Ml LIBRARY OF CONGRESS I 014 146 997 6 Hollinger pH8.5 TT 771 Copy 1 THE EMBROIDERY GUIDE by Helen Marvin Cci.A^soi ; s\ ;TheEmbroidery Guide IT is delightful that we were able to gather together the charming designs used in our lessons. They are so new and unusual and so thoroughly artistic — the very best and choicest, selected from the loveliest designs of the sea- son. And, best of all, perforated patterns ot all the designs and a stamping outtit go with the book, so that each design can be used, not once or twice, but hundreds ot times. The designs cover all kinds of embroidery, and the lessons include all the important stitches, which means that those of you who have never known how to take the first stitch will be able, with the assistance of this book, to make the handsomest embroideries in the world. For these stitches not only are necessary to the designs given, but they may be used for thousands of other things, all ot which is told about in our lessons. The patterns, too, can be used in a great many other ways. If one wishes to embroider a small spray and the leaf is at one end of a large pattern and the bud at the other, stamp first the leaf, then the bud, joining them on the stems. A straight pattern may be turned atter part is stamped, to form an angle. Parts of one pattern may be stamped on parts of another, thus providing patterns for an infinite num- ber of purposes. Used in this way the pertorated sheets present hundreds of patterns, with variety enough to fill the require- ments of the average needlewoman for her entire lifetime. He /en Marvin. Published bv Woman's Home Companion Madison Square, New York City Copyright, 1910. by Crmvell Publishing Co. Page Two SON O N An Attractive Sofa Pillow Design With Instructions for working Outline Stitch, Flat English Embroidery, and the French Knot WE ARE very fortunate, indeed, to secure so new and handsome a design for our first lesson as this sofa pillow. It is very seldom that such a beautiful and simple pattern can be obtained, for it is a most unusual one, in excellent taste and very harmonious in color and design. Though we are applying this beautiful design to a sofa pillow, it may be used on many other pieces. And as the patterns can be used not once, but a hundred or two hundred times, I feel as though we were starting a half dozen or more pieces. Lesson I Rough, natural-colored linen is used for the sofa pillow. Of course other materials may be chosen instead, but one must be careful to avoid anything that is soft and loosely woven, be- cause a close firm texture is needed upon which to work the French knots at the centers of the blossoms. If you think for a moment you can readily understand how the knots would slip through the threads of a loose material, and this is a good point to remember in starting any piece of work in which there are French knots. The gray, neutral color of the material is quite as important as the texture, for none but an indefinite tone would be suitable for the design, which copies the art of the Renaissance with its dull, low toned colors. So use material close in texture, either gray-brown or gray -green in color. The design (No. 15 on Sheet 4 of the Perforated Patterns) is a conventionalized tulip, the national flower of the Dutch. It suggests the best period of Dutch needlecraft, and it is fitting, therefore, that the method of embroidering should belong to that period also. Proper Use of an Before starting to embroider, the piece „ , ., _ must be stretched on a frame. A Embroidery Frame ^^^^^^ j^^^^ j^ ^^^^ ^ ^-^^ -^ ^„_ satisfactory, because in it the material cannot be drawn tight French Knnl5 Flat English Embroidery enough for the kind of embroidery which is to be done. The standing frame is the easiest to manage, but unless considerable embroidery work is planned, it hardly pays to get one. A small square frame which can be leaned against a table will answer every purpose. Tack a piece of broad linen tape or a double fold of muslin along the thick sides of the frame and sew opposite edges of the pillow piece to them. Then stretch the frame. Put pins at regular intervals along the two unfastened edges of the pillow piece and twist cot- ton cord around them and over the thin sides of the frame, that the piece to be embroidered may be drawn as tight as a drum head. The embroidery is done with Turkish floss. The border is made of three rows — two rows of outhne stitch done in black, and another row of Japanese thread. In working on a square frame both hands are used. The left hand is kept under the frame, the right hand above it, and one hand passes the needle through the material to the other hand. It may seem awkward at first to work with both hands, but a little practice makes perfect and saves a good deal of energy and time. O t1' St't h Outline stitch, which is used for the border, ' is the simplest form of embroidery. In this piece the simple outline stitch is used. This is nothing more L E S O N ONE Page Three French Knots than the backstitch of sewing, with the thread always brought up to the left of the last stitch. The Japanese thread is sewed down with tiny stitches taken straight over the Japanese thread about one-fourth inches apart. Yellow sewing silk is used. The ends of the Japanese thread are pulled through to the wrong side in a hole punched for the purpose, and sewed down securely. Let us ne.xt make the centers of the tulips which are entirely of French knots. One knot is made directly ne.\t to the other, overlapping almost. The upper left- and the lower right-hand tulips are worked with three shades of a soft wood -brown, and the other two tulips are '' . , in three shades of old pink. Be sure to keep the tones as soft and dead as possible. Bright colors would spoil the effect. The French knots are made of all three shades of a color, and the picture of the pillow may be followed in placing the shades. Before telling you how to make a French knot, let me mention the fact that whenever possible all knots to start the threads of em- broidery should be avoid- ed. Instead take two or three stitches to fasten the thread in the part of the material to be cov- ered with the embroidery stitches. This is both more secure and neater than a knot would be. To make a French knot, after fastening the thread take a stitch up to the right side. Now twist that part of the thread which is ne.\t to the Hnen around the needle three or four times, with the point of the needle away from the linen as shown in detail No. i. Then turn the needle and pass the point of it down in the same place with the stitch last taken through the material, as shown in detail No. 2. Hold the twists ilown against the material and draw the working thread tight. This forms the French knot. The sides of the tulips are worked in what is p , . J known as flat English embroiderv-, although limDroiaery E„giisj, embroidery rarely is shaded. In flat English embroidery the work is done solid, but unlike the Kensington work (which is composed of a number of short stitches, described later) here the stitches are taken straight from one side to the other, or slightly slanting. To avoid a great waste of silk, the stitches are not crossed from one edge to the other on the wrong side, and the thread comes up to the right side in a small stitch close to the stitch last Shading Designtd by M. Hftnit Fiat English taken. Be very careful to have the stitches even — one taken close to the other without overlapping, so that they lie flat and smooth, and parallel. Do the sides of the tuhps in this way, following the picture for the shades to be used. The dots on all four tulips are worked in the shades of brown. They are done in the raised satin stitch, which is in reality one of the stitches used mostly in white French embroidery, but which also appears in colored work. The dots are filled in with some straight stitches that cross from one side to the other, but are taken not quite to the edge. Across these stitches then are taken other stitches, working from one edge to the ^---'''^^ other in English embroid- er>' just as the sides of the tulips were made. The leaves and the stems of the pattern are worked with three shades of green, and, for the placing of the shades, again follow the picture. They are worked hke the sides of the tulips in English embroidery stitch, but in the leaves there is a center vein to which the stitches from each side are taken. It is like a break in the stitches rather than a separation of two stitches, for the stitches are slanted in the same way and do not meet in a point, as in Kensington work. In making the pillow have the back of the same material as the front, and 1 ,iiun have the edge seams waj'a- somsiitc^. without finish. A cord or ruffle would spoil the beauty of the pillow, would mar the purity of its art. Other Uses for the Stitches The stitches used in this design will help the worker in many other things. They are used to embroider underwear and dresses, cen- terpieces, both white and colored; scarfs, collars, belts; French, English, Madeira and all kinds of embroidery, from the simplest to the most elaborate. So the beginner can readily understand how, when she has learned the stitches told about in this lesson, she will be able to work, not only this sofa pillow, but a great variety of other pieces. Other Uses for the Design This design would be lovely for the ends of a scarf for a library table, for a work bag, or for a wall pocket. Or ten single sprays could be worked in a circle, with the stems running toward the center, to form a beautiful and unique between-meals centerpiece. The Perforated Patterns The design for tlie sofa pilknv will tie found on Sheet 4 Per- forated Patterns. The design is No. i;. Page Four O N 1^ W O Three Charming Eyelet Designs Handsome New Patterns tor a Centerpiece and Two Handkerchiefs, in Eyelet Work EVERY WOMAN who loves embroidery, whether she understands eyelet work or not, will be interested in this garland design for an eyelet centerpiece — a design as unique as it is new, and by far the loveliest for an eyelet centerpiece I have ever seen. It is not only be- cause the pattern in itself is so charming, but because it is planned to be particularly effective on a highly polished table, where the gleaming wood would peep through and make doubly artistic the clean-cut motifs of the design. Nor would we want to miss the handkerchief pat- terns, for they are particularly sweet and dainty. A half dozen handkerchiefs made with these patterns would involve but little work, yet what an acceptable gift 'they would make, tied about with a bit of baby ribbon and laid in a perfumed box. Lesson H I wonder how many know where eyelet work originated? It came first from the Madeira Islands, where the humble peasants, with their coarse hands, made and are still making the most beautiful specimens in the world. Because of them it is called Madeira embroidery, and only after it had drifted to England was it renamed and known as English eyelet work. So when you hear of eyelet work or Madeira embroidery, you will know they are the same excepting in quality, for the Eng- lish work is coarser in every way than the Madeira. The hand- kerchiefs and centerpiece we have for this lesson are in Madeira embroidery, ..o you can realize how really beautiful they are. The handkerchiefs must necessarily be fine, and for them you must take the finest quality of handkerchief linen, and work them with a fine embroidery cotton. Use a mercerized cotton, for that always is taken for Madeira work. Take one of the soft twisted mercerized lustre threads. The work may be done in the hand, without any em- broidery ring or frame. It looks ttcr when worked in this way, and a ittle care will pre- vent all puckering. T h e scallops are row of running