PRICE 25 CENTS 
 
 Kl® ^ 
 
 YE LET 
 BI^OIDEF^Y 
 
 AN D 
 
 ITS FUTURE POSSIBILITIES. 
 
 PUBLISHED BY 
 
 <\ M.Heminway & Sons Silk Co 
 
EYELET 
 
 EMBROIDERY 
 
 AND 
 
 Its Future Possibilities 
 
 M. HEMINWAY & SONS SILK CO, 
 
 New York Philadelphia 
 
 Chicago San Francisco 
 
JUN 30 lyub 
 
 OLASS <^ AXC. NQi 
 
 f/'i'ii- 
 
 GUHY B. 
 
 '^t^^ 
 
 yright, 1905, by M. Hem 
 
 : Co., New Vurk 
 
INTRODUCTORY. 
 
 In response to many incjuiries about Eyelet Embroidery or 
 Madeira AVork from the Art Needlework Trade and teachers of 
 embroidery throughout the country who are familiar with the several 
 books we have published in recent years on stitchery of all kinds, 
 we take pleasure in presenting a collection of suggestions on this new 
 (old) work properly called "Eyelet Embroidery." Long, compli- 
 cated descriptive matter that so often constitutes so many pages of 
 fancy work books is conspicuously absent in this book, as experience 
 teaches us that illustrations large enough to show detail work are 
 more valuable to a novice than flowery language set in type. The 
 possibilities of Eyelet Embroidery are not exhausted by any means 
 in this issue ; the pages of suggestions given are only forerunners of 
 what will be shown in later editions which we shall issue if the popu- 
 larity of this style of needlework meets with the favor we confidently 
 expect. 
 
 Dealers can be supplied at wholesale rates with many of the 
 designs shown herein stamped on suitable fabrics. 
 
 We have no retail department, but will cheerfully refer any lady 
 desirous of obtaining the designs, to our customers dealing in them. 
 
 To insure best results in white work with silk we recommend 
 Shade No. 689 Blue AVhite. Spanish Floss for fine work. Turkish 
 Floss for heavier work. 
 
 Copies of this book sent postpaid on receipt of price, 2.5 cents 
 (stamps accepted). 
 
 M. HEMINWAY c^ SONS SILK CO. 
 
NOTE. 
 
 In our position as manufacturers we cannot undertake to supply stamped 
 designs (or finished articles illustrated in tiiis hook) to private parties, but we 
 will cheerfully refer any lady to the nearest dealer where they can be obtained. 
 
 Correspondence willi stni-ekeepeis soHcited relatixe to all designs herein 
 shown, and relative to our art needlework silks. sani])le cards of which will be 
 furnished. 
 
 As a guide and convenience for ladies interested in embroidery work we will 
 send, jjost ])aid, sample card of wash-embroidery silks shown, !596 shades, on 
 recei]it of half cost. liic. (stamps taken). 
 
 M. HE:MIN\VAY & SONS SILK CO. 
 
 74-76 Greene St., New York, 
 
 716 Arch St., Philadelphia, 
 
 232-234 Fifth Ave., Chicago, 
 
 2?0 Sutter St., San Francisco, Cal. 
 
 List of stitchery publications of M. Heminway & Sons Silk Co. still on hand 
 ready for quick mailing. 
 
 Treatise on Embroidery, Crochet and Knitting, Series No. 6, 150 pages, 20 
 color-j)late j)ages. Price, including postage. 19c. 
 
 Illustrated instructions for making Purses and Chatelaine Bags, 64 pages. 
 Pi'ice. including postage, 10c. 
 
 Heniinways and Ways in Hemming, 40 j)ages, 4.') illustrations. Price, in- 
 cluding postage, 10c. 
 
 Eyelet Embroidery and its Future Possibilities, Scries No. 7, 32 pages, 
 size, 8x11, profusely illustrated. Price, including postage, 2.5c. 
 
Design No. 500. 
 
 -IXEX GOWN KMBROIDERED IN WHITE EYELET WORK WITH 
 
 PAR.\SOL TO M.VTCH 
 
OLD-TIME EYELET EMBROIDERY 
 
 m 
 
 A Remarkable Revival 
 
 |\'EHYWHERE, and on all styles of garments, 
 from whole costumes to separate pieces of lin- 
 gerie, we find at present the very popular eyelet 
 work figuring as the chief decoration. 
 It has the charm of extreme simplicity, both in 
 design and workmanship, but herein lies a serious pitfall 
 for the careless or unwary worker. The very simplicity 
 of the method of execution leaves no chance for con- 
 cealing defects in complications of curves and stitches ; 
 therefore, it must be most carefully done. 
 
 The implements required are a medium-sized needle, 
 a pair of sharp-pointed scissors, an embroidery hoop 
 and a stiletto. Though the hoop is recommended, better and quicker 
 results can be obtained without a hoop. 
 
 The designs usually consist of groups of oval and round disks, 
 so arranged as to form circles, festoons, wreaths, etc., and these are 
 occasionally embellished by insertions of point d'esprit or Brussels 
 net, when the openings are large enough to warrant it. 
 
 A pretty addition to such work is the introduction of the filled satin 
 stitch, or what really constitutes French laid work; and with a button- 
 holed edge a quite elaborate piece of embroidery may be evolved. 
 
 This style of decoration is particularly well adapted to stocks, 
 collars, shoulder capes, shirt-waist sets and flouncings for skirts. 
 Eyelet-work is exceedingly dur- 
 able, and if well done will last 
 a lifetime. In proof of this 
 many women can show fine ex- 
 amples of the work which arc 
 the handiwork of their grand- 
 mothers, for a generation or two 
 ago it was almost the only stylu 
 of fancy work indulged in dur- 
 ing leisure hours. 
 
 The cuts on this page shou 
 (juite plainly the various steps 
 in the process. Almost anyoiu- 
 can draw a design in pencil on 
 the silk or linen selected for the 
 work, although it 
 is generally prefer- 
 able to have it '' _ 
 stamped. / / 
 The work is held ( J^^ 
 in the left hand v^ \, 
 while the right ^., 
 hand follows the 
 pattern with the 
 STILETTO AND SCISSOhS needle. The Hem- 
 
 HEMINWAY'S " PRACTICAL' 
 EMBROIDERY HOOP 
 
 Siom 
 
 Fig. B 
 
 Fiff. C 
 DETAIL OF EYELET WORK 
 
AM) ITS FL'TLKF, POSS I H [ I, I T F K S 
 
 inway "Prui'tifiil" obloiiti; lioop is tlic 
 most satisfactory one to use for solid 
 work. The first step consists only 
 in outlining the pattern with a plain 
 ruiuiiiiir stitch, such as is used in or 
 dinary sewing. The material is cut 
 inside each oval or circle, from 
 one end to the other, so that tlu 
 last step in the process may more 
 easilj' be accomplished. This is doiu' 
 by folding back on the wrong side 
 the clipped edges of the material 
 with the needle, while the opening 
 thus formed is ovcrhanded with a very 
 short, close, slanting stitch. Care 
 must be taken to hold the fabric 
 stretched according to the thread, or 
 else the openings will be misshapen 
 and the work drawn in effect, and sat- 
 isfactorv laundering will be impos- 
 sible. 
 
