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 IN THE 
 
 OF 
 
 NEEDLEWORK, 
 
 W/T// NEARLY TWO HUNDRED ILLUSTRATIONS AND 
 EXPLANATORY DIAGRAMS. 
 
 BY 
 
 ELLA RODMAN CHURCH. 
 
 Ill 
 
 ( — '-'l'2/tj-^ 
 
 ADAMS & BISHOP, Publishers, 
 
 46 Beekman Street, 
 
 NEW YORK. 
 

 Entered, according to Act of Congress, in the year 1880, by 
 
 ADAMS & BISHOP, 
 
 In the office of the Librarian of Congress, Washington, D. C. 
 
INTRODUCTION. 
 
 There is a wide difference between artistic embroidery and mere 
 fancy work. Besides the manufacture of innumerable airy nothings 
 for fairs and other purposes, the patient following of a glaring pat- 
 tern in brio^ht wools also comes under the latter head. There is no 
 individuality in this kind of work, nothing that fairly expresses the 
 worker; the pattern being designed by one person, the putting it on 
 canvas done by another, while "filling in " is frequently the task of 
 a third. 
 
 A piece of embroidery should have in a degree the same expression 
 as a painting; and there is no good reason why the needle should not 
 be as artistic an implement as the brush. To produce the effect of 
 painting, however, it is necessary to follow very much the same rules; 
 the first of which is that the selection of the materials, the designing 
 of the pattern, and the work itself should be, as far as possible, done 
 by one person. 
 
 It may be urged that every one is not sufficiently gifted to do this, 
 and particularly to draw the designs; but this part is by no means the 
 difficult matter that the beginner is apt to imagine it, for in art needle- 
 work all superfluity of detail is scrupulously avoided. Various plates 
 and illustrations may be found that will serve as guides to the un- 
 initiated; and ancient patterns can often be adapted to present needs. 
 
 There is no doubt, however, that the most artistic work will be pro- 
 duced by those who have a natural gift for design and color. 
 
 It has been well said that needlework should be in every way 
 adapted to the material used. As the sculptor's chisel and the painter's 
 
^^ INTEODTTCTIOX, 
 
 brush have each their separate function and domain, so has the needle 
 of the embroideress; nor should anything lying beyond its proper 
 powers be attempted by its means. Flowers and foliage beimr the 
 decorative part of nature, we instinctively choose them to represent 
 m needlework. The grand productions of ancient tapestry, contain- 
 mg whole histories of wars and sieges, are never hkely to be repeated 
 m our days, in which leisure and industry are both lacking; and we 
 must content ourselves, at least for the moment, with speaking of the 
 lighter works which lie within the ordinary compass of time and 
 patience. 
 
 As everything cannot be accomplished in the attempt to imitate 
 nature m this way, much should not be undertaken. For this reason 
 conventional or stiff forms, with no tendency to detail, are preferred- 
 and this is one of the most prominent characteristics of art decora- 
 tion. Things that are constantly handled and used should not have 
 their ornamentation elaborated like water-color painting 
 
 Good materials are indispensable to satisfactory results; and true 
 artistic work is that which not only pleases the eye, but bears the 
 wear and tear of time. Perishable work of this kind is not worth 
 the domg; but when executed according to the rules of art, it should 
 be as enduring as painting and as worthy of admiration and respect 
 This little volume is intended to give practical information to be- 
 ginners m artistic embroidery; showing the best and easiest methods 
 of going about this branch of art, which is rarely made sufficiently 
 plain to those who have had no previous knowledge of it. Several 
 English works have been consulted in its preparation; and the writer 
 has drawn upon her own experience as well as that of practical 
 workers. 
 
CHAPTER I. 
 
 WORSTED EMBROIDERY. 
 
 Embroidery has been defined as " the art of adding to the surface 
 of woven textures a representation of any object we wish to depict, 
 through the medium of the needle, threaded with the material in 
 which the work is to be executed." 
 
 From the earliest times, it has been the amusement of women of 
 leisure, and the occupation of those whose skilful fingers must be used 
 to bring in returns of daily bread. In the Middle Ages, a regular 
 work-room, or " studio," was set apart for this especial purpose in the 
 dim old castle; and there the whole paraphernalia of embroidery- 
 frames, materials, and implements, were always to be found. There, 
 too, the chatelaine sat with her maidens embroidering cushions, or 
 book-covers, or those wonderful pieces of historical tapestry after- 
 ward displaced by the more mechanical arras. 
 
 " Tapestry richly wrought 
 And woven close, " 
 
 was the favorite needlework of those daj^s; and these hangings, or 
 " veils,"' were rendered necessary by the style of building, which 
 afforded many convenient chinks and loopholes for the wind. Some of 
 these ancient pieces of embroidery were very rich, the designs being 
 worked with worsted or silk of various colors, and often mixed with 
 gold or silver threads, on canvas, cloth, or silk. 
 
 The oldest specimen of this kind of work now in existence is the 
 famous tapestry of Bayeux — the work of the English Matilda and 
 her attendants. A piece of embroidery over two hundred and twenty 
 feet long, although not much more than half a yard wide, is no trifling 
 accomplishment; and in spite of the red, blue, green, and yellow horses, 
 some of them with two legs of a different color from the rest of their 
 bodies, one cannot but reverence this curious triumph of the needle 
 that can claim eight centuries of birthdays. It is entirely worked 
 with worsted in very little variety of coloring, as the Norman princess 
 bad few advantages of this sort, but she has represented to the best of 
 
b ARTISTIC EMBROIDERY. 
 
 her ability the invasion and conquest of England by Duke William 
 and his followers. The battle of Hastings is ingeniously emphasized 
 by a bordering composed of the bodies of the slain. 
 