stitches the first to be made. Put over each of the stamped lines, and between them put in another row. This gives the foundation for the scallop, or the padding, as it is called. Cover the padding with buttonhole stitches. Be sure that the stitches are exactly parallel with the edge, and that they neither overlap nor let the linen show between. Draw some scallops and experi- ment on them a little to be sure you are just right before you go ahead with the handkerchief, for, of course, you want your work just as perfect as it is possible to make it. „. ,. In eyelet work the ordinary outlining °. stitch never should be used, although many aatin otitcn ^^ ^gg jj. ^^ s,a.ye time. But in our work we do not want a makeshift, or something which spoils the entire effect. So the stems will be made as they should be — in slant- ing satin stitch. Run the stems as you did for the padding of the scallops; here there is only one line to be covered, and there- fore only one row of running stitches is put in. Cover these stitches with slanting sat'n stitches. They are worked much like the button-hole stitches, but with- out the button- holed edge; and in- stead of taking the stitches straight, you must take them slightly slant- ing. Be sure to keep them even and parallel, with no overlapping and no s[)aces between, is just as important here as in the buttonholing. Bow-knot Design fn This S S O N w o Page Five Right Way to Work Eyelets In the handkerchiefs two kinds of eye- lets are used, but there is really no differ- ence in the way they are worked. There is a slight difference in the way the hole should be cut, and of that I shall tell you when the time comes. Begin by running the stamping lines just as you have been doing. Make them quite small, so that the eyelet is well rounded, then cover with a stitch whipped over each running-stitch on the right side. This gives more body and also a more even outline. Now cut the holes. Do not use a stiletto. A small, sharp embroidery scissors is the thing for the purpose, and if you have none, it is as well to get one right now, for it is —y^'^' indispensable to anyone '~' who wishes to do good / •;;'«!•♦'• embroidery. For an oval .^^^^^~ eyelet, make a long cut J down the center and a ) -Clf;., shorter cut across it. i !;' For a round eyelet, a cross of two cuts of the same length is made inside the eyelet, and this difference in cuts is the only difference in the working of the eyelets. After you have cut the eyelet, turn the edges under, back to the out- lining, and finish the eyelet by working over and over the outlining and the edge. To keep these stitches very even is important, and I want to call your attention to the fact that in order to do so the stitches must be kept closer on the open edge than they are on the outside of the eye- let. On the open edge they must be almost, but not quite, overlapping. The bow knot and the solid leaves of the designs are worked in slanting satin stitch like the stems, but as they first must be covered entirely with running stitches, more rows of the latter are put in. Put in a row on each stamped line, and fill the space between with as many rows as are required. Then cover with the satin stitch. The dots which form the centers of the blossoms and the inner crescent of the horseshoe design are made by taking two back stitches across the stamped dots, to act as a padding, then across them, working two other back stitches. Let us now turn our attention to the centerpiece. The design is exquisite, and quite as lovely as those for the handkerchiefs, and it must be worked with a fine mercerized cotton on linen that is as fine in quality as that of the handkerchiefs, although not so sheer. Get pure linen. You will be more than repaid for the few- cents extra which it will cost by the difference in appearance and wear. Right here I wish to say something about linens, and that is, buy linen which is called pure linen, and not pure Irish linen. Irish linen is the trade name for a material that is partly cotton and partly linen, and it is foolish to spend the time you mean to upon this centerpiece if your materials are not of the best. When a few cents more for materials and a few hours more for the work mean an infinitely lovelier centerpiece, surely we w-ill not begrudge them. So get for your centerpiece a fine, close linen, and work it with a fine sized mercerized cotton; then, if your stitches are taken carefully, your work will be lovely enough to be handed down as an heirloom. Aside from these words about materials, I do not believe there is anything else to tell about the cen- terpiece, for the stitches are like those of the hand- kerchiefs. But in work- ing the wreaths do not forget the dots each side. Other Uses for These Stitches There are a great many other uses for the stitches taught in this lesson, and when you have learned them you are not only able to make these pieces, but a great number of patterns which appear on the beau- tiful French underwear, on lingerie gowns and hats and parasols, the lovely hand- made dresses for babies and children, hoods, jackets, sandals, and shawls. How delightful it is to think of ~ this wide field of beautiful ICycIel Ccnlcrpicce ^ork open to those who learn these few simple stitches! .Xnd I am sure you will not only enjoy learning them for the patterns of this lesson, but for the hundreds of other lovely things that this les.son will enable you to make. Other Uses for These Designs Not only are there other uses for the stitches of this lesson, but there are other uses for the patterns as well. The centerpiece pattern would be lovely on a parasol. One motif could be used on the sleeve of a child's or a grown person's waist, three or four motifs could be placed across the front of the yoke and in many other ways which these hints will suggest to the ingenious woman. The handkerchief scallops can be used on petticoats, baby jackets and shawls, hoods, underwear, sachets, table linen, towels, and in fact on any of the hundreds of pieces of wearing apparel or household linen. The Perforated Patterns The handkerchief patterns will be found on Perforated Sheet No. 2. The designs are Nos. 6, 7, and 8. The eyelet centerpiece will be found on Perforated Sheet No. 3. The design is No. 10. One-quarter of the design is given. It must be stamped four times to give the complete circle. ^-^^^■- Page Six S S O N T H R E Some Beautiful French Embroidery A Chemise with Lace-Stitch Inserts, and a Towel Design in Flowers HERE we have two exclusive designs — one for a towel, the other for a chemise. The latter is one of the most lovely patterns that have come from the hands of French women. The embroidery design of the chemise, with its inserts of lace-stitch surrounded by solid work, is unusually attractive, and the method of closing the garment, on the shoulders, is a new practical idea. It is so exactly what is needed that the wonder is no one thought of it before. The towel pattern, too, is just what all of you will want, in view of the present great popularity of embroidered towels. I myself like this pattern particularly well, because it is so simple and because it can be used on any towel, no matter what the size. Lesson III When one has mastered French embroidery, she has gone a great way toward knowing all embroidery. Most French work is done on the finest of materials, although there are exceptions, like the towel pattern we have here. Upon these fine materials it is natural that nothing but the finest of work must be done, if the finished effect is to be at all lovely. You cannot do hasty work; you cannot use a needle that is too large because no other is handy, you cannot use cotton that is too coarse. French embroidery may be done in an embroidery ring or in the hand, but it must not be puckered. n tr dft Vi After these words of caution, let us start uutiine Mitcn ^.^^^ ^^^ ^^^^^ ^j^.^j^ ^j^ ^^^^^^ ^^^ ^^^ ginner to do some practice work before she attempts the more difficult underwear design. The stems in the towel pattern are done in outlining, but the stitches are small and made with a fine cotton, so that they seem little more than a transverse thread in the damask. Besides this stitch the only other stitch is what is known as French laid work or raised satin stitch. It is a great deal like the slanting satin stitch we talked about in the eyelet work les- son, but the padding is put in somewhat differently. I want to call your attention particular- ly to the outlining. Wake it of running stitches as you did in the ovclet work. A Lu\lIv EmbroidiTi'J To but have the stitches on the wrong side very tiny, and those on the right side as long as it is possible to make them T~ 1- T • J Tir 1 without spoiling the shape. Now fill French Laid Work ^^^ ^^^J^ ^^ ^^^ p^^^, ^^ j^^^ ^^.^^ one row of running stitches after another. Again make the wrong side stitches as smaU as possible, and those on the right side quite large. Have the rows run down the length of the leaf and put those at the center in so close they almost T. jj-^ oi-i u overlap, and those toward the edges a Padding Stitches ,.^^j^ ^^^^^ ^^ ^^^^ ^^ ^^.^ .^ ^^.^^^ ^^^ center of the leaf, which is as it should be. When the padding has all been put in, work the top stitches straight across them. Be sure to take the stitches directly on the stamped lines. The blossoms in the design are not made entirely solid. The edges are worked in the French laid work, and the centers of the petals are filled in with dots that are worked first one way and then the other, to raise them. For the scallop follow the in- structions given in Lesson IL In the chemise pattern we find some of that beautiful French embroidery which must be made daintily. The material used is a fine, soft nainsook, and the work is done with a fine em- broiderv cotton and needle. Have the needle only coarse O N H R Page Seven enough to carry the threat!, otherwise it will pull holes in the nainsook. rri c„ The edges of the chemise are hemmed before Ine oquare . „ ■ , , > . „ .. the scallop is worked, and it seems a pity acallop jl^^j ^j[ scalloped underwear is not made in this way, for a scalloped edge on a single fold of thin material rarely wears well. The hem is about three-eighths inch wide and just gives a nice body to the edge, without adding any bulk. In working the corners of the scallops turn the stitches, keeping them close together at one edge and spreading them at the other, just as a regiment of soldiers wheels to turn a corner. Oval Eyelets J^"" 7'^" lets for the ribbon are oval, and are worked like the oval eyelets we learned about in Lesson II. The scrolls and the little leaves that are scat- tered about the lower part of the design are in slant- ing satin stitch, like the stems of the handkerchiefs. But the leaves of the forget- me-nots and some of the The Seed scroll leaves r,.