iL-.j£SSiii^i Class 'ly^ Book /- NEEDLES AND BRUSHES AND HOW TO USE THEM \ MANUAL OF FAXCY WORK BY JANE FARE CONTAINING DIRECTIONS FOR EMBROIDERING PAINTING MODELLING CARVING Etc CHICAGO AND NEW YORK: BELFOKD, CLARKE & CO. 1887 A ll»b ^ ov copyright: BELFORD, CLARKE .t CO. 1887. INTKODUCTION. I LIKE the old-fashioned term "fancy-work," because it is such a true word. To many a woman whose life is, of necessity, spent chiefly in the pur- suit of very prosaic and wearing duties, the paint- ing of a tile, the working or knitting of a bit of lace, the copying of a flower in silk or worsted, is, indeed, fancy work. It is a little opening into the ideal world, which does her untold good, and which serves to brighten and cheer long days of j^ain sewing, sweeping, dusting, etc. In preparing this manual, my aim has been to give such a variety of directions and hints, that something may be found to suit every taste. ' And while I have endeavored, at the risk of being blamed for undue prolixity, to make my direc- tions extremely plain and practical, I have tried to make them also suggestive, I hope this book may be to many a guide post pointing on to pleasant fields not described in it. I have tried to make my directions thoroughly reliable, having, in most instances, verified them as I wrote. As far as possible, I have avoided technical terms, thinking simplicity desirable. I am particularly indebted to Mrs. Glaister's book on Art Embroidery, to the Art Interchange, and to Mr. C. G-. Lelaad, of th© Philadelphia Industrial 4 WTRODirCTlON. School, who very kindly responded to my request for information. The chapters on Decorative Design, Repoiissee Work, Leather Work, and Papier - Mache, derive most of their authority from the writings of the latter gentleman. I would advise any one inter- ested in these subjects to consult Mr. Leland's Manuals, which are written with an enthusiasm and clearness most inspiring. Much care has been exercised in selecting the illustrations, none being given which cannot easily be understood by the aid of the directions. In conclusion, I would beg my readers to bear in mind that success in any wo-rk, whether deco- rative or otherwise, cannot be achieved at once. The old adage, "Make haste slowly," has lost none of its force. TABLE OF CONTENTS. PAGE Introduction 3 Decorative Design 7 Embroidery 13 Painting in Oils 56 Flower Painting in AVater Colors 64 Kensington and Lustra Painting 69 Stencilling 74 AVood Carving 80 Modelling in Clay 80 Casting in Plaster ■ 89 Modelling in Gutta-Percha 97 China Painting 103 Leather Work and Papier Mache 125 Repoussiie Work 14'^ To Transfer Patterns 150 Netting 153 Guipure d' Art 1^6 Drawn Thread Work 1''^'^ Macrame 1"! Crochet 206 Knitting 245 Odds and Ends 289 (5) DECORATIVE DESIGN. I fear many will look at the lieadiug of this chapter with the feeliug that it, at least, will be of no value to them. But I would ask them to pause before they turn to what they will probably call the more practical parts of this manual; for the subject treated here lies at the very foundation of any work Ave may wish to do with needles and brushes. J would like to impress upon all who wish to perfect tJKMnselves in decorative work the advantage of learnijig to draw and adapt, even if they do not invent their own designs. And this is a much easier thing to do than niiuy think. I well remember the semi-despair tliat seized me when taking my first lesson in china painting, at being told by my instructor to draw what I wanted to l);iint. However, I found that by combining one or two flowers together, I had made what seemed then to me a, very pretty design. And I have often thought that was about the most valuable lesson I ever received, for it showed me what could be done by effort, and encour- aged me to depend on myself instead of on tracing l)a|)er. So much for a personal experience. Let me quote a high authority on this subject, Mr. Leland, of tiie Philadelphia Industrial School. In his "Manual of Drawing and Decorative Design" (a most suggestive and helpful pamphlet), he says: "The first thing for the x)npil to do is to become famil- iar with the lead pencil. I say the lead pencil — thougli if a black-board is accessible, it is to be insisted on that 7 i imEDLE8 AND BRUSHES all that is done with the pencil shall also be practised with chalk. Free-hand drawing cannot be too free. Tlie hand, practised to sweep boldly yet steadily in spirals, circles and curves, can be trained in a short time to a rapidity of execution and an unerring accuracy whicli seem miraculous to many. Let us consider how this is to be acquired. The beginner should take a lead pencil, not too soft, an H. or H. B. (Imrd or medium) will do. Practice for some days on a ground-glass slate, sucli as costs from twenfcy-five to fifty cents, tracing the outline pictures which are sold with such slates In trac- ing the outline pictures draw very slowly indeed at first. . . '. . Draw with the point of the lead, not with its side After practising on tbe slate until you feel familiar with the pencil, get some transparent paper, through which an ordinary outline picture can be plainly seen. Now trace with increased care." When the mastery of the pencil, has been so far at- tained that you can draw a. firm hut light sweeping line, you