^** •']£»'' ****** -**^ ^ % * : 4HR: **^*1 ***** ^&" .•-■:• 4 o :m "bv i -^ ■- ^ C^*. ' v ^0 'It^v % , *v V** 1 <* '^ V <*> * . . o • ^ '; ^ '• A NEW BOOK ON FANCY WORK. SKILFUL SUSY. A Hand-book- of Fancy Work for Fairs, Bazaars, and the Home. By Elinor Gay. 12mo, illustrated, paper covers, 50 eta. Articles are suggested and careful directions given for making them. As far as practicable, the prices of the materials used are given. The chapter on framing pictures will prove both novel and suggestive. Particular attention is called to Skilful Susy's collection of mottoes for decorative work. The Table of C&nU Paints, and How to Use Them. Mater The Dining Boom. Embroidery Materials. Screens. Stitches. Woodwork. >Vork. Fancy Chains. Framiu^ Pictur Desig Bags and Pillows. Something for Everybody. Mottoes for Tea and Tray Cloths. PJ~i\ oIOjLOO i rOi\ LrIl\L.j. WHAT OUR GIRLS OUGHT TO KNOW. By Mary 3 M.D., State Normal School, Framingham, Mass. 12mo. cloth, $1.00. Contents. A Sunny House. The Mate and the Hon Hours for Sleep. Nerves and N erves. The Use of Sewing Miu 1 lyleonCloti' Self-Develo; Causes of Disease. Time 10 M. How to Cook. Feet. What to Ei Cloie-filting Undergar What* ate. What Causes Varicose Veins. )f the Skin What Causes Palpitation. ..' essays arc: written in a clear cry sensible In her daughter's hands." .". IM A I I la Dey St., New York. SKILFUL SUSY A BOOK Fairs' and Bazars ELINOE J&AT V, FUNK & WAGNALLS NEW YORK LONDON" 10-12 Dey Street 44 Fleet Street -4W Rights Reserved ll # Entered, according to Act of Congress, in the year 1885, by FUNK & WAGNALLS, In the Office of the Librarian of Congress at Washington, D. C. PREFACE This little book is intended to lighten somewhat the labors of women in their administration of fairs and bazaars — an important branch of the public service that has fallen almost entirely into their hands. An en- deavor is made to admit nothing impracticable for women living remote from the large centres, and at the same time to guide them in the use of the things which are about them. As the question of expense is always im- portant, the prices of materials have been given ; but it must be understood that various causes make these vari- able, and that, though exact for the moment, they should be considered as approximate. CONTENTS. PAGE PREFACE iii Materials 7 Embroidery Materials 10 Embroidery Stitches 12 Drawn Work 1(5 Ribbon Work 18 Designs 19 Color 23 Paints, and How to Use Them 24 Suggestions 26 Household Draperies 28 The Dining-Room 35 Screens 38 Woodwork 40 Fancy Chairs , 44 Framing Pictures 45 Bags and Pillows 48 Something for Everybody 53 Mottoes for Tea and Tray Cloths 72 SKILFUL SUSY. MATEK1ALS. Linen goods are among the most desirable of all ma- terials used in embroidery, and no work is too elaborate to be lavished upon them. Butcheks' Linen is used for buffet covers, toilet sets, splashers, tea cloths. That used is the soft finish from 16 to 27 inches wide, varying in quality, and from 20 to 40 cents a yard. Bolting Cloth is a transparent canvas, resembling pineapple silk, although the latter has much less firm- ness of texture. It is used for very delicate tidies and bureau covers, with silk embroidery and transparent washes. Chinese Grass Cloth is used for the same purposes, but is much cheaper. Price, from 35 cents to $2.50 a yard. Kensington Crape is a yellow-white material, about three quarters of a yard wide, suitable for bureau covers. Price, 35 cents. Mecca Cloth is a species of crape, with narrow cross stripes in color on white and light-colored grounds. It is from 1 to 2 yards wide. Price, $1 a yard. Madras Muslin, used for draperies, is conspicuous for its soft folds, body, and for the soft color of its designs. 8 SKILFUL SUSY. It is 50 inches wide, and ranges from 50 cents to $3.75 a yard. Momie Cloth has a pebbled surface, and comes in white, cream, gray, light blue, and old gold tints. It is not as much used as plainer surf aces and lighter textures. It is 18 inches to a yard wide. Price, from 40 to 75 cents. Bolton Sheeting has a diagonal twill, and is used for portieres, table and bed spreads. It has an ivory tint that is very agreeable. It is 2 yards wide. Price, $1.25. Batiste in white and cream tints makes desirable aprons, pin-cushion covers, and draperies. It is 46 inches wide. Price, 45 cents. Linen Canvas comes in the same widths and for the same price as momie cloth, but is better adapted for the German cross stitch and for darned work than momie cloth. Congress Canvas is a coarse, even-meshed grenadine a yard wide. It is an admirable ground for embroidery, especially for cross stitch in silks and crewels. Price, 58 cents a yard. German Canvas resembles congress canvas, but has a firmer, closer mesh. It comes in white and cream tints, 18 inches wide. Price, 50 cents. Eider Canvas is a pretty texture made by a group of threads in one mesh. It is 18 inches wide. Price, 40 cents. Java Canvas consists of groups of threads in close meshes, with soft body. It comes in white, cream, gray, and other tints. It is especially suitable for cross and Holbein stitches. Tapestry Canvas is a species of close, firm, repped canvas, on which tapestry and Gobelin colors are used. It comes from 36 to 122 inches wide. Price, $2.50 and $8 a yard. MATERIALS. Fayal Crash. — This is a very firm linen, gray in color, suitable for screens, or anything which requires a ( firm surface. It is especially good for painting in oils or water colors. Outline stitch can also be used on it. Width, 18 to 23 inches. Price, 25 to 30 cents. Sateen is found in all dark colors. It is not as much used as formerly. Width, 50 inches. Price, $2.50. Turcoman has a beautiful silk pile resembling che- nille. It is found in all colors. Width, 50 inches. Price for pile on one side, $2 up ; on both sides, $7.50. This in portieres needs no lining. Jute Velour resembles Turcoman, but the pile is made of linen. The texture is consequently wirier, but the effect is very good. Used for hangings, sofa covers, and cushions. Price for single-faced, $2.50. Bridgewater Cricketing Flannel. ---A thick, soft flannel suitable for baby blankets. Designs most effec- tive in chenille. Width, 27 inches. Price, $1.30. English Eider-Down Flannel. — This comes in colors. It has a thick, soft, matted pile. It is also used for baby afghans. Price, $1.50. Liberty Silks. — These are thin India silks, which take their name from the English house that imports them. . They come in what are known as art shades, and are used in tidies, cabinet and library curtains. Width, 36 inches. Price, $1.75. Chinese Silks. — Silks greatly resembling those above for the same purposes and price. American Art Silks equal these in tint and color, and are a trifle less in price. These also come in very at- tractive designs. Silk Tapestry Canvas. — These are 50 inches wide, and are used in portieres, curtains, table covers, and screens. Price, $6 a yard. 10 SKILFUL SUSY Blue Denim. — In cheap materials nothing is more valuable for color. The coarse qualities that sell for 12 cents a yard are better in color than the finer, of which the blue is too intense. Japanese Chintz. — This comes in all colors mixed -with gold, and is useful in almost every way as a deco- rative material. Width, 36 inches. Price, 50 cents. EMBROIDERY MATERIALS. Embroidery cottons come in all colors, of which most are fast ; but the browns, reds, and blues are most satis- factory. The French and English cottons have the rep- utation of being more durable than the American. The French ABC cotton is a little smoother than the other cottons. The best crewels also are the English and French. The former come in the best shades, according to our modern ideas. These are what are variously known as antique tints and art shades. Crewel by the dozen skeins costs 40 cents ; by the single skein, 4 cents ; 12 cents a hank. Filo-floss. — This is also called wash silk. It comes in skeins. Do not get that with black labels, for the colors are not warranted. Filo-floss, since it conies in strands, can be used for heavy embroidery, or, separated into threads, can be used in fine outlining. Price, 8 cents a skein ; 85 cents by the dozen. Filoselle. — This is used for filling, and, coming in strands, can also be separated into threads. It comes in two qualities — all silk and silk and linen. Filoselle, by couching either in single or double strands, makes a de- EMBROIDERY MATERIALS. 