
 almost any lady, with a little taste for art needle 
 work, can make them in her spare moments, and 
 by so doing, make her home the coziest spot on 
 earth. The pillow designs illustrated in the 
 following pages, may all be worked very effectively 
 in colors, all outlining and other floss work may be 
 sewed in colors, and all open or lace work in white 
 linen floss. See figure 7-B for an example of 
 colored work. 
 
 55 
 
PILLOW DESIGN NO. J--B. 
 
 The handsome pillow design shown in figure 
 1-B is worked on a coarse weave canvas No. 175 
 with pearl thrend for all outlining and white 
 mien iiuos lor aii open or lace work. Tlie back- 
 ground for this particular pillow is a dark red, 
 which gives a beautiful contrast to the white open 
 work. Any color may be used for the background 
 to suit the taste of the worker. 
 
 The size of canvas for this pillow is 20 inches 
 square. Begin work by outlining as in pattern 
 with stitch No. 1. The outlining of open work is 
 done according to figure 4 or long and short stitch. 
 For cutting away threads and open work see 
 figure 3. 
 
 The double chain stitch shown is worked 
 according to figure 10. A heavy red and white 
 silk cord around the edges completes this pillow. 
 
 Materials: 10 skeins pearl thread. 
 6 skeins Crawford linen floss, size a. 
 
 56 
 
NO. 1-B. 
 
 57 
 
PILLOW DESIGN NO. 3-B. 
 
 The exquisite pillow design shown in figure 
 3-B, must be worked before its real beauty can be 
 appreciated, as the half-tone reproduction does not 
 give the true effect to the work. There is a great 
 number of stitches to be worked in this design, 
 but one feels well repaid after the work is finished. 
 A piece of coarse weave canvas No. 175, 26 inches 
 square, is cut on the bias, for the foundation, 
 pearl thread is us d for all outlining. 
 Begin work with stitch No. 1, four (4) inches from 
 edge, outlining the four (4) large squares as in cut. 
 Then work the outlining for open or lace work 
 according to figure 4 or long and short stitch. Fur 
 open work see figure 3, only using linen floss instead 
 of linen thread. 
 
 Two rows of double chain stitch is now sewed, 
 one on each side of outlining stitch, see figure 10 
 for this stitch. A single chain stitch is worked all 
 around the center design, also explained in figure 
 10. The border of this pillow is worked in 
 Ilardanger lace. First work the two (2) rows of 
 outlining as in pattern leaving a space of 20 threads 
 between the two rows for open work (see figure 1 
 for this stitch) counting diagonally on canvas. 
 The button-hole stitch is used to form scallops (see 
 figure 2). For open work and French knot see 
 figures 3 and 4 respectively. Stitch around on 
 machine close to edge before cutting out scallops, 
 completing this striking design. 
 
 Materials: 12 skeins pearl thread. 
 12 skeins Crawford linen floss, size a. 
 58 
 
NO. 3-B. 
 
 59 
 
PILLOW DESIGN NO. 5--B. 
 
 The pillow design illustrated in figure 5-B is a 
 plain but very effective design, (coarse weave 
 canvas No. 175). It consists of 49 squares outlined 
 in pearl thread, (see figure 1 for this stitch). 
 Two rows of on timing is worked for eacii square, 
 the inside forming a cross. Threads are now cut 
 away and bar stitch, as explained in figure B is 
 worked. After the 49 squares have been finished 
 in this manner, one row of straight outlining stitch 
 is worked all around pillow (see figure 1 for this 
 stitch). A heavy white silk cord around the edge 
 with a fancy tied knot in each corner completes 
 this pillow. 
 
 Materials : S skeins pearl thread. 
 3 skeins Crawford linen floss, size a. 
 
 60 
 
NO. 5-B. 
 
 61 
 
PILLOW DESIGN NO. 7--B. 
 
 The gorgpous pillow illustrated in figure 7-B 
 is worked in green and pink pearl thread, 
 for all outlining, on a cream colored, coarse weave 
 canvas foundation, and with white linen floss for 
 all open work. The needlework on this design 
 takes but a comparatively short while, so the time 
 used on this beautiful art pillow cover is well spent. 
 
 I urge the reader to try this design. A piece 
 of canvas (coarse weave No. 175) 22 inches square, 
 is cut for the foundation. Begin work in centre 
 of design by outlining in pink floss the four (4) 
 squares, as in pattern, or long and short stitch (see 
 figure 4). Count 1 6 threads, then sew a row of 
 outlining in green floss (see figure 1), leave a space 
 of 2d threads for open work and work another row 
 of outlining in pink floss, adjoining this, one moie 
 of green floss. See figure 3 for open work in 
 center and figure 4 for open or lace work in large 
 square. The four eight pointed stars in pattern is 
 worked in pink floss (^ee figure 8). This completes 
 center of pillow. 
 
 Next is two rows of outlining, the fh>t is 
 worked in pink floss and the second in green floss, 
 leaving a space of four (4) threads between to be 
 cut away for bar stitch. For coiners see figure 0. 
 Leave a space of 36 threads, then work two (2) rows 
 of outlining, the same as the one just explained, 
 with the exception of the pink floss is worked on 
 the outside. The 12 oblique figures in border are 
 all outlined in green floss (see figure 1). On the 
 
 62 
 
groundwork of these figures are worked the long 
 and short stitch in pink floss. See figure 3 and 4 
 for open work. The V2 Maltese cross figures in the 
 border is outlined in green floss (see figure 1) with 
 a four (4) pointed star worked with pink floss, in 
 the center. A Nile green silk ribbon, with two 
 narrow baby pink ribbons stitched close to edge, is 
 used for the ruffle, finishing this handsome pillow. 
 
 Meterail : 5 skeins green pearl thread. 
 
 5 " pink k * ki 
 
 6 ' ' Crawford linen floss, size a. 
 
 7-B 
 
 63 
 
PILLOW NO. 9-B. 
 
 64 
 
PILLOW TOP [NO. n-B. 
 
 
 
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TABLE COVER NO. 29. 
 
 67 
 
CENTRE PIECE NO. 30. 
 
PLATE DOILEY NO. 31. 
 
PLATE DOILEY NO. 32. 
 
 70 
 
PLATE DOILEY NO. 33. 
 
 71 
 
PLATE DOILEY NO. 34. 
 
 72 
 
CORNER OF CENTRE PIECE NO. 35. 
 
 
 
 V' 4 
 
CORNER OF CENTRE PIECE NO. 36. 
 
 74 
 
CENTRE PIECE NO. 36. 
 
 75 
 
CENTRE PIECE NO. 37. 
 
 76 
 
CENTRE PIECE NO. 38. 
 
 77 
 
DOILEY NO. 39. 
 
 78 
 
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AUG 10 1904 
 
CORNER OF BUREAU COVER NO. 41. 
 
 DESIGN FOR WAIST NO. 42. 
 
LIBRARY OF CONGRESS 
 
 002 002 293 •