 The plain outline stitch is the oni' 
 usually used for all worked stems. The 
 best results in eyelet-work, when done 
 in silk, will be obtained by using 
 either Spanish or Turkish floss, both 
 of wiiich, as made by M. Heminway 
 & Sons, are beautifully adapted to 
 this work. A heavier effect, especially 
 in outline, may be secured by the sub- 
 stitution of Tzvisfed Embroidery Silk, but this is 
 only desirable in large patterns where a heavy 
 silk will add to the general effect. The wide 
 variety of shades in which these silks can be ob- 
 tained affords the embroiderer unlimited range 
 of choice in the selection of colors where vivid 
 combinations are preferred to white or subdued 
 tones. 
 
 Design No. 507 
 ANCY COLLAR SKTS L\ KYELF/l 
 
 Design Xo. 50+ 
 TURXOVKR STOCK COLL.^ 
 
 A close following of these few hints will in- 
 sure the worker sufficient knowledge to complete 
 a very satisfactory and attractive piece of em- 
 broidery. 
 
 Design Xo. 503 Desij; 
 
 COLLAR AND CUFF SETS FOR SHIRTWAISTS 
 
EYELET EMBROIDERY 
 
 Design No. 513 
 COLLAR L\ SOLID EFFECT 
 
 The eyelet work lends itself charmingly to the 
 decoration of collar and cuff sets. These arc to 
 
 suits as almost the only smart style of 
 neckwear, and they are made in infinite 
 variety both in white and in colored lin- 
 ens. The Heniinway Spanish and Turk- 
 ish Hosses come in such exquisite shades 
 that very good combinations can be 
 made with the colored linens. On the 
 natural linen color — tan or fawn — the 
 Oriental combinations of rather soft, but 
 hrigiit, colors are possible, while two 
 shades of blue or green are very dainty 
 on the natural linen color. On cream 
 linen — the unbleached color, which is so 
 artistic — any color may be used, while 
 on white the pure white embroidery, 
 while daintiest, is yet only the beginning 
 of the good suggestions one can make. 
 
 The solid embroidery, as combined with 
 eyelets, shows the rich effect of the silk to 
 great advantage. The collars have always 
 
 Deiijiii No. 505 
 K.MBHOIDEKKD LLVKX COLLAR 
 
 l)c,sif;n No. 513 
 >RETTY SHIRTWAIST SET 
 
 be worn th 
 
 is summer and during tlic autumn 
 
 and wiiittr 
 
 witli sliirt waists and sliirt-waist 
 
 Design No. 511 
 SET FOR A CHILD'S COAI 
 
 AX ATTRACTIVE ROUND COLLAR 
 
POSSIHII.ITIKS 
 
 L'KXOVER COLLAR AND CUFF SET 
 
 a buttoulioled edge of silk, sometimes plain and 
 again scallops or graceful curves. The turnover 
 collar, No. 64(8, on page 10, in the group illustra- 
 tion, has a particularly pretty shape. The little 
 opening at the front allows the ribbon worn under- 
 neath, and showing its color through the eyelets, 
 to be tied in a smart little bow at the neck. Collar 
 No. G-tO, on page 10, is arranged also for wear- 
 ing with a ribbon tied at the front, and when 
 tiie embroidery combines in tone with this riI)bon 
 the finish of the costume is complete. 
 
 On the preceding page. Design No. 508 is a clever 
 arrangement of circles done in eyelet work, com- 
 bined with a double scalloped edge in buttonhole — 
 a long scallop oi' festoon with a scalloped edge. 
 
 The set for a child's coat, whicli 
 is numbered 511, on page 8, may be 
 most effectively made on pique or 
 heavv rouiid-tlircad linen. Tiii> 
 
 iC^^. 
 
 [Y 
 
 This 
 
 cushion co\ 
 
 er is made of fine 
 
 inen of th 
 
 
 cicherl rm 
 
 nd thread variety 
 ydesignof garlands 
 
 and is en 
 
 rni.le 
 
 
 and eyelet 
 
 
 
 
 hthele.nvc 
 
 nwl.i 
 
 embroidery 
 
 like the French laid work. Tl 
 
 dge. 
 
 button-hole 
 
 d in a festooned sc 
 
 allop. 
 
 FANCY STOLE COLLAR IX OVALS AND CIRCLES. 
 
 .should be worked in Turkish Floss, 
 in a light color or white. In the case 
 of a set to be used with a dark cloth 
 coat a bright color might make an 
 effective contr.ist. The edge pat- 
 
EYELET EMBROIDERY 
 
 EYELKT EMBROllJEKV COLLARS AND CUFF.'- 
 
 tern is particularly pretty as well as giaceful. 
 
 Set No. .512, which consists of a front band, 
 necktie, collar and cuffs for a .shirt waist, is very 
 original. The severely simple design of the four- 
 pointed star and the plain scallop is most artis- 
 tic. The embroidered linen stock collar, No. 
 .505, is in quite another style, with its elaborate 
 flower forms of eyelets of varying shapes, with 
 little leaves in solid embroidery, while No. .51 3 
 is all in the solid work, which shows up the luster 
 of the Heminway embroidery silks to such ad- 
 vantage. These are all shown on page 8. 
 
 For coat collars for women and young girls, 
 the simple and elaborate fonns of eyelet work are 
 mucli used. Such fi set of collar and cuffs as is 
 illustrated on a clotli coat on page 9, for in- 
 
 st UK I, adds much to the smart- 
 in >s of a plain tailored suit. It 
 kups the collar and cuff edges 
 titsh and new for autumn, and 
 IV ilways cool and dainty. The 
 pitttin shown here is the simple 
 double-scallop with one punched 
 i\(.kt in each scallop. The 
 h(a\y Turkish floss is best for 
 such embroidery. 
 
 Sj)rinish Floss, which is finer 
 m weight, is better for such 
 puc(s as the pointed eyelet col- 
 1 u designs shown on page 9, 
 iiid for the edge Twisted Em- 
 Ijioidtry Silk is often preferred. 
 
 As applied to suits, the eyelet 
 iiiibroidery is really in its natu- 
 1 d field. Exquisitely dainty 
 _\()kcs, undersleeves and flounces 
 w I u made by those grand- 
 motlicrs of the present genera- 
 lion who set the fashion in eye- 
 it I work fifty years ago. The 
 |)ittcins now used are really 
 ()ii!\ adaptations of the old-time 
 (l( signs, and on some charming 
 lie tt garment, with new design of 
 
 I iiibroidery,one will often recog- 
 nize <i spray or a flower which is 
 i(l( ntical with those on the pieces 
 «i have treasured so cai'efully. 
 
 Those earlier workers did not 
 h i\( the perfect Heminway silks 
 lit to (lay, and so, though their 
 di-iniis were good and the work 
 
 I I is la ited so long, it lacked the 
 liisttr and finish that are now 
 possible. 
 
 The linen suit, which is pho- 
 tographed as a frontispiece for this book, is a 
 model which has been copied with most strik- 
 ingly smart effect in the heavy pongee, which is 
 one of the handsomest materials in this year's 
 list of fashionable silks. With skirt and coat 
 and parasol to match, all adorned with an at- 
 tractive design in eyelet embroidery, one has the 
 smartest costume imaginable. This is one of the 
 old-fashioned patterns revived in a more grace- 
 ful form than it used to wear. The long, sweep- 
 ing curves of the branches are particularly artis- 
 tic. The whole design is simply an arrangement 
 of oblong eyelets and a plain, heavily-worked 
 stem-stitch connecting them. 
 
 On page 7 there is one illustration of a style 
 of emhroidcrv which is much in vogue in com- 
 
AND ITS FUTURE POSSIBILITIES 
 
 binution witli the cyukt work. It 
 is called Jewel embroidery, becmise 
 the round dots arc heavily worked 
 in floss of soft, rich tints and out- 
 lined with a gold-coloretl thread, 
 thus giving the effect of set uncut 
 jewels. The peculiar richness of 
 the luster of the Heminway flosses 
 is particularly, well adapted to this 
 work. 
 