 Few would have the time or the inclination for such a piece of work 
 in these days; and " some of our moderns are inclined to think that, 
 in days of old, when the chief employment of a woman's life was 
 needlework, she must have had a very dull, dreary, monotonous time 
 of it. But when we survey ancient heirlooms, veritable works of art 
 — the smooth, mossy crewel-work, the frost-like point-lace, the shining 
 gold- threaded ecclesiastical work, or even the conventional forms of 
 the now despised cross-stitch — we imagine every happiness and beauty 
 connected with the age of chivalry, as we are conscious of a sense of 
 wonder akin to that felt on beholding some magnificent ancient jewels^ 
 or plate, or pictures." 
 
 As late as the days of the Spectator, it was written: "How mem- 
 orable would that matron be who should have it inscribed on her 
 monument that she wrought out the whole Bible in tapestry, and died 
 in a good old age, after having covered three hundred yards of wall 
 in the Mansion House " — but no such exploit is on record. 
 
 The most fashionable worsted embroidery of the present time is 
 
 CREWEL-WORK. 
 
 This style of work was much in vogue during the latter part of the 
 eighteenth century, and has recently been revived, and the modus 
 operandi dignified by the name of the South Kensington stitch. But 
 people with great-grandmothers produce pieces of work done in a 
 similar manner; and the stitch is the same as the long stitch in silk 
 embroidery, only longer and more careless. 
 
 Crewel work was brought to such a state of perfection by the 
 famous Miss Linwood, who literally painted pictures with her needle 
 from her thirteenth until her seventy-eighth year, copying the old 
 masters so successfully that, at a little distance, the needle-worked 
 picture could not be distinguished from the painted one, that every 
 one wanted to imitate her; but few having the same gift, this branch 
 of art fell into disrepute. 
 
 Miss Lin wood's pictures were marvels of patience and skill. They 
 were embroidered on a stiff, twilled fabric called " tammy," on which 
 the outline was drawn in chalk; and the entire ground was covered 
 with close, irregular stitches, of great fineness in the more delicate 
 touches. The shading was perfect, the crewels being dyed under 
 the artist's own supervision; and her first needle-painting, the 
 " Salvator Mundi," from Carlo Dolci, was wonderfully true to the 
 original. 
 
ARTISTIC EMBROIDERY. 7 
 
 Her collection, which was exhibited for some time in London, con- 
 tained sixty-four pieces; and among them was a portrait of herself in 
 the bloom of youth and beaut 3\ 
 
 The great beauty of crewel-work is its freedom from set rules; in 
 taking the stitches, the needle is used more like the brush in the hand 
 of the artist. 
 
 THE CREWEL STITCH 
 
 resembles the wrong side of long back-stitching more than anything 
 
 else; and is illustrated by Figures 1 and 2. 
 
 The needle is put in at the back of the material 
 and brought out at 1, put in again at 2 and 
 brought out at 3, put in again at 4 and brought out 
 at 5, and so on to the end of the line. In out- 
 line-work the thread should be kept to the left of 
 the needle, and great care taken to bring the needle 
 up exactly in the line of the pattern, or a wavy, 
 uncertain outline will be the result, and the char- 
 acter of the pattern will be lost. 
 
 This method of working is to be used when the 
 material is put in a frame; but when the work is 
 done in the hand, it is best illustrated by Figure 
 2. The easiest and quickest way in this case is 
 to begin at the bottom and work upward — put- 
 ting the needle through (from the back) at 1, 
 and back again at 2 — through again at 3, and 
 back at 4 — until the entire distance has been tra- 
 versed. 
 
 It will be seen that the stitch is very simple, and 
 that much is left to the discretion of the worker. 
 Care must be taken that the worsted is not pulled 
 too tight, nor left too loose, as the effect must be 
 smooth and even — with the curves clearly defined, 
 and the points sharp and complete. 
 
 In ordinary crewel-work, the stitch should be 
 from three-eighths to half an inch long, according 
 to its position — some stitches must necessarily be 
 shorter — as in filling in, they must dovetail into 
 each other like the tiles of a roof, that no sharp 
 line of color may indicate the different shades. To 
 
 produce the desired effect, all the stitches should not be taken close 
 
AUTISTIC EMBROIDERY. 
 
 Fig, 3. 
 
 Fig. 4. 
 
 up to the inner edge of color. Figures 3 and 4 will give some idea 
 of this shading. 
 
 A leaf or stalk should never 
 be worked across, but always 
 (and the same rule, of course, 
 applies to flower-petals) in the 
 same direction as the fibres in a 
 natural leaf. With such leaves 
 as brambles, and others that will 
 suggest themselves, one side 
 should be a darker shade than 
 the other. Figure 5 shows the 
 natural way of working a leaf. 
 
 In working the stalk of a 
 flower, it is better to begin at 
 the lower end first, and work on the outline until it is crossed by a 
 leaf or terminates in a flower; then pass the needle to the other side, 
 and work back again to the lower end; then work an- 
 other line of stitches iiiside the outline till the stalk is 
 filled up. See Figure 6. Leaves of one shade are done 
 in the same way, and the veins are put in last. 
 
 Crewel- work has many recommendations; it is easy, 
 is done with comparatively little labor, and yet it affords 
 scope for the exercise of artistic skill of the highest 
 order. A great variety of beautiful shades may be had, 
 and the worsted washes beautifully, thus possessing a 
 decided advantage over many other styles of ornamenta- 
 tion. The materials are also quite inexpensive, and 
 taking it altogether, it produces the best effects with 
 the least outlay of labor and expense of any other kind 
 of embroidery. 
 
 Floral designs suit this style of work best; and some- 
 what conventionalized models are most suitable — flowers 
 that can be expressed by the fewest lines in form and the 
 fewest shades in color. Daisy-shaj^ed flowers are par- 
 ticularly suitable; and the well known sunflow^er, not too much con- 
 ventionalized, but with the tendency of its long petals to droop a little 
 just indicated here and there, is represented in Figure 7. 
 