11 sirable cord-like outline when the single thread is used in the embroidery, thus getting variety of effects with the same material. Chenille. — This is most suitable for plushes and flannel. Different makes have different sized skeins. Price, 40 cents a dozen. Arrasene. — This is the handsomest and most expen- sive of embroidery materials. It resembles chenille, but is flat and more suitable for leaves. Price, 35 cents a dozen skeins. Etching Silk is a very fine silk used in outlining on doylies. Price, 6 cents a spool. Gold Thread. — This is both coarse and fine. The best — the least likely to tarnish — is the Japanese gold thread. As gold thread is expensive, it is used generally as couching, in which case none is wasted on the wrong side. There are grades fine enough to be used in outlin- ing, as silk is used. Price, 25 cents a hank ; 20 to 40 cents a spool. Tinsel Cord Balls. — These are found in all colors, and have an iridescent effect. They must always be couched down, as they are fragile and cannot be dragged through stuffs. Used in outlining, they are very effec- tive. They can also be crocheted when no strain is re- quired. Price, 15 cents a ball. Kibbo-sene. — This is a new material, crinkled in text- ure, and is used in ribbon work instead of narrow rib- bons. Price, 5 cents a skein. Braidene is a new ribbon the width of daisy ribbon, but with a grain resembling Ottoman ribbon. This is used in ribbon work, and gives a feeling of texture ; for example, in rendering the large yellow Maximilian daisies or in snowballs the effect is better than when daisy ribbon is used. 12 SKILFUL SUSY. Metal Ornaments. — Hammered copper coins, gilt coins and sequins, stars, and crescents are used as finish for decorative articles instead of fringes. Price, 15 to 25 cents a dozen. Spangles are used in embroidery with good effect, es- pecially with tinsel cord and arrasene. Price, 10 to 15 cents a dozen. Pine Cones and Button Balls. — These are also used as finish for scarf, table covers, and other draperies, by covering them with bronze paint. They are suspended singly by a cord. Tassels. — These of every description can be bought in the form of silk pompons, plush cones, plush balls, plush crescents, at prices ranging from 90 cents to $2.50 a dozen. Beautiful tassels are made by combing out filoselle or crewel, and giving it a fine flossy effect. Short, bell-like tassels made of cream-colored filoselle, with gay silk threads of different colors outside, make most desirable tassels for light draperies. EMBROIDERY STITCHES. A few simple . directions and illustrations may not be amiss concerning stitches used in embroidery and some definition of the terms used in this book. Stem Stitch, South Kensington stitch, and feather stitch, as it is variously called, is familiar to almost every woman. As South Kensington and feather stitch, it is used in filling ; as stem stitch and outline stitch, it is used in defining forms. In every way it is the most valuable and effective stitch used in embroidery. Button-hole Stitch, chain stitch, satin stitch, herring- EMBROIDERY STITCHES. 13 Long Tent Stitches. bone stitch, tent stitch, and plain cross stitch need no comment. There are, however, a variety of cross stitches very valuable. Persian Cross Stitch has the cross at one end of the stitch instead of in the centre, and, in fact, is very much like the herring-bone stitch. Long- Tent Stitch is agreeably varied by cross- ing both ends and by catch- ing down the middle by a straight stitch. Turkish Cross Stitch consists of filling in the design by gradated cross stitches the length that the form demands rather than by a number of cross stitches. Turkish Cross Stitch. 14 SKILFUL SUSY. Holbein Stitch is used when the stitches can be counted. Java canvas is a suitable material. The stitch is, in fact, the seamstress 1 back stitch, but used with great regularity and in the production of many forms. Gilt braid inserted under a Greek fret made in Holbein stitch is very effective in making borders. It is useful to unite cross stitch with the Holbein stitch. The former is used in the ornament within borders of Hol- bein stitch. Plait Stitch is used also with Holbein and cross stitch in geometrical figures on any material in which the threads can be counted. Darned Stitch, next to outline stitch, is one of the most valuable used in embroidery. It is used in two ways. In pattern darning the ground is treated with darned stitch, which leaves the design in relief. When the darned stitch is used as part of the design it indicates 9 |t! *W&*$3 AWI Darned Stitches. the shading. Every housewife who uses prevention against the thin places in a stocking knows the stitch. In pattern drawing the ground is soon covered with EMBROIDERY STITCHES. 15 regular stitches of filoselle. In indicating shading em- broidery silk or cotton in single strands is more suitable. In using darned stitch on the background attention must be paid to the tints used, since, as the ground shows through, a resultant tint from the union of the two colors in the eye is effected. In general the tint used should be somewhat darker than the ground. In using pongee, for example, one would take a yellowish brown filoselle. This, however, is not an absolute rule ; for a different tint, but related in quality, as yellowish pink, warm pale blue, or olive green, could be judiciously used. Cushion Background Stitch. The design may be left without an outline, but it is perhaps more satisfactory to outline the forms in a still deeper tint. Other stitches, if desired, can be used in the design, but the simple, broad effect is more pleasing. Cushion Background Stitch is, in fact, a species of darning, as the illustrations given indicate. This for the most part is used on canvas. Couching is the term used when the embroidery ma- terial is not carried on to the under side of the fabric. The crewel, gilt thread, or whatever is used is laid on to the tracing, and is caught down by stitches of fine silk. It) SKILFUL SUSY. A great variety of effects is thus secured both in texture and color. Bold outlines are obtained by using several strands of crewel or double filoselle. Gilt thread and tinsel cord are alwa} T s couched down. Solid designs are made in this way. Color effects are secured by couching in colors, the nearness of the stitch or remoteness giving gradations of color. The needle is brought up on side of the thread and is put through directly opposite on the other side. DRAWN WORK. This is the refinement of needlework, and can be made on fine materials as exquisite as lace. Learn on coarse linen. Pull the threads according to the width of the No. 1. insertion to be made, or if the design is to be in squares or groups of threads, draw the threads in that way. The DRAWN WORK. IT simplest form of drawn work is to liem-stitcli the threads into groups at each side. The next is to gather these groups by threes and fours into one thread at the centre, using chain stitch to hold them securely. From this point the design can be as elaborate as one chooses. The threads may be drawn to the depth of a quarter of a yard if desired. Illustration No. 2, for example, can be carried to any width. The second line in No. 2, it will be observed, is carried from one side of the centre line to the other, making a curve. Where several lines are made when they cross the centre line between the groups, it is well to make the centre solid by weav- ing over and under with a needle and thread, or by taking the lines in groups. In designs like Nos. 1 and 3, which are most suitable for bureau covers, the edges of the squares should be No. 2. 18 SKILFUL SUSY. No. 3. lightly whipped to keep the threads in place. The de- sign Xo. 1 should be done in half-inch squares. Drawn work should be done in frames. Linen thread is best for this purpose. For coarse material use coarse tli read, and vice v< rsa. RIBBON WORK. Tins is a revival of work carried to great perfection by Mario Antoinette and the gay ladies of her court. It consists in making dainty flowers and forms out of very narrow ribbon, now known to the trade as Daisy ribbon. This ribbon is drawn through the goods with a large needle, or, if necessary, a hole is first punched. The flower is then formed with the lingers. Forget-me-nots, DESIGNS. 19 daisies, and such flowers are the most suitable. The outer edge of the petals are caught down with a stitch of silk. The foliage can be embroidered if preferred. What is known as ribbon work, but improperly, brings pieces of silk into use. Wild roses, buttercups, dog- wood, rosebuds, are formed by pieces of silk laid on, pinched into shape with the fingers, and neatly fastened down. Very good effects in drawing are gotten in this way. Fine imitations of snowballs are given by filling con- vex in shape, and then tacking on to it numbers of small bits of white daisy silk cut into pieces three quarters of an inch long, diagonal at the edges, crossing them, and catching them down in the centre with a stitch of yellow silk. Pile these one on another. The effect is very good. DESIGNS. Beauty of design is by no means proportioned to the amount of labor involved. Some of the most effective designs and methods employed are the simplest. Other things being equal, conventional designs are better and easier than realistic designs. The latter, to be good, should be perfect in drawing and color, and this requires a knowledge of nature that few have. We owe to the Japanese much of our lately acquired skill in the choice of design, and also how much may be effected in slight ways. A few instances of these will not be amiss. Disks are circles used singly and in groups, balancing one another in a certain area. They are filled in with some design. Crescents and other simple forms are used 20 SKILFUL SUSY. in the same manner. Single flowers, such as the pansy t pelargonium, or daisy, are so distributed. Crackle or Zigzags are used in breaking up the ground, and generally serve also to connect some set forms, such as the disks and their substitutes. Water Lines indicate, as their name implies, the ex- istence of water, and is used to break up the ground in connection with aquatic plants and animals. This is not obligatory, and they can be used amid other surround- ings. Cloud Forms. — These are a Japanese fashion of repre- senting aerial effects, and serve to break up the surface in the way described above. DESIGKS. 