 Flower forms of all sorts are pe- 
 culiarly the property of eyelet 
 work. Sometimes the whole flower 
 will have its petals made of eyelets, 
 and again the flower will be out- 
 lined with the familiar Kensington, 
 or long-and-short stitch, or an 
 over-and-over stitch, and the cen- 
 ter will be filled in with the 
 eyelets, the leaves also being in tlie 
 openwork eff^ect. Such a design is 
 the waist on this page. It is a pat- 
 tern which is suitable alike for linen 
 or silk, but in silk it is especiall3' 
 rich and effective. The wheat de- 
 sign, No. 520, page 12, too, is a 
 good one for heavy pongee or 
 corded silk waists. The elaborate 
 pattern of embroidery, and the 
 heavily scalloped edge and fancy 
 buttons, give much chance for 
 rich effects. Turkish floss may be 
 used for this heavy embroidery, 
 and its beautiful luster will be 
 found most attractive and durable. 
 
 Very dainty in pattern is the set, 
 No. 19-tO, page 12, of collar and 
 cuffs to be worn with colored gowns. 
 The work may be done in white 
 or colors to match the gown, or in 
 a lighter shade to tone with it. 
 Sometimes such a design is carried out on col- 
 ored linen with the embroidery in white silk, and 
 this is quite as effective as the white groundwork. 
 The foliage sprays are done in French laid work, 
 filled so that the embroidery stands up liigh from 
 the linen. The buttonholing, too, is filled with a 
 running stitch in heavy thread. The eyelets are 
 quite small^ — mere punched holes made with the 
 stiletto and closely worked around. 
 
 The costume of suit and hat to match is more 
 than ever popular just now, and the eyelet cm- 
 broidery is so well suited to adorn such a cos- 
 tume that it is small wonder that one sees it more 
 on really smart and expensive gowns than any 
 other style of decoration. Its adaptation to hats 
 
 VX EL.VBOUATE SIIIRTWAI.ST IX EYELKT AXU FREXCH 
 EMBROIDERY 
 
 is a recent innovation, and one that has taken a 
 strong hold on the fancy of women of good taste. 
 These hats are made of silk and of linen, and are 
 so shaped that they may be taken apart and 
 laundered or dry-cleaned. The hat has a round 
 brim and a round crown, which, after being em- 
 broidered in an elaborated design, are pressed 
 and mounted on a wire frame. Sometimes there 
 is a trinmiing of artificial flowers, and again only 
 a big bow of soft ribbon is tied around the crown 
 of the hat. A heavily embroidered scallop fin- 
 ishes the edge of the hat-brim and sometimes of 
 the crown as well. I-arge and small flower forms 
 are the customary patterns for these hat em- 
 broideries : thcv are more used than the more con- 
 
EYELET EMBROIDERY 
 
 Design No. 520 
 AN EMBROIDERED SHIRTWAIST 
 
 hand-made tucks combine well with the hand- 
 embroidery, and supply the fulness needed. 
 
 In some of the designs of waist patterns a 
 most effective combination of eyelet work, 
 French embroidery and filling — in stitches like 
 the Danish Hedcbo work — is seen. In the little 
 cut-out squares the little worked Greek crosses 
 are made, as shown in these waist patterns, by 
 carrying threads of silk across the open space, 
 from corner to corner, crossing in the center, and 
 other threads from the middle of each side. 
 These four threads are caught together in the 
 center with a knot such as is used by lacemakers, 
 and then the threads are woven together, or 
 bound over, two and two, by carrying the thread 
 with which the knot has been made over one and 
 under the other, and back and forth thus until 
 the arm of the little cross has been worked out 
 to tlie desired length. Then the needle is run 
 back to the center on the wrong side of the work, 
 ;ind another arm of the cross is begun in the 
 siune w^ay, until all four are finished. Some- 
 times a little heavier cross is worked by having 
 two threads in each side space of the square in- 
 stead of one, thus giving three threads to work 
 over for each arm instead of only two. 
 
 These combinations of several different styles 
 of embroidery on one piece arc quite in line with 
 
 ventional designs. The stems and 
 leaves, as in the same work used for 
 other purposes, are done often in solid 
 embroidery. 
 
 In shirt-waist patterns — which are, 
 of course, the garments w'hich most 
 appeal to the average woman — there 
 is infinite variety. The woman who 
 has not a waist with eyelet embroidery 
 this year is quite out of the fashion- 
 able "swim," and most of the hun- 
 dreds of thousands of women to whom 
 dress is an important matter have 
 many, instead of one. Than the lin- 
 gerie w'aist no fashion was ever more 
 convenient, and it has undoubtedly 
 come to stay, as has the shirt-waist 
 fashion, which was so much derided a 
 few years ago. 
 
 These thin waists are exquisite in 
 India and Japanese silks, and the 
 work put into them is not a matter 
 of one season, for it will last indefi- 
 nitely if it be well done. It is worth 
 while to use good material when so 
 much work is to be expended. liittl" 
 
 Design Xo. 1940 
 
 COLLAR AND CUFF SET OF SOLID EMBROIDERY AND ' 
 
 BUTTONHOLE WORK OX PIQUE, RELIEVED BY 
 
 PUNCH HOLES THROUGHOUT THE DESIGN 
 
AMI ITS Fl'TURE POSSIIUI.T 
 
 A SHIRTW A 
 
 i IMBKOIDF.RV 
 
 ])ro.sciit fiisliioiis, wliic'li unite vdrious makes of and fine Fruncii cnibroiik'ry on nainsook are 
 
 lace aiul cnihroidery in one garment, and con- dainty in tlic extreme, but with the constant 
 
 sider the effect riciicr tlian wliere one style alone wasliing to which they must be subjected, any^ 
 
 is used. tiling so delicate is doomed to speedy destruction, 
 
 Tlie iver-usoful. and now universally-worn whereas eyelet embroidery is in itself eminently 
 
 cliemisitte, is another ])articularly good field for substantial and lasting, and therefore worth the 
 
 (inhroidirv. 'llic chemisettes of delicati^ lace doing. These chemisettes have the fronts and 
 
EYELET EMBROIDERY 
 
 Design No. 27ti'2 
 CORSET COVER 
 
 This graceful pattern in Violets is suitable for either 
 solid or eyelet embroidery. The Initial Medallion as shown 
 in the illustration is an application of the Ready-Embroid- 
 ered Kaufraann " Wasche-Medallions," which can be pro- 
 cured of dealers in Art Needlework materials in various 
 styles and sizes. 
 
 collars decorated with the eyelet pattern, and 
 also the cuffs of the undersleeves to be worn witli 
 them. All of the popular patterns may be aj) 
 plied to such a purpose. 
 
 For dainty "Frenchy" underwear the popular 
 eyelet is also suitable. In the reaction from 
 machine-made laces and insertions the rush for 
 liandwork has been the means of bringin<^ 
 French embroidery and this revived old English 
 style of work into great favor among persons of 
 refined taste. It is applied to nightgowns, 
 chemises and corset covers with good results. 
 Instead of the much-abused and overworked 
 machine-made beading, eyelets — long, narrow 
 ones — are worked in succession where ribbons 
 are required, and are much more durable tlian 
 lace or thin nainsook headings. 
 