can begin copying good outline sketches, say a sim- l)le spray of leaves. The next step may be taken by ar- ranging the leaves in a circle, or along a line of con- struction formed by drawing semi-circles or segments of circles alternately above and below a horizontal line. If you find dif&culty in doing this, cut your leaves out in paper and arrange them on your construction line. Trace the outlines, and repeat. Inclose the design thus formed within parallel lines and the result will be a de- sign for a border. For a centre piece you would need a different method. Draw a circle or ellipse of the size required. Draw horizontal and perpendicular diameters tiirough this, and arrange your leaves on these lines, or else arrange them in a wreath on the curved line. Mr. Leland recommends a little affair, made somewhat on the \)rinciple of a kaleidoscope to help in getting the idea of syinmetrical and i>leasiDg combinations. And sow to use them. 9 *' Obtain two strips of looking glass, each two inches wide and six inches long. Paste their backs on a single piece of tough paper, or muslin, which may just be brought over the edge to ijreveut cutting. Do this so that the glasses will open and shut like a portfolio. Now take auy small drawing of any kind whatever, an outline sketch of a leaf being the best, stand the glasses up- right at an equal | angle, antl i)ut the small design between them. By the figure formed by the reflections it may be seen tluit any design., however meaningless or ir- regular, becomes syimjietrical as a part when it is accurately repeated in union with itself." Practice drawing a spiral line, for it, in varied combi- nation, is tlie foundation of graceful design. "The first step after repeating simple designs, is to evolve the off- shoots or transcendental curves, or long V's from a spiral." Study of a good, conventional design with an endeavor to discover its "motive " or foundation line will aid one much in forming combinations of their own. The same general directions will aid one in forming less conventional designs. Study beautiful forms in nature. If you cannot copy them directly from the object, draw them from good outlines, using tracing pai)er if necessary. It will not be long before you throw aside this aid, and trust to your own resources. And as your power over your pencil grows, your in- terest in your work will also grow. Magazines and papers will constantly yield you new suggestions. A portfolio or box will soon be needed to contain your collection of " hints." Nature even will acquire a new interest to you. Copy, whenever you can, anything that strikes you as really good. Your taste will be educated in the process. By no means neglect to make copies of letters, either quaint or pretty. Your reading will soon be taxed for the benefit of your new pursuit. To say 10. - ITEEDLWS and BRlf3H£!B., notliingof books bearing directlj^ on the subject, such a« the works of Owen Jonen, Whewell, Dusser, etc., quaint or peculiarly appropriate mottoes will be seized on with avidity, either suggesting a design or illustrating ont^ already in hand. But in designing you must bear in mind the fact that you must work alwa^'s within certain limitations. Abso- lute imitation of nature is impossible in decorative art. It is one of the principles most to be insisted on, tliat decoration is not picture making. It must not detract from the original usefulness of the object decorated. It also must be limited by the material in which the design is to be executed. Thus, in needle-work, the character- istic outlines of a flower are all that should be attempted. In workiug a pink or a corn-flower, for instance, it would be folly to imitate closely the notched edges of the pet- als. The fact that they are serrated can be indicated by a few lines. In like manner the veins should be sug- gested rather than closely copied. Agaiujthe design should be clear and free. Leaves which are naturally crowded and overlap each other should be so far conventionalized as to lie flat and dis- tinct. While we may alter the arrangement of leaves and flowers to suit our purpose to a certain degree, we must remember that the character of the plant form must always be maintained. We may make a trailing or wreath-like design of the ivy, rose, or blackberry, be- cause nature herself suggests such a use. But a wreath formed of tulips, daffodils, or calla-lilies would be a sad mistake. The upright flowers, are, however, very useful for such purposes as borders, mantel balances, etc.; but when thus used, the flowers should always be supported and bound together, in a manner, by one or more hori- zontal lines of decorative work. If for a border, lines above as well as below the design serve to emphasize it and throw it out. The same effect is produced by work- AND MOW TO USE TEEM. U ing the design on a separate strip of material and apply- ing it to the piece of work to be decorated. I have dwelt a little at length on this subject because so many of the decorative arts are dependent on it. In fact, T doubt if any ever attain too much excellence in certain departments of ornamental work, without finding, through much tribulation, that they must learn to draw. One caution in closing. Do not, until you have prac- tised for a long time, attempt to