-. . arc in a stitch Stitch , we have not yet used — the seed stitch. This stitch is flat and low ' y toned, and gives the effect " "'- of shade, in contrast to the raised or brighter work. Seed stitch is back stitch, - , but instead of having one ■• . stitch run into the other as in sewing or outlining, each l stitch is distinct and sepa- , j^ ,„,., ,,,11,1 rated from the next stitch by a distance greater thaa its own length. The seed stitch itself is not long, extending at the most over two threads of the material. It must be tiny and unobtrusive. The tiniest French knot, made with the finest thread, would be far too large to answer the purpose of the seed stitch. The edges of the seed-stitch leaves and the stems which con- nect them are worked in outlining with the tiniest of stitches. Keep this outlining just as regular and smooth as you possibly can, so that it has the appearance of a fine cord sewed to the fabric. The same outlining is used to divide the spaces at the extreme right and left into squares, and the dots in the squares and the other parts of the design are done like those of the eyelet work. Besides those we have learned, but one other stitch is used in the design, and that is the lace stitch with which the spaces that look so much like drawn work are filled. As a matter of fact, in reality it is the lace stitch combined with drawn work. T qrp '?Hf-rh ^^ must be made before the slanting satin stitch is worked around the edges. Put in the padding stitches, then draw four threads, and let four threads stand both ways of the space. Cut the drawn threads far enough away from the edges to give something to be turned under, and after you have done that you may finish the slanting satin stitch around the edges, catching beneath it the cut threads. Now- take a fine spool cotton — No. 200 is good — and whip the threads that remain. Take a stitch in each space and whip the threads first one way and then the other. The solid blocks in the lace stitch you must darn in. As you can see, in the two side spaces every alternate two blocks each way are darned. Use the No. 200 cotton. The four spaces between are to be crossed with two threads as you would cross a space for a lace stitch spider. They are caught together at the center. In the lace stitch of the center space, three open blocks are left each way be- tween the darned blocks, giving nine blocks in the square. The very center block of the nine also is darned. Before we leave this les- son, let me repeat that French embroidery requires dainty fingers, dainty ma- terials, and dainty hand- ling; for without them it becomes not beautiful, but one of those monstrosities which sbme women whose artistic instincts have not been cultivated waste their time upon and call em- broidery. It is the careful placing of the stitches, their ,,,,,,, In, n symmetry and their regu- larify, which makes French embroidery beautiful. Other Uses for the Stitches The stitches tauRht in this lesson appear in the very handsomest pieces of French underwear, lingerie gowns and negligee wear, so that .\oii can make any of these beautiful things when you have learned this lesson. They are used, too, on many of the loveliest white luncheon centerpieces and doyleys, on scarfs for the bureau, on pin- cushions, sachets, baby clothes, and in fact all fine white embroidery. Other Uses for the Designs The chemise design can be given the necessary diflfcrent shapes by following the directions in our introductory talk, and so used on an entire set of underwear — chemise, nightgown, corset cover, and at set intervals around the flounce of a petticoat. The square scallop could be used on them all, and wouldn't they be lovely for a bride's trousseau! The chemise pattern would be sweet, too, used on the front of a lingerie waist. Little sprays of it could be used for babies' and children's clothes, and here again the scallop would find an infi- nite number of uses. The towel pattern might be used on sheets, pillow cases, and for the ends of bureau scarfs. Or it might be worked in color for the ends of a library table runner, or as a decorative band on a wall pocket or a laundry bag. The Perforated Patterns The chemise pattern will be found on Perforated Sheet No. 3. The design is No. 12. The towel pattern will be found on Perforated Sheet No. i. The design is No. i. Page Eight S S O N FOUR A Novel Mignonette Centerpiece With a Lesson in Couching, French Knots, Lazy-Daisy, and Short-and-Long Stitches THE mignonette, with its delicate lines and soft colorings, is used on this round lace-edged centerpiece with unusually charming efifect. The expert needlewoman finds it doubly attractive because of the simplicity of the work, and to the beginner it has the joy of presenting a number of new stitches which she will find easy and interesting. For in this centerpiece are combined couching, French knots, the lazy-daisy stitch, and the short-and- long stitch. So besides having the satisfaction of working so lovely a piece, there is much about it to add to the beginner's store of knowledge. Lesson IV The Rieht White linen of a medium weight is used iw t 'It TT o fo'' the centerpiece. But white is not the iviciierifli to use , , i.i.._ iji_ ij only color upon which it could be worked. I should like the pattern equally well upon a medium tone of gray-green, one sufficiently light to bear the leaf tones without interfering with the migaonette. A medium weight material with a satin finish would be lovely upon which to work it, or a mercerized poplin, although these materials would not wear so well as linen. jy The piece of material upon which the pat- tern is stamped must be square, so that it bquare Irame ^^^^ j^g stretched in a square frame. Inci- dentally, I want to tell beginners how unnecessary it is to have the piece stretched out its entire length. In fact, it is most unwise to do so if the embroidery is intended for pick-up work. For no matter how careful and neat one is, the work is bound to become a little soiled by the flying dust. The best way is to roll the piece over the thick sides of the frame, keeping unrolled only that part which is to be embroidered at once. .Another way is to have the entire piece stretched out and cover the parts that are worked by basting a piece of muslin over them. This way obviates the need of opening the cords at the sides of the frame. /-, ,. Let us proceed Couching . . ' , " with the bor- der of the centerpiece, done in couching with a fourfold thick- ness of Turkish floss. Take four skeins of the floss in a medium shade of gray-green, open up each skein and wind them together — the fourfold strand — over a bit of paper. This is to keep them from tang- ling and to avoid joining in the couching. Lay the fourfold strand of floss over the outer line to be covered, and catch it in place with short stitches of a darker shade of gray-green. For these stitches but one thread of the floss is taken. The stitch is brought up to the right side, carried straight over the couching threads, and down on the other side of the latter. The couching stitches, as these little stitches are called, are made about one quarter of an inch apart. The ends of the couching threads are drawn through to the wrong side and fastened there. The inner line of the border is couched in the same way, but with a lighter shade of gray -green, and the diamond-like motifs which appear in the border at each turn are couched with a medium shade of terra -cotta caught down with couching stitches of the darkest gray-green. The leaves are done in what is known as short-and-long stitch, the same stitch which Long Stitch gj^jjji ^^ described in a later lesson for solid Kensington work. In short-and-long stitch the work is only Short-and-Long Slitch Short-and- ^-^— Kin^iiii!lon Sltm Slitch E S S O N FOUR Page Nine <__, ^ partly solid — that is, a short stitch is taken from the edge in, then a long stitch and a short, until the leaf is about half way covered to the center vein. The stitches are not at all regular in length, even alternately. The particular point is to keep the work smooth. So many give it a loose, lumpy look, due to the fact that the inner edge of one stitch overlaps another, when the only reason for putting the short stitches in is to give the worker room to put the stitches closer on the inner edge where there is naturally less space than on the leaf edge. Stems in Kensington Stitch The stems of a de- sign, it seems to me, always should be secondary to the blossoms and leaves, and I am sorry to say they are not so in very many cases. These stems, in spite of their thickness, are worked in what is known as Kensing- ton stem-stitch, but is nothing more nor less than outline stitch. One length- wise row of outlining after another is put in. the stems worked with the two darkest shades of green. Of course the outlining rows must be worked very closely to- gether, to entirely conceal the material beneath them. The mignonette flowers themselves are so pretty it will delight us all to work them. Vou must use silk of the e.xact mignonette shades — the medium shade of terra-cotta which was used in the couched border and which should be just the shade of the red of the natural mignonette blossom, and the soft, hght gray-green that goes so beautifully with it. All the French knots are in the green, and I need not tell you how to make them, for you learned that in the lesson on the pillow. The terra-cotta is worked in in the lazy-daisy stitch. I know a great many professionals will criticize me for calling this the lazy-daisy stitch, but so many know the stitch by that name, and it fits it so well, that I think we should stick to it in spite of criticism. To make this stitch, draw the thread up through the material at the inner end of the line to be worked, then pass the needle down through the same hole, leaving a loop of the silk on the right side. This loop should be ■If Lazy-Daisy Stitch slightly longer than the line to be covered with the lazy- daisy stitch. Now pass the needle up through the material at the other end of the hne, through the loop and down in the same hole. Pull the thread tight. This will draw up the loop too, so that it lies perfectly flat over the line. If it does not. adjust the thread to make it do so. When the centerpiece is aU finished, tack it right side down on a board, then tack a circle of the lace around it, making sure that the edge of the lace has not a bit of unnecessary fulness. Have a slight space between the centerpiece and the inner edge of the lace. Wet the latter, press it against the centerpiece, and sew together. Other Uses for the Stitches The uses to which the stitches learned in this lesson may be put are as countless as the sands of the sea. One could never name them all. so many are they and so infinite is their ' variety. The lazy-daisy stitch is made in the * finest of cotton or silk on all sorts of baby clothes, and in the heaviest materials on afghans. sofa pillows, table runners, bags, slippers; you will find it on yokes of dresses, in the decorative em- broidered panels of the handsomest ball gowns; on evening cloaks, and in many, many other pieces that require effectiveness without a great moun- tainofwork. Couching is used on the hangings of a room, where big scroll designs are developed in it. and it appears on all other kinds of colored embroideries that are used to adorn the home; and more frequently than not the shorl-and-Iong stitch is used in connection with couching. Other Uses for the Design Nothing could be prettier than this design set in a stiff row of sprays, for a border of a table cover, a curtain, or a couch cover. A piano scarf might ha\'e the sprays worked at the ends. One spray could be used on a whisk-broom holder or a blotter, and so make a lovely gift for a man. Or the design might be worked in white on a fine white nainsook for a waisl front; it can be used on baby pillows, and on baby blankets of flannel it would l)e sweet and pretty, a spray placed in each corner and worked in pale greens with pink and white for the flowers. There are hundreds of other uses for it, too. as you will find when you wish to make something that needs just a bit of simple embroider}- to make it charming. The Perforated Patterns The mignonette centerpiece pattern will be found on Perforated Sheet No. 4. The design is No. 13. One-quarter is given, and it must be stamped four times to give the complete circle. W Mignonette Centerpiece >irif hy Af. Hentimvay &• Sons Si/i Co. Page Ten LESSON F I \' A Most Artistic Work Bag Made in English Embroidery and Flat Persian Cross-Stitch THIS is the very newest thing in a work bag. It is an odd and artistic bag, simple in shape and worked in a combination of two stitches that is but rarely used. The coloring is so good that we must copy the original exactly. And I feel sure that none of you will be content merely to make one bag in which to carry your own work, but will want to make sev- eral others as gifts for your friends. Indeed, I know of nothing that would be better chosen, for these bags, so extremely handsome in appearance, really require little time and skill for the working. Lesson V In our first lesson we gained a little idea of what English embroidery is. To describe it in full, let me say that it is a flat embroidery in which a stitch is taken from one edge of the part to be embroidered to the other, like satin stitch but with- out the padding. But in satin stitch, if the width is too great, it is broken by two stitches or a vein down the center. In English embroidery there is no such compromise. The stitch is frankly taken from one edge to the other, and you can readily understand, therefore, that the work can only be used on pieces that need not stand much wear. Rarely is English embroidery shaded. Two or three shades frequently are used, but they are used in solid masses. One part of the design is in one shade and another part, quite dis- tinct from the first, in another shade. In this bag which we are to learn how to make, each of the three crescents which form the medalUons is in a different shade. Used in Con- English embroidery is used in conven- tional work only, for it really belongs to the ventional Work ^^.