n750 filil o > Ao. o V *r> O^ > ' ■ V, ^'^^ A \ 4 o /7 , O^ r\~ ,.^ .>^^A-o '-^^^ ,^ G^ °o ''<*'. ',^ ,0v ^0 '^^^ •;^: o £-0^ .0^ '. ° • V-^ , '-^^ 0^ o o. fj -V ■*■ V • », <; 5^ V- »-;■ -p. A ^o. ,V^ ^j 'o . . « ■ 9 -J' .^'^ „^^' ,,v %. ..- -.' ^.. ^' ^^ - ,0-' ,0 .^^^' ■^<^. =:.. V^C-. \V' :a vr\ . 1 '■ - - ,-,.;<> < ^•5' IX FANCY WORK ■fo|)Mii,-lii. l»9B, by J. F. INOAI.I.S. PRICP] :^.r) CKIISTTS. THE PHELPS PUBLISHING COMPANY SPRINGFIELD. MASS. INGALLS' MANUAL OF rancyWork New 1885 Edition! 80 Extra Pages! This New Edition has tqz Paiges of Patterns and Instructions for KENSINGTON EMBROI- DERY, ARTISTIC NEEDLE WORK, etc. It has 57 Illustration!, of Stitches, including South Kensington, Oulline, Satin, Feather, Cross, Persian, Tent, Tapestry, Star, Irish, Hem, yanina. Wound, Knot, Chain, Button- Hole, Pilling, Ornamental Stitches /or Flannel, Stem, Open Work, Ribbon Work, Application, Point Russe, Snovj Flake, 21 new Renaissance Stitches from Paris, etc. Gives a list of the Fabrics and Materials used in Fancy Work ; has a fine collection of Artistic Designs, includ- ing Table Scarf, Piano Cover, Designs for Outline Tidies, Banner Screen, Daisies in Ribbon Work, Banner Thermometer, Bro- cade Sachet, Tassels for Fringes, Knot- ted Fringes, Squares for Patchwork, LAMBRKm1, Innocence, "JPeach Bios- Ferns, M'lunuin Ash, > Geranium, Blackberry ^ in embroidering' It IS, Sun Flowers, I ', Apple Blossom ,!s, I'itic Cones, Cat-Tails, Wheat, OaLs, Grasses, iwbcrries, Pussic Willows, Wild Columbine, Wild ipsis. Iris, Colcus Leaves, Nasturtiums, Hardtiack, Glory, Geranium, Russian Snow Flower, Love-in-the-Mist, Love- Azalin, Flowering Almond, Murni „ ,_ . "ies-B!eedintj, CalTa Lilies, Coxcomb, Crncus, Cadtus. Fuschia, Salvia, .Marigold, Carnation Pink, Cherries, Bitter Sweet. Taponica. Wild laurel, Chicorv. etc, This Book also coniatnx ILLUSTRATIONS and C1.EAR DESCRIPTIONS of the STITCH- ES i tells what COLORS look best together f what MA TBRIALS and STITCHES to use in Working the Flowers ; how to PRESS EMB^OWERT; how to WASH SILK; and an Illustrattd Chaf''-' -h FINISHING FANCY WORK. Ladies doing Kensington Kmbroidery, Art Needlework, etc., will iind this book a great help. Price, 35 cents ; S225 per dozen. INGALLS' HANDBOOK OF CROCHET AND KNITTED LACE. It is mil the rage to make TIDtKS and LAMBREQJJINS with TWINE and RIHBON. This lH>.>k contains a largf number of HE.VUTIKUL PATTERNS for this work, with Direaions for Working; also a number of handsome Thrc;i(l Kdgings, etc. Price, 30 cen ts ; S20O per dozen. CS^ BOOK OF =s^O WORSTED + CROSS-STITCH \ PATTERNS. This book contains la ALPHABETS and over loo other PATTERNS FOR WORSTKH WORK . Toilet Sets, C'azy Cushions, etc. Patterns of Borders, Corners. Flowers, Birds, Animals, 1'^ Stork, Elephant, Deer, Rooster, Bugs, Butterflies, Cats, Dogs, Rabbit Comic Designs, etc. Price, 35 cents; 9150 per dozen. DARNED LACE PATTERNS. Our new book of DARNED LACE P.\TTERNS contains a hirge number of these fine Patterns. They Ciin be used for making Tidies, Toilet Sets, Splashers, Shams, Bed Spreads, Aprons, Edgings, etc. Price, 35 cents; 8175 per dosen. MACRAME LACE ^ and ^. RICK-RACK. A book of Patterns and lnstnj«ions for makintr MACRAME I-.ACE and RlrlC-RACK TRI.M- MING. This hnok also contains Patterns and Dirc\i;i; (iR r\i;i.r ci. SNOW FLAKE STITCHES. INSTRUCTIONS FOR PATCHWORK. SNOW FLAKE STITCHES. POINT RUSSE STITCHES. TABLE SCARF. A HANDSOME scarf, as appropriate for a mantel, piano> etc., as it is for a talilc, is here illustrated. It is made of felt cloth, edged at tiie ends with a fringe formed of heavy silk tassels alternating with large plush pendants. A little ahove the fringe is applied a broad band of Crazy Patchwork embroidery, formed of three blocks of Patchwork, separated by bands of velvet ribbon applied and decorated with a variety of fancy stitches done with mixed colors of embroidery silk. Border- ing the band on each side is a row of wide velvet ribbon, blind-sewed on. The blocks of Patchwork may be very dif- ferent ill appearance. The cloth may be of any color desired, and the velvet ribbon may be alike or contrast in color. Any kind of fringe preferred may be substituted for that illustrated. PATTERNS FOR STAR PATCHWORK. STAR PATCHWORK. BLOCK PATCHWORK. PATTERNS FOR BLOCK PATCHWORK. i-^^^f®ir^^ Decorated Band for Fancy Work. This band may be made of plaid silk or velvet ribbon, and is used to separate -the strips of embroidery upon tidies, cushions, or anv little fancv article requiring «uch an accessory to its component parts. The engraving shows how the stitclies are made, and where they are located. The silk used for making them is of the gayest colors. This decorated band will also give you some ideas for working the •edges of the Crazy Patchwork. INSTRUCTIONS FOR PATCHWORK. DECORATED BAND FOR FANCY WORK. BANNER LAMP SHADE. BANNER LAMP