 At waist and neck this openwork for the ril)- 
 bons is provided, while a firm, well-worked but- 
 tonhole stitch makes a durable edge which will 
 outwear many times any of the flimsy laces so 
 much used in the past. 
 
 No costume nowadays is considered complete 
 without its belt to match, and even buttons are 
 worked to match some of the embroidered gowTis 
 and shirt-waist sets. The belts are particularl% 
 pretty when made of linen and worked in a pat- 
 tern to match the gown. As a rule, the design 
 merely appears across the back, but sometimes a 
 few sprays, or tendrils, creep around to the sides 
 
 and front. Heavily-bound eyelets are worked 
 for the tongue of the buckle to pass through, 
 and a strap of the linen or silk is sewed across 
 at the left side, as on the leather belts, to hold 
 the end in place. Some belts are wide at the 
 back, with a simple dotting of embroidered eye- 
 lets, and at a few inches from the buckle are 
 sewed into a narrow pointed piece of the material 
 which buckles in front. This front strap of such 
 a belt may have a heavy spray of flowers for 
 decoration, to match the waist. 
 
 These linen belts are made in all colors and 
 are for sale in great variety. But the ready- 
 made article seldom gives the satisfaction that 
 is derived from the work of one's own hands, and 
 much better designs and finer work naturally are 
 the result of careful attention to detail. 
 
 The same eyelet designs are seen on the belts 
 of heavy silk, satin and peau de sole. These are 
 often beautifully mounted and fine enough to be 
 worn with handsome costumes. 
 
 Another field for the popular embroidery is 
 
 
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 Desijrn No. .5 
 WAIST 
 
AND ITS FUTURE POSSIBILITIES 
 
 DesiKn N'o. oOli. 
 WAIST 
 
 on parasols. Among tlie daintiest creations of 
 the Paris modistes, exhibited in New York, 
 were the parasols of openwork embroidery, 
 either unlined or lined with a contrasting color. 
 For use with the white linen suits, the white para- 
 sols are very dainty and most unquestionably 
 smart. But the glare of the sunlight through the 
 white linen is a little trying to the eyes, so a lin- 
 ing of silk in a soft color is often used. 
 
 In pongee in its many shades there are charm- 
 ing parasols, and in colored linens, too. 
 
 The hats are variously made up — those of 
 linen with the eyelet embroidery. The simplest 
 form is the one with Tam-o'-Shanter crown and 
 flat brim, the frame somewhat on the sliape of the 
 old-fashioned poke-bonnet. The brim is flat and 
 the embroidered piece is laid flat over it, while 
 the wires are entirely hidden bj' a shirring of 
 mull underneath. 
 
 Another pretty style of hat is that illustrated 
 on page 19, in the lower left-hand corner. It has 
 tlie same Tam-o'-Slianter crown as the other 
 
 style, but the brim, instead of being a flat, round 
 one, is a plain, straight ruffle of embroidery 
 plaited in to fit the crown. The ruffle is double, 
 the wires being hidden between the two parts. A 
 broad, soft ribbon is tied around the crown and 
 knotted in a big graceful bow at the front. Noth- 
 ing can be more becoming to a young and fresh 
 face than such a hat. 
 
 In cases where the hat is to be made with a flat, 
 square crown, the crown part of the embroidery is 
 often finished with a scalloped edge like the brim, 
 and this piece is laid on flat, the rise of the crown 
 being covered with a plain hand of linen and con- 
 cealed by the trimming of flowers or ribbon. 
 
 In summing up the subject of eyelet work one 
 cannot say too nuich on the question of the impor- 
 tance of neatness. If the embroidery is allowed 
 to lie about while in the diff'erent stages of its 
 development, if it is handled and worked over 
 with soiled or rough fingers, it will never look 
 fresh and dainty, and no amount of laundering 
 will give it the new look that is prized in a deli- 
 
 Uesi>rn No. j^:>/ 
 WAIST 
 
EYELET EMBROIDERY 
 
 cate piece of work. The same advice that is 
 given to those wlio enihroider in other styles, in 
 flowers and elaborate color designs, applies to this 
 embroidery. See that your hands are smooth and 
 clean. If there are rough places in the skin 
 soften the hands by washing in warm water and 
 i-ub the rough places with a piece of pumice. 
 Otherwise tlie silk will catch and be sadly pulled 
 and roughened. If the hands have a tendency to 
 perspire keep beside you a little flannel bag of 
 powder and wipe them with this once in a while. 
 See that your thimble, too, has no rough places 
 to fray the thread. 
 
 A practical plan, in making a dress with eye- 
 let embroidery trimming, is to do the embroidery 
 on separate bands, so that when the dress wears out 
 or goes out of fashion as to general make, the 
 •work of the embroidery will not be lost. Always 
 a waist will give out under the arms and a skirt 
 around the hem before it is used up otherwise. It 
 is against this time that the separate band schenie 
 is planned. And many of the prettiest and 
 smartest models which have been imported from 
 Paris, the fount of fasliion, have been linen 
 
 CHEMISETTE OF EYELET WORK 
 
 Design Xo. .5:^3 
 'OXGEE SHIRT-WAIST SVt'T 
 
 or silk dresses with eyelet embroidery bands on 
 waist and skirt. 
 
 These bands may be combined charmingly 
 with tucks, aiul under the tucks the seams may 
 be hidden so tiiat the fact that the band is a sep- 
 arate piece of material need not be evident. Or, 
 on the other hand, the band may be frankly ad- 
 mitted, and may be put on with feather-stitching 
 or French knots or plain machine stitching. The 
 latter is not advisable, particularly, as the smart 
 fad is to have no machine stitching appear on 
 the gowns that are hand-embroidered — therein 
 lies the distinction between the hand-made and the 
 machine-made garment. 
 
 These same bands of embroidery, as well as the 
 
AM) ITS FUTUHF, I'OSS I B 1 1. IT I KS 
 
 material einbroick'red in a pattern especially 
 for the article in question, arc much used for 
 children's frocks. Some of the daintiest 
 little dresses for girls, and collars and cuffs 
 for Russian suits for boys, are those of eye- 
 let embroidery. The collar and cuff sets are 
 most popular and are seen on little boys' and 
 girls' coats in great variety of shape and 
 pattern. Pique and heavy linen are most 
 used as the foundation. 
 
 This collar fashion is not confined to tlu> 
 children alone^ for on women's coats are in- 
 numerable shapes and styles of collars of 
 pique and linen. 
 
 In the usual waist set, so called, there are 
 included a front band, a collar and necktie, 
 a pair of cuffs and a belt, all embroidered 
 to match. The plainest shirt waist may be 
 made fine enough for any use by such ap- 
 pointments, and a simple India silk or pon- 
 gee waist made on the shirt-waist plan, whicli 
 may be washed over and over, will seem 
 like a fine impoi-ted garment if it is worn 
 with a set of handsomely cml)roidered acces- 
 sories. Take, for instance, a white waist and 
 make collar, cuffs, belt and straight band 
 for the front, Avith an effective design in col- 
 ored embroidery. Such a pattern as that 
 .shown on the chemisette. No. .^SS, page 16, 
 would be easilj' copied and applied to such 
 use. The chrysanthemum may be reduced in 
 size and the effect of foliage given in the 
 openwork. Work this pattern on your bands 
 in several shades of soft pinks, with the 
 stems and outlining of the eyelets in a dull 
 green and your waist will he one of the pret- 
 tiest imaginable. 
 