^^ nouveau school of design. A floral pat- tern may be used, and indeed frequently is used, but it must be a conventionalized flower. (Geometric designs are more often Suitable Colors Dilail of Slilchts Used in tin chosen to be worked in this way, and from my point of view they are far more suitable. We have learned three points about Eng- lish embroidery. A fourth point is that it is effective on materials that are dull in tone and artistic in appearance, rather than on the more commonplace-looking fabrics. Burlap makes an excellent background for it, all loosely woven natural-colored and other low-toned linens are good, and so is crash. White and bright colors are bad, if for no other reason than that it seems a matter of instinct to do English embroidery with queer art tones. I do not believe the most ignorant person would choose bright colors for it. In the bag which is the subject of this lesson, the back is dif- ferent from the front, both together making a complete design. A natural colored, loosely woven linen has been used, but I know of nothing that would be prettier for it than crash. The colors in the embroidery are particularly appropriate and lovely, whether used on linen or crash. The bag is worked with Turkish floss — two shades of golden brown, three shades of gray- green, three shades of dull blue, and two shades of a soft old pink. The two lines which connect the various parts of the design are in the two shades of golden brown, the upper line in the light shade and the lower in the dark. For these lines use outline stitch, with which we became perfectly familiar in the other lessons. The dots of the design also are of golden brown, and in the detail illustration you will see the direction in which the stitches should be taken. Use the lighter shade of brown, and after the dots have been worked, outline their edges with the darker brown. I want you to be sure to take the stitches of the dots exactly on the stamped lines, and the out- lining stitches in the same holes with the dot stitches. You must do this to keep your dots perfectly sym- metrical, and you must be sure to have the outlining stitches very, very small, or the circle will have a jagged line for its edge. The lines connecting the dots with the medallions of the front also are worked with the darker brown. Working the Dots S S O N I V Page Eleven In the front medallions you will notice the center dot. These dots are in the lighter shade of golden brown, but they are not outlined, like the other dots. Working the Crescents Besides the center dot, each medallion consists of five crescents, worked alternately in flat English embroidery and the Persian cross-stitch. The English embroid- ery of the two side medallions is made in three shades of gray-green, with the top crescent dark, the center one of the medium shade, and the lower crescent light. The stitches of these crescents must be kept as flat as possible, yet, unlike the usual English embroidery, they are not taken parallel, but follow the curves of the crescents. Begin at the center of a crescent with a stitch running straight up and down, then work to one of the side points. Keep the stitches very close together on the inner edge, but do not have them overlap, and at the outer edge spread them apart somewhat without letting the material show through. When one half of the crescent is finished, go back to the center and work the other half in the same way. Persian J^' '''"""^ ^"^ o • u fourth crescents Cross-stitch pf g^j.jj medallion are, as I stated before, worked in the Persian cross-stitch, and for them the two shades of old pink are taken. Use the darker pink for the upper crescent. Begin at one end of the crescent. Bring your thread up to the right side at one edge, and cross the space in a slant to the other edge. Pass the needle down, go back about an eighth of an inch on the same edge, and bring the thread up there. Cross ov-er the space, pass the needle down, go back an eighth of an inch on the same edge and bring the thread up. Keep doing this continually until you have reached the other end of the crescent. While I have given an eighth of an inch as the length of the stitches on the wrong side, I have done so merely to present to you a clear conception of the stitch and how it is made. It is really much Hke the cat stitch in sew- ing, or would be if you were working it in a straight line. .\s it is, to produce the crescent shape, the stitches must be much shorter on the inner edge than on the other. A good rule to follow is to have each stitch slightly slanting from the perpendicular between the edge lines upon that part of the crescent. Work Hag in English DcsigitCii by Af. Hftnii: After all the crescents are worked, separate them with an out- lining of the darkest shade of green. Be careful to make the stitches evenly, and right on the division line. Work the center medallion just as the side medallions were worked, but substi- tute blue for the green. There is no need to say anything of the scallop, which Scallops Are >,'°" '^"^""^ !° ^ , , , do properly in Not Padded our lesson on eyelet work. In this scallop it is better not to put the padding stitches beneath the buttonhole stitches. Use the darkest shade of blue and make the scallop flat, in keeping with the design, which is as flat as it can be made. In making up your bag be sure to use celluloid rings on which to string the drawing cords. They are much better than rings covered with crocheting, because, while the latter may tone in with the color- ing, they do not last so long. The constant pulling wears them out in a very short time. To draw up the bag use a hard twisted silk cord. The cords should not be joined, excepting with a knot at each side. Finish the ends with balls made of the cord. Other Uses for the Stitches The flat English embroidery stitch is used on all art nou\'eau designs, whet her in sofa pillows, bags, handkerchief and glove cases, table runners, card cases, centerpieces, piano scarfs, em- broideries for the den and the college boy's room, and on all other pieces where quaint, artistic effects are de- sired. The Persian cross-stitch is used in combination with other fancy stitches like featherstitching, French knots, and the lazy-daisy stitch, to produce delicate,quickly accomplished effects in white embroider}' on thin, dainty fabrics. Other Uses for This Design This design is particularly suitable for use as a decorative motif in a room for a college boy or a bachelor, or for a den. .V square burlap mat for a table might have the crescent design at each comer, with the lines connecting the corners; at the ends of a scarf the crescents would form the center motif; the pattern could be worked around the top of a scrap basket, on a whisk-broom holder, across a laundry bag, on a necktie case, the head rest for the easy chair, across the top of a square sofa cushion, and across the ends of an oblong cushion. It could be used, too, on a foot-stool, and in many other places suggested by the furnishings of the room. The Perforated Pattern Tlie bag pattern will be found on Perforated Sheet No. 4. The front aiifl tlic liack are all in one The design is Xo 16. EmbroidtTj — Back way &■ Sons Si/it Co. Page Twelve SON S I X An Oval Between -Meals Centerpiece Embroidered in White Pond Lilies on an Attractive Dull Brown Linen THE housekeeper whose dining room is her special care and her store of embroidered Hnens her particular dehght, will appreciate at its true value this centerpiece in graceful white pond lilies. It is oval in shape, and though it looks particularly well used on an oval table, it is also very effective on a square or a round table. The pond lily is a flower which is so seldom used in embroidery that we are fortunate to be able to obtain such an unusually good design in this beautiful flower. The colors chosen for the embroidery are soft and har- monious, and combine perfectly with the dull brown of the linen. The stitches used have all been described in previous lessons, so that the worker need only use care and accuracy in the work. Such a centerpiece would make an ideal gift for a bride. Lesson VI „ -If The design of the between-meals center- piece is peculiarly adapted to it, with the Centerpiece massed blossoms at the ends and the grace- ful sweep of line along the sides. It is worked on a heavy, close, brown linen, and with this for a background the work is done entirely in shades of green and white, with just a touch of gold . .. .. in the border, and in the hlies a suggestion of ^ . burnt orange. Surely nothing could be more Coloring lovely than this combination of colors, and it would be a pity therefore to work the centerpiece on any other material than that I have mentioned. The work is done with Turkish floss, and the stitches used are short-and-long stitch, French knots, couching, and the outline Kensington stem-stitch, all of which you have learned about in other lessons. Working the ^^'^ '^'^^^' ^^'^^'^^ ^°" "^^'^ ^'^'^ '^ ^^^'^ "^ ^ into little sections, is made of three rows of Line Border couching, worked with a quadruple thickness of the floss which I told you about in the mignonette center- piece. For this couching, white is used and two shades of green. The inner row is worked with white, then comes a medium shade of green, then a dark green. A water-green should be chosen, one that combines well with the brown linen and white and gold. The border, or the scrolls which connect the two bunches of lilies, is done in that Kensington stem-stitch we talked about also in the mignonette centerpiece. But for this piece three shades of green are used, with the lighter shade on the inside. The center figures along the sides of the border are worked in Kensington stitch in the same way, and are outlined with Japa- nese gold thread sewed down, in the way it was used for the sofa pillow in the Dutch Renaissance design. Be sure that you get the Japanese thread and not gold metal thread, for the former sews down more easily and gives a clean straight line that is much prettier than the pearled eft'ect of the twisted gold thread The ends of the gold thread must be passed to the wrong side and there sewed down. They must be drawn through a hole punched sufficiently large to keep the thread in good condition. 