22 SKILFUL SUSY. Flights of Birds. — These are another instance of forms barely indicated serving a decorative purpose. Fret and Double Fret. — It is difficult to trace this form to any nation, but it is a most valuable aid in deco- ration. Spider's Web. — In more realistic forms this is one of the most valuable. It will also serve to connect set forms, as do crackle lines. Renaissance Scrolls. — These scroll forms with floria- tions are among the richest decorative forms. They are beautifully filled in with couchings of gold thread with colored silks, using the deeper tints at the base and growing lighter toward the edges. They can also be done in Kensington stitch and in outline stitch. Arabesques. — These are Moorish forms used in bor- ders, and can be executed very much in the same maimer as the scrolls spoken of above. colo n. 23 Mosaics.— These are geometrical forms chiefly taken from the Moorish decoration. They are very effective in applique. Making, we will say, the ground in colored silks or brocades, cut out the intersecting forms of plush, aud couch them down with crewels. COLOE. There are two ways of using color— in harmonies and by contrasts. Harmonies in color are secured by using tints that lead into one another, or with some common bond of relationship. For example, you have a piece of red plush to embroider. In the groundwork of your design use a deeper shade of red, and gradually lighten the tints until in the high lights the color is carried up to light pinks. If the material is warm in color the reds must be kept warm ; if cold, the reds must be kept cold. To illustrate a more elaborate harmony of color: we have, let us say, a bouquet of roses. The color begins at the base in deep red roses, with foliage of dark greens. In both the reds and greens there is a filling of yellow- that is to say, the colors are warm. Working up from the base we add more yellow to the reds and more yellow to the greens, each becoming lighter, until, when we have reached the top, we may have roses and buds of pure warm yellow and tender, yellowish-green foliage. To do this requires a certain feeling for color, lest the lack of it admits some tint not of the same quality. A purplish red or a blue green would make a discord just as would a false note in music. Contrasts in color consist of putting colors in juxtapo- sition, such as red, green, blue, yellow, purple— colors '-i-4 SKILFUL SUSY. not immediately related. In using colors by contrast it is of paramount importance that, no matter how different the colors, the same quality of color must be preserved. The great division of tints into cold and warm must be regarded. If any one will study for a short time those modern colors known to us as antique tints, or the frank use of color made by the Japanese, they will get an ap- preciation of this distinction. The Japanese bring the most diverse colors together with unerring instinct by simply observing this one fact. To illustrate its neces- sity, place a bit of old-fashioned cherry on a piece of stuff in which are warm reds and greens. The discord is at once felt. Colors are warm through yellow and cold through blue. This is a distinction sufficiently broad for ordinary use. Something lias been said of resultant tints. These are the union of different colors in the eye, producing an entirely different tint. Thus, a small design in positive blue stencilled on a bright brick-dust hue produces a purple in the eye. The use of tints this way by couch- ing gilt thread with colored silks — red, blue, purple — produces a beautiful flash of color like none of the tints used. Shading in flowers by irregular stitches of differ- ent colors showing the ground beneath is effected in this way. If one studies the petals of a natural flower it will be observed that the lines of shading vary in tint. No better ags. — Take a strip of pearl-tinted silk fifteen inches long and sixteen inches -wide, and make into a bag. Insert a piece of cardboard to protect the back and to keep the silk flat. Draw on it in water colors a group of white and purple asters and their foliage. Face down the top. Insert a draw-string of ribbon of the same color. The bag is intended to hold slippers, fan, hand- kerchief, and may, of course, be made in other colors, materials, and with other decorations. Dusting-Cloth Bag. — Take a strip of butchers' linen eighteen inches long for the back of the bag. Cut the front five or six inches shorter and both six and a half inches wide. Sew together ami bind with ribbon. The extra length in the back is pointed, and fastens over on the front with button and loop. It is swung by ribbons. Before making up, the front is embroidered with some floral design in silks or in outline stitch. As many women do their own nice dusting, a dust-cloth bag is an accept- able present. 50 SKILFUL SUSY. Soiled Linen Bag. — Take a piece of tapestry canvas a yard long and twenty inches wide and the width of the canvas. Take another piece three quarters of a yard long, and make a bag of these. The longest piece is fringed out at the end, and hangs over the top, fastening the bag. Under this end, which falls over, tack a little rod of wood. Let the ends project, and point them arrow-shape. Tie ribbons at the end by which to sus- pend the bag. Amusing designs are painted on these in tapestry colors. Nursery Linen Bags are made in the same way and ornamented with Kate Greenaway figures in tapestry colors. Embroidery can be used if desired, and espe- cially in outline stitch. Lawn-Tennis Bag. — Make of gray linen the size to hold the balls. Ornament it with crossed bats done in outline stitch, filling in the racket with net like cross- ings in outline stitch. Below this indicate the net in the same manner. Embroidery for outdoor articles are more appropriately done in browns. Game Bag. — Make a bag of heavy gray linen, with the back longer and pointed to lap over the front. Bind the edges with brown braid. On the front outline a design on leather of game or of guns crossed. The head of a pointer is a suitable design. Buy a leather strap to swing it over the shoulder. Rose-Leaf Bags. — Dry the rose leaves in bouquets, and preserve all the petals of the roses of the rose gar- den. Make a pale pink, blue, olive, or other tinted silk fourteen inches long and seven inches wide. Make for this an overslip of thin sheer linen, grass cloth, or Swiss. Embroider on this in colored silks a rose with its foliage, some single petals, as if they had fallen. Add in outline stitch some pleasant words, as " Sweets to the sweet." BAGS AND PILLOWS. 51 If pineapple cloth is used, the design can be painted in water colors. Fill the silk sack three quarters full with dried rose petals. Slip the thin sack over it, and tie with a ribbon and bows. This rose-leaf bag is a pleasant gift to the sick, who can keep it near their pillows, when the odor of flowers would be too powerful. Small Fir Bag. — To put on the pillow of an invalid, make a small bag of gray green India silk. Fill half full with the needles, and tie in sack fashion with a rib- bon of deeper green tint. A branch of pine in outline stitch with deep green and brown silk is a suitable deco- ration. Sofa Pillows. — A simple method of making very elegant pillows is by cutting out the figures in lace and working over the white net, following out the lines with tinsel and colored silks, and introducing spangles. These designs are connected by crackle lines of tinsel cord or gold thread couched down. The most elegant materials are used in this way. Plush Pillow\ — Use the proportions of a large pillow in dark green plush. Line it down the open end with Nile green silk. The filling is a square pillow of hair. Above this the plush is tied up in sack fashion with satin ribbon. The ends fall open and reveal the lighter green lining. Linen Pillow Cover. — Large square covers for sofa pillows in much use are made of fine white linen, twenty- seven inches square. Put a row of machine stitching all around the inside three inches from the edge. Cut the edge out in blocks two inches wide, leaving space of two inches. Button-hole the blocks, however, before cut- ting. Finish with lace an inch wide. An inch inside of the line of stitching on the outer layer cut slashes in groups of two an inch apart, each groujD separated by 52 SKILFUL SUSY. two inches, and long enough to admit ribbon two inches wide. Button-hole the edges of the slashes. Make bows of the ribbon in corners. Brocaded Satin Pillow. — Use satins of a solid color, which are the handsomest. Outline the designs in col- ored silk ; follow the shading of the flowers in silks, and vein the foliage. The effect is very elegant. Sailor Pillow. — Make the pillow of dark blue sateen or plush. Make for the border, in heavy outline stitch with white silk, a linked chain an inch and a half w T ide. Iu the centre, also in outline stitch, is an anchor, to which a rope is tied, and one end is carried off and at- tached to the chain of the border. Suitable for a yachts- man. Head Rest. — Make an oblong pillow of bronze satin. Cover it with crackle lines in gilt thread or tinsel cord. Swing by olive ribbons over the back of arm or easy- chair. Carriage Cushions. — Make square pillows of velours the color of the lining of the carriage. Trim with a cord about the sides, and ornament with an initial or monogram in gold. Balsam Pillows. — These are made of pongee. Of the narrow width pongee take two pieces nineteen inches square. On one of these embroider, in outline stitch in brown, the line, " Give me of thy balm, O fir tree !" in this manner : Give me Of thy Balm, O Fir tree ! Sew these two pieces together, and fill with balsam needles. Those which come from Maine are said to SOMETHING FOR EVERYBODY. 