 Simple, old-fashioned flowers are most successful in crewel-work. 
 Wild roses being simple, and having very distinct petals and well 
 marked centres, are better than the double and treble triumphs of the 
 florist — to which painting alone can do justice. The daffodil, narcis- 
 sus, and lily tribes, with primroses, honeysuckles, pansies, and daisies, 
 bloom out charmingly in crewels; and almost any clearly defined leaf 
 is pleasing. 
 
 Fig. 5. 
 
ARTISTIC EMBROIDERY. 
 
 Butterflies and vases may also be successfully introduced, but the 
 latter should be chiefly in outline. 
 
 The experienced crewel worker may study 
 nature for designs, and discover unending com- 
 binations of beauty and delicate touches of 
 detail which give a character to the whole. In 
 the veining of leaves especially this is shown; 
 and the leaf of the common scarlet poppy, 
 veined and unveined, in Figures 8 and 9, will 
 show how much depends on careful finish. 
 
 But embroidery in general should not at- 
 tempt too much detail — a thorn here and there 
 on a rose-stem being sufiicient to suggest the 
 thorny nature of roses, while only a few of 
 the larger serrations of the leaves should be 
 retained. The bramble, when shorn of super- 
 fluous outline, is a very desirable leaf for em- 
 broidery; and Figure 10 shows it in its natural state, which, if worked, 
 
 Fig. 7. 
 would be a confused mass of nothing in particular — while in Figure 
 
10 
 
 ARTISTIC EMBROIDERY. 
 
 11, its shape and general character are preserved, but all unnecessary 
 notchings and veinings are pruned away. 
 
 Fig. 8. 
 
 Fig. 9. 
 
 An important point in embroidery is to know what may b 
 vantage left undone; and as crewel-work is entirely free from 
 ficial raising, it is merely suggestive of gen- 
 eral form. 
 
 The crewel itself is a particularly strong, 
 twisted woollen yarn, quite unlike zephyr 
 and the other wools in use. The shades of 
 color are very soft and numerous, and blend 
 beautifully in delicate flower-petals and 
 varying leaves. The work is usually done 
 on heavy linen sheeting, as this wears well, 
 is easily washed, and is particularly suitable 
 for tidies, doilies, and many small articles. 
 
 Other materials may be used to advan- 
 tage; but cloth, velvet, or silk is not suit- 
 able for crewel-work. Serge makes a very 
 nice foundation; and a pair of invalid's 
 slippers, made lately, were worked on white 
 felt. But these were done in Canada, where 
 many materials are to be had which cannot 
 be found here. Said slippers were merely 
 to thrust the toes in, as all the rest was sole; 
 and this white felt pointed piece was orna- 
 
 e to ad- 
 all arti- 
 
ARTISTIC EMBROIDERY. 
 
 11 
 
 merited with strawberries in crewel-work. This beautiful fruit is 
 quite as effective as flowers are; and in Figure 12 the clusters maybe 
 used separately, or continued indefi- 
 nitely for a border. A very pretty 
 footstool could be made by grouping 
 them closely for the top, and putting 
 the bordering on the band. The fruit 
 may be either red or white as best 
 suits the groundwork. 
 
 Velveteen makes a good background 
 for crewel embroidery; and this is 
 suitable both for footstools and hang- 
 ings. It is also handsome for mantel 
 lambrequins. But the favorite ma- 
 terial is crash towelling — which is so 
 generally used for the purpose that 
 crewels seem inseparable from it, and 
 the work is quite as often called "crash- 
 work " as crewel-work. Crash is very 
 serviceable for tidies, toilet covers, 
 toilet mats, travelling bags, etc. ; but 
 it does not hang in graceful folds 
 for curtains and portieres, and it is 
 not worthy of being embroidered in silks. 
 
 There is a ribbed velveteen in different shades of drab and brown, 
 which looks remarkably well as a foundation for crewel-work, if the 
 latter is done in a rich, bold design. It should be remembered, as a 
 general thing, that while rich materials may be used on cheap ground- 
 work, worsted embroidery is very unsuitable on a rich foundation. 
 
 We have attempted suggestions only in the way of patterns, as 
 these may be bought in great variety wherever the crewels are sold; 
 and for those who are unable to design from nature this will be found 
 a great convenience. 
 
 It is not long since all worsted work was done in mechanical pat- 
 terns on canvas; and some of this work, with stitches laid as regularly 
 as minute mosaics, and the shades blended as by the hand of an 
 artist, is still very beautiful. It is the mosaic-work of embroidery, 
 and bears the same relation to it that the real mosaic does to painting; 
 but crewel-work has the advantage of being more quickly done, and 
 of expressing better the individuality of the worker. How quickly, 
 for instance, with needle and crewels, the very essence of a May 
 morning may be condensed into the cluster of apple-blossoms from 
 the laden bough beside the window; but who could extemporize them 
 into a pattern of set squares on the spur of the moment ? 
 
 Fig. 11. 
 
12 
 
 AETISTIC EMBROIDERY. 
 
 ARTICLES TO BE WORKED IN CREWELS. 
 
 It is always more satisfactory in a work of this kind to find some 
 practical illustrations of the suggestions given; and many people like 
 
 to know exactly what to make. We shall be 
 more explicit, therefore, in this little volume 
 than would be possible in one of greater preten- 
 sion; and mention articles to be made, as far as 
 our limits will permit. 
 
 Being quickly done and effective at a distance, 
 crewel-embroidery is very suitable for large 
 pieces of work, such as curtains, portieres, friezes, 
 and so forth. Portieres and friezes have a pleas- 
 ant suggestion about them of old tapestries; and 
 the latter are really wall-valances. One would 
 scarcely undertake 
 
 AN EMBROIDERED FRIEZE 
 
 even in crewel- work, for a large apartment; but 
 a moderate-sized room could be adorned with 
 this wall drapery without an unreasonable out- 
 lay of time. Claret-colored serge, or velveteen, 
 if in harmonj^ with the other coloring of the 
 room, worked with perpendicular sunflowers or 
 lilies (Figure 13 is a good pattern for the latter), 
 with a bordering of gold-color and green at top 
 and bottom, would be very ornamental. The 
 frieze could be finished with a fringe and hang 
 loose at the lower edge, which is prettier, or 
 fastened at both sides, paper-fashion. 
 