1^ ■ , I have been saying that the flowers are worked in short-and-long stitch, but this is hardly an "^^'"'^ accurate description of them. They are done more in the Kensington work, but this term applies to solid work, and these lilies are worked only partly solid. White Turkish floss is used to work them. Begin at the top of each petal and work a row of short-and- long stitch across it. then another row, putting the stitches of the latter between the ends of the first row of stitches. If your stitches are not made long enough, you may easily need to put in a third row of these stitches, but above everything you must keep the work flat and smooth. Don't think you can overlap your stitches; that wiD never do. Keep them flat, flat, flat, is the motto which she who aims to be a good worker always must remember, yet not a suspicion of material must show between p. . .. the stitches. All the stitches must take the ^ same general direction and must appear Stitches parallel; but as the work in this case is grad- uaUy spread, it is obvious that the stitches cannot be parallel. This shows you with what cunning the worker must put in her stitches, to cover the material, keep her work smooth and the stitches regular. The lower parts of the petals of the lilies, below the solid work, are filled in with French knots, also worked of white Turkish floss. The knots are spread far apart, to avoid any ap- pearance of solid work. -„„„ But to resume. The second mcdal- JWeQaihon with Rings ,. , ■ , , lion, now that you have learned the first, probably requires little explanation, but because I want you to be sure you are getting it just right I shall give you the workings of it in detail, as I did with the first medallion. The edge is, of course, run and buttonholed in the same way; nor need I remind you of the enamel cloth. Begin by crossing the space with four supports, with the edge divided in eight equal parts. Catch the centers of the threads together with a little stitch, then buttonhole around, row after row, increasing at the vertical and perpendicular supports to form the corners of the square, and working on the diagonal supports without increasing. When the points reach one-half Cnat Set in Eyelet and R< across the supports you, have done sufficient buttonholing. For each of the small rings, separate the two-threaded support to give the two halves of the ring. Buttonhole the rings, catching them to the adjacent rings with picots and to the edge with five single threads. Put in each thread and buttonhole back to it when you reach that place in going around the ring, just as you worked the short bars of the first medallion. One word in regard to the dots of the pattern. They may be in satin stitch, as they are worked in the coat set of which we have the picture, or they may be made in eye- lets. A series of these tiny holes, circling around the reti- cella medallions, would be fetching, and would add ef- fectively to the de- sign. The heavy bars, too, which form the inner scrolls of the heavier scallops, could be made open alter- nately — one bar of satin stitch, the next an oval eyelet. Finish all the work of the collar, French, eyelet, and reticella, then press without moistening to be sure the linen is not dragged out of shape. The next step is the adding of the straight neckband, which must be sewed in place with a very, very careful regard for the shaping of the neck. After it is finished the hnen is cut away beneath the scallops, and the collar given a final pressing. Other Uses for the Stitches Reticella work, or I taliancutwork, belongs to that class of embroidery which is handed down from generation to generation, an heirloom treasured as a priceless piece of lace would be. It is used, therefore, it is needless for me to say, on things that are of enduring value. Reticella medallions and borders are used for the finest household linens. Towels of heavy linen and beautiful tablecloths and nap- kins have borders made in reticella. Medallions are used with lace inserts on tea cozy and tea cloth, and on the handsomest linen bed- spreads. .\ luncheon set is lovely with reticella medallions, and the work appears on the finest imported heavy linen gowns, and on the deep collars worn by children with velvet coats. So you see the mastery of these few simple stitches will open before you opportunities to make embroideries that are elegant and artistic beyond compare, pieces that you will be proud to have and to hold, and to leave behind you beautiful specimens of your needlecraft. Other Uses for the Design The medallions of this design, it is unnecessary to tell you, can be put to any of the uses mentioned above, and you can change them with- out ditTiculty into borders, wide or narrow, or into medallions forming other geometric figures. The cuff pattern can be repeated over and over again for a border for pillow cases, sheets, or handsome towels. The scalloped edging could be used for a baby blanket or for a petti- coat, and the tiny eyelet figure would find hundreds of uses in pre- paring a baby's layette, where here and there a simple embroidered pattern could be added with good result. The Perforated Pattern The pattern for the embroidered coat set will be found on Perfora- ted Sheet No. i. The designs arc Nos. 2 and 3. Page Sixteen O N I G H T A Pincushion from Paris Roman Cutwork is Used Over Satin, with Charming Effect THOSE of you who have been abroad recently must have noticed how Roman cutwork has been adopted by the French, for pincushions, for handkerchief and glove cases, and for those wonderfully lovely lingerie pillows. So I am sure that you will be as glad as I am that we were able to secure this design for a pincushion which, for all its simplicity, has that Frenchy look we all like, and which it is usually difficult to get unless one spends such a lot of money. But here we have it included among our patterns, as artistic a design as we would ever wish to work. And it is not at all hard to work, particularly after you have learned reticella or Italian cutwork. Lesson VIII Both reticella and Roman cutwork are Italian and both are an evolution of drawnwork, resulting from the efforts of the ItaHan needlewoman of the Middle Ages to produce a beautiful lacy effect with the materials available to her. For it was about that time that lace first came into prominent use, whether or not, as tradition has it, it was first invented then. Roman cutwork is differentiated from reticella by the lack of geometric figures developed in buttonholing, but the princi- ples of working are the same. The piece to be worked is basted on enamel cloth, taking care to always baste near the edges to be cut, so that the linen cannot slip every which way, and spoil Precision of '^'^ pattern. For the great beauty of cutwork lies in its precision of hne. Each Line Important gg^^g ^^^^ ^^ exactly shaped, and in most patterns the same figures are repeated over and over again to form in the total a larger and more impressive figure. You can easily see, therefore, how the design would be spoiled if even one of the figures were puUed out of shape by drawing the linen when working. Run the Lines '^^^^^ ^°" ^^^'^ basted the linen on the . enamel cloth, run all the lines of the pattern, of the Design putting in short stitches on the wrong side and rather longer ones on the right side. None, however, must be excessively long, for they would at once change the shape of the figures of the design. The design must be done with a rather fine thread, and it is better to put in only one row of the running stitches, but if you were doing something on heavier linen, or a bolder pattern that required heavier work, it would be better to put in two or even three rows of running stitches. It is advisable not to whip over the stitches as in reticella work, because a flatter effect is preferable in Roman cutwork. The running stitches are put in to make the edges firm, rather than from any desire to produce a raised effect. Buttonhole over the ^f^'^'' ^'^ ^^^ running stitches are put • „ ci:(.„i,„„ in buttonhole over them. Of course unnine stitches , , , . , , you understand that neither the run- ning nor the buttonhole stitches are to be put through the en- amel cloth. In buttonholing have the buttonholed edge on the side to be cut. All the lines of the pattern are buttonholed whether they are to be cut or not, the only ones omitted being those inside of the cut figures, which are neither run nor but- tonholed. You now are ready to work these lines. Start with the round wheels in the pattern. Catch the thread in the center buttonholed circle, then cross to the outer circle and catch there. Do not catch in the linen between these points. Now twist the needle around the thread just laid in, and once •TTT . • iv more catch in the center circle at the same point as before. Buttonhole over this double opoKes ^g^j.^ putting in the stitches just as close as you can make them, but be sure you are not catching them in the linen beneath. At the center of the bar leave a loose loop of the thread, for the picot there. Work all the spokes of the wheel in the same way and when they arc finished cut away the linen beneath on the two buttonholed circles, and j'our first cutwork figure is finished. T • i J T> We have done this wheel with buttonholed Twisted Bars , , , ,, *• i i - ♦!, spokes, but very often, particularly in the Not Desirable coarser kind of cutwork, the twisted bars of lace-work are used. That is. after you have twisted back on the thread you do not cover with buttonholing, A bar of this kind, it seems to me, is suitable in cutwork only when it is combined with the more elaborate figures of lace-work, like the Maltese cross. Otherwise the twisted bars seem a mere makeshift to save time, and I for one would prefer to take the slower but more beautiful method of covering the bars with buttonhohng. The spider of lace-work, which so many use in cutwork as a quick method of filling in a space, will never appear in an artistic piece. E S S O N I G H T Page Seventeen Rings Worked Separately The Cushion is Cotton Filled All the bars of the cut parts are worked in the way I have just told you about, but the rings at the centers of the long cuts must be made a little differently. To make these rings you must start entirely independently of the embroidered piece and make a little ring by winding the cotton around three or four times. Cover this ring with buttonholing, then fasten it in place with the buttonholed bars. So much for the embroidery or cutwork, which I am sure you have decided is very simple. Now let me tell you something about the cushion itself, for it, like most of the handsome im- ported cushions, is cotton tilled instead of sawdust tilled. This means it is lighter, softer, and will keep its shape better, not to men- lion the fact that you can duplicate it yourselves. The cushion is covered with a pale shade of green satin, and it goes wonderfully well with the natural-colored linen which is used for the cutwork. This linen is rather fine, but is soft and open in weave, so that the threads of it are easily drawn. The top and bottom of the cushion are separate. The bottom has no cutwork, but otherwise it is made the same as the top. About a Hem Slashed' ^^'^ '"^'^ for Ribbons the edge of the cutwork a row of hem- stitching is worked, with a hem three-quarters of an inch wide. This hem has up-and- down slashes put in not quite an inch apart and worked just as oval eyelet would be worked. Of course these slashes are worked in the bottom linen piece, too, and the top and bottom are joined with ribbon laced through the slashes and fastened with bows at the corners. This makes it very easy to take off the linen pieces and have them laundered; for the good housekeeper of to-day never has in her home a pincushion which cannot make regular trips to