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SINGER 
 
 Instructions 
 
 FOR 
 
 Art Embroidery 
 
 
 PUBLISHED BY 
 SINGER SEWING A\ACH1NE COMPANY 
 
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 Copyright, 191 i, bv Singer Sewing Machine Co. 
 
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 ;CI.A28«ilSEi 
 

 General Instructions 
 
 In using tlie Singer Sewing Machine for 
 
 lace making and embroidery, there are some 
 
 very important rules that must be followed 
 
 K,by all who desire to learn how to do this 
 
 most fascinating work. 
 
 The most important thing is to be able, 
 easily and naturally, to exercise an indepen- 
 dent movement of the feet and the hands. 
 The feet must be trained to start, stop and 
 operate the machine very slowly by means 
 of the treadle without any help from the 
 hands. This leaves both hands free for 
 manipulating the embroidery hoops holding 
 the work. The first impulse of a beginner 
 is to move the feet in unison with the hands ; 
 as a consequence, short stitches are formed, 
 and often several stitches in the same place. 
 
 The fundamental rule is: "Move the feet 
 slozcly and the hands rapidly." This is the 
 hardest thing to acquire, and you will need 
 to remember it constantly at first. With 
 practice, however, it will become easy and 
 natural, and you will be able absolutely to 
 control, by means of the treadle alone, every 
 movement of the needle. 
 
 In connection with this treadle movement, 
 the secret of successful machine embroider}" 
 is to know how to control with accuracy the 
 movement of the embroidery hoops between 
 stitches, gauging the distance to the next 
 point where the needle should penetrate to 
 produce the stitch desired. 
 
 To prepare the machine 
 
 To prepare the machine, remove the presser- 
 foot and raise the presser-foot bar. Then 
 push the screw regulating the stitch as high 
 as it will go so as to stop the feed. 
 
 See that the tensions are adjusted so that 
 a perfect stitch will be made upon such mate- 
 rials and with the same silk that you intend to 
 use for the embroidery work. 
 
 While not essential, it is suggested that the 
 feed and the throat plate be covered with a 
 plate made for the purpose, using No. 3258g 
 for Machine No. 66-1. No. 8335 for Machine 
 
 No. 27-4, No. 15259 for Machine No. 15-30, 
 and No. 208733 for Machine No. 9W. These 
 cover plates can be obtained by mail or other- 
 wise from any Singer shop. 
 
 Do not remove the throat plate, nor disturb 
 the feed dog because it is essential that its 
 position should remain as originally fi.xed 
 whenever the machine is used for family 
 sewing. 
 
 Place a small iron washer or a spool weight 
 on the spool, to retard the movement of the 
 upper thread. A spool weight ( No. 9537 ) can 
 be obtained at any Singer shop. 
 
 Preparation of hoops and placing material 
 therein 
 
 Take the two hoops constituting the em- 
 broidery frame and wind them with narrow 
 strips of white muslin, covering them diagon- 
 ally with one or more layers of the cloth, 
 according to the thickness of the material on 
 which the embroidery is to be done, as this 
 must be held stretched firmly between the 
 hoops. 
 
 Figure i 
 
 To put the material in the hoops, stretch it 
 smoothly over the larger hoop, then press the 
 smaller hoop firmly down into the larger one. 
 If the material be not firmly and smoothly 
 stretched over the frame, tighten it as shown 
 in Fig. I, being very careful not to stretch it 
 on the bias, but to pull it with the thread of 
 the goods, doing the work slowly and care- 
 fully. If the material be so delicate that it is 
 liable to be injured by the hoops, notwith- 
 standing the muslin padding, place tissue 
 paper or cotton between them. 
 
Sometimes the material upon which the em- 
 broiden- is to be done is smaller than the 
 hoops, or the design is so large that it comes 
 close to the cloth. In such cases sew the 
 material firmly to a piece of strong cloth large 
 enough to cover the frame. In order to keep 
 the work fresh and avoid disfiguring pinholes, 
 it is advisable to sew to the outer rim of the 
 larger hoop a piece of cloth large enough to 
 permit of rolling in it whatever material may 
 project beyond the frame while it is on the 
 machine, and to wrap the entire design in 
 while it is put away. 
 
 Placing work in machine 
 
 Fig. 2 shows how, by raising the needle to 
 the highest possible point, you can ])lace the 
 embroidery frame in position without remov- 
 
 Figure 2 
 
 ing the needle ; although in the Singer Sewing 
 Alachine the latter is such a simple operation 
 that it is usually best to remove it, thus 
 avoiding the danger of breaking the point or 
 injuring the work by scratching the surface 
 of the material. It is advisable to have ready 
 an extra set of hoops containing an ordinary 
 piece of cloth to be used to try the machine 
 after changing the tensions and oiling the 
 machine, to avoid any chance of staining the 
 work. 
 
 How to handle the hoops 
 
 The embroidery hoops should be held in 
 the right hand and moved in the direction 
 required, while the left hand is used to press 
 the goods gently down in front of the needle. 
 (See Fig. 3.) Practically, the left hand does 
 the work of a presser foot and the right 
 hand acts as a feed. You will understand. 
 
 therefore, that the movement of the right hand 
 is what determines the direction and length of 
 the stitch. 
 
 Do not change the position of the hands in 
 holding the hoop. Guide the hoop backward, 
 forward, right, left, or in circles, without 
 removing the hands from the hoop at any time. 
 
 Figure 3 
 
 Practice slowly and carefully, and when you 
 have learned to govern the movement of the 
 frame, you will find that there is no exercise 
 more valuable to a learner than that of making 
 stitches between two parallel lines drawn on 
 the cloth about a quarter of an inch apart. 
 Persist in this until you can drive the needle 
 through the center of each line at will. When 
 this is accomplished, decrease the space between 
 the jiarallel lines until you have reduced it to 
 about one sixteenth of an inch. When you 
 have succeeded in making the stitches so uni- 
 form tliat the work has the appearance of a 
 tiny ribbon aj^pliqueed on the cloth, you will be 
 ready to practice the first lesson in openwork 
 embroidery. 
 
 Preliminary Practice 
 
 Take a piece of unstamped material to prac- 
 
 Figure 4 
 
Outline Stitch. Photographic reproduction of actual work done on a Singer Family Sewing 
 
 Machine without special attachments. 
 
tice on. Be sure it is drawn perfectly tight in 
 the hoops, so that it will not drag but move 
 freely, and practice until you acquire perfect 
 control of both hands and feet. Rest the arm, 
 near the elbow, on the table of the machine. 
 You can control the movement of the hoop 
 much easier in this way than by allowing the 
 entire arm to move with the hand. 
 
 Beginning the Embroidery 
 
 When the work is in position as shown in 
 Fig. 4, outline the design twice with plain 
 stitching and then begin the embroidery. Take 
 the upper thread in the left hand, make one 
 
 hot, as some materials scorch very easily. After 
 this is done, replace the work in the frame so 
 as to bring the unworked part of the design 
 within the rings. 
 
 The foregoing are general rules covering all 
 kinds of embroidery and hereafter we shall 
 take up, step by step, the details with which 
 the beginners must become familiar before 
 endeavoring to do the more complicated work. 
 
 Before entering into a description of the 
 various lace stitches, we show you here 
 illustrations which demonstrate the simplicity 
 of the work at its beginning and the high per- 
 fection that may ultimately be reached. 
 
 J 
 
 Figure 5 
 
 stitch, drawing up the under thread, and hold 
 both ends firmly until two or three stitches 
 have been taken. This should be done on 
 some spot in the cloth that is to be entirely 
 covered by the embroidery. 
 
 When you have completed as much of the 
 design as can be contained within the frame 
 at one time, iron it carefully on the wrong side 
 with a moderately warm iron, first covering 
 the embroidery with a damp cloth, to remove 
 the marks made by the rings. The greatest 
 care should be taken not to have the iron too 
 
 Fig. 5 shows the hoop embroidery frame 
 covered with a piece of common muslin, used 
 to practice the first stitches on. More than any- 
 thing else it resembles a child's slate covered 
 with the irregular marks made during the first 
 lesson in writing: because in machine em- 
 broidery, as in writing, the lines show vacilla- 
 tion and there is uncertainty in judging dis- 
 tance. It is only by persistent practice that 
 one acquires firmness combined with freedom 
 of movement. The cloth in this frame shows 
 the first efforts of the apprentice : unmeasured 
 
stitches made while learning to control with 
 precision the movement of the frame ; limiting 
 the length of stitch to the distance between 
 two parallel lines imtil certainty of action is 
 gained ; covering a cord, which is practically 
 the same exercise on a narrower measure : all 
 repeated until considerable rapidity has been 
 attained, when the learner begins to practice 
 covering a square opening cut in the cloth. 
 m.oving the frame rhythmically in the desired 
 direction and in time with the movement of 
 the machine, from one side of the square to 
 the other, so as to catch the edge of the cloth. 
 
 In this illustration are shown the general prin- 
 ciples upon which all machine embroidery is 
 based. 
 
 These same stitches made in the beginning 
 without either certainty or fixed direction, 
 when grouped together with the precision 
 gained by practice (after one has learned to 
 control the movement of the embroidery frame 
 and to follow the design ) . produce results such 
 as are shown in the next two pages, which 
 illustrate twelve unfinished pieces of embroid- 
 ery as they appear in the embroidery frame. 
 
Figure 6 
 
Figure 7 
 
Shaded Embroidery (Flowers). Photographic reproduction of actual work done on a Singer 
 Family Sewing Machine without special attachments. 
 
Shaded Embroidery 
 
 FLOWERS 
 
 Under this lieading we offer the following 
 directions to those who, having a taste in that 
 direction and some practice in making machine 
 embroidery, together with love of the work 
 and good-will, desire to use this mechanical 
 method of doing shaded embroidery without 
 
 intelligence and natural artistic taste on the 
 part of the worker. We shall describe to you 
 how the work is to be prepared and shall also 
 give such advice as may be of service to you 
 in ordinary work. 
 
 Prepare the machine by inserting a No. oo 
 
 Figures i, 2 and 3 
 
 exceeding the limits of their own ability and 
 knowledge of drawing and painting, as it is 
 obvious that in order to <lo some of the work 
 it would be necessary to have studied and to 
 know the fundamentals of art. We confine our- 
 selves, therefore, to work that merely requires 
 
 needle ( although No. 000 is sometimes neces- 
 sary when there is very fine detail), and use 
 No. 00 silk. Place the material in the em- 
 broidery frame, having it tight and smooth, as 
 the success of the work depends upon this. 
 
 It is well first to select the silks required by 
 the model, bearing in mind that the silk on the 
 
spool is always darker in appearance than 
 after it has been worked. 
 
 Let us suppose that the model selected is 
 composed of flowers and leaves. 
 
 Stamp the design on the material. Have 
 upper tension a little looser than under tension, 
 and work the stems of the flowers first. When 
 embroidering leaves, petals, etc., always work 
 from the outside edge towards the center, 
 slanting the stitches according to the design. 
 
 Keep the stitches perfectly even on the out- 
 side, but not on the inside. The centers of all 
 flowers are to be worked in seed stitcii. (See 
 
 slightly the stitches to carry out the modeling 
 of the flower, and see that the stitches finish 
 at the base or center of the flower, which is 
 the last part that should be embroidered. All 
 of which you can readily see in Fig. 5 as well 
 as in the petals B and C of Fig. 4. 
 
 When embroidering buds and half open 
 flowers, like roses, carnations and others con- 
 taining a great number of petals, group so as 
 to overlap one another, thus showing only the 
 points of the petals. Begin with the inside 
 petals and embroider in the same manner and 
 direction indicated (D, Fig. 4). then tlie outer 
 
 Figures 4 and 5 
 
 Page 23.) As each hoopful is finished, 
 take a damp cloth, nib on wrong side of the 
 work and press dry before taking it out of the 
 hoop. Turn-overs of leaves and flowers should 
 be worked in raised embroidery or, as we call 
 it. satin stitch. 
 
 When embroidering the petals of flat flowers 
 such as daisies, wild roses, azaleas, etc., em- 
 broider toward the center, beginning at the 
 outer edge and carrying the stitch toward the 
 base or calyx of the flower. Endeavor to curve 
 
 petals, the turn-overs being the last covered 
 with the embroidery. 
 
 The center of the flowers should be em- 
 broidered in the seed stitch, which is described 
 hereafter, as it is a part of the machine em- 
 broidery that deserves special study. The stems 
 should be embroidered diagonally ( Fig. 4 ) and 
 sometiines, depending upon the thickness of 
 the stem, they are embroidered in a straight up 
 and down stitch moving from the top to the 
 bottom lengthwise of the stem (Fig. 5). 
 
Art Embroidery. 
 
 Photographic reproduction of actual worit done on a Singer Family Sewing 
 Machine without special attaclimcnts. 
 
Art Embroidery 
 
 Any material whatever may be used as a 
 foundation for this work ; that is to say, this 
 embroidery permits the use of thick as well 
 as transparent goods, to be selected according 
 to the object to which the embroidery is to be 
 devoted. This style of embroidery is usually 
 most beautiful when applied to sash curtains, 
 scarfs, bed-spreads, tray cloths, and other 
 ornamental objects for which the goods gen- 
 
 how it is done. Nevertheless we shall explain 
 all the steps that may be useful to you to 
 enable you to execute this artistic work in the 
 best possible manner. 
 
 The machine should be prepared with a 
 Xo. oo needle and art embroidery silk should 
 be used for both the upper and lower stitch. 
 The tensions should be slightly loose. Use 
 Xo. o needle unless the material is very fine. 
 
 Figure i 
 
 erally used is tine antl transparent like bolting- 
 cloth, batiste, etc. What will be found best to 
 harmonize with these delicate weaves is em- 
 broidery done in white silk, as was used in the 
 sample reproduced in Fig. i. 
 
 This needlework is not at all difficult in 
 itself nor does its execution require great pa- 
 tience. By merely examining the sample 
 shown in the illustration you will be able to 
 determine how the work should be done and 
 
 Xo. oo silk, 70 and 100 D. AI. C. or Singer 
 Darning Cotton. 
 
 Patterns containing sprays of flowers are 
 the most appropriate for this embroidery what- 
 ever its use. 
 
 Stamp the design on the material as usual, 
 span the embroidery with the hoops and follow 
 the design with machine stitching. 
 
 \\'e shall begin by embroidering the stems, 
 using the stem or oblique stitch distinguishable 
 
in the illustration. This reduces itself to cov- 
 ering the stems with stitches running diagonal 
 to the lines of the stems themselves. The 
 veins shown in the centre of each leaf should 
 he embroidered in the same stitch. 
 
 In this embroidery start from the edge of 
 the leaf, where the needle should penetrate the 
 
 done it may present the even, correct outline 
 necessary to the perfection of its form. 
 