SHADE. This engraving represents a lainp shade that is considered verv stylish, and may be purchased ready made or manufactured at home. The rod and hook at the top may also be bought separately at most fancy stores, or the local tinsmith or carpenter will be able to make the support from an inspection of the design. The banner rod is gen- erally made from six to eight inches long, according to the size of the lamp it is to hang on ; and the hook is a piece of wire, whose ends are fastened to the rod, while its centre is bent to form the hook. The shade is composed of two tints of satin, cut in one wide strip for the middle and a narrow one for each side. Or, two widths of satin rib- bon may be used, the edges of the middle strip fastening smoothly over those of the sides. The middle strip is embroidered in silk flosses in .South Kensington stitch, and its lower edge forms a deep point, while the ends of the side strips define half points. The lower edge is trimmed with narrow fringe, and a tassel is sewed to each point. A fancy facing of velvet is applied to the top of the shade, and a lining of pale or bright silk or Silesia is added. The banner is fastened to the rod under tiny bows of ribbon. The colors may be in accordance with personal taste, and yet not inharmonious with the other coloring in the room whei'c the lamp is used. A charming variety is attainable, even under the observance of the latter condi- tion. DESIGN FOR A TIDY OR MAT. The South Kensington stitch in one of its many forms is lierc used. Three shades of red are used for the Grecian outline, and the shades are so distributed that sometimes the darkest is the outer thread, and •sometimes the lightest, as will be seen by referring to the engraving. The stitches crossing the corners are in ■' new gold " silk floss, and the ■daisies are in pale olive and dull blue — the former being inside the Grecian outline and the latter outside. Each daisy is also outlined with the floss, and the leaf at the corner is made of the three shades •of red and the floss. Any other combination of colors preferred may be used. The design is suitable for sofa-cushions, etc., as well as for the purposes inentioned in the title. Banner Thermometer. — A slight foundation of pasteboard constitutes the background of this ban- ner, which is of dark green plush embroidered in scarlet berries and foli- age with filoselle. The thermometer is then se- curely glued on, in the position represented, and balls of silk of the color of the plush are fastened at the lower edge to form a fringe. Suspending ribbons, fastened to the sides a slight distance from the top under loops and ends of similar rib- bon, meet at the proper distance and are tied to- gether in a graceful ar- rangement of loops and ends. Chenille or silk cord may be substituted for the ribbon, and hand painting or a fine decal- comanie for the embroid- ery, though the latter is the most eflfective and decorative. FIGURE NO. I. FAN PIN CUSHION. Figures Nos.i & 2. FAX PIN CUSHIONS. These dainty little affairs are given in tlieii- proper sizes, and may hang up at one side of the dressing-case. Or. if the cords and tassels be omitted, they will serve as pretty pocket cushions for gentlemen. The cushion foundations are each covered with card-board and over- laid with silk, two pieces of card-board being necessary for one fen. The two pieces, after being overlaid, are over-handed together. The fan represented by figure No. i has one side overlaid with plain satin, •*!''.,./! ''•<^'' ■••**^" Wn. FIGURE NO. 2. FAN PIN CUSHION. while on the other side appear two shades, joined by a cross-seam, and decorated in a sketchy-looking stitch with silk floss. The other fan is overlaid with plain silk, and decorated on one side with two shades of floss, to represent the effect of the foldings of an ordinary fan. Its reverse side is left plain. Long stitches of floss represent the sticks, and a fine cord of floss, with tasseled ends, completes the point of the fan. OUTLINE EMBROIDERY. Outline Tidies worked witli coarse etching silk on embroidery crash are verv popular. They are easy to make, and look nice on chairs. [For directions for making the outline stitch, see South Kensington outline stitch in this book.] The tidies are improved by fringing the ends, after working them. We have a fine collection of outline perfo- rated stamping patterns for tidies and splashers. We also furnish the tidies and splashers stamped on crash, already to work. [See price list of outline tidies and splashers.] If embroidery is new to you, the outline work is best to commence on, as it is much easier to make than the Kensington embroidery, and requires no shading. Crazed designs worked in outline are new and popular, they are used mostly for tidies. The center figure is worked with etching silk, the crazed lines worked with mixed colors of em- broidery silk. The "waste" embroidery silk that we sell in short lengths, mi.