draw from memory. Have the form which is the foundation of your design before you, remembering always that no matter how much you may conventionalize that form, the character- istics of the original must be preserved. Let me add a word of encouragement taken from the Manual quoted above. "If a beginner can only draw a line half an inch long, in a clean, well-defined manner, and with confidence, he may hope to do anything in art," and " My own experience warrants me in declaring that grown-up i^eople learn to draw much more rapidly than children, since they have better memories, stronger will, and far more perseverance." EMBROIDERY. In selecting materials for embroidery it is well to re- member tbat, as this kind of work is very durable, tlie best are always the cheapest. The foundations usually employed are linens of vari- ous makes, including crash, Bolton sheeting (:in English fabric whose place can be supplied here by iin unbleached cotton knit called Wamsutta twill), Momie cloth, both in wool and cotton, canton flannel, serge, felt, satin, vel- vet and plush. The materials with which the work is done are as varied. Marking cotton, crewels, the many varieties of embroidery silk, arrasene (a kind of chenille), gold and silver thread, and bullion, are all nsed. In planning apiece of work there are several things to be taken into consideration. The use for which the arti- cle is designed must govern largely the choice of the material. It would be absurd to use silk or velvet for a bureau cover, or crash for a banner screen. For this- reason the tidies, which have been so fashionable of late, forivod of squares of painted satin, set together with lace always strike me as in bad taste. Darned net, drawn work, fine linen sketched with indelible ink or worked in outline, would make equally dainty tidies, while the fact that they can be easily laundried makes their name seem no longer a misnomer. Again, the ma- terial with which we work must be adapted to the foun- dation. Crewel would be out of place on handsome silks and satins, but is very suitable for all the varieties of AKD HOW TO USE THEM. 13 linen, cotton, and woollen goods. A judicious use of a few stitches of silk will often add wonderfully to the brilliancy of crewel work. Filofloss and etching silks are both admirable for work- ing outline designs on linen. Etching silk works best when you use it as it comes from the spool: that is, thread your needle before cut- rig. 1. ting ofip the silk. Used in this way, it is not so apt to untwist or knot. There are quite a number of stitches employed in em- broidery, but only a few are generally used. Of these 14 NEEDLES AND BRUSHES the most important is wliat is generally called outline or stem stitcli. It is extremely simple, beiug merely a kind of back-stitch, which can easily be understood from the designs in this stitch— as in Figs. 1 and 2. Very tine lines are sometimes worked in what is called split stitch, in which the needle is brought out so as to split tbe thread instead of coming to one side. The main beauty Fig. of outline work consists in the design, which should be well studied and drawn, and in the perfect neatness of the execution. Although a diversity of colors are some- times employed, as a rule, one or two shades of a single color will give the most satisfactory results. It is very important in outline work to keep the stitches as far as possible of the same length, and to follow the outline ex- AKD HOW TO USE THEM. li actly. An irregular, waving line has as disagreeable an effect as a weak hue iu drawing. Judgment also must be exercised in turning corners, working foliage, etc. The distance must be measured with the eye, and the stitches so adjusted as to avoid a sudden shortening or lengthening of the stitch. Care must be taken, too, to have the outline lie perfectly flat. Too loose a stitch will give a slovenly appearance; too tight a one will draw up the material. Always work with a short thread, as otherwise the silk or crewel will iuevitablj'^ become rough. Avoid making knots iu the back; a little prac« tice will enable one to begin and end a line so as to look neatly in the back. Never work with too small a needle, as it will drag the material, and produce an unpleasant effect. A Kensington needle is the proper one to use. One great advantage which outline Avork ijossesses is Its adaptability to so many articles of e very-day use, and the good results which are attainable with a compara- tively slight expenditure of time and money. For out- line work the less expensive materials should be selected for foundations. e A good piece of work to begin with is a set of d'oylies, for which designs like Fig. 1 are well adapted. They may be worked in linen sheeting— that a yard and a half in width cuts to the best advantage. For a dozen d'oylies you will need half a yard and one inch. It is far better always to shrink washing material before working it. This is best done by washing it in hot suds, rinsing it through two waters, and then boiling it for ten or fifteen minutes. Rinse again iu cold water, dry, and iron until it is perfectly smooth. Cut by a thread into small squares, a quarter of a yard each way. They should be fringed all around about seven-eighths of an inch deep, but it is best to do this