 On the other hand, the stitches that fill the 
 inside of the leaves as you can see are uneven, 
 and do not preserve the slightest regularity as 
 to length. Nor does this part of the leaf 
 show any apparent intent to drive the needle 
 
 Figure 2 
 
 same spot several times, that the stitch may be through any precise or determined point, as 
 
 firmly fastened, obviating any tendency to must be rigorously done when embroidering 
 
 looseness. From that point it should move the edges, as we stated before, in order not to 
 
 freely to the centre of the leaf, care being spoil the symmetry of design of the aforesaid 
 
 taken not to destroy the symmetry of outline leaves, 
 
 of the latter so that when the embroiderv is Xevertheless vou mav be assured that these 
 
long and short stitches taken at irregular inter- 
 vals in the centre of the leaves are much more 
 difficult to make than those of the border, as 
 the latter depend entirely upon the dexterity in 
 handling the embroidery frame acquired by 
 practice, (we already know how cjuickly it is 
 acquired with the Singer Sewing Machine), 
 which gives such absolute certainty in driving 
 a needle through a determined point in the 
 cloth as to enable us to cover a small cord with 
 admirable exactitude and rapidity ; but to group 
 different stitches so that their location and 
 size will produce the artistic and agreeable ef- 
 fect that each figure demands — in the accom- 
 plishment of this your own skill and artistic 
 taste will guide you successfully. 
 
 The entire effect of the work depends on 
 these irregular stitches, shaded in from the 
 border to the centre of each leaf. We cannot 
 determine their length for you nor their pro- 
 portion to each other, nor how many of them 
 there should be. There are no rules for this, 
 because the artistic taste of the operator must 
 always figure as an essential part of the work. 
 
 If you have no good patterns to copy 
 you may first experiment and study effects by 
 making a design on a piece of paper showing 
 how the stitches should be disposed. In this 
 way, with the aid of your pencil, you may seek 
 the best effect until you find it. As you will 
 notice by the illustration the placing of these 
 stitches give a shaded effect that brings out all 
 the modeling and beauty of the pattern. 
 
 When the work is done on satin you should 
 use silk of the same color as the ground, or 
 somewhat lighter in tone, to produce a mild 
 contrast. 
 
 This work also admits of the use of raised 
 rings, particularly in the centre of the flowers 
 
 when the work is done on satin, but if done 
 on bolting-cloth it is preferable to fill in these 
 centres with a small web, as you will notice 
 in the illustration in this lesson ( Fig. i ) , taken 
 from a sample embroidered in white silk on 
 bolting-cloth and showing part of a design for 
 a magnificent bed-spread made with these 
 same materials. As you may suppose, the 
 sample reproduced in the illustration is only a 
 small part of this magnificent bed-spread. In 
 order to appreciate the beauty of its work- 
 manship it would be necessary to see it fully 
 extended over an appropriate rose-colored lin- 
 ing. That alone would convince you that 
 whatever you may imagine in connection with 
 it is far from reality. 
 
 In Fig. 2 we reproduce a magnificent Renais- 
 sance Lace cover containing many lovely lace 
 stitches, and four sunflowers embroidered in 
 art stitch with silk on linen. 
 
 This piece of work, which consists of a 
 combination of various styles of embroidery 
 was made as follows. 
 
 The sunflowers were first embroidered with 
 the art stitch which was also used for the four 
 ornaments, simulating the leaves of the flowers 
 which appear in the four corners of the cover. 
 The lace stitches were then worked, and the 
 edges of the cover were corded as were those 
 of the flowers, leaves and other figures consti- 
 tuting the design. 
 
 We must warn you that the cord should 
 be covered with silk corresponding in color to 
 that used in each figure ; that is to say, the sun- 
 flowers and leaves should be corded with silk 
 the same color as that employed for the art 
 stitch, and the other figures in which these 
 stitches have not been used should be corded 
 with silk the same color as the groundwork. 
 
 13 
 
Raised Embroidery 
 
 This is probably the best known and most 
 common of all needlework, and. one may say. 
 that which serves as a basis of all that is 
 learned in the schools. In order to explain to 
 you how this work is done on the Singer Sew- 
 
 Figure i 
 
 ing Machine, it is only necessary for us to 
 tell you the size of the needle and the thread 
 to be employed and how to prepare the 
 machine, and then to do with the machine 
 exactly as you would do with your hands. 
 
 \\'hile this is usually the first style of em- 
 broidery learned, and the one on which the 
 greatest practice is expended when done by 
 hand, this is not the case when the Singer 
 Sewing ^Machine is the rapid and efficacious 
 medium of execution employed. Your atten- 
 tion is called, however, to the fact that it is 
 best not to attempt this new method of doing 
 raised embroidery until you have thoroughly 
 mastered the machine and the movement of 
 the embroidery frame. To do this embroidery, 
 a maximum of precision is necessary. The 
 cording already referred to as requiring the 
 greatest dexterity and ability on the machine 
 is not nearly so important as the work we are 
 now taking up. This requires the greatest 
 precision in the stitch and the utmost certainty 
 in properly placing it. Raised embroidery is 
 extremely delicate, because of the high ])er- 
 fection that must be attained. 
 
 The design should be stamped upon the 
 material to be used, and this in turn should be 
 placed in the embroidery frame, stretching it 
 as smoothly and tightly as possible. (See 
 .\. Fig. I.) Then fill in the space between the 
 outlines with stitching (see B. Fig. I ) to give 
 the desired raised efTect. 
 
 If the embroidery is to be done on lingerie, 
 thread the machine with Xo. loo embroidery 
 cotton, winding the bobbin with the same 
 thread. Have upper tension just medium, un- 
 der tension a little tight. If on broadcloth, ti^e 
 a No. o needle, and Xo. oo silk. 
 
 Begin the embroidery, taking the greatest 
 care to see that the needle goes exactly from 
 one line to the other. 
 
 This work should be done so evenly and 
 accurately as to make it impossible to discern 
 where the stitches join. On curved lines you 
 must know how to narrow the stitch on the 
 inner curve, as well as how to broaden it on 
 the outer curve (see C, Fig. i) so that the 
 
 14 
 
Raised Embroidery, Satin Stitch. Photographic reproduction of actual work done on a Singer 
 Family Sewing Machine without special attachments. 
 
stitches will be perfectly united without over- 
 lapping and without losing their uniformity. 
 In otlier words, the work must be done just 
 as carefuMy as though done by hand, the only 
 difference being the medium employed. This 
 necessity for uniformity of outline and 
 accuracy in stitch precludes the possibility of 
 
 believe the large pieces of this raised em- 
 broidery so appropriately and artistically shown 
 in the Arabian department of the Singer Sew- 
 ing Alachine Co.'s exhibition at Madrid, would 
 ever have been attempted. There we have great 
 cushions, divans, tabourets and a magnificent 
 table cover, all richlv covered with raised em- 
 
 doing it by machine as rapicily as the latter is 
 capable of working, but no matter how slowly 
 you go, this method will always be much more 
 rapid than by hand. 
 
 If we had to depend on handwork, we do not 
 
 broidery. A most extraordinary sample of this 
 artistic work is a splendid curtain, composed 
 of strips of lace alternating with bands of 
 raised embroidery, which we reproduce in 
 Fig. 2. Had it been necessary to do all the 
 
work on this curtain b}- hand, it would probably 
 never have been completed. 
 
 There is shown also two other very showv 
 
 silk. The pattern is composed of large con- 
 ventionalized flowers with openwork centers 
 filled in with various lace stitches. In the 
 
 Figure 3 
 
 pieces of work each richer and more exquisite 
 than the other. Fig. 3 is a handsome petticoat 
 made of glace silk, with raised embroidery in 
 
 center of each leaf there is solid space, not cut 
 out, covered with raised embroidered dots. These 
 conventionalized flowers, which are made sep- 
 
 16 
 
arately and then appliqueed onto the ruffle, are 
 placed alternately at the upper and lower edge, 
 and this as well as the flowers themselves are 
 surrounded with a festoon of leaves and sprays 
 as described in another lesson. 
 
 This raised satin stitch is largely used for 
 letters and monograms on table linen or the 
 
 embroideries produce magnificent effects when 
 used as transparencies over light. 
 
 This shade is formed of eight pieces of net 
 richly appliqueed with embroidery done on 
 glace silk. The outline of the large leaves in 
 the pattern is brought out in raised embroidery, 
 as are the leaves of the sprays of clover. The 
 net and silk of the points upon which the 
 
 Figure 4 
 
 finest lingerie. D. M. C. mercerized cotton is 
 the best for this purpose. 
 
 Fig. 4 represents a lamp-shade that because 
 of its exquisite design and graceful form is 
 worthy of a place in the most elegant drawing- 
 room. The idea of embroidering objects of 
 this kind is most satisfactory as some of the 
 
 clover leaves appear have been cut away leav- 
 ing the latter to hang free. 
 
 The seams formed by uniting the eight 
 pieces of net are covered with a raised em- 
 broidery design of three-leaf clover. The 
 shade is finished off in chiffon ruffles, the 
 edges embroidered in points. 
 
 17 
 
Scallops — Beadstitch — Cording 
 
 This lesson, as you will see by the heading, 
 can be termed a trio, but be assured it is a 
 good one and with the aid of your faithful 
 friend and ally, the Singer Sewing ^Machine, 
 you can turn it into a quartet that will win 
 universal applause. 
 
 A centerpiece with a scalloped edge and lace 
 under the scallops is a thing of beauty. Gen- 
 erally speaking }i of an inch is a good width 
 for a scallop at the widest part ; of course on 
 a doylie or anything small it need not be as 
 wide as that. 
 
 F 
 
 
 
 1 
 
 
 ■. *1 
 
 i. 
 
 ^ 
 
 
 Figure i 
 
 Xow wliile this does not entail the necessity If you refer to the article on "Raisetl Em- 
 of any new stitclies, it will give you some use- broidery," you will find all the instruction you 
 ful suggestions with regard to finishing certain need for making a satin stitch scallop; if you 
 kinds of work. Every woman knows what a want it raised, underlay with stitching; if 
 nice finish scallops make on many things, such not. simply outline the stamping as you al- 
 as dressing sacks, petticoats, especially in flan- ways do, and embroider the scallop, keeping 
 
 Figure 2 
 
 nci. bureau covers, centerpieces for the table 
 and doylies. And, further, it is an agreeable 
 change from hemstitching and has the advan- 
 tage of being applicable to round pieces of 
 work as well as to square pieces. 
 
 }Our stitch perfectly even on both sides. After 
 you have done all the scallops in the hoop, put 
 a very fine cord on the outside edge, as close 
 as you can, and cover it with the same silk or 
 cotton that you have been using, this will 
 
 18 
 
enable you to cut the material away from the 
 outside edge of the scallops, as you would if 
 done by hand. 
 
 If you want to elaborate a scalloped edge. 
 a row of beadstitching on the outside edge or 
 all around the scallops, before you put the 
 cord on. is most effective. This beadstitch or 
 backstitch, if you will, is a straight stitch 
 about ys of an inch in length, made close to 
 the scallop. Make about six stitches, one 
 over the other in the same place, then take a 
 stitch forward and repeat the operation ; if 
 you want the stitches to stand out more to 
 
 look like beads, take more than six stitches 
 over and back ; you will be delighted with the 
 result. If you are working with colored silk, 
 make the beadstitch in a darker shade than 
 the one you use for the scallops — black may 
 be used with a bright shade of silk with good 
 effect. 
 
 Cording can be done in two ways, by cov- 
 ering the silk or cotton as we have already 
 told you, or by using a couching cord of gold 
 or any color you choose and catching it 
 down at regular intervals with self color or a 
 contrasting shade. 
 
Venetian Embroidery 
 
 This embroidery is original in every partic- chair covers, and with spleiichd effect on sofa 
 
 ular. Its unusual form, the capriciousness of cushions. In one case a magnificent reception 
 
 its design and its showy appearance form a room suite of furniture covered with satin was 
 
 style so entirely different from that of any ornamented with this embroiderv. This was 
 
 other embroidery that one should carefully an admirable piece of work, artistic in design 
 
 consider how it is going to be used before start- 
 ing the work, in order to insure its proper ap- 
 plication. We have seen it used as an eider- 
 down quilt cover with a handsome, well ar- 
 ranged design in each corner. It is used with 
 equal distinction and elegance on drawing-room 
 
 and in the combination of colors used. The 
 effect was exquisitely elegant, presenting an 
 ensemble full of delicate and charming co- 
 quetry. Its greatest merit, however, was due 
 to the wonderful accuracy with which the 
 work had been executed and to the fact that 
 

 ^'■Zx <\ 
 
 Venetian Embroidery. 
 
 Photographic reproduction of actual work done on a Singer Family 
 Sewing Machine without special attachments. 
 
it had been done entirely by the daughters of 
 its owner. If done by hand, the work would 
 have been interminable. 
 
 Having noted the style of this embroidery 
 as shown in the accompanying illustration in 
 this lesson, you will readily understand that 
 the detail is to be repeated to the end. It is 
 composed of stars and flowers with angular or 
 slightly undulating petals, joined with stems 
 or scrolls ending in the design so as not to 
 show any unattached ends. It may also con- 
 sist of large conventionalized roses, the petals 
 of which should be divided off in parallel lines 
 worked in graduated shades of color. 
 
 The pattern should be stamped directly on 
 bolting-cloth, the material generally used for 
 this kind of work except when it is intended 
 for furniture, when the foundation should be 
 of satin. 
 
 Use a No. oo needle. Outline the design in 
 ordinary machine stitching as is customary. 
 Use No. oo silk for the upper and under 
 thread. 
 
 You will notice that the sections into which 
 the petals are divided are always even in num- 
 ber. If you wish to take these in multiples of 
 three, with the object of embroidering each 
 two or three of these sections in the same tone 
 of silk, according to the size of the petal, you 
 may do so. You should select as many shades 
 of the same color as there are groups of two 
 or three sections in each petal. Endeavor to 
 have the shading as gradual as possible, having 
 in mind that the artistic effect of the em- 
 broidery will depend quite as much upon the 
 harmony existing between the groundwork and 
 the shades of the embroidery silks used, as 
 upon its precise execution. 
 
 The parallel lines forming the sections are 
 one eighth of an inch wide, more or less, 
 according to the size of the petal. 
 
 Begin by re-enforcing the stitching at each 
 side of the petal that forms the pointed end, 
 bringing the stitches down to the first parallel, 
 section A, making two or three extra stitches 
 one on top of the other, as is done in the raised 
 embroidery. Stitch once across the parallel 
 line referred to. Now cover the triangle 
 formed by the first parallel line and the point 
 of the petal with the stitches used in raised em- 
 
 broidery, keeping the stitches close together 
 and perfectly even. The stitches should begin 
 at the sides and end at the parallel line. The 
 spaces that form the section to be covered with 
 these stitches should not be filled in, or padded, 
 to make them stand out in relief as is done in 
 the raised embroidery. In the first section, as 
 well as in all those following, great care should 
 be taken to have each stitch begin exactly at 
 the outer edge of the petal. You will not have 
 to be so careful about the stitches entering the 
 dividing lines of the sections as these will be 
 covered by the stitches put in to fill up the 
 ne.xt section. 
 
 As soon as one section is filled, run three 
 lines of stitching across the section, covering 
 the ends of the perpendicular stitches so as to 
 form a new line to take the place of the 
 original dividing line which has been covered 
 by them. From this superimposed line of 
 stitching the stitches that are to fill the second 
 section should start. These stitches must be 
 perfectly uniform and run in parallel lines. At 
 the end of this second section, you will again 
 place three rows of stitching, crossing the 
 stitches already taken, again to form a substi- 
 tute for the dividing line covered by the first 
 embroidery. Continue the work in the same 
 manner until you have filled in the last section 
 or the one nearest the center of the flower.* 
 Bear in mind that the triple line of stitching 
 previously referred to, which crosses the end 
 of each section over the stitches filling in the 
 various sections, not only forms a support to 
 those stitches but has a tendency to make that 
 side of the section appear higher than the 
 other, giving an inclined appearance to the 
 work and making it look as though one section 
 rested upon another. 
 