53 have the most aromatic odor. These pillows are said to be beneficial for those suffering with throat disease. Oblong Fir Pillow. — Make a cylindrical pillow of India silk in terra-cotta tint. Tie around the middle with wide ribbon and double bow. SOMETHING FOR EVERYBODY. Baby Blankets. — For heavy blankets take the Eng- lish eider-down flannel or the thick American blanket flannel, which has a thick soft matted pile. Make the blanket about a yard long. Finish with big-patterned Medici lace or Smyrna, and line with pale pink or blue surah. Ribbon- Work Blanket. — Make sprigs of forget-me- nots and rosebuds, as if sprinkled over the surface in ribbon work, with leaves and stems of arrasene. What is known as daisy ribbon is used in these forget-me-nots. Small pieces of pink silk are used in the rosebuds. Rose Blanket. — Embroider in silks a large spray of roses and foliage arranged in crescent-shape. Irregular sprays of flowers ornament the rest of the blanket. Cherub Blanket. — Buy a stamped design with cherubs' heads and wings in groups, and outline with blue silk. Below work, also in outline stitch, " Holy angels guard thy bed, 1 ' or " Sleep, my pretty one, sleep." Cross-Stitch Blanket. — Cut the blanket a quarter of a yard longer than it is to be when made up. Baste a strip of canvas on one end, and work on it an ornamental sampler pattern in German cross-stitch with blue silk. Turn this over on to the blanket, and it makes a border 54 SKILFUL SUSY. on one end, after having pulled out the canvas threads. Bind all around with two-inch blue ribbon. White Plush Blanket. — This makes an elegant baby Afghan. Embroider morning-glories in silks and the words, "Sweet dreams." Sicilian Batjy Afghan. — Cream-white Sicilian silk. Embroider on this in sprays wild roses in silk. Face up with ribbon two or three inches wide. Baby Spread. — Make of linen lawn, with a piece turned at the bottom a quarter of a yard. Hem-stitch and finish with fine Smyrna lace. Embroider in sep- arate flowers all over the spread, and with fine etching- silk the delicate filaments of " Love in a mist." Baby Spread of white cashmere. Down the centre is a wide blue ribbon, caught down with stitches of point russc in colored silks. Face around the edge with bine silk ribbon and trim with lace. Baby Basket. — Buy an ordinary willow market basket. Line it with colored cambric over cotton batting and an outer cover of sheer soft muslin edged with lace. Stuff the bottom, and lay on it a soft pillow, with a small pillow covered with a pillow-case of fine linen, with drawn work at the edges. This is preferred for very young babies to cribs. The outside of the basket may be gilded and ribbon bows tied on the handles. Pin Cushions. — It is difficult to tell any one anything new on this score. Cover the cushions with light silks, and make them overlaying covers. Always have some- thing that can be taken off and cleaned. Congress Canvas Cover. — Chit a square of congress canvas ; hem it up with a row of hem-stitching. Draw threads in group wide enough to admit daisy ribbon. Make five or six of these groups with spaces between. Draw the ribbons through, leaving loops at the corner. SOMETHING FOR EVERYBODY. 55 Pineapple Covers.— Make these with hem-stitched hems, and finish with lace. Outline disks singly and in groups with gold. Wash in faint pink, and outline on this morning-glory in gold, with deeper tints show- ing the shading, "in the same way put nasturtiums on yellow, purple lilies on purple. Toilet Sets.— These are made in the same way as those indicated for covers. Bottles are covered in the same way, and wide frills with frayed edges are box- pleated, making full ruffs about the stoppers. Toilet BottIes.— These are very handsome covered with white, pink, and other colored plushes, with painted disks and frills in silk, such as are described above. Work Aprons.— Coquettish aprons for fancy-work are made of pongee. Take a yard of pongee. Hem it all around with a row of hem-stitching an inch and a half deep. Turn it up washwoman style one third. This makes a pocket for the work. These aprons are embroidered. The most common design is, " A stitch in time saves nine," in old Dutch or English letters. The first clause is on the upper part of the apron, the second on the lower part. Another text is, " Needles and pins. When one is married trouble begins." This is accompanied by a design in outline stitch, in which the husband comes to have a button sewed on. It is a pretty fashion to em- broider on the pocket part buttercups, daisies, pansies, or other simple flowers in stiff little rows ; the upper part is hemmed down, and a tying ribbon run through. Grenadine Aprons.— Short protecting aprons of white grenadine or German canvas are made attractive by hemming with a row of hem-stitching and bands of drawn work. I>raw the threads in groups the width of a very narrow ribbon ; leave space the same width. Make a band of these threads and spaces an inch and a half wide, 50 SKILFUL SUSY. and weave ribbons through the drawn threads. In select- ing ribbons, take two tints of the same color. Use the deeper tint through the outer threads, and the lighter in the centre. On either side of this, if more work is needed, draw groups of thread, enclosing the stuff an inch and a half wide. Draw in this hand perpendicular threads, dividing it into squares. Bandana Apkons.— Get the brightest of the colored bandana handkerchiefs. Make a perfectly plain apron with pockets. Turn down the top and run in a bright red or yellow satin ribbon to tie. Towel Aprons. — Take a handsome embroidered towel in color and with long netted fringe. Turn over the top one third, and make a line of stitching in which to run the ribbon to tie. Daisy Aprons.— Make the apron of congress canvas. Bind it all around with wide satin ribbon, or on the lower end face the width of the ribbon up on the outside. Make daisies of rick-rack braid, and rill in the centres with French knot-stitch in yejlow. Arrange these on the satin ribbon at the bottom. Make a pocket of the ribbon, and ornament it with a group of daisies. Shirr the binding at the top, and tie. Moucholrs. — Take a piece of chamois-skin, or wash- leather, as it is sometimes called, twelve inches wide and eighteen inches long. Double the chamois-skin and add pockets inside six inches wide. Cover the several edges with tinsel cord. On the outside work the word Mouchoir or a monogram with couchings of the tinsel cord. Mouchoirs of this sort are especially suitable for men. Lavender Satin Mouchoir. — Take a square of laven- der satin and line with pink satin, putting a layer of cot- ton batting and the perfume inside. Fold up the three SOMETHING FOR EVERYBODY. 57 corners and fasten. Leave the fourth open. Tie with satin bow. Pocket Mouciioir.— Take a square of cream- white sicilienne. Line it with pale pink quilted satin. On the inside put pockets of the white sicilienne. Finish with gold cords. Other ornament can of course be added. Japanese Mocchoie. — Take Japanese paper mats or paper napkins. Line them with cotton batting, the glazed side out. Sew the edges together by poking holes and dragging through narrow colored ribbon. Gentleman's Mouciioir. — Make the case of rough brown buckram, but line it most luxuriously, for it is a prevailing fashion to conceal the greatest richness under a rough exterior. On the buckram, which takes paint in a bold style, paint a couple of pipes crossed or crossed tennis rackets. Geometrical figures are good. Flowers are in bad style. Sachets. — It is premised of every woman that she cannot have more sachets than she can make use of. Dry perfumes are much more agreeable than liquid per- fumes, and a little powder in drawers and other recepta- cles obviates the use of liquid perfumes. There is a fashion in scent powders. At present the most popular perfume is a combination of iris root and violet powder. Iris root in itself is a most agreeable but delicate powder. The best way of using it is to buy it by the pound and mix with it some stronger perfume, such as violet, helio- trope, or whatever perfume each one may prefer, and make it up into a number of sachets, and use that com- bination alone. In using the powder place it between layers of thin cotton batting. It may be renewed when necessary. Wall Sachets.