 Or, make your waist in sur})lice style, as is so 
 much the fashion now, and wear with it a sep- 
 arate chemisette like this same No. 522. With 
 the colored embroidery you have a very rich ef- 
 fect, and the same waist may be made to do duty 
 for many occasions by the change of this chemi- 
 sette merely. Several such articles arc a necessary 
 part of every well-dressed woman's wardrobe. 
 
 And for use in autumn and winter, with silk 
 waists and wool shirt waists, one cannot have too 
 many of these ready-to-wear, hand-made acces- 
 sories. They will very much simplify the dress 
 question. All colors in heavy and fine embroidery 
 may be used for such work, and in the Hcminway 
 list of colors will be found all that the heart of 
 woman could desire. 
 
 Eyelet embroidery has been very generally ap- 
 j)]ied to children's garments lately, and because 
 of its durability it is likely to grow in popularity 
 
 
 CORSET COVKK DKSIGX 
 
 for this purpose. There are charming little frocks 
 of linen and gingham so decorated, and many 
 other exquisitely dainty garments. The collars 
 are numbered in legions, and in variety of design 
 they are almost as great in numbers. The com- 
 binations of tendrils in outline stitch and flowers 
 and leaves in eyelets are very attractive, and more 
 conventional designs in festoons of eyelet-holes 
 are equally effective. As a rule the edges of these 
 collars are finished with heavy buttonhole stitch in 
 scallops. The collar design. No. .510, page 21, 
 has a very pretty edge of embroidered scallops 
 with an eyelet hole in each scallop. 
 
 A somewhat similar design is shown in the 
 pillow cover, design No. 538, page 21, which 
 is planned to be used in a baby's carriage. 
 In this pattern, however, the scallop lias 
 smaller scallops on its edge, and in each large 
 
EYELET EMBROIDERY 
 
 Top 
 Design No. 535 
 EYELET HAT 
 
 scallop are three little eyelets in a group. 
 The size of the cover is 10 x 14 inches. 
 Suitable materials for making it are 
 pique, linen or linen lawn. It is made in 
 the shape of an envelope, only the flap being em- 
 broidered. The sides are stitched up and the 
 pillow, with covering of pale blue or pink silk, 
 is slipped into the case and the flap buttoned 
 down with a tiny lace button. The edge may be 
 finished with scallops, edged witli Honiton lace 
 
 EYELET HAT FINISHED 
 
 Rim 
 Design No. 525 
 DESIGN FOR EYELET HAT 
 
 braid worked with white Spanish Floss. The at- 
 tractive feature of the case is that it may so 
 easily be slipped off" the pillow and laundered 
 without any trouble. 
 
 The more conventional flower 
 forms appear in a baby's cap, 
 design No. 531, page 21. This 
 is verj' rich when made of heavy 
 white corded silk, with the em- 
 broidery in Spanish Floss. A lin- 
 ing of soft mull, ir) white or in a 
 pale color, or, for winter, a heavy 
 quilted silk lining, makes this a 
 most useful and durable cap. 
 
 The bootees shown on page 23, 
 design No. 533, are the latest 
 style for babies. These little soft 
 silk or cashmere shoes are used for 
 babies now much more than the 
 knitted and crochet socks, espe- 
 cially after the child begins to 
 wear short clothes. They arc made 
 of soft silk, rather heavy in qual- 
 ity, and have a buttonholed edge 
 and a pattern in eyelets. They arc 
 sewed to a soft little sole and are 
 most comfortable for the child. 
 
 Of the making of babies' 
 sacques there is no end, and there 
 
VXD ITS FUTURE POSS I H 11, UI' IK S 
 
 Rim 
 Design Xo. .V.>7 
 KYELET HAT 
 
 seems to be no prospect of the original designs 
 failing to increase and multiply. To these sacques 
 tills embroidery lends itself particularly well, be- 
 ing as simple or as elaborate as one wishes. The 
 Nightingale pattern, which is in a general way 
 just a circle with an opening at the front, and 
 slits up the sides, which are so tied with ribbons 
 as to form little sleeves, is very popular. It re- 
 quires no scams, which is best for babies' gar- 
 ments. 
 
 Tiie little baby articles are among the daintiest 
 things to embroider in eyelet designs. This style 
 of embroidery is particularly suited to babies' 
 caps and other belongings. Tiie little cap on page 
 20, design Xo. .509, is just tlic size for a baby's 
 first cap. Tiie design on the front, on the crown 
 and on tiie tie ends is the same as that on the 
 round collar illustrated on same page. They ai'e 
 worked in eyelet holes and stcm-stitch with little 
 bars across the extra long, pointed holes. The pil- 
 low case is made with an odd little border of triple 
 eyelets in thcscallo])s and a ;j,ia((ful flower design. 
 
 Top 
 Design No. 527 
 \ DESIGX FOR EYELETS AXD 
 M .STITCH OXLY 
 
 'vitl%^ 
 
 
 
 "c" 
 
 
 
 ■ 9 
 
 ~''\' 
 
 
 v,'c 
 
 
 V • 
 
 
 
 
 
 ; ^'>^ 
 
 
 
 ^ 
 
 . \ 
 
 
 
 
 ' 
 
 :-^ 
 
 \*, 
 
 
 
 
 
 \ ' 
 
 
 
 1 ' 
 
 /i- 
 
 '■. ^\,f 
 
 
 
 
 _• 
 
 
 '•■\ 
 
 e-'-J 
 
 .''^' 
 
 
 KxMBROIDERED HAT WITH KUI.I. BRI.M 
 
 See pace 15. 
 
 Rim 
 Design No. 536 
 EYELET HAT 
 
 Bibs and carriage parasol covers for ba- 
 bies, and charming sets of pillow-cover, lap- 
 robe and carriage-strap, arc cmliroidercd to 
 
 match in eyelet de- 
 
 signs. These are usu- 
 ally provided with a 
 lining of thin silk, all 
 three being alike in 
 color. 
 
 The uses to which 
 eyelet embroidery 
 may be a p p 1 i e d 
 in pretty table linen Top 
 
 are m an}'. They Pesijrn No. 5-36 
 
EYELET EMBROIDERY 
 
 Ofsign No. +9!) 
 LADIES' BELT 
 
 vary in style from the simple pattern which deco- 
 rates the scalloped edge of the small doily to the 
 most elaborate centerpiece with a lace edge and 
 flower-bestrewn surface. Any of the heavy cotton 
 or linen laces is appropriate for edging these 
 table linens, and heavy solid embroidery in white 
 silk is much used in combination with the eyelet 
 work. 
 
 The first design shown on page 24, No. 535, is 
 a very dainty one of eyelet work and feather- 
 stitching. The detail of the work is illustrated 
 on page 26. By a little study of the section of 
 the pattern shown there it will be understood 
 without any difficulty. There is a delightful vari- 
 ety about the eyelets, which are shaped in three 
 different ways — round, oval and pointed. The 
 feather-stitch pattern which connects the flower 
 forms and edges of the piece is anotlier pretty 
 change from the usual stem-stitch. Inside tlic 
 edge row of feathei'-stitching is a single line of 
 embroidery. This is done by the double outlining 
 stitch as follows : The line is first worked over by 
 plain outlining, as described and illustrated on 
 page 6 of the "Treatise on Embroidery, Crochet 
 and Knitting," published by M. Heminway & 
 Sons, and then the thread is carried over the 
 stitches again the opposite way and caught 
 through each stitch, but not through the linen. 
 This makes a heavily-raised line. The eyelet- 
 holes in the border should be worked before the 
 row of feather-stitching is put in. The border 
 is a very original one and therefore most attrac- 
 tive. The edge is the plain buttonhole stitch, but 
 in an odd-pointed scallop, alternating three and 
 four points to the curve. 
 