 Continue this work until all the petals have 
 been finished, using the same shades of color 
 for each corresponding group of sections, 
 beginning with the lightest shade at the point 
 of the petal and graduating the tone until the 
 darkest one is used in the section nearest the 
 center of the flower. 
 
 Having finished the embroidery of the petals, 
 thread the machine with the darkest shade 
 appearing in the embroidery, using this silk 
 for both the upper and lower threads. Now 
 
cut out the center of the flower and fill it in 
 with an elaborate spider-web. as shown in the 
 illustration. The center can be seed stitch. 
 
 Now cover the outline of the petals as well 
 as the lines forming the stems that complete 
 the pattern with chenille couching cord 
 or gold thread that harmonizes in tone 
 with the colors employed to fill in the 
 l)etals. As you will note in the illustration, 
 this chenille takes the place of the fine cord 
 used to outline the designs in other embroidery. 
 It is, however, much easier to work with the 
 
 chenille as it is only necessary to guide it with 
 the left hand along the lines it is intended to 
 cover, holding it in place by two or three cord- 
 ing stitches taken at regular intervals. 
 
 The silk that holds the chenille should be 
 in a contrasting shade to this, lighter or darker, 
 and you should be careful first to cover the 
 stem-like lines in the design before working 
 over the outline of the petals. The last out- 
 line to be covered is that surrounding the 
 spider-web in the center of the flower. In this 
 way all the ends of the chenille will be covered. 
 
 "*''^=^^>!^=^^ 
 
Seed Siitch. Photographic reproduction of actual work done on a Singer Family vSewing Machine 
 
 witiiout special attachments. 
 
Seed Stitch 
 
 There can be no better description of seed 
 stitch than its name, but a few words about 
 the way it is used will not be amiss. 
 
 For the centers of flowers, such as wild 
 roses, cosmos and dogwood, there is nothing- 
 else to take its place. Seed stitch is made by 
 
 Figure i 
 
 taking three tiny stitches one over the other, 
 forming a seed or little dot. Do not cut the 
 thread, but take one or two fine stitches ahead 
 and make another seed, and so on until all are 
 made. If you desire to use more than one 
 
 shafle, leave space enough between the seeds 
 to put in those of another color ; for instance 
 daisy centers are made close together in two 
 shades of yellow ; put in the first seeds, leav- 
 ing space for the second lot, but where these 
 seeds are made on silk or satin with a con- 
 trasting color, it adds very materially to 
 the beauty of the work to leave a little 
 space between the seeds, as it gives the 
 efifect of shading. 
 
 Seed stitch can also be used most ef- 
 fectively in combination with fancy 
 stitches, or in leaves having the center 
 clearly defined by a vein, as a rose leaf ; 
 one side of the leaf can be made in seed 
 stitch and the other in long and short 
 stitch, the shape of the leaf and the 
 veining being done in outline or stem 
 stitch. 
 
 Leaving the realm of silk and satin 
 and taking a glance at the sheer and 
 filmy fabrics that are so much used for 
 our "little men and women," as well as 
 for real grown up women, seed stitch 
 has a very important part to play. It is 
 quite unnecessary to enumerate the thou- 
 sand and one dainty things that are made 
 not only for underwear but also dresses 
 and waists, where seed stitch, which 
 takes the place of French knots in hand- 
 work, will be a delight to the eye. It 
 would be of little avail to tell you all 
 this unless we knew of a surety that the 
 Singer Sewing Machine would enable you 
 to accomplish it and indeed much more than 
 we can tell you. Do you know that on the 
 finest fabrics you can use No. 120 D. M. C. 
 cotton and a No. 000 needle with the best 
 results? 
 
 23 
 
'^ 
 
 
 j^';[^^&BiBISI^«illlUI<i.K''<l>IffNMkv>---.^. ~'-'TVt|' 
 
 *^v>v 
 
 / 
 
 7 
 
 \A 
 
 ^^'•> ^ ■? V'"' ' 
 
 
 [-' 
 
 
 English Embroidery. 
 
English or Eyelet Embroidery 
 
 The design selected for this embroider}' 
 should be rather large and not very heav)', like 
 the one shown in illustration Fig. i, represent- 
 ing grapes and grape leaves, or any other 
 subject with large open leaves and flowers. 
 
 The machine should have a No. oo needle, 
 
 frocks, christening robes, petticoats and ladies' 
 summer dresses because of its extreme sim- 
 plicity and elegance. 
 
 Place the material in the embroidery frame, 
 and after doing the necessary stitching, follow- 
 ing the outlines of the pattern, cut out the 
 
 0«^ 
 
 •»•?•• 
 
 w 
 
 Figure 
 
 the upper tension should be somewhat loose 
 and the lower one considerably tighter. Silk, 
 or cotton may be used for this work, according 
 to the material on which the embroidery is to 
 be done, and also according to the use to which 
 the finished product is to be put. This em- 
 broidery is appropriate for adorning children's 
 
 cloth in each grape (See Fig. i) and fill in with 
 a spider-web stitch (See A, Fig. i ) as shown in 
 the engraving. Now cover the stitched outline 
 made around the grape with a fine cord formed 
 of six strands of thread. The lines forming 
 the stems of the leaves should also be corded, 
 but for this use only two strands of thread. 
 
 25 
 
Stamp the design (in linen, use No. 70 
 D. M. C. cotton and 00 needle, stitcii each eye- 
 let whether round or oval three times round, 
 the first stitching on line of stamping, the 
 second stitching just inside the first, the third 
 stitching just inside the second; cut out center 
 of each ring, close to third row of stitching and 
 cover the three rows of stitching as in cording. 
 
 supply of embroidery finished and ready for 
 use. -AH that is necessary is a little practice 
 and the will to do the work. 
 
 The aid lent by the Singer Sewing .Machine 
 is so potent and so much less time is consumed, 
 that the labor involved is reduced to a neg- 
 ligible quantity when considered in relation to 
 the value of the work done. 
 
 Fieure 2 
 
 If it is desired to make the eyelets appear 
 heavier. No. 12 thread may be used as a fine 
 cord. 
 
 You will notice that many of the styles of 
 needlework herein described are so extremely 
 simple, and can be made so rapidly, that only 
 a few hours' work will give vou a considerable 
 
 A fine example of this method of embroiflery 
 is given in the illustration. Fig. 2. which de- 
 picts a child's beautiful frock of batiste covered 
 with eyelet embroidery combined with raised 
 embroidery. The design is very dainty and 
 appropriate. It forms a festoon of leaves and 
 flowers, embroidered in No. 100 cotton. 
 
 26 
 
Shaded Embroidery on Velvet 
 
 Photographic reproduction of actual work 
 Family Sewing Machine without special attachments. 
 
 done on a Singer 
 
Shaded Embroidery 
 on Velvet or Plush 
 
 In calling attention to shaded embroidery, shall select the kind of velvet or plush gen- 
 which is considered the highest type of ma- erally used for hangings, which gives magnifi- 
 chine embroidery reached, for the present at cent results in this work. The illustration 
 
 least, we shall give a description of the work shows a section of border for a curtain. 
 
 done on velvet and plush. The design should be stampeil on bolting- 
 
 As this embroidery is generally used for dec- cloth, 
 
 orating hangings, covers, sash curtains, etc., we Baste the bolting firmly on right side of 
 
 27 
 
velvet and outline the design twice in fine stitch- 
 ing, using No. o needle and No. oo silk. Xe.xt 
 cut the bolting-cloth away from as much of the 
 design as you have in the hoop. Embroider 
 as you would anything else. Great care must 
 be used in putting the velvet or plush into the 
 hoop. Take a pair of Duchess hoops No. lo 
 (they have round edges), wind them with as 
 much muslin as the hoops will allow, then take 
 a piece of white felt about i8 inches square, 
 cut a hole in the center about jYi inches in 
 diameter and place the velvet, with the bolting 
 basted on, over the outside hoop, lay the white 
 felt on the velvet, then put the smaller hoop 
 in place. Do not try to have the hoops as 
 tight as you would for other materials. 
 
 We should remind you and you will ini- 
 doubtedly remember that it is absolutely neces- 
 sary to press the material on the wrong side 
 with a warm iron before it is removed from 
 the embroidery frame. When finished this 
 work should be pressed in the same manner 
 as velvet applique. 
 
 We have tried to describe to you, in the 
 clearest and simplest manner, the many em- 
 broideries made by machine up to the present 
 time. This does not include the many combi- 
 nations that may be formed by selecting por- 
 tions of the various kinds of embroidery and 
 l)utting them together. Referring to the shaded 
 embroidery, we believe that we have explained 
 all that is essential in this combination to en- 
 able you to know how it should be done with 
 this new machine method. Of course, you will 
 understand that it would have entailed the 
 writing of innumerable articles had we en- 
 deavored fully to cover such an extensive sub- 
 ject and that at best we would have been able 
 only to give you the most elementary knowl- 
 edge of it. 
 
 We have concerned ourselves with indicat- 
 ing the materials needed and the manner of 
 handling them and to describing the results 
 obtainable as graphically as possible, leaving 
 the rest to your own ability and talent. 
 
Gold Thread Embroidery. Photographic reproduction of actual work done on a Singer Family 
 
 Sewing Machine without special attachments. 
 
Gold Thread Embroidery 
 
 This is an imitation of the Philippine em- 
 broidery done in gold and other threads and 
 which owes its perfection and facility of ex- 
 ecution to the special mechanism of the Singer 
 Sewing Machine. 
 
 The embroidery should be done on satin, 
 the design being stamped on the wrong side 
 
 Place a Xo. i needle in the machine, and 
 for the upper thread use gold colored silk as 
 near the shade of the metallic thread as is 
 possible, having the tension set so that this 
 thread will adhere to the right side of the 
 material without being either loose or tightly 
 enough drawn to show the stitches. The em- 
 
 Figure 
 
 of the material, this being the upper side when 
 placed in the embroidery frame. 
 
 Wind the bobbin of the machine with a very 
 fine, three-strand gold cord, leaving the ten- 
 sion somewhat loose so that metallic thread 
 may pass through it without becoming twisted. 
 
 broidery will thus appear on the under side 
 of the embroidery frame, which is the right 
 side of the material. The gold thread extends 
 along the surface merely held into place by 
 the upper thread. 
 
 When the embroidery frame is placed in the 
 
 29 
 
machine, take one stitcli and draw the gold 
 thread up through tlie satin, and holding it 
 with the upper silk make one more stitch tying 
 the ends of the two threads in a knot. Now 
 begin the embroidery, making short stitches 
 which should be as even as possible. While 
 doing this embroidery bear in mind the former 
 instructions regarding the direction of the 
 stitches. The work should he moved in two 
 directions only. 
 
 When the thread on the bobbin runs out 
 necessitating replacing it, as well as when it 
 is necessary to cut that thread for any reason 
 whatever, draw the cut end up through the 
 satin together with the end of thread on the 
 newly wound bobbin, knotting them on the 
 upper or wrong side of the material. 
 
 The figures in the design should be filled in 
 with the gold thread, keeping the line of 
 stitches as close together as possible without 
 having them overlap. (See Fig. i.) When 
 the figures are angular in form begin to work 
 from the points, if curved, begin at the centre 
 or whatever place seems easiest to enable you 
 to fill them in evenly without juni])ing from 
 one side to the other, which would affect the 
 symmetry of the outline and interfere with the 
 perfection of the embroidery. 
 
 This embroidery done with gold, silver or 
 other metallic thread is most appropriate for 
 decorating sofa cushions, fire-screens, or the 
 larger folding screens on which it is both 
 beautiful and practicable. (See Fig. 2.) It 
 also lends itself with excellent results and 
 great appropriateness to ecclesiastical em- 
 broidery. 
 
 
 Figure 2 
 
 30 
 
First Openwork Stitches 
 
 As soon as you have obtained some control 
 over the movement of the embroidery frame 
 and understand how to carry it skilfully to 
 the precise point where the needle should 
 penetrate, you may undertake to practice your 
 first openwork stitches. Of course one cannot 
 even pretend that the stitches will exactly cor- 
 respond to the measure of your desire at first. 
 That will come later, without your realizing it. 
 For the present it will be enough to know how 
 to carry the embroidery hoop very close to the 
 spot which the needle should enter. Let us 
 start on our first openwork. To begin with, it 
 will be well to take a large enough space to 
 work in, and thus have less fear of making a 
 mistake. 
 
 through the machine, or from right to left. 
 If the work be moved in any other direction, 
 the result will be a chain similar to B, Fig. i. 
 
 A 
 
 1 
 1 
 
 B 
 
 D 
 C 
 
 
 
 1 
 
 i 
 
 2 
 
 Figure 
 
 Figure i 
 
 We will put into the machine a No. o needle 
 and No. lOO thread, using the same for both 
 the upper and under thread. See that the 
 tensions are even. 
 
 Before entering into a description of open- 
 work embroidery it is necessary carefully to 
 note that in this, as in many other kinds of 
 work of the same character, in which the open 
 spaces are filled with the lines of stitching, 
 these lines may form a cord. (See A, Fig. i.) 
 To accomplish this, the work must be moved 
 in only two directions : straight ahead from 
 you, in the direction taken by the cloth going 
 
 .\n examination of the illustrations accom- 
 panying this article will enable you to begin 
 and end the more simple openwork. Carefully 
 span the cloth with the embroidery hoops. 
 Stitch the edges so as to prevent the cloth from 
 ravelling, then cut an opening ii/ to 2 inches 
 
 Figure 3 
 
 square. Calculate the width of the mesh or 
 filet desired and divide the square into equal 
 parts. Make one or two stitches in the edge 
 
 31 
 
of the first of these divisions (See A. Fig. 2 i. 
 to fasten the thread, and from there push the 
 frame from you, keeping the movement in 
 harmonv with that of the machine, and carry- 
 ing the fine cord formed by the two threads to 
 the opposite side of tlie square (B), or to 
 another of the parts into which tlie square is 
 divided, according to the place from which 
 you have started. Here again make two or 
 three stitches to secure the thread and pass on 
 to C, where the stitches to secure the cord are 
 repeated. Now carry the cord in a straight 
 Hne to D, and so on successively. If the 
 hoops are moved in any other direction than 
 
 Figure 4 
 
 those indicated in passing from A to B the 
 result will be a chain, (as in B, Fig. i), in- 
 stead of a cord. To avoid this turn the em- 
 broidery hoop to the right when the needle 
 crosses the point indicated by C. Then move 
 the frame from right to left, which, as you 
 
 Figure 5 
 
 have been told, is the other direction that must 
 be followed. 
 
 Fig. 5. If what has been described to you in 
 
 Fig. 2 be repeated on the other two sides of 
 the square, in such a manner that the second 
 set of cords cross the first ones, then repeat 
 the lines already formed, but carry them 
 diagonally across the angles of the square from 
 corner to corner, and you will have the mesh, 
 or filet, shown in Fig. 3. 
 