 Colors and figures may be varied indefinitely — 
 for the lattter, a standing army of storks would 
 often be preferred. Dragons, too, are now so 
 generally regarded as cheerful domestic animals 
 in the way of adornment, that a procession of 
 them across the walls of an apartment on an 
 elaborate frieze would, doubtless, add a pleasing 
 element in the way of decoration. But those 
 who say, Give me beauty, or give me nothing, 
 in the way of ornament, will prefer designs of 
 flowers and leaves. 
 
 A DADO IN CREWELS 
 
 Fig. 12. may be done in the same way, only that there 
 
ARTISTIC EMBROIDERY. 
 
 13 
 
 is more of it; and being nearer the eye, the design should be more 
 close and elaborate. The patterns on rich papers will be found sug- 
 gestive studies; and it may be remembered that the material for 
 groundwork can be adapted to the purse of the embroiderer and the 
 other belongings of the apartment, from velveteen at a dollar a yard 
 to crash-towelling at ten cents. 
 
 The wide material known as jute, and just the least bit in the style 
 of brown straw-matting, would make a very nice dado worked in 
 crewels, with a darker brown picked out with gold color; and this 
 same material hangs in graceful folds for curtains and portieres. A 
 brown room could be made very beautiful in this way; and quiet 
 
 Fig. 13. 
 
 though it is, there is a richness about brown that is always suggestive 
 of gilding. 
 
 A WORSTED-WORKED PORTIERE 
 
 should be of velveteen, if this harmonizes with the other hangings of 
 the room, as the material has a particularly rich effect in doorways, 
 and artistically executed crewel- work suits it admirably. Brown 
 velveteen with golden sunflowers, or gray with wild roses, or dark 
 blue with lilies, will be found very handsome. 
 
 In working portieres, it is necessary to remember that they should 
 be well covered with embroidery, because the light falls on all their 
 
14 ARTISTIC EMBROIDERY. 
 
 parts ; while an embroidered border suffices for curtains, as the edges 
 only are likely to catch the sun's rays. 
 
 Other hangings may be made for the open shelves of cabinets and 
 etageres ; these should also harmonize with the general decoration of 
 the room in color and style, but may be richer and more elaborate 
 than the larger pieces of embroidery, as they will be subjected to 
 closer inspection. 
 
 CURTAINS WITH SPRAYS OF SUMAC. 
 
 These were really beautiful. The ground was a pale sage green, in 
 perfect keeping with the prevailing hue of the room; and the soft 
 bright shades of the crewels were so delicately blended, that the effect 
 was a perfect needle-painting of these bright-hued darlings of the 
 autumn. They were embroidered on the plain band of the sage — 
 colored material that formed the simple cornice — down the front of 
 the curtains, and here and there, on the body of the drapery, a spray 
 seemed to have dropped by accident. 
 
 A SWEET-PEA TABLE COYER 
 
 which emanated from the same hand, was also a thing of beauty. 
 The table was a round one of moderate size, and the top was tightly 
 covered with maroon-colored flannel. A straight band of white flan- 
 nel between two narrow strips of the maroon formed the border, and 
 on this white ground the sweet peas were worked in delicately-tinted 
 crewels. Feather-stitching, of black and bright green, marked the 
 joining of the white flannel to the maroon on either side. The bor- 
 dering was fastened to the table with silver-headed nails, and finished 
 with a worsted fringe to match the maroon flannel. 
 
 This beautiful work was all copied from natural models during 
 hours of summer leisure on a country piazza, and many beautiful 
 thoughts and m.emories were wrought into the bright-hued leaves and 
 petals. 
 
 SCREENS IN CREWEL-WORK. 
 
 We saw a honeysuckle screen lately, that might have been beauti- 
 ful, but was not because it had altogether too ^ ombre an air to be 
 viewed in the light of an ornament. The workmanship was fine, and 
 regularly done according to the rules of art, but as the ground was 
 black and the coral honeysuckle was represented in very dull reds and 
 greens, the effect was not enlivening. A gray ground of a silver 
 tinge would have been a great improvement, but dark work on a dark 
 ground is a dismal production. 
 
 The woodbine honeysuckle can be reproduced in crewels in very 
 natural colors, and we have seen some that almost diffused a June 
 
ARTISTIC EMBROIDERY. 15 
 
 odor about them. They were worked on very fine, soft crash, and in- 
 tended for a tidy; but a beautiful fire-screen could be made of them 
 on a ).lue or plum-colored ground. 
 
 The large folding-screens, so often in strips of coarse Berlin-wool 
 work, are very handsome in crewels; and climbing vines of all kinds 
 are particularly suited to them. A crimson ground with water-lilies 
 in one corner, and the wild morning-glory, with its nearly white blos- 
 soms (that grows in damp places and therefore harmonizes with the 
 water-lily) trailing its beautiful length across the largest space, while 
 the inevitable heron, balanced, of course, on one foot, stands sentinel 
 among his reeds and rushes, where classic cat-tails bristle like spears, 
 is vis-a-vis to the water-lilies on the other side, would be found bright 
 in coloring and handsome in effect. 
 
 But a screen that looks as if some one had come in and thrown a 
 handful of d-aisies over it may be quite as pretty, and is certainly less 
 work. 
 
 CARRIAGE WRAPS 
 
 of fine crash, ornamented with crewel-work, are handsome and service- 
 able for warm weather. A bordering: of strawberries and leaves near 
 the edge, or one of periwinkle with its delicate blue flowers, would be 
 very pretty; and this bordering, with a large monogram in the centre, 
 would sufficiently ornament the article. 
 