 The grouping of the violets is the main dis- 
 tinction of the second centerpiece. Such patterns 
 are particularly good for plain white work, for 
 the binding of the ej'elet-holes stands up and 
 gives the rich and heavy effect which is necessary 
 where there is no contrast of color. 
 
 An original toiicli shows in the border of this 
 
 design. No. 2403, on page 24, also. The scallops 
 are grouped into three small ones and then one 
 long one, which gives a pretty variety. The sprays 
 of French embroidery between the bunch of vio- 
 lets are unusually graceful. Twisted embroidery 
 silk and Spanish Floss are the silks to be used for 
 such a piece of work as this. 
 
 A very elaborate design into which eyelet-work 
 enters somewhat is shown in the sofa pillow, de- 
 sign No. 734p, illustrated on page 25. The model 
 as illustrated, is worked in eyelet and feather- 
 stitch on a foundation of gray huckabuck, worked 
 entirely with Mount Mellick'silk, size "G," color 
 \o. (i89, blue white, trinnned with heavy white 
 cotton cord and tassels. 
 
 Considering the simplicity of the design, 
 which is so easy of execution, this pillow is most 
 ;ittractive and sensible. 
 
 On page 27, the photographed centerpiece. 
 No. 920, is a remarkably handsome design and 
 piece of work. Nothing could be prettier or bet- 
 ter calculated to show off the quality of the 
 embroidery and of the silks used in it than this 
 design. There is a very dainty edge of long- 
 and-short buttonholing to which the lace is 
 sewed. The over and over embroidery — in fact, 
 the whole thing — is done with Heminway Turk- 
 
 Back 
 
 Design No. 499 
 
 LADIES' BELT 
 
 BABY'S EMBROIDERED CA 
 
AM) r|-S IT'ITRK FOSSIIUI.ITIES 
 
 Ijesijtn No. Ujlo 
 CHILD'S COLLAR L\ EYELET WORK 
 
 Xeck measure, 11 y, inches; width, Gy^ inches. 
 
 ish FI0S.S. The sniootli-laid stitches of the 
 petals of the chrysanthemums and the grace- 
 ful leaves show the texture of the floss to the 
 hcst advantage, and in the heavily-worked 
 solid dots the effect is extremely rich. The 
 stems and exquisitely-curving tendrils are 
 worked in stem-stitch, or outline-stitch, which 
 is made by merely taking each stich half-way 
 back beside the preceding one. Here and there in 
 tlie design occur long spirals which are worked 
 in feather-stitch with the same silk. The eyelets 
 arc embroidered with the Turkish Floss, be- 
 ing merely holes punched with the stiletto and 
 carefully overhanded with a close, slanting stitch. 
 A good, ratlier heavy quality of round-thread 
 
 limn sliould he used for 
 such work. 
 
 The Sorrento tabh' 
 cover, which is design No. 
 5^6, on page 27, is a 
 beautiful example of 
 openwork. It has not only 
 the graceful pattern but 
 also tiie flower and leaf 
 of cut-out work, with 
 fine filling-in of Sor- 
 rento bars, as used in 
 lace-making. The center 
 of the flower is filled in 
 witli three Renaissanci' 
 lace rings. The edge of 
 this piece should be es- 
 pecially observed. Tht' 
 long festoon of scallops, 
 with the clover-leaf de- 
 sign at the point, is un- 
 usual and extremely 
 good. 
 
 iMuch bolder in line is 
 the Design No. .537, on 
 page 26. The flower 
 liere — a conventional- 
 ized one — has a center 
 of worked dots and an 
 edge or fringe to match, 
 with a striking circle of 
 eyelets around just in- 
 side this fringe on two 
 of the flakers, and ,1 
 
 BABY'S CAP 
 Design No. 531 
 
 Design No. 510 
 CHILD'S ROUND COLLAR 
 
 Design No. 538 
 BABY'S PILLOW COVER 
 
 worked scallop around the eyelets in the 
 others. The open design of the foliage is es- 
 pecially pretty, and the border has the charm of 
 entire novelty. All the way around the edge it is 
 a shallow buttonhole stitch, but the varied line is 
 tlie main feature. 
 
 For finger-bowl doilies. ,)late doilies and turn- 
 
EYELET EMBROIDERY 
 
 Design No. IjOO/S 
 BABY'S BIB 
 
 BABY'S BIB 
 Design No. S30 
 
 bier doilies the simple and even the elaborate 
 flower designs of eyelet-work and French em- 
 broidery may be very successfully used. The it because of the smaller size to be covered. Eye- 
 pattern is usually smaller for these pieces than let embroidery is particularly effective for sets 
 for the centcri)ioces, and, of course, there is less of of centerpiece, plate doilies and small doilies for 
 
 Design No. L'+OOs. 
 iABY'S NIGHTINGALE OR SACQUE 
 
 L. OF C. 
 
AXI) ITS FUTURE POSS I B I LUI' I KS 
 
 
 Design No. 533 
 A CHILD'S PIQUE COAT 
 
 BABY'S B(J()T1-;KS 
 
 tumblers, wlicre tliesi' are to be used on a pol- 
 ished mahogany or oak tabic without the usual 
 damask cloth. The rich beauty of the linen and 
 of the silk embroidery with the gleam of polished 
 wood through the openwork is most attractive. 
 
 Some very effective table-covers are made after 
 the style of the sofa pillow, design No. 734P, 
 page 25, with the design of feather-stitching. 
 Soft canvas cloth is used for these, or denim or 
 satin sheeting, and the same idea has been applied 
 to heavy window curtains of satin sheeting. No 
 amount of embroidery can be too much in these 
 days of enthusiasm for hand-work. The hand- 
 somest hangings are those oa which there is an 
 abundance of jiand-enihroiderv. 
 
 /'rV.- 
 
 '-^■^ 
 
 Design Xo. o'.U 
 
 COLLAR 
 
 A CHILD'S COAT WITH EMBROIDERED COLLAR AND CUl'FS 
 
EYELET EMBROIDERY 
 
 Design No. 535 
 EYELET CENTER 
 
 Bedspreads, too, are often worked now, in 
 these rich and striking designs, on Hnen or on 
 colored materials. The design of a room may be 
 most charmingly carried out in this way. And 
 there is no more satisfactory fancy work for a 
 woman of taste and energy than the beautifyhig 
 of her home with her own work or making gifts 
 for her friends. One woman with a small amount 
 of skill with her pencil has sketched on her cur- 
 tains as a border a conventionalized design of 
 chrysanthemums adapted from her wall paper, 
 and has embroidered these in soft coral-pink 
 shades on a pale sage-green ground, with a run- 
 ning design of eyelets intersecting the flower pat- 
 tern and giving the light effect that is a great 
 advantage to tiie appearance of the curtains. It 
 is in this adaptability of combination with other 
 styles of embroidery that the future possibihties 
 of eyelet embroidery lie. Although at the present 
 time it is immensely fashionable in itself, this 
 vogue may not be so long as to make sucli lasting 
 things as heavy window draperies a sensible in- 
 vestment of time if they were to dc]ic nd tor tli( iv 
 beauty on the eyelet-work alone. Bnl m cuniiinc 
 tion with the "decorative designs in Freucli or 
 South Kensington stitches, there is a marvelously 
 fine effect produced. These heavy curtains, hang- 
 ing over thin ones of lace, allow the light to pierce 
 these eyelet-holes and so are much liandsomer than 
 if only worked in tlie "blind embroidery," as it is 
 often called to distinguisli it from open-work. 
 