 Fig. 4. This represents a netting in which 
 the open squares have been filled with eight 
 cords, which are magnified here that you may 
 better appreciate the work done. After 
 making a few stitches in the center, so as to 
 fasten the cords that cross there, move the 
 frame from side to side, so that the needle 
 first goes in on one side of the cord, and on 
 the other side the next time. In this way 
 cover the original cord so as to increase its 
 size until you have gone half its length, then 
 come back until you reach the center. Now 
 begin to thicken another of the fine cords, and 
 continue this work until you have finished the 
 eight points of the "star" shown in the illustra- 
 tion. 
 
 Fig. 5. This is also a small openwork 
 
 Figure 6 
 
 square like the last. After fastening the 
 threads in the center, move the embroidery 
 frame in a circle, repeating the movement until 
 finally, as the needle passes around the inmost 
 center, there will be found a weblike circle as 
 shown in the illustration, with stitches that join 
 the radiating lines of cord, or star point, with 
 a long zig-zag and carry it half way to the 
 end, where it should be fastened with two 
 stitches. Now carry the cord to the middle of 
 the next radiating cords, and so on until the 
 circle is formed. \\'here the circle joins each 
 radiating line, make the little points that are 
 
 32 
 
shown in the illustration with stitches that join 
 the circle intersecting the radiating lines. Now 
 carry the thread along the circle, in order to 
 make the next point on the following radiating 
 line, always increasing the size of the cord by 
 covering it with stitches, as in the lines of 
 cord in Fig. 4, until the eight rays or points 
 radiating from the circle are completed. 
 
 Fig. 6. This is the result that you will 
 obtain if you alternate the little squares of the 
 circles with those of the rays or star points. 
 
 This openwork embroidery, although it has 
 
 been presented to you in the easiest and sim- 
 plest manner, embraces nearly everything that 
 one need know in order to execute the most 
 complicated and difficult needlework. These 
 lines of fine cord are employed in the making 
 of nearly all netting, openwork, embroidery 
 and laces, as well as in the making of spider- 
 webs, points, lines that are to stand out into 
 relief, etc. 
 
 Having mastered the full details of making 
 this openwork, any one can make innumerable 
 combinations by merely changing the form of 
 the design. 
 
Filet, Netting 
 
 or 
 
 Open Mesh Embroidery 
 
 In the preceding lesson it was stated that 
 the open work therein described, although 
 presented in a very simple form, ])ractically 
 comprised everything necessary for the exe- 
 cution of the most intricate work. The only 
 additional thing to he considered is the 
 
 Figure i 
 
 cording. To make the cording properly, a 
 great deal of practice is required as well as a 
 thorough understanding of this new em- 
 Ijroidery method. It is not enough to know 
 how to move the embroidery frame to a 
 ]ioint near where the stitch should be placed; 
 it is necessary that the needle should pene- 
 trate accurately the exact spot. The needle 
 should not pierce the cord nor should it 
 penetrate the cloth at any perceptible dis- 
 tance from the cord ; neither should the 
 stitch be any broader nor any narrower 
 than the thicknesses of the thread or silk 
 used to cover the cord. Care in noting these 
 instructions and a reasonable amount of 
 diligent practice will enable any one to do 
 this cording well. 
 
 Fasten the end of the cord to the cloth 
 with two or three stitches ; take the cord be- 
 tween the index finger and thumb of the left 
 hand, twisting it evenly and guiding it as 
 you cord. Place the left hand over the 
 work, resting the thumb on the embroidery 
 design and the inde.x finger on the thumb. 
 (Fig. 1.) Everything else now depends on 
 the precision with which you move the em- 
 broidery hoops to make the stitches on each 
 side of the cord. The size of the needle, and 
 
 Figure 2 
 
 ihe number of the thread should be in exact 
 relation to the coarseness of the material on 
 which the cording is to be done. To do the 
 
 34 
 
work about to be described, use No. o needle lines of cord which go from corner to corner 
 
 and No. lOO cotton and have the tensions in the square marked A, then proceed to 
 
 both alike. make the Fpider-web in the centre. Bring 
 
 It should be understood that tlie edges of the thread of the machine along any one of 
 
 Figure 3 Figure 4 
 
 the cloth to be cut away should be outlined the web-like threads until you come to 
 
 with stitching before the lines of cord that sciuare B. In this work a mesh of tiny 
 
 form the netted mesh are placed in position, squares, using the darning stitch shown in 
 
 Figure 5 
 
 in accordance with description on the preced- 
 ing page. 
 
 Figure 2. Having made the two cross- 
 
 the illustration, filling in three sides of the 
 square with several rows of stitching. Carry 
 the thread along one of the nearest lines 
 
 35 
 
to the sciuare marked C. Within this form 
 another square the points of which should 
 1)6 fastened to the middle of the side lines 
 forming the first square. Continue to fill 
 in the remaining squares with this same 
 stitch, which is known as the "Spirit Stitch." 
 Figure j. This manner of using the darn- 
 
 s(|uare. (See Square C and those following. I 
 Figure 4. This is known as the spike 
 stitch. Make a cord beginning at A and 
 cover it until B is reached, from whence re- 
 turn to the starting point A close to the first 
 cord, each cord to be covered separately so 
 that they will stand out when they arc 
 
 Figure 
 
 ing stitch is as follows: Run a line of stitch- 
 ing across the centre of the square ( .V), which 
 is to be secured at the centre of the two 
 sides. Carry other lines of stitching from 
 half of one side of the square to the divid- 
 ing line and from this to the other half (B). 
 These stitches will form a triangle with the 
 apex ending in the opposite side of the 
 
 joined together. l-"rom A pass on to C, again 
 coming liack to the starting point A ; thence 
 to D and from there start other spikes tlie 
 same as the former ones. After reaching D 
 go up to E again, coming back to finish at A. 
 Figure 6. This is a reproduction of a 
 beautiful frock for a child. It is made of 
 batiste and shows the same filet ground- 
 
 36 
 
Figure 7 
 
 work as that in Fig. 5 of the preceding give no opportunity to ajipreciate the de- 
 lesson. Fig. 7 represents a tray cloth, also tails of the work, we insert herein thirty- 
 showing this filet ground-work. The tray- nine filet or open mesh designs selected from 
 cloth is made of satin, embroidered with a large number of samples, which we believe 
 
 
 Figure S 
 
 silk, and is magnificently effective. .\s the will prove of great assistance to all who 
 illustrations show only the amount of filet may desire to study more carefully this 
 within the limits of the engravings, and beautiful work. (Figs. 8, 9, 10 and 11.) 
 
 37 
 
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Hedebo Embroidery 
 
 Hedebo is one of the most popular em- 
 broideries of the day and ever increasing in 
 favor; it grows on one wonderfnlly. 
 
 It is a Danish embroidery, indeed takes its 
 name from the Httle town in Denmark where 
 it is a cottage industry. 
 
 No book on embroidery can be considered 
 complete without a word or two about Hedebo. 
 Linen is the material above all others that 
 should be used, D. M. C. cotton No. 70, No. o 
 needle. The tensions medium, not loose. 
 
 It is the arrangement and shape of the open- 
 ings in the Hedebo work, that make it so at- 
 tractive, and then it can be most effectively 
 combined with both eyelet and raised em- 
 broidery. 
 
 Hedebo embroidery itself consists of lace 
 stitches, bar stitch and cording. There are 
 squares, triangles, ovals, circles, hearts, leaves 
 and crescents, in an artistic arrangement, with 
 well chosen stitches for each. Those various 
 shapes are often defined by parallel lines, any- 
 where from % to ^i of an inch apart, and 
 that is where the bar stitch comes in. Out- 
 line the design with two rows of stitching as 
 usual, cut out one figure at a time and put in 
 a suitable stitch ; do not have too great a va- 
 riety of stitches in the same article : have the 
 same stitch in all the squares, the same one 
 in all the crescents, and so on. 
 
 When you begin to cut away the material 
 between the parallel lines, cut only a little at 
 one time, while you are a novice, only about 
 half an inch ; then run across from one line 
 to the other in a perfectly straight direction, 
 fasten with two fine stitches and work back 
 over it in the same way that you cover cord 
 to make it heavier like a bar, then make the 
 next one in the same way ; be particular to 
 have the bars a uniform distance apart ; for 
 small spaces put them a little nearer than in 
 large spaces. It is wise to measure the length 
 of the lines before you work the first bar and 
 estimate how many bars will be required at 
 say % inch apart, which is a good distance 
 generally. When the bars are finished cord on 
 either side. 
 
 Where there are only single lines to define the 
 spaces, the cording is done as soon as your 
 stitches are put in. With a little systematic 
 practice and intelligent study of the open- 
 work and lace stitches you will have no diffi- 
 culty in mastering this work. You will be very 
 much surprised after a little while how easy 
 this kind of work will become. The ease with 
 which one is able to adjust the tensions on the 
 Singer Machine, is one of the most valuable 
 adjuncts to the perfection of the various kinds 
 of laces and embroideries of which we speak. 
 (See illustration Page 42.) 
 
 41 
 
-^ ^ 
 
 %vii^^n^. 
 
 
 wit* . 
 
 
 
 
 ^-* 
 
 Hedebo Embroidery 
 
Richelieu Lace 
 
 This kind of lace, strong, simple and elegant 
 in style, is being used in great profusion to 
 trim underwear as well as household linen. 
 When made with silk it is splendidly eflfective 
 for covers, curtains, collars, jabots, etc. 
 
 The engraving illustrating the following 
 
 cloth is now ready for the embroidery frame. 
 When using batiste or similar material, thread 
 the machine with No. no thread or No. 70 
 D. M. C, use a No. 00 needle and medium 
 tensions. 
 
 The first thing to be done is to follow the 
 
 Figure 1 
 
 instructions (Fig. i) is, as you see, a yoke for a 
 chemise and may be useful to you should you 
 desire to take advantage of the design. 
 
 Place the batiste or other material to be used 
 for the work upon the pattern and stamp its 
 outline as shown on the side marked A. The 
 
 outline of the design with ordinary machine 
 stitching. (See Fig. i, B.) This is done to 
 avoid excessive ravelling when the cloth is cut 
 out later and also to form a foundation for the 
 groundwork stitches. 
 
 Cut the cloth from one of the spaces that 
 
 43 
 
are to be filled with lace stitches and embroider 
 therein the various stitches to be used, as was 
 done with the Renaissance lace. As soon as 
 this is done, cut the goods from the next figure 
 and embroider this in the same way, repeating 
 the operation until there are no open spaces 
 left in the frame. 
 
 The centres of the flowers may be filled with 
 the simplest of lace stitches if desired, or with 
 a spider-web, according to the requirements of 
 the design. Now proceed to cord the edges of 
 the various figures composing the pattern. 
 Use same size needle and thread for all the 
 work. 
 
 only difference being that no braids are 
 used and the under tension should be consid- 
 erably tightened. You have probably noticed 
 that this kind of lace as well as the manner in 
 which it is made is the same as the Renais- 
 sance, except that no braid is used. The differ- 
 ence between the two laces chiefly consists in 
 the groundwork, or mesh, which in the Riche- 
 lieu lace is composed almost entirely of the web 
 and picot stitches, with a few of the other 
 lace stitches filling in the openwork spaces of 
 the flowers. 
 
 Figure 2 illustrates a fragment of one of the 
 rich panels that form part of the decorations 
 
 Figure 2 
 
 The object of this final step in the work is 
 to accentuate the outline, throwing it into 
 strong relief, as well as to cover the needle 
 holes. This also serves to give the lace the 
 neat, uniform appearance it ought to have. 
 Tighten the under tension. The machine is 
 now ready for the cording, and for this .select 
 a four-strand cord. (See Fig. i. D.) These 
 instructions carefully followed will enable you 
 without difficulty to execute the embroidery 
 of the chemise yoke. 
 
 Always stamp the design on goods, do not 
 trace it. Follow the same instructions given 
 heretofore regarding the other laces, the 
 
 in a sho]) of the Singer Sewing Machine Co. 
 at Madrid, in Spain. You will notice in the 
 reproduction that this bit of panel contains a 
 pretty zig-zag border, this handsome effect 
 being obtained by making alternating diagonal 
 bands of lace and cloth. That is, one band 
 worked in lace stitch and the other of the 
 material used for the groundwork of the lace, 
 outlined with a cord. 
 
 As an example of the many combinations 
 that may be made with the dift'erent kinds of 
 needlework, embracing the various kinds, note 
 Fig. 3, showing part of a handsome table 
 scarf, of undeniable beauty, even if only 
 
 44 
 
judged by the illustration. This is made with 
 linen crepe, trimmed with Richelieu lace. The 
 pattern consists of a well arranged festoon of 
 leaves, the veining in these is done in eyelet 
 embroidery. This pattern is finished in long. 
 
 There is no lace the making of which offers 
 any serious obstacle to the Singer Sewing 
 Machine. This mechanical medium, hereto- 
 fore only used for making clothing, will pro- 
 duce within the hoops of an embroidery frame 
 
 Figure 3 
 
 curved leaves filled with lace stitches, which 
 spring from the main branch. The material 
 forming the groundwork is embroidered with 
 white silk daisies in satin stitch, giving a dam- 
 ask-like eflfect. 
 
 the most exquisite lace work, and does it with 
 incredible rapidity. We propose to convince 
 you of this by describing the finest laces, in- 
 volving the most subtle artifice in their making. 
 
Point Venise 
 
 We must agree that all laces, with a very 
 few exceptions, are exquisitely tasteful and 
 supremely elegant, if one only knows how to 
 select the design and to apply the lace in its 
 proper place. 
 
 chine is used for making it. To illustrate the 
 description of how this lace is made we use 
 one of the Point Venise collars exhibited at a 
 Singer shop. It shows the most beautiful de- 
 sign and perfect execution of any there, and 
 
 Figure i 
 
 Point Venise designs are very beautiful, the 
 workmanship very dainty and the lace admits of 
 wonders in the w^ay of execution ; all of which 
 is readily realized when a Singer Sewing Ma- 
 
 the illustrations herewith are photographic 
 reproductions of it. 
 
 In Fig. I is shown part of the collar, three- 
 fifths natural size, which will enable you to 
 
 46 
 
appreciate the greater part of the lace stitches 
 and otiier work contained in it, and we shall 
 refer to this illustration as we describe the 
 making of the lace. 
 
 Stamp the design on very fine firm material, 
 then put in embroidery frame with the care 
 necessary in handling this class of goods. Put 
 a No. oo needle in the machine. Outline the 
 design with two rows of fine stitching, close 
 together; use No. no thread. For making the 
 lace stitches use No. 150 thread. It is best to 
 begin with the lace stitches that form the 
 flowers (or scrolls, as the case may be), care- 
 
 sign you have already worked will not lose its 
 shape. 
 
 A very effective and easy stitch for the back- 
 ground is the picot stitch. After this ground- 
 work stitch has been put in, a cord must be 
 basted all around the design, right on the 
 two rows of outlining you made at the begin- 
 ning. In basting the cord on, put a stitch over 
 and back on either side of the cord, just close 
 enough to keep it in place. After the cord has 
 been basted on, cover with a fine close stitch, 
 as you have been previously instructed. 
 