\ed colors, is the best and cheapest to use in making these crazed designs. The crazed design for tidies on the next page will make the above di- rections plain. The pansy design for sofa pillow can be worked all in outline, or work the pansies in Kensington stitch, using the pansy shades of floss and chenille. W'ork the leaves in outline, green shade, and the crazed lines in mixed colors of embroidery silk. If you prefer, you could work the pansies with the plush petals. We have a fine line of Tidies and Splashers stamped on Fringed Linen Tidies, 45c. each ; Splashers, 60c. e.ich. Send stamp for Price List. r OUTLINE r.MBKUIDERY DESIGN. PLUSH STITCH. To make the pliisli stitch, first fill in the flower witli French tcnotp,, ueing the prevailing color, then (using button-hole tii'ist) bring the- needle up between the knots, lay a doubled strand of filling floss on the face of the work against the needle ; take the needle down about in same place it came up, but from the otlier side of the filling floss, so that when drawn down the stitch has caught the filling floss, about a quarter of an inch from its end; draw the stitch down tightly, which will cause the ends of the filling floss to spring straight up; clip them oft" with a very sharp pair of scissors. This completes one stitch. Repeat for at many stitches as are required to cover or nearly cover the knots. This, stitch can be used for making sumach, coxcomb, golden rod, etc. a < a o o u h Z < z si H H H < a o I o US u CROCHET PATTERNS. CROCHETED ANTIQUE LACE. Chain of twenty; turn, four long stitches in the nineteenth chain, nine open crochet, chain of four turn long stitch in second long stitch, seven open crochet, two long stitches in ninth open crochet, long stitch in the first long of the shell of first row, chain of one, tour long m the fourth long of the same shell, chain of twelve, turn, three long in the three chain nearest the last shell: one long in the first long of last shell, chain of five, one double long in open crochet chain of five, shell of four long, as former row, seven open crochet, chain of four, turn, long stitch in second long stitch, five open crochet, three long, chain of five, double cro- chet'in fifth chain, double crochet in double long, double crochet in first chain, chain of five, lono- stitch in the last long stitch of shell, three long in the loop; chain of twelve, turn, shell of four long, chain of five, double stitch in fifth chain, four double stitches, chain five, shell of four long, five open crochet, chain of four, turn ; crochet long stitch as former row, three open crochet, three long, chain one, shell of four long, chain of five, three double crochet commencing in the second double of former row. chain of five, shell of four, chain of one, shell of four, chain of twelve, turn, shell of four, chain of five, one double long in open cro- chet, chain of five, shell of four, chain of five, one double long in second double stitch, chain of five, shell of four, chain of five, double long in open crochet, chain of five, shell of four, three open crochet, chain of four, turn as former row: one open crochet, shell of four, chain of five, three double, commence in fifth chain; chain of five, shell of four, chain of one, shell of four, chain of five, three double as formerly; chain of five, shell of four, chain of twelve, turn, shell of four, chain of five, five double as former wheel; chain of five, shell of four, chain of five, five double, chain five, shell four, open crochet, chain of four, turn, as former row; one open crochet, shell of four, chain of five, three double crochet as former wheel; chain of five, shell of four, chain of one, shell of four, chain of five, three double as former wheel; chain five, shell of four, chain of five, turn, shell of four, proceed as printed pattern. CROCHET PATTERNS. GRECIAN EDGING. Chain of thirty-six stitches. First Row. Long crochet into sixth stitch, long crochet into next three.^cliainof two, skip two, long crochet in next stitch, repeat from — four times; long crochet in next four stitches, three open crochet, chain of eight. Second Rota,'. Long crochet into second long crochet, two open crochet, fifteen long crochet, one open crochet, three long crochet, one open crochet. Third Ro-v. Chain of four, four long crochet, one open crochet, three long crochet, three open crochet, tliree long crochet, two open crochet, twelve long crochet into chain of eight. Fourth Row. Chain of three, one long crochet into first of the twelve, — chain of two, skip only one, long crochet into next, repeat from — five times; two open crochet, — three long crochet, one open crochet, repeat from — three times. Fifth Ro-M. Chain of four, four long crochet, three open crochet, — three long crochet, one open