fringing when the rest of the work is completed. The edges of the d'oylies should be hemstitched, so as to hold the fringe iu plaee. A 10 NEEDLES AND BRUSHES narrow Tjorder of drawn work, the directions for wliich will be found under the head of drawn Avork, will be a great improvement. Having transferred the pattern (which in case of the fans should be placed in the corner, according to one of the methods given elsewhere), the next question is, " With what shall it be worked ? " If the linen is heavy crewels may be used, although a better effect will be obtained by using etching silk or filoselle, a kind of silk which is inexpensive, works easily, and has the merit of not fading. Marking cotton is also sometimes used. As to color, that must be left, in great part, to the taste of the worker. Monochrome, that is, work in one or more shades of a single color, is always a safe, and to many tastes, the more truly artistic treatment. If, however, several colors are used, one rule is imi)era- tive, never use more than three bright shades. The more sober tints may be used in greater profusion. Outline embroidery can be varied by using it in con- nection with applique work. For a watch pocket or small banner screen for a lamj), the design could be worked in outline on silk, then cut out and appliqued on a piece of felt, the edges being button-holed or chain- stitched with gold thread. As an instance of what may be done in this way, I quote a description of a tidy which an eminent authority on decorative work describes as " simple and unassum- ing, but in its way artistic." " One of these was a long strip of Momie cloth, in- tended to be thrown over the back of a sofa. On this three ducks were worked in outline in brown crewel. They were standing on a brown ground, which was rei^re- sented by a piece of brown cloth, applied to the gray; in one corner, up above the ducks, was a large, very much conventionalized sun, manufactured out of yellow cloth, and the rays worked from it in yellow silk." akd how to use them. ir TD^aigns for outline \rork may be found in great num- bers in tlie periodicals of the day. " St. Nicholas is," as an enthusiastic young friend once said, " a perfect mine ! " Powdered designs have been very popular. In this style of work a plant form is taken as the foundation of the design, and varieties of this form are scattered ap- parently carelessly over the entire material. Take the rose as an instance. Here will be a leaf, there again a small spray ; a rose— single, for double flowers are out of place in outline work — or perhaps a bud, will be worked at seemingly irregular distances; but these must all be arranged carefully so as to balance one another, and pre- sent a harmonious effect. It is just the difference be- tween disorder and "pleasing confusion." Lately a modification of this design, called "crackle work," has become popular. In this work the powdered fliowers, leaves, or fruit, are connected by straight lines meeting each other at various angles. I saw at the rooms of the Society of Decorative Art, the other day, a set of charming doileys, worked in shades of silk in this way: They were worked on exquisitely fine linen, and bordered with drawn work. Bureau and buffet scarfs may be decorated in this way, either by working the crackle work over the entire surface, or with a border of work at either end. Care should be taken not to draw the lines too closely together, as boldness is an essential in these designs. The idea, like so much of our decora- tion, comes from Japan, and is said to have been sugges- ted by^the effect produced by plum blossoms, nipped by a late frost, falling on thin and cracked ice. It is an illustration of how Nature, closely studied, will reward her votaries with many an unexpected gift. - A useful present for a gentleman is a pipe rack. It is made of a piece of linen lined with some brightly colored silk, and suspended from the wall by three ribbon loops. tg NEEDLES AND BRUSUm At the top outline two interlaced pipes, and below, qtiite in tlie centre, fasten on a band of some stiff material, di- vided into compartments by rows of strong stitching. To protect a handsome sofa pillow, a charming and serviceable cover can be made of a square of linen, edged with lace, and bordered below the hem with a drawn work desigu. Divide the centre into smaller squares by bands of drawn work. Powder the small squares with tiny clover blossoms aud sprays. A good effect is some- times produced by working the blossoms solidly (direc- tions for which work will be found in the chapter on that subject) and outlining the leaves. Bands of Turkey red or blue denim, form good back- grounds for etchings, in white linen floss. The band can be feather-stitched on fine unbleached crash. Kate Greenaway figures are very appropriate. Sometimes two of these bands are used, the space between being finished in drawn work, or in darned work in red or blue washing cotton. A tea tray cloth is a pretty addition to the tea table, and is also useful when the tea tray is brought into the parlor. They may be made like scarfs, worked only at the ends, or designs can be worked in the corners or the centre. Drawn work is often used iu these cloths. Ap- propriate designs are cups and saucers, tea-pots, etc. Decorative