 This same clever woman has planned and made 
 for a summer cottage a set of bedroom curtains 
 over which the same rose-vine as seems to be 
 
 clambering over the wall of her room droops in 
 delicate sprays, stray roses and occasional 
 dropped petals, while a dainty border hangs all 
 tlio way down the front of each curtain, the edge 
 of the muslin being finished in a scallop with 
 groups of open-work eyelets, and here and there 
 a little group of eyelets through the width of the 
 cvirt.iin. A bedspread of the same design matciies 
 tliese curtains, and on the dressing table are sheer 
 linen covers with the same .style of embroidery. 
 A daintier nest could not be imagined. 
 
 A similar idea in violets has been carried out 
 by a well-known firm of decorators, and one 
 young girl is planning to live in a cool and rest- 
 ful surrounding of pond-lilies. 
 
 VVitli tlie beautifully sheerthin linens in artistic 
 colors that arc now to be bought at such reason- 
 able prices, there is no reason why tlie coming 
 style of hand-made curtains should not be carried 
 into the Norwegian drawn-work, called Hardan- 
 ger — pronounced Har-dong-er — combined with 
 eyelets. This style of work is particularly suited 
 to household decoration in its bolder patterns, 
 wliile its fine designs are charmingly applied to 
 costumes and delicate table linen. 
 
 HARD ANGER EMBROIDERY. 
 
 The main principles of the Norwegian Har- 
 danger work are very simple and easily learned, 
 p.nA after these have been mastered there is little 
 
 EYELET CENTER 
 
FUTURE POSSIBILITIES 
 
 SOFA PILLOW IX EY 
 
 734 P 
 .RT KMBROIl)..UY 
 
 ciitficultv in copying even L-laborjite patterns. 
 The work has for its foundation, as a rule, a linen 
 canvas made for the purpose, but any scrim or 
 round-cord linen is possible, and the linen or even 
 wool etaniines tliat arc so much used now for 
 shirt-waist suits are very pretty worked in these 
 Hardanger designs. 
 
 The use of colored silks for Hardanger work 
 on white or colored materials makes a strikingly 
 rich effect for dresses or for housfliold decora- 
 
 tions, such as curtains, table covers and sofa pil- 
 lows. The Hcminway Turkish Floss is peculiarly 
 adapted for this use, and as it is obtainable in 
 all of the fashionable and artistic shades some 
 delightful combination of color are possible. 
 
 The work must be done with a dull-pointed, 
 long-eyed needle, which carries the silk easily. 
 A sharp needle might split the threads of the 
 canvas and so spoil the symmetry of the design, 
 for on tlie perfect synunetry and regularity of 
 
E Y E I. ?: T EMBROIDERY 
 
 the completed work depends its successful effect. 
 
 The basis of all Hardanger patterns is the 
 square, wliich is made by carrying five threads 
 of silk over four thi-eads of the canvas. That is, 
 when beginning the design one takes the needle 
 and makes a stitch over four threads, and in 
 the next opening another, until there are five 
 stitches side by side. Then the needle is turned 
 and five more stitches are taken at right angles 
 to the first row, leaving an unworked square in 
 the corner. When all four sides have beer, 
 worked there is a small block of canvas left plain 
 and unworked in the center. But often to carry 
 out the design ones docs not work at first the 
 four sides of a square, but only two sides, and 
 then again two sides of the next square, thu^ 
 forming the effect of a flight of steps. In this 
 way the outline of the pattern is indicated, and 
 by careful counting the whole design may be 
 accurately laid out before a thread of canvas is 
 cut. 
 
 A simple design to take as a sample of the 
 method of working is the doily illustrated as 
 Design No. 800, on page 30. For this one 
 
 *.••* 
 
 ••: 
 
 Design No. 537 
 CYELKT CKXTERPIECE 
 
 Design No. 535 
 DETAIL, OF EYELET CENTERPIECE 
 
 should begin at the upper left-hand corner and 
 work five stitches, then skip four threads, then 
 five more, and so on until six groups have been 
 put in. At this point you turn and work the 
 side of a square and then the lower edge. Leave 
 the tliread loose here, and go back to the corner 
 again. Always remember that 
 no knots are allowable in Har- 
 danger work ; the new thread 
 must be started by a couple 
 of over and over stitches on 
 the back of the canvas. 
 
 Beginning again at the 
 left-hand corner work six 
 . groups of five stitches each, 
 skipping four threads be- 
 tween the groups, and then 
 turn to the right and make 
 five stitches at a right angle 
 to the others, the first one 
 coming out of the same hole 
 as the last of the last group. 
 Now continue alternate 
 groups of five stitches, first 
 horizontally and then verti- 
 cally, until you meet the ones 
 at the center of the top of the 
 pattern. In this way you 
 have outlined one corner of 
 the pattern. 
 
 Now carry the same design 
 across tlie top, first making, 
 or finisliing out, rather, the 
 two complete squares that 
 form the top of the diamond, 
 and then working the same 
 six groups of fivestitches each 
 and turning the corner and 
 
AND ITS FUTLRE POSSIBILITIES 
 
 working down the right 
 side anotlier six groups. 
 When the four corners 
 have been worked in out- 
 line thus, the inner sides 
 of the square around 
 the diamond shoidd he 
 worked. Opposite the 
 little blank space in the 
 center of the point of 
 the diamond skip four 
 threads and then work 
 the little stitch which 
 forms a complete dia- 
 mond. This is done by 
 a little cross-stitch over 
 four threads. The cen- 
 ter pattern should next 
 be outlined, the stitches 
 being as usual taken, 
 five of them, over four 
 threads and then five 
 over eight, and again 
 five over four threads. 
 This forms one side of 
 the square. 
 
 It is well when a piece 
 of work is to be finished 
 with a hemstitched edge, 
 to do the finishing at 
 this stage of the process. 
 After this comes the more delicate and careful 
 work of cutting threads. In the squares around 
 
 Design No. 536 
 SORRENTO EMBROIDERY 
 
 Design No. OM 
 EYKLKT CENTERPIECE WITH LACE EDGE 
 
 Conventional Chrysanthemum 
 
 the edge, or in the triangular corners, the four 
 threads over which the stitches are worked are 
 to be cut across, as close as possible to the 
 stitches, with a small sharp pair of scissors. 
 The four threads between the groups are not 
 cut. After the worked-over threads have been 
 cut all around one of the corners, begin the 
 pulling of the threads. Wlien these have been 
 pulled out you will find a criss-cross of threads 
 which are to be woven into solid bands by carry- 
 ing the silk over two and under two until you 
 come to a solid square. Now carry your thread 
 across this solid square on the under side and 
 begin weaving again. Thus you will fill in the 
 wliole corner like it appears in the photograph 
 of the finished doily. 
 
 The method of cutting the threads in the cen- 
 ter is a little different. Those opposite where the 
 silk has been drawn over four threads are to be 
 cut, but where it goes over eight threads they 
 are to be left, leaving four threads crossing from 
 Mie center of each side. These are woven over in 
 the same style as the otliers except that at the 
 
EYELET EMBROIDERY 
 
 Desifiii \<). 803 
 , PIX CISHK)X OK SOFA PILLOW 
 
 c^ter of each bar there is a little picot. This 
 picot is made by winding the thread five times 
 around the needle and then going on with the 
 weaving. 
 
 In the little triangular piece, design No. 
 812, page 30, a new stitch appears in the cen- 
 ter diamonds. This 
 is merely one thread 
 carried around and 
 caught at each side 
 of the square with the 
 thread twisted once 
 around the needle. 
 