crochet, repeat from — ; two long crochet into the space, — chain of two, two long crochet into space, repeat from — six times. Sixth Row. Chain of four, — three long crochet into space, chain of five, one long cro- chet back into last of three long crochet, repeat from — four times ; — three long crochet, chain of two, repeat, one long crochet, one open crochet, three long crochet, one open cro- chet, fifteen long crochet, one open crochet. After first scallop join to preceding scallop every third and fifth row. lady's work bag. lady's work-bag. — qUILT OF SILK PATCH-WORK. LADYS WORK-BAG. This work-bag is oasilv made, and is a treasure when completed. Its foundation is three pieces of pasteboard, straight across their upper edges and oval at the bottom. Two of tliem, which are first smoothly covered with satin, form the bag, being joined together at their rounding edges by a fulf puffing of satin, which is sloped off so as to be considerably nar- rower at the corners than at the bottom. Upon the outside of one of the pieces of pasteboard are sewed three pinked leaves of Hannel in ditlerent colors for a needle-book, and one side .^u.^ .^v.w.» ..^..., - „d-po ...^ ... .-.luc. .1 iiiiii. H..H.JJ.. ..,,..i.w. .-..^ ..- sewed inside the edges of the bag-opening and ribbon strings are fastened at the corners to hold it, and their ends are tied in a bow. A bow is also fastened at the top of the sinnilated bag. The eftect is very rich when plush is used for cov- ering the sides and silk for the puffing. Cashmere in pretty colors may, however, be used with very pleasing results, QUILT OF SILK PATCH-WORK. Tlie quilt illustrated is made of light and dark blocks of silk cut and joined as illustrated. The blocks mav be as large or as small as the maker likes or her material allows, and, of course, the size of the quilt is a matter of personal calculations, according to the dimensions of the bed it is to cover. The border consists of two shades of brocaded ribbon flatly joined, and the corners are squares of silk or satin embroidered by hand in tioral designs. The lining should also be of silk, but may be of fine muslin or Farmer's satin. \ qi'ILT OF SILK PATCHWORK. DARNED LACE PATTERNS. DARNED LACE PATTERNS. DARNED LACE PATTERNS. DARNED LACE PATTERNS. ^a^ IIsISTRUCX IONS FOR^^ ^|f KENSINGTON PAINTING. ^ f T/®ENSINGTON PAINTING is done with a stirt" pen, instead of lY a brusli. Tube paints are used, just as thiey come in tlie tubes. To do the painting, von first stamp the design to be painted, the same as for Kensington Embroidery, using care not to get the lines too heavy- Holding the pen bottom up, scoop up some paint in the hollow of the pen; wipe the back of the pen with a piece of cloth. Now draw your pen, with back to the material, over the outlines first, then fill in the design; shade as your taste dictates. Begin at tlie edge, and paint toward the center. The object in Kensington Painting is to make the painting look like Kensington embroidery. To accomplish this, scratch the design over with the pen or a needle, remembering to make the lines run towards the center, taking care to give it the appearance of the Kensington slitcli. Our new book, Kensington Embroidery and the Colors of Flo-v- ers, gives the correct colors and shades to be used. See advertise- ment of this book. Terms Used: — Daisy Strol-e and Itolls, Daisy Stroke is made by scooping up the paint on the inside of tlie pen, then touching the point to the end of the petal, flattening out the pen a little, and drawing it down to the center of the tlower,. thereby leaving a roll of paint on each side of the petal. Rolls are made by taking the paint in a little roll on the edge of the pen, place the other edge of the pen near the outer edge of the petal or leaf, and bring the paint down upon the stamped edge, leaving it there in a roll. The paint has to be taken sometimes up- on one edge of the pen, and sometimes on the other, according to the side of leaf or petal to be rolled. To make Roses, Poppies and Buttercups, take tlic paint on the right side of the pen, and make a roll around the petals, commencing at the center of flower, following the edge around to center again, and so on until you have a roll of paint on the edge of all the petals; then smooth the roll with the point of the pen, and fill petals smoothly with paint, working from edge of petals towards the center of flower; shade and make stamens; when the petals are turned up, as is the case witli many blossoms, roll that part which would be the outer edge if turned down, and have no roll on the turn. Pinks are made by filling in with daisy strokes, putting three or four in each petal, making those on the outer edge first. Varie- gated pinks are made by having three or four shades of pink, rose madder, and white, making a stroke of each in their turn, or they may be made by