patterns should be sketched on the cups, etc. Floral and geometrical designs are also used. Those who do not venture on designing, may find dam- ask tea-cloths aud doileys with pretty woven borders. B3^ outlining the pattern in silk, a handsome set may easily be furnished. A case for a night dress may be made of gray or creamy linen. Divide the lower half of the front into two panels by a row of ornamental stitches. In the left- hand division draw a figure in night clothes, candle in hand, and yawning. In the second a reclining form, AND EOW TO USE TEEM. 19 "Vrlth pillowed head aud closed eyes, with insects, bee- tles, moths, etc., whiiliDg- in the air. On the flap, out- line in Eoman letters, or in simple round text, "To sleep, perchance to dream." Finish with a bow of rib- bon. Or the case, which is made in the shape of a large envelope, might be powdered with poppies and their leaves. A bed-spread may be made of the same material (the cream color being preferable), decorated with an outline design of poppies powdered over the material, flowers, seed vessels and foliage all being used nnd connected together by conventional or flowing stem work. Indian red is a good color in which to work this. The Egyptian water lily or lotos is also emblematical of sleep, and may be used in the same way. Dull blues would be ap])ro- priate for this design. Pillow shams should be made to match. Should this seem too great an undertaking, the decoration of the spread could be limited to a diagonal band of proper width, defined by rows of chain or outline stitch, the space within the band being powdered as de- scribed, or the flowers and foliage could be formed into a continuous design, more or less conventional. Here is an idea for another counterpane, say for a crib. Divide the linen into squares with some pretty fancy .stitch, working in the centre of each square a flower, or one of tlfe many appropriate pictures to be found in the Kate Greenaway books or in Walter Crane's "Baby Opera." You need not reproduce every line; only those that are necessary to tell the story com- pletely. A screen is often a useful piece of furniture. Here is a description of a simple one, suitable for a bedroom or nursery. The frame should be a firm one, and can be made by any carpenter of pine wood. It can be either ebonized by staining it with a solution of logwood, and afterwards applying ^vinegar in which iron has been 20 NEEDLE 8 AND BRUSHES lying for some time, and rubbed to a dull surface after it bas been treated to a coat of varnisb ; or it can be painted black and decorated with a few dashes of gold paint in a vague Japanese style. For tbe screen itself, use unbleached muslin. Having measured it to fit the screen, put on a dado of dark blue cambric, proportioning it duly to the height. On the upper part, sketch a Jap- anese group, such as you can find on many of the advertis- ing cards and fans. Or, if this seems beyond you, pow- der the blue muslin sparingly with outline plum blossoms (you will find a suggestion in Fig. 3), and run a branch up beyond the dado in the man- ner of the illustration alluded to. Fig. 4 is a screen in which the work is of rather a novel character, being a combina- tion of painting and embroid- ery, and is much more quickly worked than one would think. Sketch the design, enlarged to suit your screen, on the material, which in the original is olive satin, making the outline delicate. Have your work stretched firmly in an embroidery frame, which may be made on the same principle as an old-fashioned quilting frame. Figs. 4a and 46 give enlarged details which will enable the worker to clearly understand the directions. Gold, silver, copper, and black i^aints are uselace bj' means of the pegs, and the sideiiof the work tightly and evenly fastened to the side pieces of the frame. The work must be very tightly stretched or it will soon become difficult to work it nicely. Should the material be too light to admit of stretching it firmly, stret6h a piece of strong linen, and pin the work firmly on it. Both hands are employed when working in a frame, one above and the other below the 36 NEEDLES AND BIiU;^IIE9 work, and practise will enable you to work with eitlier. Care should be taken to keep the frame in such a posi- tion that the worker will not be obliged to stoop. Very much of the beauty of all varieties of embroidery depends on the harmonious arrangement of the colors, and this cannot be taught in any manual. To some, the color sense seems utterlj^, or in large part, wanting. Such can only copy. But with many a few hints will start them on the right road. In embroidery, the color- ing must always be largely modified by the surroundings of the design, the background, etc. While the design should always be so far conventionalized as to be per- fectly flat, the colors must often be still further conven- tionalized. The following remarks from the Art Inter- change Manual on "Filled in Embroidery," will prove suggestive: — " \\\ coloring in decorative embroidery, unity and harmony are more desirable than contrast. For a be- ginner especially, unity should be the aim; contrasts are very fine, but they can only be correctly carried out by those who are skilful with the needle, and who have a natural talent for, or have had experience in, the use of colors. It is better to begin with two shades, and to use those correctly, than to attempt the mixture of a vari- ety of shades and hues." " There can be as well defined unity in coloring as in designing an ornamental pattern. One scheme of color can run through an entire design. As a flower or leaf in the drawing is taken as a centre around which others cluster, so a color can be selected as the central point to which all the shades must relate. To follow out this idea, we will suppose curtains are to be made of a pea- cock blue fabric. Blue in this case would be the ruling color, and all the greens used in working on it must be bluish in hue; if a flower be added to the pattern, it must represent the primary in its purity, and no colors ANB HOW TO USE TIIEM. 