 You will notice that some of the edges of 
 
 Figure 2 
 
 fully cutting away the material in one leaf 
 only at a time, then the next one and so on. 
 In cutting the material away, keep as close to 
 the outlining as possible, without cutting the 
 stitches. After all the lace stitches have been 
 put in as much of the design as you have in 
 the frame, begin to cut away the material that 
 is left or, in other words, the background, and 
 put in what is called the groundwork or foun- 
 dation stitch. 
 
 In doing this a very little of the material 
 must be cut awav at one time, so that the dc- 
 
 the scrolls and flowers are made heavier than 
 the others ; to obtain this efifect, use a 4-strand 
 cord for the heavy edges, a 2-strand cord or 
 No. 12 thread for the fine edges. Use Batten- 
 berg rings when required, choosing the sizes 
 suitable for the spaces where they are to go. 
 
 After the work is entirely finished stretch it 
 tightly and evenly on a wooden frame, tacking 
 close enough together to keep it perfectly 
 smooth and firm. When this is done, rest the 
 four corners of the frame on four flat-irons 
 or blocks to raise it from the table ; take a 
 
 47 
 
basin of clean cold water with two tablespoon- side edge of the design, close to the covered 
 
 fills of gum arabic thoroughly mixed with it,' cord. 
 
 wet the whole thing, using a clean cloth. Do Fig. 2 sho\Vs an exact reproduction of one 
 
 not remove from the frame until it is quite half of the collar we have just described, that 
 
 dry, then cut away the material from the out- you may copy it if desired. 
 
Shaded En^broiderv (Fruit). Photographic reproduction of actual work done on a Singer Familv 
 
 Sewing Machine without special attachments. 
 
Renaissance Lace 
 
 There is little that need be said of this well Prepare the machine with No. no thread, a 
 
 known and much used lace, as we are all fa- No. o needle, and have both tensions alike 
 
 Figure I 
 
 miliar with it as a trimming for napery, bed- and adjusted to suit the material upon which 
 sets, curtains and numberless other objects of the lace is to be made, which is generally or- 
 household use. ga'^lie or tine linen. 
 
 49 
 
The accompanying illustration in this lesson 
 (Fig. I ) shows a conventional wild rose pat- 
 tern, and in order that you may the more easily 
 understand the description we show the be- 
 ginning of the work in some of these roses, 
 wdiile others are shown finished. 
 
 Having selected the design that is to serve 
 for the lace, stamp on the goods the outlines 
 to be covered with the Battenberg braid only. 
 Use No. o needle and Xo. no thread for sew- 
 
 curves being taken in when the in?ide edge of 
 the braid is stitched down. 
 
 Next, begin to cut away the cloth from the 
 inside of a petal. \\'hen putting in the different 
 stitches make your foundation lines run with 
 the warp of the material and this will keep 
 your design straight. When you begin to make 
 the stitches, fasten your thread firmly to the 
 inside edge of the braid by taking two or three 
 small stitches, but do not put any unnecessary 
 
 Fiffure 2 
 
 ing braid on the design, and for making stitches 
 a B needle and Xo. 400 Petit Moulin in bob- 
 bin and No. 300 I'etit Moulin on top of ma- 
 chine. Have a medium tension. Put the 
 material firmly in the hoop, drawing it per- 
 fectly straight, then proceed to sew on the 
 braid over all the design that is in the hoop. 
 To do this, sew the outside edge of the braid 
 on first, making a fairly long stitch through 
 the open edge of the braid, the fulness at the 
 
 ^titches in the edge of the braid as it gives the 
 work a clumsy appearance. In large spaces, 
 cut only a part of the cloth away at a time, 
 to prevent the work getting out of shape. Use 
 a Battenberg ring for the center of the roses. 
 It is not necessary to iron the work while 
 making. As each hoopful of the work is fin- 
 ished, the edges of the braid, etc.. should be 
 gone over with a firm close stitch, making a 
 clean finish. 
 
 50 
 
The rest of the work, such as thickening tiie 
 C(jr(l, making spider-webs, diagonals and knots, 
 etc., should now be done in accordance with 
 the design selected. It is not believed that you 
 will find the least difficulty in making these 
 lace stitches ; although there are many of them, 
 there is nothing that you do not already know 
 or can cop_\-. You will probably succeed in dis- 
 covering new combinations suggested by your 
 own good taste. 
 
 The cloth should he cut away as fast as an 
 
 Xow cut awa}- the cloth between the roses 
 and fill the space with picot, webs or any other 
 ground stitch, according to the design. Con- 
 tinue until you have finished all of the pattern 
 found within the frame that you can. 
 
 When this lace is finished it should be 
 placed upon a stretcher especially made for 
 this purpose. While on the stretcher, brush 
 the wrong side of the lace lightly with a very 
 weak solution of gum arable. Do not iron it. 
 
 As a finishefl sample of this lace see Fig. 2. 
 
 Figure 3 
 
 open space is needed, but not before the last 
 space is completely finished. 
 
 When a rose is finished make a ring of 
 stitches around the center, having it as large 
 as the size of the flower will permit. Cut 
 tlie cloth away for the center of this ring and 
 fill in with a web or star, which, as you will 
 see by the illustration, you already know how 
 to do. These are formed, as you know, of 
 threads disposed like rays, placed at an equal 
 distance from each other, on which the weaving 
 or darning stitch, already described, is worked. 
 
 This is a magnificent tray cloth, emijroidereil 
 in silk upon satin. Xo. 3 is a sijecimen of a 
 panel. 
 
 This panel was embroidered with thread on 
 nainsook. You should notice that all of the 
 cloth not cut away is embroidered in Art 
 Stitch. All the edges of the pattern have been 
 corded. The lace stitches used in making this 
 lace are the same ones shown in the lesson in 
 "I'irst Openwork Stitches," therefore you may 
 select from those illustrations whatever 
 stitches seem best fitted to your work. 
 
 SI 
 
English Point 
 
 Who does not know this beautiful lace? Jn 
 what center of learning dedicated to women, 
 from the simplest school to the most fashion- 
 able college, is the making of this lace not 
 taught? And what one of you, since earliest 
 childhood, has failed to see it used in the 
 adornment of skirts, bodices, aprons, ties. 
 
 have represented ! Happily in order to possess 
 a gown of this lace to-day neither inexhaust- 
 ible patience nor great fortune is needed. Xor 
 are we struck with wonder when we are per- 
 mitted to look upon many square yards of this 
 lace, however admirably executed. The Singer 
 Sewing Machine has worked the miracle. 
 
 Fissure i 
 
 collars and a thousand other articles of per- 
 sonal adornment ? 
 
 How wonderstruck our grandmothers would 
 have been if they could but have seen us wear- 
 ing a dress entirely composed of lace. What 
 a prodigy of patience ! What capital it would 
 
 At the present time what most commands 
 our admiration of lace is the artistic good 
 taste displayed in the design and the beautiful 
 arrangement of the openwork stitches. If 
 there remain anything incredible about this 
 lace, it is that there should still be people will- 
 
 52 
 
ing to undertake the execution by hand of a 
 comparatively large jiiece of lace, knowing 
 that their patience will be worn out long before 
 it is finished. 
 
 The tedium of hand embroidery has been 
 converted by this new method of lace making 
 into a stimulus to begin a new piece of work 
 almost before the last, begun but a few days 
 before, has been finished. There are some who 
 even make the \okes of their chemises of 
 English Point ! 
 
 when done by hand, and that it will stand 
 much rougher treatment in the laundry. 
 
 The seven accompanying illustrations will 
 help to make my description of this lace more 
 lucid and concise and, while helping you to 
 grasp the details, will enable you to appreciate 
 the simplicity and richness of the work. 
 
 Fig. I illustrates a design that may serve 
 you in making a handsome tie. which you 
 could have ready to wear within a very few 
 hours. 
 
 One lady, before she took up the study of 
 machine embroidery, was positively certain 
 that it would not be possible to e.xecute em- 
 broidery by this mechanical process that would 
 compare with hand work either in beauty or 
 strength. She has since learned the Singer 
 Sewing Machine method and become an en- 
 thusiast. She now declares that not only is 
 the machine-made lace and embroidery 
 stronger and more exact, but that the wrong 
 side of the work is much better finished than 
 
 Select a fine, round mesh, double-thread net. 
 Single-thread, square mesh net will not do. 
 This work may be done with silk, if desired, 
 according to its object, but it is better, and 
 even more appropriate to work it with thread. 
 Xo. no thread is best for basting braid on 
 and No. 150 thread for making stitches. Use 
 No. 00 needle and medium tensions. Stamp 
 the design on the net and stitch the braid on 
 in the same manner as for Renaissance Lace. 
 
 Never baste braid on before putting the 
 
 53 
 
work in the hoop, the only correct way to put 
 the net in the hoop is for one person to hold it 
 tightly, smoothly, and firmly over the larger 
 hoop, while another person puts the smaller 
 hoop in place. Braid should be put on exactly 
 as described in Renaissance Lace. After 
 stitches in petals (on net) are done, the inside 
 edge of the braid should be gone over like fine 
 cording to fasten it firmly on the net. 
 
 Some designs call for two or more kinds of 
 braid, producing a richer effect in some of the 
 figures. 
 
 These openwork stitches may be varied to suit 
 the fancy of the worker, and much good taste 
 can be shown in their selection. \\'e would, 
 however, suggest that the closer stitches be 
 made to alternate with the more open ones, 
 as this gives a better appearance to the 
 lace and tends to make the figures in the 
 pattern stand out more clearly. After you 
 have filled in the leaves, flowers, etc.. with 
 the lace stitches desired, cut out the net along 
 the outer edge of the braid : this is what we 
 might call the foundation of the various fisr- 
 
 Figure 3 
 
 Extreme care should be taken to (Iraw the 
 net smoothly and evenly over the larger hoop 
 before pressing in the smaller one, because 
 any attempt to stretch the net into position 
 after the hoops are closed will result in tear- 
 ing it. 
 
 Place the embroidery frame on the machine 
 and after the braid is put on proceed to em- 
 broider the openwork stitches on the net. 
 
 ures. (See Fig. i. A.) This cutting should 
 be done as closely as possible to the stitched 
 edge of the braid. The open space thus left 
 should be crossed with lines of thread form- 
 ing spider-webs (B) or just a plain star (C), 
 according to the size of the space to be filled 
 and the requirements of the pattern. The 
 lines forming the picot stitch (D D) should 
 be made coarser bv stitching over them, back- 
 
 54 
 
wards and forwards, in order to make them 
 stronger, and it is while doing this that the 
 tiny loops characteristic of this stitch should 
 be formed (B D). Begin by making a line 
 heavier by covering the thread, and at about 
 the middle make three or four independent 
 stitches, as though you were about to make 
 
 ing the latter work. Do not remove the stiletto 
 until you have taken a stitcli or two ; this is 
 necessary to avoid any danger of the loop be- 
 coming entangled with the bobbin. 
 
 If you desire to finish the edge with a nar- 
 row lace, put this on the outside edge of the 
 braid as you proceed with the work, covering it 
 
 Figure 4 
 
 another line at right angles from the first. Take as you would cord. This will greatly add to 
 
 a fine embroidery stiletto in the left hand and the beauty and eft'ectiveness of the work. (See 
 
 with it hold back the stitches just made, so as Fig. i, E.) 
 
 to form a loop, while bringing the needle back Besides the illustration used to assist in 
 
 to the thread you have been covering, continu- describing how this lace is made, you will find 
 
 55 
 
herein several other illustrations, reproducing the filet stitches, forming the groundwork, 
 
 finished pieces of this popular lace. and the picot stitch, giving it the elegant and 
 
 Fig. 2 represents a table-cover of exquisite dainty appearance that vou will readilv appre- 
 
 Figure 5 
 
 workmanship ; Xo. 3 shows a very handsome ciate in the illustration. Fig. 5 represents a 
 
 tray cloth. On both of these pieces the em- section of a panel. 
 
 broidery is done with cotton thread on linen. Fig. 6 is a picture showing the dainty head 
 
 Fig. 4 shows a lovely centerpiece. of a young girl, embroidered in colors, which 
 
 Figure 6 
 
 You will note that in this jjiece the English appears from between a pair of English Point 
 Point has been happily combined with one of lace curtains; an odd fancy. 
 
Duchess Lace 
 
 Duchess Lace is the most modish of all 
 laces; therefore, it seems unnecessary to say 
 that the Singer Sewing Machine, once having 
 invatled the territory of embroidery and fine 
 needlework, immediately proceeded to prove 
 that its use was the simplest and most rapid 
 method of making Duchess Lace, as well as 
 the most rational way to attain perfection in 
 its manufacture. 
 
 ]\Iuch of the lace now sold as Duchess Point 
 is simply an imitation — beautifully made, 
 thanks to the exquisitely dainty lace braids 
 now sold — of a very old pattern of Brussels 
 Point, made by hand with infinite patience by 
 means of a system of small bobbins. 
 
 You are undoubtedly familiar with this fa- 
 mous lace, or at least with its imitation, and 
 will notice that in the applique of lace braids 
 on net, the various stitches and general design 
 it closely resembles English Point. The Duch- 
 ess Lace having some modifications tending to 
 increase its beaut)- and richness, may be con- 
 sidered as an English Point brouglit to a high 
 state of perfection. 
 
 It requires a special design, composed of 
 prettily formed flowers and small leaves joined 
 by delicately curved stems, as shown in Fig. i. 
 upon which we shall base our instructions. 
 The lace is made by applying lace braids to 
 net, as described in the lesson on English Point. 
 
 For outlining design and sewing on braid 
 use No. no thread and No. oo needle; for 
 stitches on the net, No. 150 thread is used. 
 I'ut plain braid on first (the design is not out- 
 lined where the braid goes ) go over outside 
 edge like fine cording with No. no thread, 
 then put on the medallion or waved braid and 
 go all around the inside of both braids like a 
 fine cording, this will hold it firmly on the net, 
 then begin on the flowers making stems first, 
 using a very fine cord. .A.fter that, work your 
 
 stitches on the net, going around each leaf or 
 flower with No. 12 thread and covering it like 
 a cording. After center of figure is finished, 
 cut out the net between the braid and put in 
 stitches, then cord all around. 
 
 As you will see in the illustration, the design 
 consists of large medallions, showing the net 
 ground, on which small sprays of flowers are 
 fastened, in imitation of the Brussels lace pat- 
 tern. The flower design should be outlined 
 with plain stitching and then corded, as des- 
 cribed in the article on Brussels lace. 
 
 The outside edge of the leaves that surround 
 the medallion, (see B, Fig. i), should be cov- 
 ered with a very fine cord, in imitation of the 
 heavy thread shown in the real lace. 
 
 If you wish to obtain a really perfect im- 
 itation of this lace, having the finished work 
 soft and pliable, use only the best materials, 
 buying the finest Duchess braid procurable. 
 
 When the flowers in the pattern are large 
 enough to permit of it, they should be made of 
 fine waved braid. When the leaves are larger, 
 use the straight wide braid, joining the edges 
 if possible, but if the design show a space in 
 the center of the leaves, this should be filled 
 with a cross-stitch, as shown in D. The stitches 
 in this lace are very simple, and it is advisable 
 simply to use the filet, cross-stitch and picot; 
 the last having tiny, independent loops, as de- 
 scribed in English Point. 
 