rolling each petal, filling in smoothly, and shading with darker color. In making Azalia.s, Pond Lilies and other flowers having pointed petals, begin at the point to roll, putting a roll of paint on right edge of pen to roll right edge of petal, and on left edge to roll the left. Cat-tails, Forget-me-nots, and Lilies-of-the -Valley have no roll, but are painted smoothly. Thistles are made by filling in with fine lines, made with the point of the pen, of shades of pink, rose madder, and white. Cjrolrto;! liixl : Tluee f-liudc^ of'vellow; first king';* vellow. sec- ond kin;4's vellow and orange cliiome mixed, third orange chrome. Paiisy : Rose madder and bkie mixed for dark petals ; white, Naples vellow and a. little bine mixed for light petals. Japan T.;ily; Scarlet lake and white mixed. Shade down to ■white on end of petals. Spot of rose madder on them. Cat-Tails: Burnt sienna shaded with king's vellow. Clematis : White blossoms with yellow center and stamens. Leaves zinnober green No. i clear, and mi.\ed with king's yellow, light shade. Shade them with burnt sienna, king's yellow and yellow ochre. Water Lilies: White shaded with a little black. Make rolls for veins on leaves, yellow ochre, for under side of leaves, and vein with red if under side shows enough. Azalias: Scarlet lake and white, mixed. Shade with rose mad- der, light pink stamens. FucU.sia: Rose madder and very light shade of pink for light ones. Rose madder or crimson lake and blue, with crimson lake for outside part for dark ones. Woodbine, Antuniii Coloi'S : Crimson lake, scarlet lake and \erMulion, ^vith greens and king's vellow. Work them together so as to blend. Vein with red and burnt sienna. Roll with red occasionally. Thistle : Rose madder and white clear. Rose madder and white mixed. Leaves, zinnober green No. 2 and chrome yellow for dark shade: green No. i and king's yellow for light shade. "X'^ein with light green. Owls: White, burnt sienna and burnt umber, mixed: light shade for under the wings. Shade feathers under the neck with yellow ochre. White and black for small owls. Boughs of Trees : Three or four shades of green, burnt umber, light red and black. Go over in curves first with black, I'aiisies have rolU :uoiind each petal: rose madder and Ant- werp blue, mixed makes a good shade for dark pansies, and white with a little king's yellow for light ones: put small spot of green in center, little white around it, and orange in lower petal, spots of purple on light petals. (Jolden Rod: Take three shades of yellow; with lightest put (lots on the outer edge, then with the ne.xt shade, after that with the darkest, and so on until it is filled. Sumac is made the same as the golden rod, taking two or three shades of red .and dotting them on, putting darkest on outer edge of circle: crimson lake for darkest, and same color with little ver- milion for the next shade. ■ AVIieat Heads are filled in with daisy strokes of Naples vellow. Grasses are made with two shades of green, with occasionally a little vellow ochre and king's yellow. Green LiCaves : When making serrated leaves, such as rose leaves, clematis, woodbine, etc., roll each section separately, and jnit in a little roll to form the point, paint with two shades of green, usually made by mixing zinnober green with burnt sienna for dark shade, and same green with king's yellow for light; shade darkest side with burnt sienn:i, and lightest with king's yellow; vein with Caledonian brown, king's yellow, or yellow ochre; after veining, extend the rolls a little towards the center of the leaf Leaves -uith- out indentations, such as those of the azalia, golden rod, etc., are rolled on velvet, felt and satin (except the very small leaves, which are made without rolls), but not on plush; they are shaded and veined same as the above. Long and slender leaves, such as those of the pink, have no rolls, but are painted smoothly, and veined lengthwise of the leaf Thistle leaves are shaded quite dark in the center, and veined with light green, the thorns arc made with vel- low ochre. When there are ii great many leaves in a piece, as in a large spray of clematis, for variety shade one witli yellow ochre and burnt sienna, another with king's yellow and burnt sienna, and still another with king's yellow and yellow ochre ; vein with king's yel- low, yellow ochre, and burnt sienna, or Caledonian brown; when one leaf seems to be in the shadow of another, shade it dark, and the one above it light. Fine Tjilies, Steins, and A'eillS are made with the point of the pen. Grceii.s for Apple f..eaves: Yellow ochre and Antwerp bine mixed. Olive t be of a good quality. The color is another thing to be looked at. Do not commence on light blue or wine color, unless it is an extra fine piece of goods, for in nine cases out often, the oil will run and spoil the silk. If you find at anv time the oil is