37 formed of red or yellow must be iutrodiiced. If maroon is the grouud toue, the greens must have a russet hue, aud the flower must be red. This method of coloriug is capable of varied and exquisite treatment." Wheu a closer imitation of nature is attempted, the natural colors must be used in working- them, and great care must be exercised in choosing a background, as carelessness in this respect may ruin a piece of work otherwise well designed aud wrought out. A friend, wishing to ornament a dark blue flannel dress inexpen- sively, bethought her of working a simple design in crewels on revers and cuffs. She worked a small flower in orange shades, and the result was — well, the reverse of refined; substituting shades of dark red, her embroid- ery became an ornament, as it was intended to be, instead of attracting the eye by its "loudness." The authority already quoted says on the subject of a back- ground: — " There are a few other facts in the science of color ■which can be an assistance in the selection of a back- ground. We are told that no 'one color can be viewed by the eye without another being created.' This is be- cause the eye requires tliat all three primaries should bo present; and, when this is not the case, it will of itself supply the deficiency. To exemplify this, let us suppose we worked a blue pattern on a neutral gray ground. The eye, in looking at it, would create the missing red and yellow; and as these in combination form orange, the grayish ground would have an orange hue. This is an important fact, and inattention to it will result in very serious defects. We often wonder why a piece of work which has for its foundation color black, looks rusty or ding3', when we may have taken great pains to select a rich, perfect black. Tiie reason is, that if the design is worked in blue, orange is reflected on the black; if in red, a greeiiisli liueis given; and in yellow, a purp.lisli 38 NEEDLES AND BRUSHES liue is the result. This difficulty is obviated by select- ing for the grouud work a dark sliade of the same color as the pattern; and when this is almost invisible, its color becomes neutralized by the tiuts thrown upon it, and it gives the effect of black. When the pattern is variegated in color, this difficulty will not occur." Great care must be used in working designs containing different colored flowers, to choose such as will harmon- ize with each other. The greens of the leaves also must be selected with regard to both the background and the colors used for the flowers. Thus, yellow and blue flowers should have the leaves worked in russets and brown-greens. In shadiug, as has been intimated, no attempt should be made to give a rounded or realistic representation of the flower used in the design, but merely an indication of the varied shades of color, ns in the rose for instance, which often varies from a deei) pink to so delicate a tint that it is almost white. Grent care must be taken to have whatever shading is employed, worked so that in no place can the point wliere one shade begins and an- other ends be perceived. In' this matter everything depends on the skill and taste of tlie worker. It is well in beginning sucli work to undertake only small pieces, such as cliair backs, table scarfs, etc., so that discouragement may be avoided, and failures may not be so disastrous. But to a skilful and x>ersevering worker it is Avell worth while to put the time and pains into one large piece of work, which is often frittered away on a vast number of smaller undertakings. The work is so durable, in fact improves so with age, the colors becoming mellow with time, tliat an enthusiastic work-woman may well feel she is working for posterity, as she bendsT)ver her portiere, screen or curtain. For convenience sake borders are often worked in ^trips^ aud afterwards applied to the foniidation. Ib AND HOW TO USE THEM. 39 this case a number of fancy stitclies are often emploj^ed, not only to conceal the line of junction, but also to emphasize the design or to bring into harmony the two colors of the strip and the real foundation. Several of these stitches are described later on, and many more can be found by carefully noticing borders on embroideries, china, or any other decorative work. Herringbone and coral stitch are both used for this purpose. Mrs. Glaister says concerning these stitches: " A great deal of the finished effect of all decorative needle-work depends on the ax>i)arently unimportant lines and borders with which the patterns are