 But endless are the uses to which this simple and charming style of 
 embroidery ma;/- be put; and the suggestions given maybe indefinitely 
 multiplied and rearranged in various forms. 
 
CHAPTER II. 
 
 SIMPLE IDEAS OF COLOR. 
 
 Before proceeding to silk embroidery, it may be well to consider 
 some simple rules of color, as the proper arrangement of color is of 
 far greater importance than the regular placing of stitches, and no 
 embroidery can be artistic without it. 
 
 An old-fashioned poet gives some good advice on this subject: 
 
 " Choose such judicious force of shade and light, 
 As suits the theme and satisfies the sight ; 
 Weigh part with part, and with prophetic eye 
 The future power of all thy tints descry." 
 
 Truth in rhyme was never better brought out than in the following 
 lines : 
 
 ' ' Know first that light displays and shade destroys 
 Refulgent Nature's variegated dyes ; 
 Thus bodies near the light distinctly shine 
 With rays direct, and as it fades decline." 
 
 An eye for color is of the same nature as an ear for music — one 
 knows intuitively what is right; but this is by no means a very com- 
 mon gift; and there are some rules to be observed, independently of 
 the guidance of taste, that are within the reach of all. 
 
 Thus scarlet and yellow were never intended for close companions; 
 brown or lilac invariably quarrel with a scarlet ground; blue and 
 green together, or yellow and green, are like an unpleasant taste in the 
 mouth; blue is perfectly amiable with ecru (tlie French name for all 
 the drabs and fawns) ; a cold green blue may be successfully paired 
 with lilac; drabs with a rich brown tone in them take kindly to yel- 
 low; pink and gray are as harmonious as love-birds; scarlet affably 
 locks arms with slate-green and red-brown; green with maize, and also 
 with some shades of salmon; blue and maize were made for each 
 other; lilac and green, blue and claret, are also devoted couples. 
 
 One who knows says that black should never be used next a high 
 light; one-eighth of every object has a high light upon it, one-eighth 
 is darkest shadow, and six parts light, or half-tint. No objects in 
 nature Slyq positively hlue, red, or yellow, owing to two causes: one, 
 that most objects reflect the sky; the other, that the atmosphere be- 
 
ARTISTIC EMBROIDERY. 17 
 
 tween the eyes of the observer and the light causes the brightness of 
 the tints to be deadened. So that care must be taken to avoid the 
 immediate contact of bright colors with each other when an attempt 
 is made to imitate nature. 
 
 Shaded embroidery should be guided by the same rules that apply 
 to water-color painting, except that greater depth and brilliancy, and 
 consequently less delicacy, are the results in view. It requires much 
 discrimination to give a natural hue to leaves, and, at the same time, 
 to produce such contrasts as w^ill give the proper relief. Portions of 
 each should be much lighter than others; and in the grouping, a mass 
 should be thrown into shadow under the bright leaves — the shadow 
 being composed of dark green mixed with neutral tint. 
 
 Much may be learned in the way of color by study and observation ; 
 but to get just the right shades of even harmonious colors requires 
 care and skill. Thus simple red may be used with pure green; but 
 scarlet, which is red tinged with yellow, must have a blue green; 
 crimson, which is red tinged with blue, a yellow green. All colors 
 are darker on a light ground and lighter on a dark ground, so that 
 tints should be selected according to the groundwork. 
 
 Position, too, must be considered; a piece of embroidery that is in- 
 tended for a dark corner should have brighter colors and stronger 
 contrasts than one which is to be placed in a full light. On a white 
 ground very delicate tints are most suitable, while the broken grays 
 of crash will harmonize livid colors. 
 
 Masses of blue should be avoided, as blue is a cold color; and 
 white requires skilful management, as it should be shaded oif deli- 
 cately by means of tints that have a large portion of white in their 
 composition. But all flowers of the same kind should not be worked 
 in the same shades of color; three white flowers, for instance, of the 
 same species and in one cluster, requiring eight shades of silk or 
 worsted to embroider them properly, should have these shades differ- 
 ently arranged. For one, a greater portion of the five lightest tints 
 would be used; for the next, the middle shades, perhaps; in the third, 
 the darkest would be most prominent; all this would depend on the 
 position of the flow^ers and the skill of the embroiderer. 
 
 Many different colors in one piece of work spoil the effect, except 
 in particular cases; some one prevailing color should be adopted, and 
 the rest chosen with reference to it. ISome of the most beautifully 
 colored work is done in one key of color: one color being taken as 
 the key-note, and those shades only are used that form its component 
 parts, or that have the original color in their composition. On gold- 
 colored satin, for instance, nothing looks so well as a design colored 
 in shades of russet and golden browns, introducing every now and 
 then a lighter or darker shade of the pure ground color. 
 
 In taking green for the ground color, if a yellow green, then the 
 
18 ARTISTIC EMBROIDERY. 
 
 highest note should be yellow; and it should be carried down through 
 all the brown, warm, and russet greens, which owe all their warmth to 
 yellow. If the ground is a blue green, colder greens must be used, of 
 a sage rather than a russet tint, while the key-note is struck with a 
 pure blue. Under this restraint, the effect, though subdued, is very 
 agreeable. 
 
 If a pure blue is placed near a pure yellow, the effect is glaring; but 
 when the blue is slightly toned with yellow and the yellow with blue, 
 there is quite a different result. A strong blue and a bright red, with 
 a yellow gleam in it, stare each other out of countenance; but a sub- 
 dued russet-green as a neighbor makes them harmonious. 
 
 Purples, and all shades inclining to blue, are difficult to dispose sat- 
 isfactorily — those with the least blue in them are preferable. Russet 
 is one part blue, one part yellow, and two parts red; olive, one part 
 blue, two parts yellow, and one part red. It is more pleasing than 
 slate, which has two parts blue, one part yellow, and one red. 
 