spreading, it is well to take the paint you are using from the palette, and spread it on a nice clean piece of blotting paper until the paper absorbs the oil. This done, take the paint from the paper and put it on the palette with the pal- lette knife, mixing in a few drops of turpentine ; turpentine will not soil the silk, or if it does, it will evaporate. Select your pattern. Take a piece of tracing paper, or linen is better, lay it over your design you have selected to paint from, trac- ing it all around with a hard lead pencil. Make the outlines as per- fect as possible. After this is done, lay the design you have on the tracing paper on the silk. Get it just where it is wanted, and then slip the impression paper under, with the colored side down on the silk. Mark it all around with the pencil ; remove the paper, and you have your design to begin painting. A much easier way is to use the Perforated Sta.mping Patterns; stamp the design the same as for embroidery, but use care not to get the lines too heavy. THE PAINTING. First rub the dust well off your palette ; then take from the tubes of paint what you think you will be likely to use, putting just a lit- tle of the paint on your palette. Select a brush (use your own judgment as to the size), and, with a little paint on it, put it on the flower, leaving the edges all smooth, and the impression all covered. Shade it with darker paint. Shading is one of the hardest things about painting, as you must be so careful about not shading too far. Your own taste must be used in this, if you have no pattern to work from. It is always best to have a pattern to work from, and make it just as near like the pattern as possible ; or what is better still is to work from a natural flower. THE COLORING. Perhaps it will be plainer if an illustration is used: for instance, a wild rose is the flower you wish to paint. The color is pink ; take a little of the rose madder you have on your palette and a little Cremnitz white, mix them together with the palette knife. Make it as near like the shade of your pattern as possible. Put the paint on the flower with a brush (say the No. 3) leaving the edges just as smooth as you can. Shade the flower with clear rose madder, be- ing careful not to cover too much of the light shade that is already on. Confine it to the shadows in the flower. The center is made in little dots (use the point of the brush for these) of chrome yel- low, with a few dots of green or burnt sienna. The leaves are made in the same way as the flower, using terre verte and chrome yellow for the green ; mix it as you did the rose madder and white for the pink. Shade it with terre verte, or, if it is a brownish green, use raw umber or burnt sienna. Stems are made the same Wiiy as the leaves, a little ivory black being used when thought best in some of the darkest places. Blue Flowers. — Forget-me-nots, etc, are made of permanent Wue and white, shaded with clear permanent blue. The center of a forget-me-not is a dot of chrome yellow and one of carmine. White Flowers are made of clear white, and shaded with a Tery little black. Red Flower.s. — Poppies, etc., are made of Chine.'ie vermilion and white, shaded with carmine. Yellow Flowers. — Buttercups, etc.. are made of chrome yel- low, shaded with the least bit of black. Pui'ple Flowers. — Violets, etc., are made of permanent blue, carmine and white, mixed together, and shaded with carmine and permanent blue. LIST OF MATERIALS USED IN OIL PAINTING ON SILK OR SATIN. Paints iWinsor e*c Newton's). — Cremnitz White, Chrome Yel- low, Terre Verte, Ra\v Umber, Burnt Sienna, Chinese Vermilion, Permanent Blue, Rose Madder, Carmine, Ivory Black. Brushes (American Sable, Nos. i, 3, 4 and 6); Palette; Palette Knife; Oil Cup; Turpentine; i sheet Tracing Paper or Linen; 1 sheet Impression Paper. TO CLEAN THE PALETTE. After vou have finished painting, there is always some paint left; this you scrape ofFwith the knife, then pour a few drops of oil on the palette, and rub it with a rag until it looks perfectly clean. The brushes are cleaned with oil in the same way • first dip them in the oil, and then rub them on the cloth. It is well once in a while to ■wash them in soap and water. I DESIGN FOR A TIDY M.\T. There is nothing to be said in reference to the design here illustrated, as the engraving shows the appropriateness for the purpose mentioned in the title. The sample is done in olive zephyr, with an outline of old gold silk fioss. Any other combination of colors may be used if lireferred. 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DRY STAMPING.