bounded and kept together— often they have to be put in after the work is otherwise finished; a thick line and a thin one, a little zigzag or herringbone between two lines, a row of dots or sloping stitches beside a line, will often make a marvellous difference to the finish and comi)lete- ness of a i)attern Avliich witliout them gave a vague dis- satisfaction. These lines sometimes serve to give a balance of color that was wanting without them. Speaking very generally, middle tints of the ornament will serve for the color, but if, as happens sometimes, the color of flowers is felt to be a little strong in the general efl'ect, a few stitclies of their color in the bor- dering lines between or beside, say the green of the leaves, may greatly improve matters. Lay some threads of the worsted or silk you maybe using on the cloth beside the. pattern, and you will readilj^ judge the effect." As I have said at the beginning of this chapter, very many more stitches might be enumerated, but they would add nothing to the practical value of these directions aiul might serve to embarass. Every worker in decorative needle-work is at liberty to adapt and modify her stitches to suit herself, studying only the result she is aiming to produce. 40 NEEDLES AND BRUSHES As a rule, borders are tbe most desirable decoration for table covers, as the folds iuto wliich tliey fall are ai)t to break or conceal entirely a corner piece, while a group of flowers is apt to be disagreeably obtrusive if worked in the middle of each side. Generallj' a square table cover is preferable, but I have seen very pretty covers fitted to round tables. One of these was of sjige green felt, on which were embroidered at equal distances, Fig. 14cs. on the round piece fitting the top of the table, sprays of sim[)le wild-flowers in small vases. The vases were cut from black velvet and applied to the cloth, the outline and ornamental lines being worked in gold colored silk. Almost an3^ book on antiquities will give a good model for such vases. The border of the cover was worked in a running floral pattern on a straight piece of cloth, and sewn on to the tox^. It is well to line this straight piece AND HOW TO USE THEM. 41 with a ligbtly quilted piece of tbiu muslin, liaving a light piece of wire attached to the lower edge. Fiuish with a fringe containiug the colors used in the work, Fig. 14rt illustrates a waste-paper basket trimmed with a lambrequin or drapery of felt, satin or plush, worked with a floral design. The lambrequin is finished with a border crocheted in w^ool,from one of the patterns given in the chapter on crochet, and with tassels. Fig, lib. Another stjie of basket, which will be found useful for holding newspapers and magazines, is shown in Fig. 145. The sides are covered with a puffing of silk or satin, and decorated with a panel of eitber of these materials, on which a floral design is worked or painted. An expeditious way is to paint the design in flat tints, (that is without shading) in water colors, and to edge the outlines with silk in cording stitch. 42 NEEDLES AND BRUSHES Reference lias been made to applique work. As its name implies, the decoration is produced by cutting- the design or its main features out in one material, and then fastening it on to a ground work. The edges are tlien concealed by cliain, button-liole, couching, or someotlier fancy stitch. Soraetimss it is advisable to back the applique design before fastening on the ground- work, in order to insure its being perfectly' flat and unwrinkled. In this case the material used for the ground sliould be tightly and evenly strained, and the design having been traced on the backing material (which should be of un- bleached linen evenly stretclied), the cut-out pieces to be used in the work are pasted on this linen ground, care being taken that the stuff goes in the same direction in both the pieces for the design and in the backing. The following paste is used for applique work, and also for pasting the backs of some pieces of embroidery designed for screens, etc. Embroidery Paste. "Three and a half spoonfuls of flaur, and as much powdered resin as will lie on a half penny. Mix thoroughly with half a pint of water. Put in one tea- spoon essence of cloves, stirring till it boils. Boil for five minutes."— Lady Marian Alford's Manual of Em- hr older ij. A new wa}' of making up a sofa pillow is shown in Fig. 14c, the covering of which is of plusiL, lined with satin, cut about fourteen inches longer than the pillow, and contined at either end by a cord and tassel. The decor- ation consists of sprays, worked on linen in fUled-in em- broidery, and applied to the plush. These sprays can be bought ready w^orked. When applique designs are cut from plain colored material, such as felt or satin, they may be much AND HOW TO USE TEEM. 43 improved by working' tliem in crewels or silks, veiuing tiie leaves, sbading a little, etc. Fig He. Fig. 14:d illustrates a brush or broom bolder or small catcb-all, oriiameuted with a spray of applique work, and finished off with gimp, avooI, balls and tassels. The way to make these balls is given on under Crochet. A quickly executed aud effective kiud of embroidery is called Broderie Perse, and is very pretty for table- scarfs, bedroom curtains, etc. For a table