 When the ground is a red plum or maroon, pure red pinks, with no 
 shade of blue in them, will be much more harmonious than blue; but 
 if the ground is a blue plum, pale blue will be better than pink. The 
 shading of flowers is always in different shades of the same color; and 
 this method applied to embroidery produces the most charming results. 
 A pattern worked on a dark ground in a lighter shade of the same 
 color is always pleasing; and in a small room especially a great variety 
 of colors should be avoided. A crimson room should have chair or 
 table cover, or tidy, in pale crimson mingled with a little pink of the 
 same tone. 
 
 Thus after a pretty conceit, one room might be called the rose-room, 
 being furnished with the crimson heart of that beautiful flower run- 
 ning through the shades of pink suggestively in the lighter portions, 
 and " broidered over " with roses and buds where ornament is desir- 
 able; another might be the sunflower-room, with its warm golden 
 browns and gleams of yellow, and the honest full-moon face of that 
 plebeian blossom astonished at being " done " in silks and crewels, and 
 set up to be looked at; while the morning-glory-room, in grays and 
 blues, should imprison all the sunshine to light up its cold colors, and 
 afford a congenial resting-place for its pictured blossoms. 
 
CHAPTER III. 
 
 SILK EMBROIDERY. . 
 
 This beautiful work has been practised from the earliest times; and 
 the ancient Egyptians particularly excelled in it. Much of this was 
 done on linen — to which we shall refer afterward. The very sails of 
 their galleys were embroidered; and their "divers colors of needle- 
 work on both sides " seems to mean that it was done so that the work 
 was the same on the wrong side as on the right — a method of working 
 that requires an immense amount of skill and patience, and which is 
 now found only among those eminently painstaking races, the Chinese, 
 Japanese, and Hindoos. 
 
 Silk embroidery is done on almost any material except cotton and 
 coarse linen; but silk and velvet seem the most suitable fabrics for 
 groundwork. If well done, it is handsome on anything; and as it is 
 an expensive kind of needlework, great care should be taken in doing 
 it. As a general thing it requires framing, and especially when floss- 
 silk is used. Frames are of various kinds; the best for large pieces 
 of -work being the standing frame (see Figure 14), which has adjust- 
 able screws, and can be lowered or heightened at pleasure. 
 
 The hand or lap frame (Figure 15) is more convenient in embroi- 
 dering smaller articles. 
 
 In putting work into the frame, a strip of strong tape or linen 
 should be stitched along the woof ends of the material — which must 
 then be firmly sewed with strong double thread to the webbing on the 
 frame. It should be made as tight and firm as possible; the strain 
 being increased gradually and cautiously until the tension appears to 
 be sufficient. The woof ends should be braced to the side pieces with 
 fine twine. A packing-needle threaded with twine must be drawn 
 through the upper right-hand corner of the tape or linen, and the end 
 securely tied. The twine must be sewn over the lath till the lower 
 corner is reached, knotted securely, and cut off; the other side must 
 then be done in the same manner. 
 
 When the material is larger than the frame, it may be sewed on to 
 the bars and rolled round one of them, with tissue paper and wadding 
 between to prevent the stuff from creasing; and when the part in the 
 
20 
 
 AUTISTIC EMBEOIDERY. 
 
 Fig. 14. 
 
 frame is finished, it is rolled round the opposite bar, and so on, until 
 
 the whole is completed. The centre 
 ring, marked 1, is a hand frame used for 
 small pieces of embroidery. 
 
 In working with a frame it is desirable 
 to use both hands — one to put the needle 
 through from the outside, and the other 
 to bring it uj) again from beneath. This 
 will be slow work at first; but practice 
 and patience will enable one to dp it 
 quite dextrously, and the great con- 
 venience of working in this way will 
 fully repay the trouble of learning it. 
 Two thimbles will be necessary, one for 
 Fig. 15. - each hand. 
 
 THE STITCH FOR SILK EMBROIDERY 
 
 is the same as for crewel-work, except that it is shorter. Other 
 stitches are often introduced, which will be noticed in their place; 
 but the proper stitch for shaded embroidery, the most attractive of 
 this fascinating work, is to draw the needle upward from the right 
 and finish by putting it down to the left. The right hand 
 
AETISTIC EMBROIDERY. 21 
 
 should always be above tbe frame, and the left beneath — making the 
 stitches as long as the work will admit of their being, as the brilliancy 
 of the silk is destroyed by crowded and short stitches. 
 
 Silk embroidery is both dainty and effective ; and as the materials 
 are expensive, great care should be used in doing the work, that it 
 may not only give satisfaction at first, but prove sufficiently durable 
 to repay the outlay of time and money. It is best to avoid touching 
 the silk by drawing it through the fingers while woi'king. 
 
 Anything like a regular embroidery stitch is to be avoided, excej^t 
 in those portions of the work where it is necessary; as the most 
 charming effects are usually produced where there seems to have been 
 the greatest indifference to mechanical regularity. 
 
 When the work has been properly arranged in the frame, the first 
 step in artistic embroidery is to observe the position of the flowers 
 and leaves — taking it for granted that the outlines have been properly 
 traced — and if the model is of natural blossoms, so much the better. 
 It is particularly advisable, before beginning the embroidery, to study 
 the lights and shades; the edges and rounder parts, both of the lea\ es 
 and petals of flowers, as they embrace more surface, naturally receive 
 the light first and are worked with the palest tints. 
 
 In a group of flowers (see Figure 16) it is recommended to begin 
 with the smaller parts, such as the stems, buds, and leaves; and great 
 care should be taken to have every portion clearly outlined — although 
 a visible outline should be avoided in fiUed-in work. Again, the care- 
 ful blending of shades mentioned in crewel-work must be enforced — 
 the stitches being so nicely placed to produce the right effect, that 
 their beginning and ending are quite lost. 
 