th? laundry. The old-fashioned, dust-collecting pincushion of satin anJ lace and ribbon, that so quickly lost its beauty and acquired a bedraggled look, has met the fate of all unhygienic home furnishings, and no longer has a place upon the dressing-table of the dainty woman. Some of you. I feel sure, do not know just how hemstitching should be done, so I think we should spend a few minutes talking about it. For this work only three or four threads need be drawn at each side. Cut the threads where they cross at the corners, and buttonhole the cut edges, to keep them from raveling, then baste the hem down against the drawn part. There are several methods of hem- stitching, but I prefer that in which the work is begun at the Cushion Colors Imported Pincushion Hemstitching extreme left on the wrong side. Make a small stitch there, catching together the hem and the drawn part. Pick up three or four threads to the right on the needle, passing the latter from right to left under them. Draw up the thread, then make a tiny buttonhole stitch to the right of the threads that were taken on the needle. With this buttonhole stitch the hem and drawn part are caught together. Pick up three or four threads and make a buttonhole stitch in this way all around the hem. I have told you that the cushion itself is made of satin, in a soft, rather greenish Nile shade. It is that shade which helps so much to give it the distinctly French effect it has. Light blue of a greenish tone, a pale pink, a golden yellow, or pure white may be substituted without marring thiseffect.but red or any other strong color must be avoided. Always use natural -colored linen for the cutwork, when- ever it is possible to do so. White linen, particularly if it is closely woven, never has the same high-class effect. Other Uses for Roman Cutwork Roman cut-work is used on those things where severe sim- ])lidty romliined with elegance is suitable, and having learned it you have the ability to make many pieces that are really beautiful in character. It is al- \va\s done on white or natural color. A card case of white linen is embroidered with a band of Roman cutwork; it may be used on a handkerchief or even- ing bag. on centerpiece and doy- leys, scarfs, sachets, lingerie pillows, linen cases for handker- chiefs, gloves, veils, and ties, on bedspreads, tea cloths, and for the borders of collars. A little corner in Roman cutwork makes a dainty decoration for a handkerchief or a turnover collar. Other Uses for the Design \ square centerpiece and doyleys for a luncheon set might be made with this design, repeating it four times for the centerpiece. The doyleys could be worked just like the top of the pincushion, but without, of course, the slashes in the hem .Another lovely idea would be a bureau scarf to go with the pincushion. This should have a wide hem all around, and across the ends the cutwork pattern might be repeated three times for the w'idth. This set would be decidedly new, and it would suggest more than anything else the handsome pieces which are brought to this country from Paris. If you make a scarf of this kind you must not. of course, trim it with lace. That would change its entire tone at once and make it commonplace. .\ lovely tea cloth might be made with a border all around formed of one-quarter of the design, repeating the figure over and over again for the border. The wheel would be charming repeated abo\"e the hem of a small square doyley, and two of the figures of the design could be used as a border across the bottom of a dainty evening bag of fine .Arabian-colored linen, the bag lined with white satin. .\ lin- gerie pillow might have the pattern repeated across its center, or one pattern might be worked toward the U[)i)er right hand corner. The Perforated Pattern The cutwork pincushion pattern will be found on Perforated Sheet No. 4. The design is Xo. 14. Page Eighteen LESSON N I N A Round Between-Meals Centerpiece A Graceful Arrangement of Poppies Done in Kensington Stitch in Natural Colors SHADED embroidery, at its best, is perhaps the very finest needlework that can be made, and this poppy centerpiece represents the highest development of shaded work. It is the very newest design for a round between-meals centerpiece. Those of us who do much embroidery are tired of the American Beauty rose, beautiful as it is; but this poppy is just as beautiful, is, in fact, even more striking in its coloring, and at the same time it is something ditTerent. Isn't it splendid to think we have it here among our patterns! I don't believe one of us will be able to resist it, and I predict that in a few days each one will be working hard on the poppy centerpiece. Lesson IX Of course we have a great deal to learn in working this design. Shaded embroidery isn't a matter of haphazard knowledge. It requires not only deft fingers, but a knowledge of nature and a keen sense of color tones. If you can, before you start the work get a natural poppy, but if you cannot do better, an artificial one will help. Study the grain of the petals, for that teaches you the direction in which the stitches should be taken; notice the shadings; hold it against the light and see which parts are brightened and which fall into still greater shadow; observe the curving of the petals, where they are flat and where they billow out into thick, handsome curves. If you take careful notice of these things, observing each small detail as the Indian marks even the bent twig on the trail, you will find the doing of shaded Kensington work very easy. In a poppy the grain of the petals is almost straight down from the edges, so all the stitches must be put in in that way. Where a rounded, full appearance is necessary, it can be secured by slightly changing the direction of the stitch, but much of a change would show and spoil the effect. All this is very, very important, because if the stitches are not put in right your flowers will have a flat, wooden effect, with no suggestion of the natural about them. Experiment a little and you will soon get the stitches just right, but be sure that the work is kept flat and smooth. A professional embroiderer usually rubs her thimble over each stitch after she lays it in, to be sure it is flat and tight. Yet while your stitches must be kept perfectly flat, the finished work must have a raised effect, like a poppy thrown upon the linen, not stitched there. This, as I mentioned before, is brought about by the stitch direction more than anything else. Take, for in- stance, the center petal of the full blown poppy of the design. Here the stitches are taken straight down from the upper edge, with an imperceptible slant toward the center on the side stitches. The stitches of the petal at each side slant toward Stitch Direction Color Tones the center of the poppy, and so have an altogether different direction. This, together with the fact that the side petals are in duller tones, throws the side petals back behind the center petal, raising the latter. You understand, of course, that the embroidery is done in the short -and-long stitch like the water lilies of an earlier lesson, but entirely solid instead of partly. Use Turkish floss in as many shades of red as possible, for the more imperceptibly graded your color tones are the better and more natural will be the work. Get some flat tones and some bright tones, for the deep shadows and the high lights, and remember to consult your natural poppy in putting in the tones, although you will find it quite an easy matter to follow the picture. There is one point about shading which may not be clear to you, and that is in regard to the use of bright and flat tones. To make this clear, we all know that certain parts of a flower are darker than others, en- tirely irrespective of the light which falls on them, and each part must be made in the proper shade, of course, if you are to pro- duce the effect of the natural flower. At the same time you must differentiate between the part of that shade which is in shadow and the part upon which the light falls. For the part in the light you must use the bright tone, and for the part in shadow the flat tone of the same shade. In this way you get the effect of light and shadow, and still retain the proper shade of color. Using shades of the same bright tone, merely grading from light to dark, does not produce the right effect, as so many think. You need two shadings— one of bright tones and an- other of flat tones. With them you get the natural shading of the flower itself, and also the shading produced by the light which falls upon the flower. The centers of the poppies are worked in three shades of a bright green, the lightest at the center, shading dark toward each side. The stamens are in outline stitch, of yellow floss, with black French knots at the top. .^fter the poppies are entirely worked each petal is outlined around its edges with black etching silk. LESSON N I N Page Nineteen After you have worked the poppies you wiU have no trouble stitch and looks exactly like the chain stitch of crocheting. But with the leaves. Different shades of a bright green are taken it is made like featherstitch, only that you do not make a for them. Begin the leaves at the top and work the stitches at rUoin Stitrh ^'^'''^h ^' o"^ side and then at the other, but each side diagonally toward the center vein. In the poppy buds always at the same side. Then, too, you al- the stitch direction should follow the curves of the edges. The ways pass the needle down through the stitch last made. This stems are in the Kensington stem-stitch, which we learned about gives the linked efl'ect that makes it look like a chain. in an earlier lesson. In the centerpiece When the centerpiece is finished the edge of the linen is notice rolled over and the lace sewed against it. You learned how The Stem Fuzz that was photographed you that there are short protruding stitches at each side all the way down the stems. They must be put in to give the fuzzy look that all real poppy stems have, yet they must be made very tiny, or the effect will be that of thorns rather than fuzz. After the poppy sprays have been worked there are still all those de- lightful scrolls to be made, and this gives us an oppor- tunity to learn more new stitches. The flat back- ground behind the scrolls is done in three shades of green Turkish lloss, in the honeycomb stitch, which is nothing but one row after another of buttonhole stitches made about one quarter of an inch apart. Honeycomb ^''"^ '''''^^ 'f ""^ "'''^™>' ^' „ . , ot the precedmg row. \ ou Stitch Centerpiece Poppy Design Dtsignf-d by M. Hetnimt'ny Cr Suns St^it Co, tween two stitches can tell just how the rows should be put in, if you consult the picture of the centerpiece. The scrolls are worked in outline stitch, using a medium shade of golden brown Turkish floss. On one side of this outlining and close against it work a second row of outlining, using black etching silk. The scalloped edge of this design is odd, isn't it? You will see which parts are worked in green and they are but- tonholed, just as though worked on an edge that is to be cut. For the two big scallops at each side golden brown floss of a shade lighter than the scrolls is used, then a verj' narrow edge of buttonholing in dark green worked around them. The result is very attractive. Last of all is the edge. For it dark red Turkish floss is taken, one of the shades used for the poppies. It is worked in chain to do that in our lesson on the mi- gnonette center- piece, so that here you should have no trouble. We have talked of our poppies only in shades of red, but for a center- piece for a brown dining-room there would be nothing lovelier than to work the poppies in shades of j'ellow and orange, keep- ing the leaves in tones of brownish green. The honey- comb stitch should be made in shades of green like the centerpiece of our lesson, but the scallops should be in green and or- ange shades. Other Uses for the Stitches The uses of Ken- sington stitch are infinite. It is used on the really elegant sofa pillows, on mag- nificent screens, por- t ieres. bedspreads, table covers and scarfs, and on all those beautiful pieces which are considered wonderful enough to tind a place in the great museums of the world, .