— This is done by a process known as pouncing. The process is as follows : — Place the pattern (rough side up) on the material to be stamped, placing heavy weights on the corners to keep it from slipping; then rub the powder over the perforations with the distributor till the pattern is clearly marked on the material, (this can be ascertained by lifting one corner of the pattern slightly). Then remove the pattern carefully, lay a piece of thin paper over the stamping, and pass a hot iron over it; this melts the gum in the powder, and fastens the pattern to the material. The iron should be as /w/ as possible ivifkoiii scorching the cloth. Should the heat change the color of the material, iron it all over. Do not do any stamping by this process on a hot or damp day if it can be avoided. Keep the powder in a cool, dry place. In stamping with light color- ed powders, the best way to fasten it is to hold the back of the cloth against a stove pipe or the face of the iron. French stamping is bet- ter, however, for all dark materials. To take the powder up on the distributor, have a tin plate with a piece of woolen cloth glued on the bottom, sprinkle a little powder on the cloth, and rub the distributor over it, taking care to shake oft' all the powder you can ; enough will remain to stamp the pattern clearly. DISTRIBUTOR. —To make a Distributor, take a block of pine wood, two or three inches square, and tack a piece of soft felt on one side of it. When the distributor gets worn, cover it over with a piece of soft felt; a piece from an old felt hat is just the thing. TO aiAIiE BLUE POWDER.— Take equal parts of pulverized gum damar and white rosin, and just enough Persian blue to color it; mix well together. The Blue Powde'r is for light goods; it will not work well on dark goods. lilGHT COLORED DRY POWDER — does not work well enough to give satisfaction. We make the Blue Stamping Powder only. Any goods that the Blue Powder will not work well on, use the French Indelible Stamping Paint; this must dry thoroughly hs- fore you work the design. FRENCH INDELIBLE STAMPING.— This is the best pro- cess for all dark materials, in fact, this and the blue powder are all that will ever be needed. By this process a kind of paint is used in- stead of powder, and a brush instead of a pouncet. Place the pattern on the cloth, smooth side up if you can, though either side will work well; weight the pattern down as in powder stamping. Rub the paint evenly over the perforations, and it will leave the lines clean, sharp and distinct. After the stamping is done, \.he pattern must be cleaned immediately : this is done by placing the pattern on the table, and turning benzine or naphtha over it to cut the paint, and then wiping the pattern dry on both sides with an old cloth, or, bet- ter still, with cotton waste, such as macliinists use to clean machinery, this is cheap and absorbs the paint and naphtha quickly; hold the ])attern up to the light to see if the holes are all clear, if they are not, wash it the second time. Do not use the pattern for powder immedi- ately after it has been -vashed : let it dry a short time, otherwise the moistened gum will clog the perforations. TO MAKE THE PAINT.— Take zinc white, mix it with boiled oil to about the thickness of cream, add a little drying, such as paint- ers use. Get a painter to mi.x it for you. Keep in a tin pail (one holding a pint is a good size), have a piece of board cut round, with a screw in the centre for a handle, to fit loosely into the pail ; drop this on the paint and keep it from drying up ; add a little oil occa- sionally to keep the paint from growing too thick, and it will always be ready for use. THE BRUSH. — Take a fine stencil brush or any brush with a square end, wind it tightly with a string from the handle down to within one-half inch of the end, this will make it just stiff enough to distribute the paint well. Keep the brush in water, to keep it from drying up, taking care to wipe off the water before using. If these directions are carefully followed, the stamping will always be satisfactory. The great secret of success in this business is to fre- quently show new designs. LARD OIL is better to use in the Paint than boiled oil. We now furnish the Paint, all mixed, ready to use. See price on Order Sheet. HINTS TO STAMPERS. The table on which the stamping is done should be covered first with one thickness of felt or other soft cloth, and then with a sheet of enameled cloth drawn tightly and tacked at the sides to make a per- fectly smooth and level surface. In stamping plush, the nap should be rubbed up evenly before the stamping is done. In stamping repped .^X\S FANCY PATCHWORK. POINT RUSSE PATTERN. I'OINT RISSE PATTKRX. ^ „__^„ ^^ jffiBSSSdS'^E""^^- "^ ~ .:_. □□QD^aaa■^•:-■:■■:••:■■;•■;■•:■•l■•:"^■^^:'•T"I^^^■;•■;■■:■■:■•;■□DDaa□aD□^oaG□DuDODO□t _ □ : nnaaDaaDDnnnnDnDaDanna ^3ar^^^^"" " OuuuuuuDDDaDDD , a — ^dqPOQQl; □DDaaQQana □ iDaCQODL ^ aaDaDDaaanaaDDnDDDanQDoaoD o qDnQODri: ■_„ ■ sBrhxxxx DaDDDcnnnGDa _BiixxxxaBK::u:9!i;iS»::»aaaa :jXXBSiBs::iiaxxxx JSSX»x;S^SX iana ;•□•:■•: , □nDGDGaDaDoaa "•■■-aDQDDacaDna v-i-i'Dna-;--:";':":":- r.nnan-:-:--:":' ODbbboDDnDDDDL aaiD/QDDpoDQac —U □□ :■□□ DODEBB3UDNDL. _DD^D^DNaDaDD( ■JDODLaciDQ □ jaOQQDpDD -□□DDDODDn " rDDtDaoGnn SPG^.ti-'i'v':- . a;: D n g j DDDDDDDDDDnDDDDQC □ . □ 1 — aQDDDDnooDDDDCL n . _ _.n:jj "ODDDDcanDgDncLn ^ '^3 -QdaDQnoiDDgnaDODDCDDCa 5DDnDDQDDaDDnDDDDCpDd "BaBBH'^-™~r~n~~rnoDDDDnDDDGaDaDnDD : BeaBBEES. ■ ■■"■GDDnnDDDDODDDGDBDlL .. JiBBB r.