— Take a piece of long-haired yellow 58 SKILFUL SUSY. plush a half yard long and eight inches wide, and a piece of gay brocaded ribbon six inches wide and of the same length as the plush, and sew them together. Make this into a bag with a piece of silk or satin the size of the two strips when sewed together. Three inches below the top, which must be faced inside for four inches with silk, run a draw-string. Before the string is inserted place inside two pieces of cotton batting, with the sachet pow- der between. Draw up, swing by yellow ribbons, and ornament with flat loops of the ribbon at one corner. The sachet is intended to hang above a register or against a heated flue. Round mats of Japanese paper, which come in all col- ors and with attractive designs, make desirable sachets. Place between the two mats layers of cotton holding the powder, and sew r them together just inside the crinkled borders. Add a small bow of satin ribbon in one corner, with an end laid diagonally across the sachet. On this string a date or sentiment can be painted in gold. Linen Sachets. — Take two pieces of colored silk three inches wide and six inches long, and make like a flat pil- low. Over this put a case of linen lawn, with both ends fringed, and above the fringe a band of drawn work. Embroider on this in colored silks the name of the sachet — violet, rose, etc., as the case may be. Sachet Sacks. —Bags of silk, satin, and plush, tied like sacks with ribbons, are used as sachets. Take lemon-colored silk. Cut out a disk of light green silk, a crescent of rose-colored silk. Lay them together and applique them on with tinsel cord. Paint or outline in gold on these some floral design. They are beautiful and easily made. Umbrella Cases. — These are of stout twilled gray linen. Out the back perfectly plain, nine inches wide SOMETHING FOR EVERYBODY. 59 at the top, tapering down to four inches at the bottom and six inches longer than the umbrella. For the out- side take another piece six inches shorter than the um- brella, fifteen inches wide at the top, and six inches at the bottom. Crease these exactly in the middle. On one half embroider in outline stitch an umbrella fastened but not rolled up. On the other half embroider two canes crossed, one plain, the other notched. Stitch this piece on the back exactly down the two centres, meeting at the bottom. Put the edges together and bind with fine twilled braid the color of the embroidery. Lay the two sides in box pleat, showing the design in the centre of the pleat. Bind at the top. An additional design, seen in some cases on the top of the back, is two little girls ; one holds a paper, the other looks up, saying, " Do it say rain ?" Initials or monogram may take the place of this hit of pleasantry. Necktie Case.— Take a piece of gray twilled linen eleven inches wide and a little longer than half the length of a man's necktie. Cut a piece of silk for lining the same size. Sew the two together except at one end. One inch apart down the centre stitch two lines. On each side slip in pieces of cardboard exactly to fit. Fasten the end neatly. Inside put across at equal inter- vals satin ribbon long enough to tie on the outside, and fasten them down. Under these the neckties are slipped and kept in place. On the back paint tennis rackets crossed, in brown and red, or pipes crossed. Scrap Baskets.— The simplest form of scrap basket is the graceful wicker, rattan, and split straw baskets, orna- mented with a large bow and many loops of ribbon. Woven baskets, cylindrical and bowl-shaped, are painted with bronze and iridescent paints. The orna- ment is a large bouquet of artificial flowers, white lilacs, GO SKILFUL SUSY. and, still better, artificial fruits, especially large golden oranges and apples. They are fastened with loops of ribbon that harmonize with the fruit. Do not line scrap baskets. It is difficult to keep the lining from soiling. Matting Scrap Baskets.— These may be made by adjusting a strip of matting to a round bottom of stiff cardboard. Cut the matting a yard long and a half or three quarters wide. Where the edges are joined fasten the ornament, which is the same as that given above. Birch-Bark Scrap Baskets. —Take a suitable strip of birch bark and make a cylindrical basket, such as that described above. Finish the top with wisps of willow tinted red, weaving it in and out through cuts made by an awl. Ornament with ribbon. Waste-Paper Kegs. — Take small wooden kegs. Cop- per-bronze the hoops, and tie wide satin ribbon with large bow around the centre. Cabinet Panels. — Panels for small wood cabinets are made by painting pink, red, and yellow roses on tea-chest- matting. Wall Hangings for country houses are made by paint- ing flat bamboo shades or matting. They are both cool, and protect the interior from moisture. Hollyhocks, cactus, and boughs of fruit are suitable designs. Lamp Shades. — Take alternate strips of ribbon and inserting, and sew them together. Finish each end with a point, and add to it a silk ball of appropriate color or a gilt sequin. Shirr around the top to fit the globe or porcelain shade. A plain strip of silk the depth of the porcelain shade or globe, made full and shirred at the top and finished with silk fringe or white lace, makes a handsome shade. The bottom of the silk cut in points and faced up adds to the effect. SOMETHING FOR EVERYBODY. Gl Pule pink, blue, or other delicately tinted silks are pretty made in this way, with designs in thin water-color washes. Fluted-Paper Shades. — Take a sheet of colored paper by the centre and crease it together with the hand. This will give those tine lines seen in Japanese shades. As the paper is oblong, it gives a novel shape to the shade. Flower Lamp Shade. — Make a frame by fitting a tin ring to the globe. Have holes pierced in the tin and at- tach wires, bending them to the shape desired. Parasol frames are for the present popular. A little dexterity is necessary in fashioning the frames. When made cover them with roses and other flowers made of tissue paper. The making of paper flowers is now carried to great per- fection. These paper flowers are simply crowded into the frame, completely covering it. Use only one kind of flower — roses or peonies. Light-tinted papers are much prettier by lamp-light. The shade needs no other finish. Japanese Bead Shades. — The beads used are the size of a French pea, and are both opaque and transparent. They must be made on a flaring porcelain shade. About an inch and a half above the bottom of the shade fit a string of beads as close together as possible. Between each bead attach a string threaded with beads and falling two inches below the bottom of the shade. Make an- other row of beads for a head, fitted with bead fringe in the same way, and fit it to the shade an inch and a half above the first row, or so that the fringe will fall an inch and a half below the first head. At the top of the shade fit two rows of beads for a head, and finish with fringe in the same way. The weight of the beads and the flare of the lamp globe adjust the fringe without any 62 SKILFUL SUSY. further trouble. These shades in green, rose-color, and brown beads are very beautiful. Sunflower Shades. — These are intended to screen the eyes from a lamp not otherwise shaded. Cut the long petals five inches long, two inches wide, tapering to a point. Crinkle these up on a knitting-needle. Gum the petals in thick overlapping rows on to a round piece of cardboard. Fill the centre with yellow and black fringed-out paper. Attach a wire bent over to hook on to the globe to the cardboard. Paste paper neatly over the back. Blotters. — Whatman's drawing-paper cut into any size desired makes the covers for blotters. There is no effort to make the edges smooth : these are gilded. On the cover is painted broad water-color washes, sprays of daffodils, jonquils, tulips, buttercups, and among these introduce some quotation. Other blotters may have irregular Japanese zigzags in gold, with a spray of flow- ers in the corner. The blotting leaves are introduced inside, and all is fastened together by holes punched clear through. Strands of gold thread or ribbons are drawn through and are tied on top, making another orna- ment to the cover. Beautiful blotters are made by covering two paste- board leaves for the cover with light brown linen. But first this has a design drawn on — we will say of conven- tionalized peonies. The flower is put in in thin water- color washes or with the aniline dyes. The forms are defined in outline stitch. In the linen pale yellowish pink tints are admirable for the flower. Line the cover with olive satin. The line of the sewing, which should be a little inside the cover, can be hidden by couchings of gold thread. More sumptuous blotters still, or we will call them SOMETHING FOR EVERYBODY. 