\fter \ou have learned how to work the popp>' center- piece, you can work any of these things, no matter how wonderful and elaborate they may be. Other Uses for the Design A third of this design ma)- be placed across the lower right hand corner of an oblong sofa pillow, with splendid effect. The three poppy sprays, placed side by side, would be a novelty on a scarf end. One-third of the design, with the po[)pies in the center, would be charming on a wall pocket. The full blown poppy alone might be repeated in stiff, quaint fashion for the border of a tablecloth, and the spray could be used on each side of a loveI\' embroidered scrap- basket. The Perforated Pattern The pattern for the poppy between-meals centeqiiece will be found on Perforated Sheet No. 3 The design is Xo. 9. One-third of the design is given, and the pattern must be stam[)ed three times to give the complete circle. Page Twenty () N T E N An Embroidered Lingerie Waist Beautiful Grape Design Done in Wallachian Embroidery NEEDLEWORKERS of America should be very grateful to the women of Wallachia, who developed the beautiful Wallachian embroidery which is so simple and takes so little time to make, and yet is so wonderfully effective. I often wonder how we managed before it came to our shores, but then in those days hand-embroidered waists were not so necessary as they are now. Not all patterns can be worked in Wallachian embroidery. The design must be some- thing in which the stitches can be worked in just the right length, or the whole effect would be spoiled. Lesson X Everybody who has ever had any experience with Walla- chian embroidery knows that there is nothing like the grape TVip Rpfl t'f 1 design in beauty, and of all the grape designs . that have been used I have never seen any so Grape Design pretty as ours. It has just the right width, tapering at the shoulders, with its slim leaves, and with the garlanded leaves at the sides, bringing the big center bunch of grapes into relief. We surely could not find anything more fetch- ing and lovely for our waist, were we to search the day through. n -n ii Wallachian embroidery is, as many of Coarse Button- , .u- i\ u ;. you know, nothmg but coarse button- noling holing applied to embroidered designs. With a waist material of fine texture, the contrast between the fabric and the embroidery stands out strikingly, producing a handsome, showy effect. A medium sized mercerized cotton should be used to do the work. Have it coarse rather than fine, but do not have it so coarse that it will tear the material. A grape design in Wallachian embroidery is not only the love- liest to select, but it offers the opportunity to make circles in buttonholing, which is one of the most important points of Wallachian work. When making them, one of two methods may be employed. By one method a hole is punched in the center, then the buttonhole stitches taken through that hole to the edge. Of course the buttonholed edge is on the outside and not in the hole. If this method is adopted you really have a ring of Walla- chian embroidery around an eyelet and, where an open effect is desired, this way is very pretty. One thing is certain, it is bv far Wallachian Circles the easier way to work a circle, for when once the hole is punched there is no doubt re- garding the e.xact center of the circle, and the only point to watch is the length of the stitches, which must not be drawn tighter at one side than the other. The stitches must, of course, be close at the edge and overlapping at the center. The second way to work the circle is to have an imaginary ring at the center of the cir- cle, a ring not more than a sixteenth of an inch in diameter. The stitches must be taken /-!• 1 -iTr-it. 4. from this ring to the edge of the circle, and Circle Without .° ., ^ ?. ■ wu • i * you can easily see that it is not the simplest an liyelet thing in the world to keep both the stitches and the center ring regular. That is why I prefer the eyelet center. The leaves in the waist of our lesson are done in shadow work, and I am going to tell you about that later. But just now I should like to tell you how to work the leaves, if you wish them in Wallachian embroidery. For the leaves of this work are begun altogether differently from all other kinds of embroidery. Leaf in Wallachian ^o do a leaf in Wallachian embroid- ery.begin to workat oneendoi the leaf, Embroidery ^jgj^^ „gj.j {^ t^^ gje^., -pake the but- tonhole stitches from the center vein to the edge, and gradually slant them, so that the stitch is higher at the buttonholed edge than at the center vein. When the top point of the leaf is reached you must swing around it just as you did around the circles for O N N Page T \v e n t y - o iN e the grapes, spreading the stitches somewhat at the edge, and at the center putting them practically in one hole. In Wallachian embroidery, you know, it does not matter if the material does show between the stitches, and that is one of the things which make it so easy. (J . After you have swung around the outer cud of the leaf you must work down the other Outline Stitch ^jjg^ j^^j j^p^p ^^^.j. ^-^^ stitches gradually straighter, so that they cross the leaf when the stem is reached, just as do those on the opposite side. Keep the center vein of the leaf as straight as possible, for it is not worked, and all irregularities in the buttonhole stitches will show and have a bad effect. The stems in Wallachian em- broidery may be done in out- line stitch, and usually are so done. Sometimes they are worked over and over a pad- ding thread as we learned in our lesson on eyelet work, but it seems to me the plain out- line stitch is more suitable for this kind of work. Some of you may prefer to do the leaves in shadow work like the waist we are copying, and if you do, you must be sure that the lawn or linen used for waist is very sheer. Otherwise the shadow effect will all be lost, showing only tiny front stitches. Shadow Shadow work is nothing but cat stitching worked on the wrong side, giving through the sheer material the effect of a shadow. For this work it is better to use a finer cotton than for the Wallachian embroidery. Begin at the point of the leaf and cat stitch to the vein, taking the tiny stitches through to the right side on the two side-edges of the leaf. When the center vein is reached, work down one side, then down the other side. Or, if the leaf is a very narrow one, the cat stitches may be taken the entire way across down its whole length, then the center vein put in with outline stitch worked on the right side. On the right side nothing appears but the center vein in outline stitch, the shadowy cat stitches at each side, and on the edges of the leaf the tiny stitches worked through in making the cat stitches. It is obvious, therefore, that the latter should be kept regular, with the idea of having the tiny front stitches evenly spaced and of the same size. r>„i„ t We have said nothing about the color used Color tor . , . , , . , , ..... . m domg the embroiderv. for ordmarilv it Embroidery ^^.^^y ^f course, be white. ISIost girls would work it with that, yet, if carefully chosen, there is noth- ing lovelier than delicate tints for both Wallachian and shadow wcirk. The original Wallachian embroidery was made entirely Green for Shadow Stitches in color, and it was only after the .Xmerican girl adopted it for her own use that white was used. Take our beautiful grape design, for in- stance. The shadow leaves need not be Shadow Work ^^.^j^g^ j^^t ^jgj^^ ^^ worked with a green that was so delicate it barely suggested the color. But the effect would be there, the suggestion of real leaves that no amount of white could give. There would be a softness and a delicate beauty entirely unsuspected. The design worked all in Wallachian embroidery on a gray-toned Arabian linen might be de- veloped in russet brown with splendid elTect. Shadow Work ^ '^ 'i'' ";^- w I > r k , 1 n in Color ^^,,j^,, ^,,g leaves on the waist are done, is, unlike Wallachian embroid- ery, in its latest development more frequently made in color than in white. Better results, daintier effects, are produced when delicate colors gleam through the sheer material. White has a hardness that not always is pretty, although there are occasions upon which it must be used, as in the case of the design worked on the waist of a lingerie gown. But lawns of delicate tints with shadow embroidery of equally dainty colors arc fit for a queen's use. Other Uses for Wallachian Embroidery Wallachian embroidery is used on ccnter|)ieces both colored and white, on work bags, waists, underwear, linen gowns and hats, baby sandals, jackets and shawls, and on man}- other pieces where showy effects obtained with little work are desirable. It is done in both white and color. The original Wallachian embroidery was made in color on heavy colored materials, and this use of it is quite as popular as it ever was, particularl\- for table runners and between-meals centerpieces. Other Uses for the Design The Wallachian Rrapc design which we have for this lesson can be used on a great many other jiieces beside the waist, with very good elTect. The pattern might be used twice to form a circular design for a round centerpiece. This could be worked in shades of green and deep heliotrope on a natural-colored linen, for a between-meals centerpiece. The center bunch of grapes with the leaves around it could be worked on a pincushion, or a square handkerchief-case, and the side bunches of grapes could be straightened out to make the de- sign a border for a scarf. The leaf sprays of this design could be stamped separately, scattered here and there over a tcacloth, and worked in French embroidery. .