^aGaGDnnnDDGDCBBBE BKB "■■^BBBBEBB'"'"G::aBBO XBB ::SB BBXBBBBBBSBBBS'E^ 3B : XBEES9 . OIXXX BEBEflBEflBXXXXHBBanP BBB : xbbrbbbbxbxxxxxxbbxxeesebxxxxQd EEEHB : xaxr::x:::Hxxxxxxxxx:x:xxx::r:r:xxn )u _.bbbH':-xxs::gc:':::::::::::xx x, :::;::""::r]:Exx i[JC'~aHBBs:'Xxnn::::r:n::"::xH yxxx:::x::;""xxx ODncBBBBB-:'XDnnn::nci:;::xuxE: X[;::;][}:}[;xxx iDaDcaBBBBB':-xc!][:r:c;n::c;axHHXxxxxxxn:;xxx IOCODBSBBSBXXXXXXx;:::xBXBaxBBaBaBXxxx , ^BBaaaxxxxxxxxxxaxaxBXBaBBBaasxrj BBBBBBXXBHBXXXXXXBXXBXXXXXXXXX < O'laaBBaaeHBBaxxxxBXBXBBBaaBaHBH IBBBXXXBBBBHXXXXXBB a u OiJ>. a 9/0/ sT^ ILLUSTRATIONS OF STAMPING PATTERNS. ^x3 /o^ Sk? -8i5-"» S30 ^K'O /o^/a /,> V/ /'/-^ lrv«l/& V 4Q c Sx f^ ^^ Tlie Perforated Parchment Stamping PATTERNS. » (lie any Stampiniv'' 1( you have not, you sliovild first secuic .1 siA.MPING OUTFIT. Ifyou have, jfou should send 15c. OUR CATALOGUE; It has ovlt 1 700 Ilhistratioiis of7\'e7i' and Choice Slamphif;; Pat- \ terns for Kensington, Outline, and Rococo Embroidery, Kensing- .•ton and Liistro Painting, Braiding Patterns, Alphabets, Mono- tgrams, etc. Price 15 cents. OUR INSTRUCTION BOOK gives full directions for Dry and Wet Stamping, tells how to make the Powder and Paint; also gives ' Instructions for Kensington, Lustro and Hand Painting. Price 15c. SPECIAL OFFER . — T/iese ^ Books far 20 cents. New Stamping Outfit. a, i^,;- signs of Daisies, Roses, Bouquets, Outlines, .Sirips, Scallops, Vines, ftc. Price List of Floss, Aracine, Clienille, Silk, etc., 15c. A Felt Tidy and Iniported Silk to work it. Iiiftructioii Bonk and Bid CATALOGUE (mentioned above) containg over 1700 Illustra- tions. We send this Outfit by mail for $1.. Extra Siampinir Patterns: — Morning Glories, loc. Apple Blossoms, 10c. Sheaf of Wheat, I i;c. Cluster of Strawberries, im. Forget-me-nots, 15c. Calla 1-ily, i^c. Pansits, 15c. Pond Lilies, t5c. Outline Design, toe. Golden Rod and Asters, 15c. Sprig of Sumac, t5c. Poppies, 15c. Woodbine, 1.5c. SPECIAL OFFEE : — EverytUins in this advertisement loi ijsa.oo. We give on preceding four pages — sample (Viges — from o CatuliiL;uc o( Stamping Patte; ur bii INSTRUCTIONS FOR PATCHWORK OurNKW PATCHWORK BOOK contains 40 Point Ku.->c ,>.,„ ,Snow Flake Stitches, also a variety of Fancy Patterns. Price, 16 tents; 5 for 50 cents; lH for l.OO. NEW BOOK OF TIDY i POINT RUSSE PATTERNS. THIS NEW BOOK contains Patterns for Java Canvas, Darned Lace, and Twine Cro- CHBT Tidies, also Point Russb Patterns for Java Canvas Toilet Sets, Crazy Patchwork, etc. We send this book by mail for 25c. ; 8 for $1. BOOK OF FANCY WORK INSTRUCTIONS FOR STAMPING. A NEW BOOK! giving full Instructions for Dry «nd We Stamping. Tells how to make Stamping Powder; how to mix White Paint for stamping dark goods, and Black Paint for stamping light goods. Gives Hints to Stampers; contains Illustrations of our Stamping Patterns; has Sample Pages and Patterns from our different Fancy Work Books ; and gives Instructions for Ken- sington, Lustra and JIand Painting, and///// information about the goods we have for sale. Price of this Book, 15 cents. Address all Orders to J. F. INGALLS, Publisher, 29 lunroe St, Lynn, lass. Hsadquarters for Ladies' Fancy Work. F/INCY •:• W6I^K : B00K3, Perforated Stampinj,^ Patterns, FELT AND LINEN STAMPED GOODS l^.'inc\- \Vorl< ]VIaterials. (m; OCULARS NEW BOOKS ^^ NEW GOODS ll'vou do not need anvlliinrj in our line /«.«/ nozv, nnil wish us Ir> Veop you posted as we get out New Books ami Nk\v ncioi>->. '..-ml MS yaur /nil atfdiess on a Postal; also, wrii ■ D 10^ — SPECIAL BOOK OFFER. NEW BOOKS! NEW EDITION^' NEW PATTERNS! EXTRA PAdESI Tngalls" Manual ok (So Extra Pages) .... . .I'lico. Kknsingtojj Embroidery ot.ors of Floweus , Prii-.c, Inyalls' Hanubook of Crochet and Knitted Lack. JVew Edition (Extra Pages) Price, Book of Darned L.\ce Patterns. ( ^ferj Edition) Price, Book of IxsiRucTioN.s POR Patchwork Price, Book of Macramic L.^CEand Rick-Rack TuiMMisfi . Prl.e. i5ook of Worsted Cross-Stitch Patter- Edition (Extra Pifges) . . .... : ii.c. Nfw Book of Tidy and Point Rvsse Pattci I'rice, New Book of Fancy Work ' ^rRi as. 21. SPECIAL OFFER: — We will send you theseO Books by mail, postage paid, for Jjil.OO and fii,. - "«^-?:v '.i/'-=^' , ■ \ *./f V^^ * » k o ■| jr. ,0^ <^, ^ c"' A^''' 0O»M "O?.... IIW" •1"°'"° . ',....-,■ VPR 81-, '•"■ s*"^ . \^ '^ > V ' r~> ST. AUGUSTINE ^ ^, • X/ ^^^^32084 ,c,'' ''"ji .^^•v. a.^ --< -^Ao^ <^ "^o ^-^ \-^K' i^~^ ^ '^>>%-K^ T •^^n^ ■^9 .x^ v-^. V^^ % '^"■^%. :