63 portfolios, are made in the same way by covering the boards with velvet or plush, and embroidering them with couehings of gold thread. A package of oblong blotters in colors — red, bine, white, gray — fastened together by punching holes through and tying with a ribbon, are very acceptable. A humorous design in pen and ink adds greatly to the blotter. Small blotters with covers of the Whatman paper cut in squares and diamonds make dainty presents. The edges are left in irregular notches, and are irregularly marked with gold. Maiden's-hair fern in water colors trails all over the color, and amid it is the title in neat lettering, " Extracts from the Pen." The leaves are fastened with strands of gold thread or silk cords with tasselled ends. Fayal-Crash Blotter. — Cover two pieces of card- board with a piece of fayal crash and line with crimson silk. On the back paint in brown and gilt these words : " Devise, wit." " Write, pen." Add below some gay flower. Palm Blotter. Make the cover of gray linen. Em- broider solid palm leaves in deep blue crewel, about an inch and a half apart and at various angles. Line and fill with blotters, as usual. Fancy Clocks. — The small round Waterbury clocks are the occasion of many pretty ornaments for the table. Take a palette, have a hole cut in it large enough to in- sert the clock. But before it is inserted cover the easel with plush, red or blue, which has been previously orna- mented. Japanese zigzags in couchings of gold thread are as pretty as anything else. A bow of ribbon is tied in the thumb-hole. The palette should have a wooden (54 SKILFUL SUSY. support at the Lack. The clocks for this purpose cost $1.25. Plush Panel Clock. — An oblong panel twelve inches long by seven wide is covered with plush, on which has first been embroidered a rose spray in arrasene. The clock is inserted in the same way as in the palette given above. Plaque Clock. — Take a wooden plaque and cover it with olive plush, on which has been painted a few stocks of yellow Maximilian daisies with flowers. Let some of the foliage be brown and sere. Insert the clock in the midst of the flowers. Lyre Clock. — Have a harp made out of yellow pine. The sides may be covered with plush, but it is easier and the effect is as good to stain the wood black or cherry, or gild and bronze it. Paint on the sides a vine and flow- ers. Gild or silver the strings, or have these of wire, if you choose. Insert the clock in the base, which should be broad enough to allow the lyre to stand firmly. Violin and Guitar Clocks.— These are made in the way described above, the shapes of the instruments only being different. Whisk-Broom Holder. — Take a square or diamond- shaped wood seven by ten inches. Cover it with plush which has been made ornamental by zigzag lines of gold thread or tinsel cord. Tack across the board a band of ribbon that has been stiffened by a lining of buckram. Have this just loose enough to allow the handle to pass through. Initials or monograms in gold ornament the ribbon appropriately. Butchers' Cuff Holders. — These woven matting cuffs, bronzed and hung by ribbons, make excellent holders for whisk brooms. Hand Glass. — Take a white celluloid hand glass and SOMETHING FOR EVERYBODY. 65 ornament with flowers in oil paints. Introduce B urns' s lines : " O would some power the giftie gie us To see oursels as itkers see us." Pen Wipers. — Cut pieces of white flannel the size of playing cards. Make two groups of five or six layers. On the top of each put small diamonds cut out of red flannel. A suitable combination is the eight and five of diamonds. These two groups are tacked together at the lower part, as if one was half lying on the other. Ball Pen Wiper. — Cut out a number of round pieces of flannel four inches in diameter. Pink the edges, but- ton-hole or sew on fancy-colored beads. Fold each piece in halves, then quarters, then eighths. Fasten all the points together Finish with a bow, and attach to the side of the writing-desk. Clover-Leaf Paper. — Preserve all four-leaf clovers. Buy fine Irish linen paper. The clover leaves having been thoroughly pressed, are gummed on to the head of each leaf of paper. It is a graceful act to use this paper in writing notes of congratulation, or on birthdays and other anniversaries. Church Calendars. — Have the church calendars printed on white satin ribbon fringed out at each end. The ribbon should be five inches wide. Take a piece of rough cardboard, bevel the edges, and gild them. Paint on it in water colors Easter lilies. The decoration should be on the right-hand side. On the left-hand side attach the calendar with some transparent glue, but do not paste it entirely down. Leave both ends free, past- ing near the top. Shaving Papers. — Take a piece of cardboard five inches long and two and a half inches wide. Cover neatly with white or other colored silk. Paint on this a 6G SKILFUL SUSY. flower or gilt initials. Attach to it an oblong piece of bolting clutli the same width and eight inches long. Finish it with silk fringe or simply hem it. Paint on this k ' A clean shave" in ornamental letters. Cut sheets of tissue paper the length of the whole. Paper Shaving Case. — Cut the shaving papers ob- long, and suspend them by a braid of tissue paper crin- kled, cut into strips, and braided. On to the outside paper attach a bunch of paper flowers. Lamp Lighters. — Bunches of lamp lighters made of colored papers are made very attractive by crimping the ends over hair-pins, as is done in the petals of the sun- flower lamp shade. The effect is very good. For Photographs. — Take a piece of ecru, brown, and gold Japanese cbintz eight inches wide and eleven inches long. Cut two pieces of cardboard a little under eight inches by a little over five inches, using the same chintz as a lining, of course of the same dimensions. Insert these two pieces. This leaves in the centre sufficient space to give a book-like flexibility to the piece which is to act as a cover. Cut two more pieces of cardboard the same size. Inside each with a sharp knife cut away the cardboard, one inch from the outside. Cover this with the same chintz neatly. This makes the frame for the photograph. Fasten the two pieces of cardboard thus treated neatly into the long strip, overstitching the sides and base. Tack the upper part together, leaving room to slip the photographs in. Long strips for a dozen pho- tographs can be made in the same way that will fold up. Tie with a ribbon. Photograph Portfolio. — Form a cover of two pieces of cardboard covered with stiff brown buckram, such as is used in book-binding. Leave plenty of room in the centre between the two pieces of cardboard, at least an SOMETHING FOR EVERYBODY. 67 inch and a half. Line with crimson silk. A. little orris powder slipped in between is not amiss. On the outside paint the word " Photographs" in letters irregularly arranged in black, white, and gold. Above or below pass a wide crimson satin ribbon. On the reverse side paint a dagger that apparently pierces the ribbon, the point coming out below and the head on the buckram. Wood Baskets. — The woven rattan baskets are gilded or painted. Lambrequins of plush hang from the sides. On these put the motto, " Heap on the wood, the night grows chill," in tinsel cord couched on. Wooden baskets shaped like the woven ones can be treated in the same way. Straw Wood Baskets. — Get a piece of split straw matting. Cut it into a circle. Bind the edges stoutly, and attach stout handles of straw wound with cord. Gild the whole. Two rows of different colored gilt add to the looks. Doable the circle in half. Carry by the handles. Occasionally tremendous straw hats can be found for the same purpose. Straw Baskets. — No matter how homely or common the basket, it may be painted in flat color, gilded or bronzed, elaborately lined with silk or satin. Yellow is the favorite color, and finished for any luxurious purpose by ribbons tied on the handles. The different braids are often painted or gilded in different tints with good effect. Work Basket. — Shallow woven baskets are trans- formed into the favorite work baskets of the moment by lining them with gay French percales, blue with red, pink and green and olive, and yellow with reds. The stuff is brought over in a full puff on the outside. Inside are the small needle book, thimble cases, and pockets for thread. The handle across the top is ornamented with a flat bow combining the colors of the percale. 68 SKILFUL SUSY. Straw Paper Holder. — Take a piece of flat, straw, flexible matting, such as covers tea chests, thirty-six inches long and eighteen inches wide. Bind all around with ribbon two inches wide ; turn up one end and fasten it down, leaving eighteen inches above as a back. Where fastened bows are placed. The turned-Tip por- tion is painted with flowers, and " Papers" put among them in ornamental letters. The papers are stuck through the opening. Ribbons hang the holder on the wall. Wall Basket. — Take a hoop, cover it with matting similar to that spoken of above. Fasten a rope with small tacks as a better finish. Cut a crescent of card- board. Fasten it at a little inclination on the lower side. Gild or bronze the whole, and give the crescent some additional decoration. This is a convenient recep- tacle for odds and ends. Needle Cases that are pinned on to a convenient cur- tain are made of different tints of olive felt mingled with red and olive cut into the form of maple leaves. These are then ornamented with feather stitch in colored silks in such a way as to indicate the veinings of color in an autumn leaf. These are grouped in such a way as to represent a cluster of autumn leaves, and are fastened with a bow of ribbon, as if tied on the branch. Palm-Leaf Wall Pocket. — Take a piece of cretonne three eighths of a yard wide and long enough to full slightly around a palm-leaf fan. In the centre face it down inside with silk in harmony with the color. Lay it in big box-pleats, and fasten it down, the upper part backward, showing the lining. On the lower part fasten a bow of ribbon, which will conceal the joining. Slip a couple of peacock feathers through. Silvered Palm Leaves. — Tie with a bow of dark SOMETHING FOR EVERYBODY. 