scarf use a good quality of cream-colored linen. You will need besides some cretonne in bright, artistic, flower designs, together with some filoselles and crewels. From the cretonne cut a sufficient number of flowers, and arrange them ju a graceful border pattern on the linen, connect- ing them with stem lines in pencil. Having arranged your pattern, mark lightly round each flower so as to insure your rearranging them correctly. Then stretch your linen by means of stout pins or thumb-tacks smoothly on a drawing-board (the kneadiug-bonrd will 9-nswer), and with nice smooth starch, jiaste each flower 44 NEEDLES AND BRUSHES in its place. When tlioronglily dry take the linen off the board and buttonhole the cretonne lightly round the Fig. 14c?. edg-es, having the stitches seen as little as possible. Yeining's of leaves, high lights and the deepest shadows can be worked in with filoselles, and the stems are worked with crewels. Nice cheese-cloth can be decor- ated in this way for curtains. As to outline work, the present fancy is to work it in conventional colors, using three shades of a color. Thus, in a floral design the leaA^es are worked in three shades of green, and the flowers in shades of blue, pink or any other color. Another way of varying this work is by the use of "double outline." Instead of working the outline as usual, what is generally called Kensington stitch is used ; that is, the edge of the flower is done in alternate long and short stitches, just as-if the whole flower was going to be filled in. The effect is very pleasing. AND now TO USE THEM. 45 Old fasliionecl or partially \roru out broclie sliawls can be used very advaiitageonsly for this applique work, by cutting- out the principal figures of the design, and applying- them to an appropriate ground-work. Very pretty mats can be made of applique work. Use burlaps or brown Turkish towelling for the mat, and Fig. 15. on that apply leaves cut from green, brown, and red flannel, or merino. Germautowu wool or zephyr may be used to work them. Eitlier powder the mat with the leaves or arrange tliem in a set pattern. Button hole them down, and work veins, stalks, etc., with long stitches. Finish at the ends witli red flannel ornamented with Point Ensse stitches, and line the whole with apiece of hemp or old Brussels carpeting. I have seen such a 46 NEEDLES AND BliUSUES mnt, ill, which the colors were well chosen, used to cover np ;m unsightly window. On each side was hung a brilliant Japanese panel, and the Avhole was crowned with Japanese fans, making- a pleasure of what had heeu an eyesore. Figs. 15 and 16 are designed for screen panels to be worked in crewels or silk; or they may be painted. Fior. 16. Combined, these designs would be very api)ropriate for a wall protector, to be worked in outline. Embroidery in crewels or silk should be washed in bi'an water, and well rinsed. Many recommend washing- siks before Avorkiug*. To do this they should be cut into leugths and boiled iu soft water for tivc minutes, then skimmed out ou to a AND HOW TO USE THEM. 47 soft towel to dry; snliicuMit crewels or silks should be purchased to last through the work as it is often extremely dififtcult to match the shades exactly. A very pretty " all over " design for a chair-back or tidy is shown in Fig. 17. It can be worked in outline on a darned background or in filled in embroideiy. ¥isc. 17, But few patterns are given in this chapter for the reason tliat tlie space is too limited to give working designs, and new patterns readj^ for working are so easily procured. Originality is a great beauty in such designs, and when they are met with in a manual, the eye soon becomes weary of tliem. Perforated patterns witli the materials for stamping can now be bought for a mere trifle, and the work done from them will prove more satisfactory than when your design stares you constantly in the face from the pages of a book. HOLBEIN STITCH, POINT RUSSE, TICKING WORK, ETC. Holbein stitch, so called because this style of or- iiaraent is found in Holbein's painting, is in reality only 48 NEEDLES AND BRUSHES Tig. 18. AND BOW TO USE TtlEM. 49 a modification of true Point Rnsse, tlie latter name having, however, been applied to a quickly executed and sketchy kind of work. In what is generally called Point Russe, the patterns are all designed to suit the stitch, that is, they have sharp and frequent angles. To work it, bring the needle up from the back of the work at one end of a line, and put it through to the back at the other end. The whole design is thus worked in straight lines. If a line is too loug to work neatly with a single stitch, f'j^ymwm^v^m' ^ if s i r'ssmiemsimf Fig. 19. divide it into two or three equal lengths and work each division as a single line. The peculiarity of all the real Point Eusse is that it presents the same appearance on both sides of the work, which makes it a very useful stitch for decorating towels, and other objects which are seen from both sides. Designs for Holbein stitch must always be ar- ranged as for cross stitch, and if worked on material in Avhich counting the stitches is dififlcult or impossible, must be worked over canvas basted on the material. The principle on which this stitch is worked, is that of 50 NEEDLES AND BRUSHES working- ovor two tliioads aii