 GROUP OF FLOWERS FOR SILK EMBROIDERY. 
 
 The stems of slender flowers should always be done in stalk-stitch, 
 as they can be made more neatly and with less trouble than in satin- 
 stitch. The centres are worked in French knot stitch. This is a 
 pretty pattern for a variety of small articles: glove-box, letter-box, 
 pincushion, case, etc. Or it may be enlarged for a footstool^ sofa- 
 cushion, or chair-seat. 
 
 In working leaves, one half should be done first; and great care 
 taken to follow the direction of the fibres. Figure IV shows the 
 direction the lines would take if we were shading the leaf in drawing. 
 In working a pansy the stitches should take the direction of the lines 
 in Figure 18; and not cross the petals, as in Figure 19. Figure 2C 
 shows the proper filling up of a thick stalk. 
 
 For narrow leaves, where one stitch will reach from the middle to 
 the edge, it is best to pass the thread from the edge underneath to the 
 middle — as this makes each stitch begin in the middle, and the under 
 
22 
 
 ARTISTIC EMBROIDERY. 
 
 side is nearly the same as the upper. A broad leaf or petal requires 
 more than one stitch between the middle and the edge; and for these, 
 the needle may be brought up again wherever the next stitch seems 
 to be wanted. But two together should not begin nor end on the 
 same line — except on the outside edge to preserve the outline, or in 
 showing the middle rib. 
 
 Fig. 16. 
 
 Unless the embroidery is very large and bold, the line formed by 
 the meeting of the stitches down the middle of a leaf, as in Figure 
 21, will sufficiently mark the mid-rib. If in the real leaf it is very 
 deep and plainly defined, a very narrow space between the two lines. 
 
ARTISTIC EMBROIDERY. 
 
 23 
 
 tapering till the threads meet again near the point, will generally be 
 sufficient. See Figure 22. Lateral veins need not usually be indicated 
 
 at all; but if they are very marked, and of a 
 ^1 different color from the leaf itself, they may be 
 
 laid on by a cord or a piece of thick silk twist — 
 fastening it down with small stitches in silk of 
 the same color. This must only be done in large 
 and rather coarse work. 
 
 Another important point is the distinct bring- 
 ing out of the different characters of the stalks. 
 W The three examples given (Figures 23, 24 and 
 
 25) will show how the different joinings vary, and 
 - .. that care must be taken to make these distinc- 
 
 tions, as well as to finish them off properly. It 
 has been well said that the difference between 
 mechanical and artistic embroidery consists in 
 showing judgment and finish in all these small 
 matters. 
 
 Other stitches used in silk embroidery, besides 
 the one known distinctively as embroidery- 
 stitch, are satin-stitch, French-knot-stitch, stalk- 
 stitch, point-russe, herring-bone or feather-stitch, 
 ladder-stitch, chain-stitch, etc. 
 
 Satin-stitch is used a great deal in white 
 embroidery, and many persons are familiar with 
 it who have never attempted to work in colors. 
 It is also called 
 
 Fig. 18. 
 
 fre:n^ch, or flat embroidery. 
 
 The stitches lie smootMy in a diagonal direc- 
 tion close to each other — little or no attention to 
 light or shade being necessary. It may be done 
 very effectively in one color, and is then often 
 enriched by gold or silver cord around the 
 edges. 5^ 
 
 It looks best worked with Mitorse silk — which 
 is also the most durable, as it does not fray in 
 the wear nor so quickly lose its glossy appear- 
 ance as when done with floss or Dacca silk. 
 This work is suitable for articles of furniture 
 and dress, as well as for small ornamental work. 
 Figure 26 is a good illlustration of flat embroidery in a pretty 
 
 border pattern, which may be edged with gold thread or with silk of 
 
 another color. 
 
24 AETISTIC E3IBEOIDEET. 
 
 BORDER IJ\' FLAT EMBROIDERY. 
 
 THE FREXCH KNOT. 
 
 Tliis is very useful for the centres of such flowers as the daisy and 
 
 sunflower, and for filling up 
 
 leaves in a showy manner. It 
 is made by bringing the thread 
 through to the front of the work, 
 and holding it in the left liand, 
 four or five inches from the work 
 — the needle being in the right 
 hand; the thread is twisted two 
 or three times around the needle 
 as close to the work as possible; 
 then the point is turned down 
 into the material nearly, but not 
 exactly, where the thread came 
 up; the needle is pulled through 
 to the other side, and the thread 
 drawn carefully till the knot is 
 firm. The thread must be drawn round the needle close up to the 
 work before the needle is pulled quite through, lest the knot should 
 hang loose and spoil the effect. 
 
 Eig. 20. Fig. 21. 
 
 Fig. 23. 
 
 Fig. 24. 
 
 Fig. 25. 
 
 STALK-STITCH 
 
 Is very easily and quickly done. In veining leaves and working 
 small stems, it is more manageable than any other stitch; and it is 
 formed bv makino- a straio-ht stitch rather more than a sixteenth of 
 an inch in length — then for the next stitch, putting the needle about 
 half-way back into the first one and working it the same length. 
 
ARTISTIC EMBROIDERY. 
 
 25 
 
 This is so quickly done, that there is danger of doing it carelessly; 
 but if properly worked, it resembles a finely-twisted cord, and gives 
 a very neat finish to the embroidery. 
 
 Fig. 26. 
 
 POmT-RUSSE. 
 
 This is a stitch frequently mentioned in new embroidery; but the 
 
26 
 
 ARTISTIC EMBEOIDEKY. 
 
 tnodus operandi does not seem to be so well known as that of many 
 others. Possibly because of its very simplicity — ^for Point-Russe is 
 merely a succession of back-stitches neatly and regularly done. It is 
 used for many small articles; and is a useful adjunct in more artistic 
 work. 
 