 This rich lace, which the Singer Sewing 
 ^lachine has made so easy to produce, is much 
 used to trim blouses, bed-spreads, ladies' un- 
 derwear, collars, christening robes and even 
 gowns. 
 
 Fig. 2 shows an article that, because of its 
 size, represents considerable time and labor. 
 
 The work on this spread is the imitation 
 Duchess Lace that has been the subject of this 
 lesson. It is made with Battenberg braid 
 
 57 
 
applied in the sliape of medallions, these thread was used, the work being done on an 
 being in two different sizes. No. 500 cotton organdie foundation. 
 
Figure 2 
 
 The pattern forms a border scalloped on the one in each corner, and one on each side. 
 
 inside edge. In the center of the spread there Because of the large size of this piece of 
 
 is a very large medallion, with a plain space lace, and in order to do justice to its exquisite 
 
 for the monogram. Distributed along the workmanship, we have reproduced here only 
 
 center of the spread, between the border and one corner. The three other corners are the 
 
 the medallion, are eight lace bow-knots, same as the one shown. 
 
 59 
 
Brussels Lace 
 
 Here is one of those laces whose fineness ship may he executed by this new system of 
 
 and delicacy make it seem incredible that it embroidery without worry or difficulty. A 
 
 should have been produced I)y a Singer specimen of this beautiful work is shown in 
 
 Sewing Machine. Nevertheless, the instruc- Fig. 2. which illustrates part of a Spanish lace 
 
 Figure i 
 
 tions that follow will soon convince you that 
 with the aid of this machine nothing can be 
 easier or more quickly done. Your experience 
 in making this lace will show how this and 
 other fine laces of the most delicate workman- 
 
 mantilla. The illustration hardly does justice 
 to the exquisite detail in this work. Fig. i 
 illustrates a table-cover made of this lace, em- 
 broidered in cotton, to which we shall refer in 
 the brief explanations required by this work. 
 
 60 
 
A fine double-thread, round mesh net is used recommended in the former lessons for lace 
 in making this lace. Stamp the pattern on the making where this same material was em- 
 net. Have the tensions on the machine slightly ployed. 
 
 Figure 2 
 
 loose so that neither will draw, and then pro- Place on the machine Xo. 150 thread for 
 
 ceed to cover every line in the design with the the openwork stitches and a Xo. 00 needle 
 
 Figure 3 
 machine stitching, using No. no thread, and have the tensions slightly loose. This 
 When placing the net in the embroidery frame work simply requires that each tiny leaf, stem 
 you will have to observe all the precautions etc. shown in the design be covered with 
 
 61 
 
small machine stitches, or that the larger 
 spaces be filled in with short interlaced 
 stitches in the holes of the net. These stitches 
 need not be very heavy nor overlap, but they 
 should always lie close together and follow 
 the direction of each figure, especially in the 
 case of scrolls or leaves. 
 
 many uses to which this lace may be put, as 
 you have probably seen it innumerable times, 
 particularly in fine handkerchiefs, sash cur- 
 tains, etc. When the pattern is relatively' large, 
 a very fine lace braid, such as is employed in 
 making English point lace, may be used to 
 outline the flowers, medallions, etc. If this 
 
 Figure 4 
 
 The outlines should be finisheil with a tin_\-. 
 one-strand cord, giving firmness to the straight 
 or scalloped edges. If greater variety be de- 
 sired, any band or ribbon motif appearing in 
 the pattern may also be outlined with this 
 cord. 
 
 It hardly seems necessary to describe the 
 
 be used, omit the corded edge referred to be- 
 fore. If you wish you may embroider open- 
 work centres in the flowers using the finer 
 lace stitches, as is shown in Fig. 4, which illus- 
 trates an unfinished piece of work held by the 
 embroidery hoops. 
 
 \\'hen this lace is finished it should be placed 
 
 62 
 
Figure 5 
 
upon a stretcher especially made for this pur- 
 pose. While on the stretcher brush the wrong 
 side of the lace lightly with a very weak solu- 
 tion of gum arable and water ; allow this to 
 dry. 
 
 The machine-made laces have acquired con- 
 siderable importance in ecclesiastical decora- 
 tions, being used for altar-cloths, albs, etc. 
 When used in this way a very fine, com- 
 plicated design is generally selected. Man\- 
 of the hand-made pieces give evidence of in- 
 exhaustible patience, only explained by the 
 tenacious persistence of some devotee who 
 has kept a vow at the cost of her eyesight. 
 
 Fortunately the tedious phase of this work 
 has been eliminatetl by the rapidity with which 
 it may be done on the Singer Sewing Alachine. 
 Many of the convents and asylums abroad have 
 grasped this fact and the more skilled nuns 
 have been instructed in this system of em- 
 broidery. In Fig. 3 is illustrated the t^r^t 
 piece of work done by one of these nuns after 
 a few lessons. 
 
 In those finished pieces of work illus- 
 trated in these lessons, it is proposed to pre- 
 sent reproductions of the most select examples 
 of machine embroidery. They are marvels of 
 execution, elegant in design and correct in 
 style. 
 
Novelty Lace 
 
 This is what they have called it. If 
 any of you wish to give it another name you 
 may, in all freedom and without fear of cor- 
 rection. No one knows who named it, but it 
 is still called Novelty Lace without having 
 aroused a protest or claim. It is a combina- 
 tion formed of some of the features of English 
 point and Richelieu with a modicum of ap- 
 plique on net, and has been very happily re- 
 ceived. 
 
 illustration was embroidered on white in yel- 
 lowish silk, producing an elegant and delicate 
 cream colored effect. 
 
 The materials used for making this lace are 
 silk batiste and a very fine round mesh net. 
 
 Stamp the design upon the batiste. Then 
 place the net under the batiste, baste them 
 together, and span the two materials with the 
 embroidery hoops. 
 
 Whenever two materials are used, they 
 
 This lace is largely used in toilet furnishings, 
 spreads, eider-down quilt covers, etc. Used 
 in this connection it is both exquisite and rich, 
 but it is considered most attractive as a trim- 
 ming for ladies' dresses. Nothing more mag- 
 nificent nor handsomer can be imagined if the 
 embroiderer understands how to combine the 
 shades of silk used in the lace so they shall 
 harmonize with the color of the gown itself. 
 The sample which serves for the accompanying 
 
 should be basted smoothly and evenly together, 
 not only around the outside of the goods, but 
 also here and there through the center, before 
 they are put into the hoops. 
 
 The machine should be made ready with a 
 No. oo needle and with medium tensions. 
 Use No. no thread for tracing design, and 
 No. 150 thread for stitches and cording. 
 
 The work should be begun by basting the 
 cord on the stems, making it firm, and then 
 
proceed to cut away the material, being care- 
 ful to cover the outlines of the design twice 
 with an ordinary machine stitch. { See B in 
 the illustration.) 
 
 Cut the batiste away from two or three of 
 the petals of the flowers leaving the net on 
 which some lace stitches should be worked, 
 making them as fine as you possibly can, as 
 shown in C and the other petals of the same 
 shape. 
 
 In the centre of the flowers you may either 
 cut away the batiste and embroider the lace 
 stitches on the remaining net, or if you prefer, 
 fill this space with a spider-web, in that case 
 cutting away the net as well as the batiste, as 
 is shown in the different flowers in the sample 
 accompanying these directions. Some of the 
 flower petals may simply have for ground- 
 work the batiste itself. 
 
 Now proceed to fill in the groundwork, 
 using the picot stitch described in English 
 point. 
 
 This stitch should be very open, and in 
 order to preserve this appearance use an em- 
 broidery stiletto to hold the different stitches 
 apart where they cross each other, reinforcing 
 them at those points by taking three or four 
 stitches as in making an eyelet. 
 
 The stems of the flowers are made of cord 
 covered with fine close stitches. The leaves 
 attached to these stems should be treated the 
 same as the petals of the flowers, namely, al- 
 ternating the openwork centres with those of 
 batiste to suit your own fancy. 
 
 Having finished the work thus described, 
 proceed to outline the flowers, leaves and bor- 
 ders of the lace with a four or five-strand cord. 
 
Point Lace 
 
 This handsome lace is much used for trim- 
 ming ladies' gowns and especially for trous- 
 seaux and layettes. 
 
 Stamp the pattern on the batiste; lay this 
 on a piece of ecru net somewhat larger than 
 the pattern itself, baste materials together care- 
 
 pattern, in accordance with the oft repeated 
 rule. In other words, the outline is to be gone 
 over twice with the machine stitching because 
 the lace does not have any foundation when 
 finished, necessitating having the edges rein- 
 forced. Now cut all the cloth awav from the 
 
 
 ,m 
 
 >m 
 
 
 Figure 
 
 fully and span with the embroidery hoops. The 
 machine should be prepared with a No. oo 
 needle, No. 120 thread, and both upper and 
 lower tensions should be medium. 
 
 When making this lace (See Fig. i ) two 
 rows of stitching should be used to outline the 
 
 design, leaving the net alone. Use No. 150 
 thread and begin to cover the net with a 
 very fine lace stitch wherever indicated by the 
 pattern. (See A. Fig. i.) This also applies 
 to the small leaves and petals of the flowers. 
 .After this work has been done in the entire 
 
 67 
 
space embraced by the embroidery frame 
 begin to cut away the net from what we shall 
 call the groundwork of the design (B, Fig. I ), 
 and as soon as it is cut away fill the ground- 
 work with a picot stitch as ilescribed in the 
 English point. 
 
 These details having been carried out it is 
 now only necessary to outline the design with 
 cord, using a six-strand cord for this work. 
 
 golden dream, may increase their happiness by 
 adding to their trousseau a set of lingerie 
 whose principle value and merit would consist 
 in the fact that it is their own handiwork. All 
 your embroideries may be due to your own 
 labor and intelligence W'ithout any great effort 
 nor the necessity of devoting unlimited time to 
 their making. The bridal set alluded to com- 
 prised an underskirt, chemise, nightgown. 
 
 Fisrure 2 
 
 Iron the work with the greatest care. The 
 design for this lace shown here was copied 
 from a rich and elegant bridal set of under- 
 wear. Apart from its great merit, it is a 
 demonstration of the convenience and utility 
 of this system of machine embroidery, be- 
 cause, with this rapid and efficacious method, 
 the voting ladies who are about to realize their 
 
 drawers and corset cover. In order to give you 
 some idea of this work, the drawers are 
 reproduced in Fig. 2 and the nightgown in 
 I-^ig. 3. You will notice in the illustrations that 
 the design consists of medallions of two dif- 
 ferent sizes, joined together with smaller ones. 
 All the pieces of the set are made of nainsook 
 on which the embroiderv has been done. 
 
 68 
 
Figure 3 
 
Cluny Lace 
 
 As in the case of Brussels Lace, described 
 ill the former lesson, round mesli net should 
 be selected. The pattern should be stamped 
 on the net. and the design stitched twice over 
 all that is in the hoops. (See A. Fig. i.l 
 Prepare the machine with a No. oo needle and 
 No. 150 thread, having both tensions slightly 
 loose. 
 
 openwork design should be embroidered on 
 the net itself, using a few stitches to indicate 
 the central vein in the leaf. Around this, at 
 an equal distance from the border, run a row 
 of stitches covering the centre of the leaf with 
 the stitching. In other leaves after outlining 
 the central vein you may fill in the space be- 
 tween the latter and the edge of the leaf with 
 
 Figure i 
 
 When placing the net in the embroidery 
 hoops the same precautions should be observed 
 as in making other laces, in order to obtain the 
 tautness necessary without pulling the design 
 out of shape. 
 
 Begin by cutting the net away from the 
 centre of a flower (B, Fig. i ) and fill the open- 
 ing left with a web stitch with four symmetric- 
 ally distributed knots. 
 
 The small leaves, or petals, surrounding thi-' 
 
 tiny embroidered knots placed in alternating 
 holes in the net. No other embroidery will be 
 necessary in these leaves. Surround the open- 
 work centres of the flowers with a ring like 
 the crocheted ones used in Battenburg, but 
 without using cord as a foundation, the ring 
 to be brought out into relief by stitches carried 
 from the centre to its outer edge. The pattern 
 contains other leaves which instead of being 
 filled in with the web stitches are composed of 
 
small bars crossing from one edge to the 
 other (C). After these bars are made, a 
 thread should be carried across the centre, 
 which is to be knotted on each bar, thus 
 preserving an equal distance between them. 
 The rings shown in this design serve as a 
 groundwork or support for its other figures. 
 They are made of cord with a knot in the 
 center, the same as those shown in the netting 
 or filet designs, but are smaller in size, as may 
 be seen in the illustration. Finally, outline all 
 the figures in the pattern with a four-strand 
 
 Imagine the admiration won by an entire 
 costume of this lace which was seen at a ball, 
 worn by a young lady noted for her beauty. 
 That which heightened the interest with which 
 this young lady was regarded, who with at- 
 tractive grace, increased the brilliancy of her 
 charms by wearing so rich and original a gown, 
 was the fact that the work thereon was all her 
 own, the product of her own hands, and due 
 to herself alone. She was heard to state this 
 several times with great pride to her friends, 
 who looked at her with admiration not un- 
 
 Fieure 2 
 
 cord, and having finished as much of the de- 
 sign as the embroidery frame will hold at 
 one time, cut the net groundwork out as closely 
 to the corded edge as possible. For this pur- 
 pose it is advisable to use a very fine pair of 
 curved manicure scissors. In order to give 
 you a better idea of the beauty of the collar, 
 part of which is used as an example in Fig. i, 
 it is reproduced in its entirety in Fig. 2. You 
 may thus judge of the handsome effect it 
 would produce in conjunction with a child's 
 daintv dress. 
 
 tinged in some cases by incredulity. She had 
 taken a few lessons in making this lace on 
 the Singer Sewing Machine, and credit for the 
 successful result was no doubt partly due to 
 her aptitude for the work and her intelligence 
 and persistent application. 
 
 We have cited this case with the object of 
 stimulating to constancy in practice of machine 
 embroidery, feeling certain that in every case 
 a reasonable amount of application will ensure 
 satisfactory results. 
 
 71 
 
Hemstitching 
 
 Probably there is nothing more used in or- 
 namental needlework for home use than hem- 
 stitching: in this, as in every other kind of 
 sewing, the Singer machine takes first place. 
 What a difference from the old time tedious, 
 eye-straining process of handwork, in which 
 our grandmothers took such pride, to the de- 
 lightful pastime of accomplishing so much in 
 an amazing!}' short space of time on the Singer 
 machine. 
 
 The machine is to be adjusted as previously 
 described for embroidery. 
 