 This same stitch is 
 used again in the 
 band. No. 802, page 
 30. This design as a 
 whole or the oddly- 
 shaped figures used 
 separately is a good 
 one for the adornment 
 of shirt waists and 
 shirt - waist suits, 
 where separate motifs 
 are wanted. 
 
 For the decoration 
 of the front of a 
 waist, and also for 
 the skii-t, the design 
 
 No. 804 is extremely effective. In it the 
 Hardanger stitches are used with the in- 
 troduction of little eyelets in the dia- 
 monds. These are not cut out, but are 
 simply punched with the stiletto, which 
 separates the threads to form an open- 
 ing, and are then bound around in the 
 usual fashion of eyelet embroidery. 
 
 For sofa pillow or pin cushion covers 
 there is a peculiar charm about the Har- 
 danger work. It may be most effect- 
 ively used on an open-weave canvas and 
 in a very open design, and the two 
 squares may be laced together with a 
 cord over a; cover of material of con- 
 trasting color. For this purpose the 
 sfnmrfs'<Vof tJie cover are made slightly 
 Mii.illi r than the size of the pillow, and 
 th( l.uiiig cord is tied at the corners in 
 fancy bow-knots, as shown on page 28. 
 As will be seen by a slight study of the 
 various pieces of Hardanger illustrated 
 here, the designs may be adapted to use 
 on square, round or strip shapes, tiic 
 pattei-n being laid out according to the 
 shape to be followed. 
 
 Sometimes more, sometimes less of 
 the over and over embroidery is used in the 
 Hardanger designs, but as this work shows the 
 silks to special advantage and is particularly rich 
 in effect it is well to choose a pattern where 
 there is more of this work. For a border for 
 curtains the design used on the bureau scarf. 
 
 Design No. 80j 
 BUREAU SCARF OF HARDANGER DRAWN WORK 
 
AM) ITS FUTURE POSS 1 15 1 LIT I KS 
 
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 ]1esign Xo. 
 FOU DRKS 
 
 
 NOTE 
 
 
 
 Lu.lics « 
 
 ishing to obtain 
 
 any 
 
 jf the Har- 
 
 danger Dcs 
 
 gns shown in this 
 
 book 
 
 commenced 
 
 with Turki 
 
 sii Floss and m 
 
 iterirt 
 
 s to finish, 
 
 will be refo 
 
 red bv the publi 
 
 sliers 
 
 of this book 
 
 to an cxpci 
 
 t in this class of 
 
 work 
 
 who makes 
 
 a specialty of dealing with ladies in all parts of | 
 
 tiic country 
 
 
 
 
 BlREAl" SCARI 
 
 -.MIUJOIDKRY 
 
EYELET EMBROIDERY 
 
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 Design No. SOJ 
 STRIP FOR A WAIST 
 
 Design No. 807 
 CENTERPIECE WITH HEMSTITCHED EDGE 
 
 No. 806, is particularly good. There is enough 
 of the openwork for giving the transparent ef- 
 fect and the heavily-worked border in silk along 
 the edge and around the open squares is easily 
 done and effective when finished. The stitches 
 in this pattern of embroidery are smoothly laid 
 in either Spanish or Turkish Floss, according 
 as the material to be worked is fine or coarse in 
 weave. Just inside the border is a row of nar- 
 row openwork. This is made by drawing four 
 threads lengthwise, and catching the cross- 
 thrcads into groups of three or four by means 
 
 of one strand of silk tied over the group in a 
 laceniaker's knot. The edge of the border is 
 closely buttonholed, and at each side of the lit- 
 tle openwork band is a row of over-and-over 
 work of stitches taken over two threads. 
 
 The stitches of the embroidery around the 
 squares all radiate from the center figure. At 
 the top and bottom of the figure they are verti- 
 cal in line and at the sides they arc liorizontal. 
 
 
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 Design No. SI 2 
 A CORNER FOR A DOILY 
 
 A HARDANGER DOILY 
 
 Ul.tl I 
 
AM) ITS FUTURE POSS I J? I L I T I KS 
 
 Design No. 808 
 A HOUND CENTERPIECE OF HARDANGJiR 
 
 the two directions meeting in a point at each 
 corner. In the edge border all of the stitches 
 go across the border. In each scallop of the 
 pattern around the open squares there is an e^-e- 
 let — just a tiny one punched with the stiletto. 
 This pattern is, therefore, what one might call a 
 judicious combination of three kinds of work. 
 
 Tlie little crosses in the open squares of the 
 centerpiece at the top of page 30 are original 
 in design. The four threads going each way 
 and crossing in the center are woven over with 
 the silk, as usual, a little picot being added at 
 each side of each half bar, and then a single 
 thread of the silk is drawn across each way from 
 the corners, and is caught through the work at 
 the back. Exactly the same design shows in 
 the doily at the foot of the page. 
 
 Tlie old idea that such a pattern, worked en- 
 tirely on the principle of .squares, was not prac- 
 tical for round pieces is entirely put to rout by 
 
 such an example as the centerpiece on page 31. 
 There are many charming round centers and 
 doilies worked in Hardanger designs, but the 
 design is necessarily finished with a buttonhole 
 edge instead of with hemstitching. 
 
 Most elaborate and rich are such articles as 
 the sofa pillows illustrated. In both there is 
 again the combination of Hardanger and eyelet 
 work which is so effective. Such pillow-covers 
 as these are always handsome, and for summer- 
 house use they are eminently practical, as they 
 may be so made as to be easily laundered. As 
 described above, the cover may be finished with 
 an openwork edge on each side, and so the back 
 and front covers may be laced together over a 
 contrasting color and removed when cleaning is 
 necessary. 
 
 ]Made of coloi'cd canvas, say in soft green or 
 dull blue, and worked in a ligliter or darker 
 shade of tlie same color, eitlier of tlie two de- 
 
JUN 30 19C5 
 
 P: Y E L E T EMBROIDERY 
 
 i ^ ti 
 
 \I&Am.. 
 
 tt' 
 
 hand corner and work the cable- 
 chain pattern — five stitches over 
 four threads, skip four antl 
 again five stitches all across, 
 making nineteen groups. Then, 
 skipping two threads outside of 
 this, draw two threads across 
 the top, and after turning the 
 corners of the chain skip two 
 threads and draw two. Thus 
 you can see the method of work- 
 ing. Work down the left side 
 nineteen groups of five stitches: 
 and turn the corner, then skip 
 two threads and draw two. This 
 nil! show you where to begin 
 tlic center square. 
 
 niAC.OXAL UE 
 
 signs shown here is most strik- 
 ing. There is little choice be- 
 tween the pattern with the 
 Greek cross and the squares set 
 up on their poiiits, so to speak, 
 and the checkerboard design of 
 eyelet and Hardanger work. 
 The centers of the eyelet squares 
 in tiiis piece of work are iiuuli 
 on the order of the Mexican 
 drawn-work patterns. The lit- 
 tle cable-chain pattern which 
 edges each of the Hardanger 
 squares is pretty and simple, 
 and the solid work in the cor- 
 ners of the squares is very rich 
 in the heavy Turkish Floss. All 
 around these corners and divid- 
 ing the whole pillow into squares 
 is an open band made by draw- 
 ing two threads, skipping two 
 and then drawing through. Over 
 the center, too, is worked a 
 regular catstitch. To plan out 
 such a piece of work as this one 
 should begin at the upper left- 
 
 
 Design No. 810 
 SOFA CUSHION DESIGNED IN SQUARES