\ library table cover of burlap could have the center motif of the design placed in each corner, the grapes worked in solid dots, and the leaves couched. The cover might be golden brown, with deep purplish grapes, and a darker brown for the leaves. The Perforated Pattern The Wallachian shirtwaist [faltern will be found on Perforated Sheet No. 2. The design is Xo ^. W.ilbcliijn Embroidery Page Twenty-two LESSON EVEN Letters for Household Linen Alphabets in Two Sizes to Mark Table Linen, Towels, and Bed Linen ONE of the best things about our stamping patterns is that they include these alphabets for marking household linens. I don't think there is a woman in the land who does not enjoy having her initials on every piece of her household linen, and of course she wants all the initials in the same style. An especially good alphabet has been designed for this book, in two sizes, so that sheets, pillow-cases, towels, napkins, and tablecloths can all be marked alike, which gives a distinctive air to the most humble linen outfit. The girl who is about to get married will take special delight in them, and will find the heaps of embroidered linen in her dower chest a lasting satisfaction Stitches Used Lesson XI For initials the satin stitch, which you learned how to make in our lesson on lor WorKing French embroidery, usually is used; but there are a great many other ways to work them. The W in the picture has the solid parts all filled in with French knots, and the lines done in outline stitch. This is a very quick and pretty way to work a letter. The H is in satin stitch, and shows just how the stitches should be put in. Another charming idea is to iill in the letter with the seed stitch, like the C in the picture, working the outlines with the whipped stem-stitch used in eyelet work. Parts of a letter might be worked in this way and parts in satin stitch, with excellent effect. Couching for Couching is a pretty way to work letters on linens for everyday use, and I am sure you Everyday Use will find it very useful for this purpose. But be sure to put the couching stitches in very closely together, to give the substantiality that is necessary because of the many trips to the laundry. A pretty idea is to use a heavy strand of white embroidery lustre, catching it down with small stitches of red, or blue, or green, or even yellow embroidery cotton. The effect is high class in spite of the little work, and it can be still further improved with a French knot of the color placed here and there, at the end of a scroll or in some other spot where it seems to be appropriate. Outlined Edges ^ letter partly worked in plain satin ° stitch and partly in seed stitch has a handsome effect, and is not difficult to do. The solid part of the letter is divided and one half embroidered each way. No out- lining separates them excepting when the novice, finding her stitches irregular at the edges, works an outlining all around to straighten them. This may be done, too, in the case of letters worked entirely in satin stitch. The embroidered chain stitch, that we used in the border of the poppy centerpiece, is good for letters, too. Everyday cen- terpieces and doyleys marked in red with this stitch have a good effect that requires but a few minutes to produce it. The featherstitch may be used in the same way, but it should be made of white cotton rather than colored. It can be combined with outlining, making the thicker parts of the letter with featherstitching, and the single lines in outlining. Tntprf-wined Intertwined monograms are used a great deal just now, and we can make as many of them as Monograms ^.^ jjj^g ^.■^^^^ py,. alphabets, merely by stamping one letter partly over the other. Be sure that the letters are perfectly even top and bottom, and experiment a little with the stamping before you put the letters on the linen, to make positive that you are overlapping the letters just as they should be. In these monograms all the letters usually are worked alike, in satin stitch. But three different stitches may be used in working the three letters, and this frequently brings them out o • T i more distinctly, especially if the letters are Securing Inter- i, ^ i r V i ■ i , „ somewhat alike. In working be sure to twined Effects ^.^j^^ ^^^ stitches that cross another letter in such a way that the intertwined effect is preserved. For you understand, I know, that the entire intertwined effect de- pends solely on these stitches, and that is whj' it can be pro- duced with our alphabets. TT „ T?~ There is a little point I should like to Use an Em- . r, ^ /u i ■ i .u ^ give you about the working, and that broioery King jg ^^ ^^g ^^ embroidery ring, being sure that the linen is stretched tight in it. It must be as tight as a drumhead, and if it is not, wind the lower ring with tape, to give the extra fulness that is needed. Now I am sure you will want to know just what is con- sidered good style in placing the letters on the different pieces, so let us talk a little about that. S S O N EVEN Page Twenty-three T>i »• „ 4.U To begin with tablecloths, for somehow we Placing the , " , , , ,- always want to know about them hrst, either Inciters Qj^p initial or three may be used. Three is preferable, for a broad, squatty shape seems to be better than the long slimness of one letter. The placing of the letters is a matter of choice. They may be placed at either end of the tablecloth, or else at the center of each of the long sides. They must be put about eleven inches above the edge of the table, which gives them a position where they will remain uncovered during the meal. Use the letters of the larger sized alphabet for the tablecloth, and by all means intertwine three initials, if you wish, particularly if you use them at the sides of the tablecloth. Placed in that way and worked in satin stitch they are as lovely as anything heart could wish. Marking Table- ';^^ the napkins 30U will want to use the smaller letters. One initial is better Cloths and Napkins t[,^„ j^ree, excepting for the large- sized dinner napkins, and it should be placed diagonally across the corner, in such a position that it will come in the exact center the length and the center of the front of the roll. Space them quite far apart, to give the suggestion of the shape of the roll. Initialing Towels Excepting for the fact that towels are ° marked in the center of the width above the hem, there is no set rule for them. Use one letter or three, just as you like, and either in the large or the small size. This is a matter of choice, and, indeed, depends a great deal on the size of the towel. In most cases, I think you will find it more appropriate to use the large letters. You want to be sure, too, to mark all your square doyleys and centerpieces, and the scarfs for dressing tables and service table. The latter should have three of the small initials placed at the center of the width above each of the end borders, and the square centerpieces and doyleys should have one or three initials, according to the size, placed diagonally across one corner, just above the hemstitched border. Three initials, placed on a straight line, with the center letter about four inches from the hem, would be the proper method of marking a round centerpiece that was plain excepting for the scalloped edge. of the square when the napkin is folded. This is the usual way, but if you wish to be real "classy," you will work three letters diagonally across the center of the napkin. If you do that, the napkin must be folded in three each way when it is ironed, to make the letters come in the center of the outside square. In working towels the satin stitch is best, particularly for those of huckabuck. a material which needs the severity of this plain stitch to contrast properly with it. A fancy stitch would be lost entirely in the weave of the material, and the work on it wasted. '^hppt"! and ^lark the sheets with the large letters, and use three initials. Place them about two Pillow-cases jj^^-h^.g 3,^^^.^, ^^^, ^^.^ ^^.j^^ ^^^ 1^^^,^.^ ^^g^ of the letter toward the hem, so that when the sheet is turned down, a person standing at the foot of the bed will be able to read the initials. Pillow-cases should be marked in the same way, with three initials above the center of the hem. although for them the smaller letters must be used. One initial alone can be taken, but it is not nearly so pretty as three. Now, about initials for the bolster roll — or do you call it the roly-poly, as so many do? In any event, for it three of the large letters must be used, placing them in the center of Working ^^ haven't said a word about embroidery ma- Materials '^"^Is to be used in working letters, but I am sure you understand how important it is not to have the working thread too coarse. The padding thread may be quite coarse, and for it a soft cotton is best, some- thing that will thicken and fill in without a great amount of stitches. But for the satin stitches take as fine a thread as possible. In fact, the finer the thread the easier you will find it to turn the curves with smoothness. Whether mercerized or flat-finished cotton is best is en- tirely a matter of taste, although I must confess that mer- cerized cottons arc used more and more each day. Other Uses for the Initials Of course there are lots of other uses for these initials, and I am sure you will find them very handy and useful in all \our work, particularly when you are making gifts. Initials used in the center of a lingerie pincushion would add much to its beauty, and give it a personal air that would be particularly acceptable to the recipient. For this you would, of course, use the small size. Then the initials could be used to mark laundry bags and shoe bags and ever.\- other kind of a bag, handkerchief and glove cases, necktie cases, and the hundred and one things that the college boy and girl need. For most of these purposes the letters could be worked in outline stitch, in some color to contrast with the material on which it was worked. Page Twenty-four SON T W V Feather and Kindred Stitches Decorative Fancy Stitches That are Easy to Make BEFORE closing the last page of this book we must have a little talk about feather and kindred fancy stitches. For while the famous workers of the world would not call them true embroideries, they are the most useful stitches one could possibly know to give a distinctive air to a dress or a negligee gown that would otherwise be too plain; or to add to the beauty of the children's clothes and the baby's layette. So it is wise for us all to learn those lovely, quickly-made bits of adornment. Featherstitch Lesson XII The featherstitch, surely, is the most valu- able. It is such a simple little thing, so easily made. It is begun at the most extreme point, and worked toward you. It is nothing but buttonholing, if the truth were told, one slanting stitch taken at one side and one at the other, alternately. Simple as it is, there is one impor- tant point about featherstitching which many persons ignore, and that is that it loses its entire beauty if it is not worked with small stitches taken close together. . „ . Another effective stitch is the Mexican stitch in our illustration. This can be used to join otltCQ j^yQ pieces of material, as fagoting is so fre- quently employed, but this stitch is newer and different, and I like it better. It isn't necessary to use it always for a joining stitch. It looks just as pretty when it is worked on top of the material as a decorative band. This is the way to work the Mexican stitch: Take a stitch about a sixteenth of an inch long on one edge, then cross straight over and take a stitch of the same length on the other edge. Cross back and forth like this until three straight lines are laid in, then carry the fourth line to the center of the space, and work four buttonhole stitches over the three threads. Finish the fourth thread, then begin all over again, catching the threads together with every fourth thread. Border of Lazy- '^^^ lazy-daisy loop, which you learned in . ^ working the mignonette centerpiece, is used Daisy Loops j,^ ^^^^ jjm^ border in our illustration, which is worked with three loops repeated over and over again. A slanting buttonhole stitch, w-orked like the featherstitch but with all the stitches taken on one side, is a pretty stitch to use in hemming flannel for baby's use. Shawls and jackets finished in this way are as lovely as those that have a great deal more energy spent upon them. ThpDottpH 'Rriar "^^^ "^^^ stitch is the dotted-briar stitch. This is something different, and StitchlsaNoyelty jg particularly good to be used on the children's dresses. It is made much like featherstitch, but instead of making one buttonhole stitch each time, four but- tonhole stitches are worked close together, to produce the dot. Then the thread is crossed to the other side, with a stitch that is much longer and rather more slanting than in featherstitching. nu ■ J n t. The chained outhne stitch is simple and Cnainea (Jut- . , . , . , , , . *^ -. useful m laymg pleats or hemmmg. You line btltcn learned how to make the ordinary chain stitch. This stitch is worked with one chain-stitch loop and one outline stitch, alternately. The triple-briar stitch is equally simple, and is worked hke the dotted-briar stitch, but has only three buttonhole stitches in each cluster. One copy del. to Cat. Div. ir.U it ibit LIBRARY OF CONGRESS 014 146 997 S