 For a plain hemstitched hem draw several 
 threads, six or more, according to the witlth 
 you want the space to be at the top of the 
 hem; it should not be too wide, as in that case 
 the threads would not stay in place. Crease 
 the first turn of the hem evenly, then fold it 
 over exactly on a line with the lowest or first 
 thread drawn, baste with rather short stitches 
 far enough away from the top of the hem not 
 to be caught by the needle while hemming. 
 Have the tension medium tight ; the needle 
 and thread must be chosen to suit the texture 
 of the material. For instance, when hemstitch- 
 ing a sheer material like Persian lawn use 
 No. 200 thread and a Xo. 00 needle. For this 
 work do not use an embroidery hoop, as that 
 requires sewing muslin on the edge of the hem, 
 which would leave a mark. Have the right side 
 of the work uppermost, and place the top of 
 the hem directly under the needle. Picginning 
 at one extreme end, take one or two tiny 
 stitches in the same place to fasten the thread, 
 holding the hem down on the machine per- 
 fectly smooth and rather tight with the thumb 
 and forefinger of the left hand, the thumb 
 
 on the near side of the needle, the finger on 
 the far side ; with the right hand take hold of 
 the work so that you can move it as you wish. 
 
 Take the first stitch forward, the second 
 stitch back in the drawn threads, (this is to 
 hold the threads in place), then one stitch in 
 the hem. When you reach the end of the hem. 
 take one or two fine stitches to fasten. Re- 
 member, one stitch forward, one stitch back 
 in the threads, one stitch in hem. 
 
 To make the hem more elaborate, the stitch 
 called the zigzag is very effective : it can l)e 
 used as an insertion as well as for a hem. In 
 either case the manner of working is the same, 
 but the threads arc drawn differently for an 
 insertion. 
 
 It is not necessary to count the threads for 
 an insertion, measuring the goods is more ac- 
 curate, as the threads of the warp are apt to 
 be a little heavier than the woof. Pleasure 
 the distance you desire the insertion to be from 
 the hem and draw the first thread, then draw 
 as many threads as you want the insertion to 
 be wide. 
 
 Now suppose you are going to make a very 
 elaborate doylie with a hemstitched hem, a zig- 
 zag insertion and embroidery in the center. 
 Draw one thread to mark the width of your 
 hem on all four sides, draw two threads to 
 mark the width of the insertion, then have 
 }our embroidery design stamped and make 
 that first. If the threads are not drawn first 
 there is no certainty that the embroidery will 
 be straight. \Mien the embroidery is com- 
 jjleted. draw the rest of the threads for the 
 insertion. After the threads are drawn. }dii 
 will find that you have an open square at each 
 
 72 
 
one of the four corners ; these may be filled 
 in, after the zigzag insertion is made, with 
 any stitch which your fancy suggests. 
 
 The threads being drawn, span the work in 
 the frame, draw tight and have the drawn 
 threads perfectly straight. To make the zig- 
 zag: After the work is placed on the machine 
 take two or three fine stitches to fasten the 
 threads ; begin about % of an inch from the 
 material and catch a cluster of threads, about 
 
 caught and proceed in this manner until the 
 border is finished. 
 
 Before you change your work in the hoop, 
 while you are making the border put what- 
 ever stitch you decide upon in the corner after 
 the zigzag is done on either side. When you 
 have made the corner stitch, cord the two out- 
 side edges of the corner with a very fine cord 
 to make it firm. 
 
 When the border is finished press the work 
 
 1 
 
 f( 
 
 I fC^liii'miijmmn^vyi'r 
 
 
 .1..,, 
 
 /l.fcUki*»^*-»'^^*'******'*»^**»i*»*H4i».H»*4»»«»»»»i******J** 
 
 A<ltl'l'W||.,>« 
 
 Linen DoylJe 
 Hemstitching, Drawn Work and Byzantine Lace. 
 
 fourteen ^14), fasten together with three 
 stitches, then work down three stitches on half 
 of the cluster of threads first fastened to- 
 gether ; this will bring you ys of an inch from 
 material on the opposite side from which you 
 started; catch seven (7) threads and fasten 
 with three stitches to the half cluster of 
 threads you are now on, work down three 
 stitches on the seven ( 7 ) threads you last 
 
 by pinning it at the extreme edges, right side 
 down, on a padded table or board ; be sure 
 that it is perfectly smooth and tight, then wet 
 it with a cloth dipped in clean cold water. 
 Leave it pinned down imtil it is thoroughly 
 dry. Do not iron it. When it is dry take it 
 up, straighten the edges, draw the rest of the 
 threads and make your hem as already de- 
 scribed — then iron the dovlie. 
 
 73 
 
The making of hemstitched tucks is a Uttle 
 more difficult than that of the hemstitched 
 hem. Xot that the process of hemstitching is 
 more difficult, for it is exacth- the same, but 
 there is much more measuring where there 
 are a number of tucks, and unless the meas- 
 urements are accurate and the basting care- 
 fully made the effect is spoiled. The dainty 
 
 ing the work and hemstitching, as we said in 
 the beginning, are the same as in making the 
 hem. 
 
 There is no end of effective combinations 
 in lace insertion, or embroidery with hem- 
 stitched tucks, as well as beading of any 
 width desired. Ribbon may be used if it 
 pleases one's fancy. In our illustration we 
 
 Example of Hemstitching:, Tucking, etc. 
 
 skirt shown in this page is a good illustration 
 of this pretty work. 
 
 Tucks and spaces must be carefully deter- 
 mined and measured : after the threads are 
 drawn, follow the instructions in the forego- 
 ing article about basting a hem. 
 
 Use a fine needle and thread for basting 
 and take short stitches. The manner of hold- 
 
 have shown a simple design of hemstitched 
 tucks and lace, realizing that those using the 
 Singer Sewing Machine can easily make more 
 elaborate ones if they so desire. Any one 
 who owns a Singer Sewing Machine is well 
 equipped to undertake all varieties of needle- 
 work. 
 
 74 
 
Mexican Drawn-work 
 
 KIRST F»ARX 
 
 This work is frequently employed to ailorn 
 napery and other household linen in general. 
 It is also effective in scarfs, blouses and other 
 articles of personal apparel when made of 
 materials that permit the drawing out of 
 threads. The embroidery is done on the re- 
 maining threads, running one way of the 
 
 shown in 1^'ig. 2. Use Xo. o needle and Xo. 
 1 10 thread. 
 
 Once the threads are drawn, great care 
 should be taken to place the work properly in 
 the embroidery hoops. The goods must be 
 kept perfectly straight (])articularly if the 
 work is being done on a fine linen) and the 
 
 kVA*JtAMA.VA*'>A.VA*/A*A<LV«ViVVVt'%<V4^^^^^ 
 
 mmmamutfrnm 
 
 mm 
 
 Figure i 
 
 goods, after the threads running in the op- 
 posite direction have been drawn out. We 
 shall first describe the work done in crosswise 
 strips like an insertion, which is the form in 
 which it usually appears. Let us select, for 
 instance, a suitable towelling, drawing the 
 threads wherever we think it advisable to 
 place the insertion, so that when this part of 
 the work is done it will have the appearance 
 
 parallel edges of the drawn band must be kept 
 perfectly even with the thread of the goods. 
 
 In doing the hemstitching use No. no 
 thread. No. o needle and have the tensions 
 the same as described in the article on Filet 
 Embroidery. 
 
 By carefully examining Fig. 2, you will 
 readily see the various stages of this work, 
 from beginning to end. 
 
 75 
 
Begin the work by forming tlie lienistitclied 
 bars shown in the engraving marked B, using 
 from eight to ten threads to form each bar. 
 The greatest care should be taken to have 
 exactly the same number of threads in each 
 bar. This is particularly so when you begin 
 work along the second margin of the open- 
 work band, when the same group of threads 
 must be fastened together each time, as shown 
 in the illustration. 
 
 Start at the middle of the insertion and 
 gather the bars just formed into groups of six 
 bars each, as shown in the section of the 
 illustration marked C, holding them firmly by 
 means of several stitches. Allow the thread to 
 form a fine twisted cord along the center of 
 the bars, connecting the groups of six, as 
 shown from C to D. Going back to the first 
 group of hemstitch bars, do the work shown 
 in D, drawing together three bars and holding 
 them together with a heavy knot placed about 
 a third of the way between the center of the 
 bar and the outer edge; then carry the cord 
 along to the next immediate three bars to lie 
 held together in the same manner. 
 
 From this last point pass to the center of 
 the next group of bars, designated as E, and 
 there fastening the cord, proceed to the first 
 third of the next following group, designated 
 as F, which, as you will note, is connected 
 with the opposite side of group D. In group 
 F do the same work already done in group D : 
 then pass on to group G ; thus forming a wav- 
 ing line of cord to the end of the drawn-work 
 band. Now turn back and repeat this work on 
 the opposite side of the centra! knot. If we 
 return to the first group and repeat this oper- 
 ation, placing the second series of knots nearer 
 the margin of the insertion and, always 
 preserving the undulating lines of the cord, 
 make a raised knot on every two bars instead 
 of separating them into groups of three as at 
 first, and. finally, if we form a raised knot on 
 each separate bar, we shall have alternating 
 groups as shown in F and E. We shall now 
 take up the part of the design shown in group 
 G, \vhich is a closely woven stitch not unlike 
 darning, because up to the present the un- 
 dulating lines have merely been drawn together 
 in the center of group E. 
 
 As we have described this design as begin- 
 
 Figure : 
 
 -6 
 
iiing with tliL' line of two knots in the center 
 and ending with the Hne of four knots near 
 the margin of the work, it would be 
 well to state here that this method may be 
 reversed so as to begin the design with the 
 four outer knots and end it with the two 
 center ones. 
 
 As it is most important to keep the groups 
 of bars at an equal distance from each other, 
 to preserve the evenness of the work, so that 
 group F shall not be pulled out of shape, you 
 may readily determine for yourself which 
 side you would better begin the work, in order 
 to judge best the distances. 
 
 Group G : relating to the closely woven cen- 
 tral part of the design formed on the three 
 undulating lines of cord that meet there, and 
 the bars, which should be combined in groups 
 of three. This woven stitch is made by laying 
 the three cords side bv side, being careful to 
 
 keep them flat, and covering them with short 
 stitches. In order to do this, a stitch must be 
 made immediately in front of the first cord, 
 between the first and second one, between the 
 second and third one and directly after the 
 third one. This same treatment should be given 
 the groups of three bars. This finished stitch 
 which suggests a woven surface, should cover 
 the cords and bars so as to show the original 
 undulating outline. Begin at the center of 
 the figure and work half way up until the 
 eight rays or starlike points have been com- 
 pleted, as shown in the illustration. 
 
 Fig. I shows the border of a silk scarf, 
 embroidered in silk thread, from which the 
 foregoing detail was taken, and contains other 
 combinations and narrower bands of open- 
 work, forming a very beautiful ensemble, 
 which commands our admiration because of 
 the elegance and precision of the work. 
 
 SECOND F»ARX 
 
 In the First Part of this article attention as insertions, anti 
 was asked only to those designs adapted to use ing out threads r 
 
 5 ******'*»>»H»l,,fr«f,T*f,|,Ti«MI»W*»T.fM»T»»|s»|lf,»ll»ti 
 
 Figure 3 
 
 which are formed by draw- 
 unning only one way of the 
 cloth, making an appropri- 
 ate trimming for towels, 
 scarfs, etc. But if this style 
 of drawn-work is to be ap- 
 plied to table-cloths, hand- 
 kerchiefs and similar arti- 
 cles, in which the open- 
 work bands cross each 
 other at right angles, the 
 threads will have to be 
 drawn out lengthwise of 
 the material as well as 
 crosswise. This also applies 
 to those designs in which 
 the openwork band is 
 formed of various squares, 
 as shown in the illustra- 
 tions in this lesson. In both 
 instances when two threads 
 are drawn out of the ma- 
 terial, one running length- 
 wise and the other cross- 
 wise, a small square open- 
 ing is perceptible, which is 
 equivalent to cutting out 
 the cloth and working in 
 the open space. But the 
 
 77 
 

 Figure 4 
 
 method now under consideration and its ap- 
 plication is so different from that described 
 in the article "First Openwork Stitches." that 
 it is worthy of a special description. 
 
 Examine the work reproduced in Figure 3, 
 which shows a corner of one of a much ad- 
 mired traycloth. and you will at once under- 
 stand that we are now considering an entirely 
 different kind of work, although there is a 
 strong resemblance between the two and the 
 method of working is almost the same. Your 
 own good sense will prove to you that it would 
 be useless to undertake this work without 
 having first mastered the details given in 
 "First Openwork Stitches." 
 
 The work illustrated in Fig. 4 has been so 
 arranged that each stage of the embroidery is 
 illustrated in a series of three squares. This 
 will enable you to appreciate the consecutive 
 details that have been superimposed thereon 
 in order to bring the work to completion; 
 therefore, if you will compare one line of 
 these squares with the following one, you will 
 easily distinguish the proper order in which 
 the various stitches follow each other. 
 
 Let US begin with the squares marked A, 
 which show the material after the threads 
 have been withdrawn in only one direction, 
 leaving two parallel lines of perfect cloth be- 
 tween the two drawn-work bands, which are of 
 equal width. The cross-threads that have not 
 yet been drawn should be cut along the edge 
 marked B and at the corresponding edge on the 
 other side, leaving at the outer edges two more 
 bands of perfect material equally distant from 
 each other, so as to form a perfect square. 
 Remove the threads just cut. leaving open 
 squares as shown in section C. The cloth now 
 being ready for work, begin at D and draw a 
 corded thread diagonally across the square to 
 the opposite corner, wdiere the crossbands of 
 cloth have formed a tiny solid square. Fasten 
 the thread here with several stitches, taken 
 diagonally from corner to corner. Repeat this 
 operation in all the open squares found within 
 the embroidery frame, always working diagon- 
 ally and in the same direction. Return over the 
 same ground already covered and repeat this 
 operation in the two opposite corners of tiie 
 
 78 
 
squares, giving them the appearance 
 shown in E. The small linen squares 
 formed b}- the cross-bands should also 
 be covered with a cross-stitch. 
 
 Square F. — Begin at the edge i and 
 fasten the threads with one or two 
 stitches, going from this point in 
 a straight line to the center, where 
 the retaining stitches should be re- 
 peated; then pass on to 2, there form 
 a small knot, taking up half the 
 threads contained in the intersecting 
 bands. Do the same with the balance 
 of the threads, and carry the em- 
 broidery thread to the center of the 
 next square ; after fastening the 
 threads there pass on to 3, always re- 
 peating the tying together of the 
 threads that compose the intersecting 
 bands separating the open squares, as 
 was done in 2 : go on to the center of 
 the next square until you have reached 
 4, and do not forget properly to place 
 the retaining stitches at each point in- 
 dicated. At 4 start at the beginning 
 of the first inside line so as to come 
 back over the ground just covered, 
 passing over the centers and making 
 the little knots in each half of the 
 threads composing the intersecting 
 bands, until the four threads shown in 
 F between the original diagonally 
 placed threads are completed. In or- 
 der to finish this part of the work, as 
 shown in G, simply repeat the process, 
 filling in the other sides of the square 
 as already explained. 
 
 In order to complete this work as 
 shown in the two remaining series of 
 open squares consisting of three 
 squares each, beginning with F, simply 
 follow the instructions for Fig. 5 in 
 the lesson on "First Openwork 
 Stitches," as it is the same design. 
 The embroidery in square H is the 
 weaving stitch described in a former 
 lesson. Here five of the radiating 
 lines are gathered in at one time and, 
 in the center, include the diagonal 
 threads first placed within the square, 
 which are covered with the weaving 
 
 Figure 5 
 
 79 
 

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 lOISiatQlSlOtD- 
 
 
 ig>DtO'Cig'6<6< 
 idiDiOiD'O'O'Oi. 
 
 itotO'S'?'? 
 