69 green satin ribbon, fastening a bouquet of artificial snow- balls or white chrysanthemums. Plaster-of-Paris Figures. — Select such small statu- ettes as Niobe's Son, Tanagra figurines, and works of actual merit. These may be treated by rubbing them over with a little linseed oil, which softens the bold white, and which in time makes them resemble old ivory ; or give them a thin coat of bronze, rubbing them to give unevenness of tint. No more pleasing ornaments can be found for a cabinet. Plaster-of-Paris Reliefs. — Select copies of good works, such as DonatehVs " Mother and Child," or some undoubted work of art ; oil, bronze, or gild them un- evenly ; hang on the wall against some tint that will throw them out, such as red plush, ivory brocaded satin, or any choice bit of stuff. Waste Match Basket. — Take a piece of gilt wire- cloth five inches wide, eight inches long. Double in the middle. Sew the two sides together. Bind the sides and top with ribbon, fastening the edge with fancy stitches running down into the cloth. On the bottom put a row of tassels made with tinsel thread. Swing by colored ribbon. Turkey-Tail Quill Ornaments. — Turkey feathers for decorating baskets and wail-pockets are made orna- mental by spotting them with gilt and bronze paint. Pox-Tail Duster. — Run a wire down the tail as far as you can, and attach the wire to a round handle. Wind the two together with colored ribbons. Turkey- Wing Duster. — Cut two pieces of olive satin to fit the compact end of the turkey wing. Ornament it with a spider's web in gilt thread. Sew the two pieces together, pink out the edge which overlies the feather or fasten down with fancy stitches. 70 SKILFUL SUSY. Egg-Shell Fringe. — Cut off the tops of eggs one third deep. Crochet a fine network of silk in which they may swing. Plant in them fine seeds and grasses, and swing them from brackets and cabinets. Catsup Jug Yases. — These are either gray or red. Paint them dark green, and ornament with nasturtium flower and leaves. Liebig-Jar Match Holders. — Gild empty Liebig jars, and trace crackle lines over the gold in Indian red. Italian Wine Bottles. — These slender-necked recep- tacles, with the bowls overlaid with straw, are much used for holding a single stalk of jonquil or narcissus. Gild, bronze, or silver them, and hang on the wall or stand as a vase. Oil bottles can be used in the same way. Watering-Pot Yases. — Paint a mottled gray and ornament with wild roses. Tie a bow of pink and apple- green ribbon on the handle. Ginger- Jar Lamps. — Have a brass receptacle made to go inside the jar for the oil, and a burner and porcelain shade adjusted. Do not scrub or clean the jar outside or take off the wicker work. Little Tin Pin Pans. — Have the tinner make little pans two and a half inches in diameter, with flaring rims and handles. Paint inside on the bottom a little land- sea |)0 or flower. Inside on the rim put this line : " Bright as this tin may your future be, Is the wish of the one that gives it to thee." Tie ribbons on the handles. Chatelaine. — Make a rosette or round bow of pink satin ribbon ; from this depend four ribbons of unequal lengths. To one attach scissors, to another hang a dainty needle case ; to a third fasten a tiny bag fur a thimble, and on the fourth fasten an emery ball. SOMETHING FOR EVERYBODY. 71 Nursery Scrap Book. — Make a book of leaves of gray linen fourteen by twenty-two inches. Bind each leaf with braid. Sew down the centre. Make a cover of buckram. Paint on the back a row of owls on a branch — one holding a book pretending to read, or a row of cats in neckties and collars. Use black and white paint. Rag Babies. — Old-fashioned rag dolls in sunbonnets and calico aprons are always desirable. Parasol Catch- All. — Take a Japanese parasol and mount it in a wooden block about six inches square. Open it conveniently and fasten it by attaching silk cords or slender brass chains to the handle, where tie a bow of ribbon. Fan Oatch-All. — Take a Japanese fan and remove the rivet. Fasten the outside sticks together. Gather up the ends through the holes with a cord. Weave wide colored ribbons through the sticks. Those fans with fewest sticks serve best for this purpose. Horn Yase. — Take a cow's horn, or any horn ; have it tipped and rimmed with brass. Hang it on the wall with a ribbon to hold a single choice flower. Hat Rack. — Have the carpenter make a large shield- shaped form. Cover this with crimson plush, or what- ever color may be more desirable. Fasten this securely on the reverse side and fasten with brass-headed nails on the sides. Screw on six or eight large hooks for hats and coats. Hang this on the wall. It makes a desirable article in a small hall. Rolling-Pin Key Rack. — Take an ordinary wuoden rolling pin. Gild it, silver it ; cover it with silk and decorate in water colors, or ornament it in whatever way you desire. Screw in it little brass hooks, and sus- pend it by ribbon, with bows tied on the handles. Card Boxes. — They are oblong, the size of two packs 72 SKILFUL SUSY. of cards. A sliding bottom reveals places for the cards- On the top, which has a bevelled edge, are two open fans cut out of white wood. The edges are notched, and in each notch is a number. The fans are variously deco- rated. A wooden arrow gilded, set on a pivot on eacli fan, points to the numbers. Between the fans is this line : " Onr doubts are traitors, And make us often lose The good we oft might win By fearing to attempt." MOTTOES. MOTTOES FOR TEA CLOTHS AND TRAY CLOTHS. " Mocha's berry from Arabia fine, In small fine china cups." " The cup which cheers, but not inebriates. " " Coffee which makes the politician wise." " A large, sweet, round, and yellow cake, The lovely child of Ceres." " On shining altars of Japan they raise the silver lamp." " The vulgar boil, the learned roast, an egg." " Four-and-twenty blackbirds Baked in a pye." " Feed me with custard and perpetual white broth." " The fragrant cinnamon, the dusky clove, The strength of all the aromatic train." " The mince pie reigns in realms beyond his own." " A tea-kettle simmering on the hob." " Spread thy ambrosial stores, and feast with Jove." " Who can cloy the hungry edge of appetite With base imagination of a feast?" " Fair fa your honest sonsie face, Great chieftain of the pudding race." " Drink now the strong beer, Cut the white loaf here." MOTTOES. 73 " The piercing cider for the thirsty tongue." " The fruit on the far side of the edge is the sweetest." " Good diet, with wisdom, coniforteth man." " Let it serve for table talk." " Flowing cups pass quickly round, With no allaying Thames." " From humble Port to imperial Tokay." " Appetite comes with eating." " Eat and drink, and in communion sweet Quaff immortality." " Then to the spicy, nut-brown ale." " Herbs and other country messes Which the neat-handed Phyllis dresses." " A dinner lubricates business." A dessert without cheese is like beauty wanting an eye. " " Better cheer you may have, But not with better heart." " Let good digestion wait on appetite." " Eat at pleasure, drink by measure." MOTTOES FOR BUFFET COVERS. " Let good digestion wait on appetite." " Mistress of herself, though the china fall." " Old wine to drink, old friends to trust." " Various are the tastes of men." " Drink some wine ere thou go." " To cookery we owe well-ordered States." " Dinners of form I vote a bore." " No useless dish my table crowds." " Ordered dishes in their courses chime." " On hospitable thoughts intent." " Taste after taste upheld with kindliest change." " Decent cupboard, little plate." " Keep to old wine and old friends." " Hold the rolling-pin a sacred trust." " God bless my soul ! no apple-pie !" " Caput apri defero Reddens laudes Domino." " L'ami, de table est variable." " Hunger is worse than the plague." " That nourishment which is called supper." 74 SKILFUL SUSY. MOTTOES FOE DOYLIES. " This treasure of an oyster.' " Blessed pudding." " Sweets to the sweet." " Chacun a son gout." " There is truth in wine." ' ' It may prove an ox. ' ' " The sauce to meat is compaDy." " She brought forth butter In a lordly dish." " Two lovely berries moulded on one stem." " Any pretty little tiny kickshaws." " All's well that ends well." " Happy them who take the middle course." " A fat, round pasty." " Hot bag puddings and good apple pyes." " Nappy ale, good and stale, in a brown bowle." " Quaff immortality." " The rare mince pye. " " The plums stand by." " Delight in pastry." " The gadding vine." " Jove's nectar sip." SENTIMENT FOR FIR PILLOWS. " Here lives and murmurs, faintly though it be, the spirit ot the pines. " " Come to me, quoth the pine, I am the giver of honor." " A dream of the forest." "The stuff that dreams are made of." " Give me of thy balm, O fir tree." " A sigh to the past, and a blessing on you." FOR WORK APRONS. " A stitch in time saves nine." " Needles and pins. When a man's married trouble begins." " Get thy spindle and distaff ready, And God will send the flax." " How doth the little busy bee Improve each shining hour." MOTTOES. 