 •Jio»o<n'L _ _ _ 
 
 ._^ _ ^ _ _ - 5. _ _-; - C.S,o.6.O'fl»«'6'0'6'9'0'Dr0.OI 
 
 tdia<a'6id'Die<5<§>6>o>a<a>ata<iitd>o>a*6>6>6i^>D'Q'6'fi'g'0<a<g> 
 
 ,_,^ , ^ ^r -. ^ = V'?'^***^"«>*f 
 
 
 Figure 6 
 
 
 Figure 7 
 
stitch for one third of their lengtii, then freed, and one combinations and designs, and may 
 
 the lateral lines alone being covered, then be used to trim any material from which 
 
 again taken up, all live lines being covered threads can be extracted. 
 
 with tlie weaving on the last third of their As an example of the results obtainable 
 
 length, as in the beginning. from this work and of its many applications. 
 
 This drawn-work lends itself to a thousand in Fig. 5 is shown a linen towel embroidered 
 
 iiniiiiijiiiiiiiiiiinmuiiiiiiiiiBiim^^^ 
 
 \mmmmwmm 
 
 Figure 8 
 81 
 
with cotton. Fig. 6 reproduces part of a panel ican drawn - work to-day, we insert here 
 
 made entirely of drawn-work done on linen several pages of illustrations, showing the 
 
 and embroidered with cotton thread. Fig. ; many ways in which the various designs may 
 
 shows a beautiful scarf of the same work, in be applied, and have no doubt that they 
 
 brocade embroidered with silk. will prove of interest to all who attempt this 
 
 In view of the popularity enjoyed by Me.x- work. 
 
 I Ifili/I 
 
 IVim'U/Mri'i 
 
 I fi 
 
 
 « 
 
 ■A 
 
 »^* 
 
 i 
 
 > 
 
 
 »f 
 
 -•*.»*' 
 
 
 Figure 9 
 82 
 
mwm 
 
 
 Figure lo 
 
 Figure ii 
 
Teneriffe Wheels 
 
 This lace is most appropriate for trimming and the Teneriffe wheels are fastened to this, 
 
 household linen, (such as a centerpiece, a bu- making a border. The wheels are made sep- 
 
 reau scarf, napery, etc.) but its use has become arately, one at a time, and are afterwards fas- 
 
 so general that many ladies use it to trim silk tened to the scarf with a very fine cord, as in 
 
 or batiste blouses and even entire summer the case of any other lace. 
 
 Figure i 
 
 dresses. It is both elegant and economical, as 
 it can be made with very little effort and at a 
 trifling expense, the time consumed in doing 
 the work by machine being much less than 
 when done bv hand. 
 
 The stitches and form of these wheels give 
 the name to the lace. Made separately they 
 are afterwards joined in groups, forming ro- 
 settes, or in strips, to be used as insertion or 
 an edging. .Sometimes large circles are made 
 
 Figure 2 
 
 You will note in the table scarf shown in 
 Fig. 4, the greater part is taken up with Mex- 
 ican drawn-work, which has already been de- 
 scribed. The drawn-work forms the foundation 
 
 Figure 3 
 
 of the individual wheels, producing a very 
 effective dress trimming. 
 
 Take any ordinary cloth that is free from 
 dressing (it will not show as it will all be cut 
 
 84 
 
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away) and trace a circle on it, using, if pos- 
 sible, a compass in order to insure greater 
 accuracy. Cover the outline of this circle 
 with two or three rows of stitching, then cut 
 out the cloth. Now drive the needle through 
 one of the lines of stitching at the edge of the 
 circle, and after fastening the thread with sev- 
 eral stitches, draw the thread straight across 
 the circle, fastening it with several stitches at 
 a point diametrically opposite to its starting 
 point. Make one stitch back, or towards the 
 outer circumference of the circle, then bring 
 the thread back across the circular opening, 
 beside the first thread and crossing this, as 
 though you were about to make a spider-web. 
 (See Fig. i.) Continue to fill the open circle 
 with threads placed about a thirty-second of 
 an inch apart until the entire circumference 
 has been covered, making each thread across 
 the others in the center, and fastening it with 
 a stitch or two at the edge. The work now 
 to be done makes it necessary that there should 
 be an even number of these threads. 
 
 In the middle, where the threads cross, make 
 a small closed circle, iising the weaving stitch 
 used for making the solid center in a spider- 
 web. Divide the space between this solid 
 center and the edge of the circle into three 
 parts, and beginning at the third nearest the 
 center, make a circle of thread formed by 
 taking up the cross threads of the web in 
 
 bunches of four; then pass on to the second 
 third of the division (see Fig. 2) still continu- 
 ing to take up just four threads each time, but 
 taking two from each two preceding groups 
 instead of the same four. Now make the cir- 
 cle of thread at the point indicating the last 
 third of the original division, taking up only 
 two threads, one from each of every two pre- 
 ceding groups. (See Fig. 3.) 
 
 The wheels should now be entirely separated 
 from the cloth. Do this by ravelling out the 
 latter, so as not to break any of the stitches 
 made in the beginning between the cross 
 threads, as these form an edge of tiny loops, 
 by which the wheels may be fastened together. 
 
 When this is done place the wheels on the 
 material in any position you please, being care- 
 ful to have each wheel smooth ; then stitch 
 around twice, as you do in outlining the de- 
 sign : cut the cloth away from the back and 
 put a fine cord around each wheel, covering 
 it, as you have been already instructed. A 
 most elaborate and beautiful border can be 
 made of Tenerilife wheels, placed close to- 
 gether and corded, the outside edge can be 
 cut away the same as a scallop. 
 
 By varying the number of threads taken up 
 when making the stitched circles around the 
 wheel and the arrangement of the groups of 
 thread, a variety of patterns may be worked 
 out. 
 
Velvet Applique. 
 
 Photographic reproduction of actual work done on a Singer Family Sewing 
 Machine without special attachments. 
 
Velvet Applique 
 
 Having finished the description of the larger 
 number of laces that were thought to be of 
 interest, we will now take up a new series of 
 embroidery. There are very many of these, 
 but we shall explain only the best known, the 
 
 face down, then cloth or satin on top of it, face 
 down, then the crinoline with the stamped 
 design uppermost, on top of all. See that the 
 materials are perfectly smooth and even, and 
 then tack them to the table by driving a pin 
 
 Figure i 
 
 most practicable and best adapted to general 
 use. Tkis one is the work known as ap- 
 plique, and we shall describe the easiest way 
 to execute it with the invaluable aid of the 
 Singer Sewing Machine. 
 
 The first operation is to stamp the design on 
 crinoline. Then lav the velvet on a table. 
 
 through them at each corner and along the 
 sides at equal distances to keep the various 
 materials tight. Baste the materials together, 
 keeping on the lines of the design so that no 
 marks will be left on the velvet. For basting 
 use a curved needle, Xo. 6 Milliners and No. 
 40 thread. (To curve needle, heat and bend 
 
 87 
 
Figure 2 
 
with two pairs of pliers while hot.) The work 
 is now ready for the machine, as no em- 
 broidery hoops are needed for this work. 
 
 Trace the design with two rows of stitching, 
 using No. o needle and No. oo silk, of a color 
 to match the velvet. After the design has 
 been traced, turn the work over, which will 
 bring velvet on top, showing design traced in 
 silk, as plainly as it was stamped and traced 
 on the crinoline. The tracing must be done 
 in very fine stitching, the second row close to 
 the first one, but not on it ; this is to hold the 
 velvet that forms the design when the rest is 
 cut away. When the tracing is finished re- 
 move the bastings. 
 
 Now begin to cut the velvet away from the 
 design just a hair's breadth outside the tracing. 
 Use manicure scissors with long, sharp points. 
 Be very careful not to cut the material under 
 the velvet and only to cut the velvet away from 
 the spaces. The velvet forms the design. If 
 you cut away any of the design, the work will 
 be spoiled. Do not cut away too much at once. 
 Put the work on the machine, use No. 6 Tetz 
 cotton and cord on the edge of the velvet, 
 where you have cut it, covering the cord 
 smoothly and closely with silk of the same 
 shade as the material under the velvet. Use 
 No. o needle and No. oo silk. 
 • After the cording is finished, cut the crino- 
 line away from the back, as close to the stitch- 
 ing as possible, but be careful not to cut a 
 stitch. 
 
 Do not use an iron for pressing, but take 
 three thicknesses of muslin, wet them in clean, 
 cold water, and wring out partly, so that they 
 will not drip. Spread then smoothly on a pine 
 table, lay the work on it, velvet side up, draw 
 it tight and perfectly straight and tack it 
 
 enough to keep it so. It is well to sew a strip 
 of muslin all around the edge of the work, 
 and put the tacks in this muslin. Do not take 
 the work up until it is perfectly dry. 
 
 This applicjue may also consist of satin on 
 satin, satin on cloth, cloth on cloth, or of ba- 
 tiste, nainsook or bolting-cloth applied to net. 
 If these materials are used, it is not necessary 
 to employ the stiff linen, as the embroidery 
 frame may be used, because the difficulty 
 existing when velvet is used is absent in this 
 case. When the embroidery frame is used, the 
 stitching outlining the design must be done as 
 each additional portion of the work is placed in 
 the rings. This work is frequently used for 
 hangings, dresses, cloaks, spreads, sash 
 curtains and other household decorations. 
 Fig. 2 shows a handsome cover made of ap- 
 plique of velvet on satin and embroidered in 
 silk. 
 
 As you w'ill notice in taking up this new 
 series of embroidery, we have selected the most 
 simple and best adapted for the first lesson. 
 This offers the fewest difficulties, although we 
 may say that practically no difficulties at all 
 exist with the new method of embroidery once 
 you have thoroughly mastered the use of the 
 machine itself. As already explained in the 
 other lessons, as soon as you have succeeded in 
 learning how to cover the cord perfectly you 
 may well say that you have conquered all the 
 difficulties. Those who have attentively fol- 
 lowed the instructions and have, therefore, suc- 
 ceeded in learning to control the movement of 
 the embroidery frame, will appreciate the truth 
 of these assertions. Everything else is simply 
 instructions as to the preparation of the work 
 and the order in which the various kinds 
 should be taken up. 
 
 89 
 
Applique on Net. 
 
Net Applique 
 
 As a sequel to the preceding lesson and in 
 order that you may better learn the slight dif- 
 ference of treatment between appliques of vel- 
 vet already shown and of other appliques 
 not made of that material, we now describe 
 how to make net applique on a Singer Sewing 
 Machine. The knowledge of this work will 
 constitute a basis upon which to make com- 
 binations of various materials that may serve 
 
 Choose the material to be employed accord- 
 ing to your own taste and to the object to 
 which it is to be put. When it is to be used 
 for cording jabots, ladies' gowns, or even neck- 
 wear, very handsome results may be obtained. 
 
 Stamp the design on the material that is to 
 be used for the applique, then place this 
 on the net, which must have a round mesh. 
 The two materials must then be basted care- 
 
 N- 
 
 
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 ' ■ ^■'■■•SssiJs:-?t-:' 
 
 
 Figure i 
 
 as a groundwork for applique. The chief dif- 
 ference between net applique and that of velvet 
 consists in the manner in which the materials 
 must be prepared for work. When using net, 
 use the hoop embroidery frame, and eliminate 
 the stiff linen which is no longer necessary. 
 The net may be embroidered in beautiful lace 
 stitches, this form of the applique lending 
 itself to many combinations that are both 
 eleeant and beautiful in effect. 
 
 fully together, and placed in the embroidery 
 frame, care being taken to see that both are 
 evenly and firmly spanned by the hoops. Out- 
 line the design twice with machine stitching 
 as usual, covering all that part embraced by 
 the frame, then proceed to cut away the cloth 
 close to the stitching and outlining the pattern, 
 leaving the net representing the applique un- 
 covered as is shown in A, Fig. i. 
 
 Now proceed to embroider the lace stitches 
 
 91 
 
on the net These nia}- be varied at w ill by 
 selecting those stitches best adapted to the 
 design employed and best harmonizing with 
 each figure of that design. Of course, the 
 same figures must always contain the same 
 
 Figure 2 
 
 given 
 same 
 
 stitches, that is, all the petals of 
 flowers must be embroidered in the 
 stitches. Whatever stitch is selected for the 
 stems must be used in all the stems, and that 
 chosen for the leaves must again appear in all 
 
 the leaves. This will be made plain to you if 
 you will consult Fig. i. When this part of 
 the work is finished cord the outline of the 
 design, using a five-strand cord for the pur- 
 pose. If silk be not used, the cording and 
 stitches may be done with a No. 00 
 needle, and No. 150 thread. 
 
 Fig. 2 shows a section of a panel. 
 This elegant and artistic work is made of 
 appliques of bolting-cloth on net. The 
 handsome sprays of flowers that form 
 the design are of light cream-colored 
 bolting-cloth adorned with a combination 
 I if artistic lace stitches which we shall 
 describe later, and appliqueed on white 
 net. This produces an effect of charming 
 elegance and admirable simplicity. 
 
 The process is the same. The design 
 is stamped upon bolting-cloth. This is 
 laid smoothly on the net, held in place by 
 a basting stitch and then spanned by the 
 rings, the outline being again followed by 
 the machine stitching. Cut the bolting- 
 cloth out of those parts of the design to 
 be filled in with the lace stitches. Now 
 fill in the open spaces and cut the bolting- 
 cloth close to the machine stitching out- 
 lining the design, leaving the figures of 
 the latter uncovered and standing out 
 from the net. 
 
 The outlines should now be corded. 
 I '>egin this by first cording the stems and 
 branches, as these usually terminate in 
 the leaves and flowers. This enables you 
 to cover the joining more easily. 
 
 Here you have a work that unites 
 beauty and elegance with simplicity, and the 
 ease with wdiich this is done with the extraor- 
 dinary Singer Sewing Machine method will 
 enable you to finish scarfs, bed-spreads, and 
 many other objects quickly and satisfactorily. 
 
 92 
 
Index 
 
 Page 
 
 General Instructions 3 
 
 Shaded Embroidery ( Flowers ) 9 
 
 Art Embroidery 11 
 
 Raised Embroidery 14 
 
 Scallops, Beadstitch. Cording 18 
 
 Venetian Embroidery 20 
 
 Seed Stitch 23 
 
 English or Eyelet Embroidery 25 
 
 Shaded Embroidery on \'elvet or Plush 27 
 
 Gold Thread Embroidery 29 
 
 First Openwork Stitciies 31 
 
 Filet, Netting or Open Mesh Embroidery 34 
 
 Hedebo Embroidery 41 
 
 Richelieu Lace 43 
 
 Point X'enise 46 
 
 Renaissance Lace 49 
 
 English Point c^2 
 
 Duchess Lace 57 
 
 Brussels Lace 60 
 
 Novelty Lace 65 
 
 Point Lace 67 
 
 Cluny Lace 70 
 
 Hemstitching 72 
 
 Mexican Drawn-Work 75 
 
 Mexican Drawn-Work ( Second Part ) yy 
 
 Teneriffe Wheels 84 
 
 Velvet Applique 87 
 
 Net Applique 91 
 
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