75 u Make hay while the sun shines. " " She weaves a web of colors gay." " I don't care what the daisies say, I'll be married some fine day." MISCELLANEOUS. " Sounds and sweet airs that give delight." " Books, like old friends, should be few and well chosen." " Give every man thine ear, but few thy voice." " Praising what is lost Makes the remembrance dear.' ; " Take me." " I know a trick worth two of that ; Make a note on 't.' ' " Shall I not take mine ease in mine inn ?" " Do all the good you can, and say nothing about it." " Respect the burden." " Malice toward none, charity toward all." " North, south, east, west, hame's best." " To rest the cushion invites." " For thee, Tobacco, I would do anything but die." " Life is a short summer — man a flower." " He touched nothing he did not adorn." " A pin a day will fetch a groat a year." " Many a little makes a mickle." " It is hard for an empty bag to stand upright." " No sun upon an Easter day, Was e'er so fine a sight." " Sands form the mountain, moments make the year." " Dreams are the children of an idle brain." " Another day is added to the nap of buried ages." " To-morrow is a new day." " Eoom about her knees for all mankind." " The gathered treasure of men's thoughts." " The consecration and the poet's dream." " The world's a merry world." " Take me." " Clean hands, pure heart." " A friend in need's a friend indeed." " Rain or shine." " Every cloud has a silver lining." "My clouds all other clouds dispel." ASTRONOMY WITHOUT A TEACHER. THE STARS AND CONSTELLATIONS. A new method by which all the more conspicuous stars, constellations and other objects of interest in the heavens that are visible to the naked eye can be easily and certainly identified with- out Instruments, Globes or Maps. By Koyul Hill. Super- royal fine paper, 4to, with 2 charts and 14 cuts. Price $1.00. Prof. C. A. Young, Princeton, N. J. : "An excellent introduc- tion to the study of the stars, containing in small compass all that is needed to identify easily all the leading stars and con- stellations." Prof. S. Newcomb, Nautical Almanac Office, Washington, D. C: "Please accept my thanks for the instructive book, entitled : ' The Stars and Constellations.' " Prof. S. P. Langley, Director of the Allegheny Observatory, Alle- gheny, Pa. : "1 hive examined ' The Stars and Constellations,' and think its scheme a very good one. I know of no chart bett;r calculated to teach the young observer the names and places of the principal stars. I heartily recommend it." Aljred G. Compton, Pr'f. Applied Mathematics College of City of New York: " I have examined with pleasure 'The Stars and Constellati-ns, ' and I like it very mui h. It should certainly be very useiul in making a student acquainted with the prin- cipal objects in the heavens, which then become centres around which he can easily learn to group the details." J. K. Bees, Director Columbia College Observatory: "The ' Stars and Constellations ' pleases me very much because it is a successlul attempt to interest the young in finding the prin- cipal stars and constellations. I think it can be very useful for beginners in the study of the heavens." FUNK & WAGNALLS, 10-12 Dey St., New York. BIRD'S-EYE VIEW OF ALL HISTORY. LUDLOWS CONCESTRIC CHART OF HISTORY, giving at a Glance the Separate and Contemporaneous History of each Century, Ancient and Modern. Invented and pat- ented by James M. Ludlow, D.D. Price $2.00. Separ te and Contemporaneous History of: United States. Netherlands. The Church. England. Russia. Modern Painters. Scotland Turkey. Sculptors. Ireland. Greece. Architects. France. India. Literary Characters. Germany. Norway. The Popes. Spain. Egypt. Roman Republic. Italy. Lydia. Roman Empire. Sweden. Phoenicia. Ancient Art. Denmark. The Jews. Ancient Literature. The device consists of nineteen fan-shaped pieces of stout card-board, ten inches long and ssven inches wide at the top, fastened upon a common centre. Each of these segments rep- resents onecountry orsubject (literary, etc.), andis divide'l by circles, nineteen in number, having their centre at the base of the fan. Between these circles i; given, together with the date, the important events of each century. By opening two or more segments the contemporaneous events of the respect- ive countries can be seen by the century circles. The device is an important aid in comparing and remembering historical events. R. S. Starrs, D.D. : " Ad r irable in design, skillful in execu- tion, accurate in detail." David Cochran, LL.D., Pres. Polytechnic Institute, Brooklyn: " A very ingenious and valuable device for bringing historical events together in their proper relations of time and of cause and effect." Jisse B. Thomas, D.D. : " It holds an ocean of fact in a thim- bleful of space." FUNK & WAGNALLS, 10-12 Dey St., New York. STORIES IN RHYME FOR HOLIDAY TIME. By E Iward Jewitt Wheeler. With 29 illustrations by Walter Satterlse. A holiday book for young readers. 4to, 102 pp., illuminated cover, $1.75. Contents. Dedication. Proem. How after all the Sky Didn't Fall. The Kite and the Tail. A Peep at Paradise. When Spring Began. Bob's Bicycle Bide. The Boy to the Schoolmaster. The New Baby's Name. Eglantine; or, the Magical Glove. James Russell Lmvell : "I am greatly pleased with 'Stories in Rhyme.' " The Nation : " Quite above the average." The Xeio York Times : " Replete wit! happy hits an3 situa- tions." The Sunt! ly- School Times: "One of the brightest child's books of the year." Mary Mapes Dodge, Editor St. Nicholas : " A really charming book." The Atlantic Monthly : " Merry and wholesome." The Independent : " Bright, musical and entertaining." The American: " ' The Boy to the Schoolmaster ' is worthy of Dr. Holmes." EDWARD EVERETT HALE'S TWO CHRISTMAS BOOKS— [Y) "Christmas at Narragansett;" (2 ; "Christmas in a Palace." Exch, 12mo, paper 25 cents; cloth $1.00. Worcester Spy : " A capital story teller is Mr. Hale." f^^on Globe : •' Mr. Hale is the prince of story tellers."' FUNK & WAGNALLS, 10-12 Dey St., New York. LIBRARY OF RELIGIOUS POETRY. A COLLECTION OF THE BEST POEMS OF ALL AGES AN& TOS'GUES. Edited by Phillip Schaff, D.D., LL.D., ana? Arthur* Giinian, M. A.. New Edition. Superbly bound. Royal 8vo, 1,004 pp., cloth, $G.C0. Full Page Steel Engravings. John Milton. William Cowper. Robert S iuthey. Edmund s-'pencer. J. G. VVhittit-r. Isaac Watts. Henry W. Longfellow. William Cullen Bryant. Henry Kirk White. Dante. William snakespeare. Alfred Tennyson. John Hall, D.I). : "It is just, discriminating and impartial in its selections. Nowhere else can one find in a volume so much varied wealth of devout sentiment and imagery, with enough of tlie personal in brief biographical notes and good portraits, to aid the memory and imagination." J. G. Whittier : ''Thoroughness, good taste and sound judg- ment are manifest on every page." Noah Porter, Pres. Yale College : " In the variety and good judgment and excellence of its selections, it must prove a house treasure to any family." Mark Hopkins, D. D., LL.D. : " The selections are ample and judicious, and the arrangement is admirable. I know of noth- ing like it in the English language." Prof. Moses Coit Tyler, Univ. of Wisconsin : "I have eDJoyed this work. I am instantly impressed by the catholicity as well as the delicacy of its principles of selection." Thomas R. Pynchon, D.D.. ex-Pres. Trinity College ; "It is ab- solutely essential to every scholar, and cannot but have a most powerful influence in cultivating the taste and purifying the imagination." FUNK & WAGNALLS, io-:2 Dey St., New York. SD 103 CHURCH FAIRS; ARE THEY RIGHT? I GIVING OR ENTERTAINMENT, WHICH? A clear, ecu- else discussion on Churcb Entertainments in contrast to Giving. By Joseph 8. Van Dyke, D.D.12mo, 32 pp., paper, ; 2*5 cts The Christian Intelligencer, KB* York: "This book takes a etrong position against modern methods of raising money in ; churches. It is a clear, plain, pungent protest against fairs and other entertainments for this parpose- The author sargu- ments are sound and unanswerable." DANCING; HURTFUL: THE PASCE OF MODERN SOCIETY. By William 01 Wilkinson. 12mo, 78 pp., cloth, 60 cte. Partial Contents. Bearing Upod the I Its Influence upon Intelle fitv, Improvement. Its social Tendency. I Its Moral and Keligious Asp* Harper's Magazine : - The most pungent attack on the mod- i ,o have ever read." Theodore L. CuyUr.D.D.: "A most pungent and powerful book." ■ i TWO BOOKS ON LABOR AND CAPITAL. j DOT PEOs THEIR JM^™ - iiington Gladden . Vimo, paper. 25 cts. ; cloth, ^ 1 The Examiner. New York: "This book we. cordially It is sound and economic in principal and Christian in | PROPERTY IN LAND. A Passage at Arms between the Duke of Argyll and Henry George. 12mo. 77 pp., paper, 15 neAr.elican.ScoUUkJournar, V r«*: » Both side, auestion are argued with great skill, and in the pro* , Zoning employed throughout the reader will discover much to^te? him in arrivi ng at a conclusi on on this question. INK & WAGNALLS, 10-18 Dey St., New York. of % lip. t .^ a «** ^ -.-V j.0 *0* •s^ssM- 1 Si ** :^ v --si /iSBll' V/ «5°^ -.1