 The illustration in Figure 27 shows the effect, and the uses to which 
 it can be put. Every line of the design must be carefully followed in 
 
 Fig. 27. 
 
 working it; and very pretty borderings and ornamental figures in 
 long stitches are often made with it. Medallions are very pretty in 
 Point-Russe; and we give one in Figure 28 that is worked entirely 
 in this stitch, and made very effective in scarlet and gold. This is 
 intended for a purse, and is worked on light brown leather or kid. 
 
 Figure 30 is also very pretty, and may be worked in one or more 
 colors. 
 
ARTISTIC EMBROIDERY. 
 
 27 
 
 Figure 31 is a border pattern that is very effective. The diamonds 
 are outlined in black and white, and the leaflets within are of green 
 
 Fig. 28. — ^Medallion in Point Fig. 29. — Medallion in Point 
 
 RUSSE. RUSSE. 
 
 silk. The stars are outlined in black and blue, the crossings are red, 
 and the dots yellow. The figure between the stars is black and 
 yellow. 
 
 Fig. 30. — Border in Point Russe. 
 
 HERRING-BONE, OR FEATHER STITCH. 
 
 This is an old-fashioned embroidery stitch revived, which is always 
 effective. 
 
 In ancient times, fine pieces of linen were embroidered all over with 
 
28 AUTISTIC EMBROIDERY. 
 
 flower designs in outline, with here and there a portion filled in, and 
 the stems worked in a close herring-bone stitch to give them strength 
 and substance. Sometimes the whole design would be worked in this 
 stitch, done so closely as to have the appearance of braid. 
 
 Som^ of this filled-in work was done in a peculiar manner from 
 side to side. An oval leaf to be filled would be begun at the base 
 with a few satin stitches, then when a point was reached where it was 
 wide enough, instead of passing the thread all the way underneath to 
 the opposite side, about one-third of the width of the leaf is taken up 
 in the needle, and the next stitch is done in the same way on the 
 opposite side of the leaf — working from side to side until the leaf 
 becomes too narrow again, when it is finished with a few satin 
 stitches. 
 
 This stitch throws all the silk to the top ; and the crossing of the 
 threads in the middle of the leaf has a very rich and soft effect — 
 giving also the appearance of a vein. 
 
 Feather-stitch seems too well known to need description; and there 
 is a great variety of it, from the simjDlest " herring-bone," to the 
 prettiest feather-like vine; and it has the advantage of being very 
 easily and quickly done. 
 
 It is merely button-hole stitch, in alternate loops and long stitches, 
 sewed backwards. A design may be drawn first, if needed, to make 
 the work regular; but with one straight pencil line as a guide, if the 
 eye is not very correct, almost any one who can use a needle will be 
 able to do feather-stitch. 
 
 This stitch is very much used in applique work; and it makes 
 pretty dividing lines in ornamenting large articles. 
 
 We lately saw a table-cover worked entirely in feather-stitch, that 
 had quite an Oriental appearance. The ground was black cloth; and 
 all colors of worsted braid, of different widths, were sewed on with 
 this stitch — being placed around an oblong piece in the centre, and in 
 strips across to the edge for the border. 
 
 chai:n^-stitch. 
 
 Another well-known and simple embroidery-stitch; and more beau- 
 tiful effects may be produced with it than are known to the philosophy 
 of the ordinary worker. 
 
 Chain-stitch is sometimes used for filled-in embroidery; the lines of 
 the chain being laid very close together, and following the form of 
 the leaf or flower until the space is filled. It should always be com- 
 menced on the outside, and worked to the centre. 
 
 Some very rich kinds of Algerian and Eastern work, often embroid- 
 ered entirely with gold thread, and generally with a mixture of this 
 mth silk, are done altogether in chain-stitch. It is often found, too. 
 
ARTISTIC EMBROIDERY. 
 
 29 
 
^0 ARTISTIC EMBROIDERY. 
 
 in ancient crewel-work; and is made by holding the thread firmly over 
 the point of the needle, while it is drawn out, so as to form a loop. 
 The needle is put back again into the centre of this loop; and the 
 thread again passed over the point to form a second one — and so on, 
 the succession of loops forming the chain. 
 
 The objection to this stitch is that it has a mechanical effect, and 
 can be exactly imitated with the sewing-machine. The long embroid- 
 ery-stitch is much more elastic and natural-looking, and able to 
 accommodate itself better to varying forms. Chain-stitch is useful, 
 however, for outline-work, and wherever a stronger line is required 
 than that made by the long stitch. 
 
 Curtains, table-covers, portieres, etc., are handsomely embroidered 
 in chain-stitch; and Figure 31 gives a very rich bordering pattern for 
 this purpose. Turkish embroidery is nearly always done in chain- 
 stitch; and covers for small tables, with a light blue or scarlet 
 ground, worked all over in chain-stitch arabesques with bright silks, 
 make a pretty *' bit of color " for a shaded corner. 
 
 Another effective way of working a table-cover in chain-stitch is to 
 get black, red, and white cloth or flannel; the black for the centre, the 
 red next to the black, and the white for the border — and joining them 
 by lapping the edge of one a very little way over the other, proceed 
 to chain-stitch the whole with various colored silks. 
 
 The effect is very handsome; and the bordering may differ from 
 the other part by being done in loose overcast stitch over straight 
 pieces of zephyr, and finished with little tassels of the bright silks. 
 
 Figure 32 is a very pretty Oriental-looking pattern suitable for a 
 bordering, or it can be used in other ways. The figures placed 
 
 Fig. 32. — Oriental Borderiis^g. 
 
 together are worked in chain-stitch with silk of two contrasting 
 colors — two shades being used in each figure. The outer row of the 
 first is dark-red, and the inner one bright-red. The second figure is 
 
ARTISTIC EMBROIDERY. 
 
 31 
 
 of two shades of green; the third of two shades of blue; and the 
 fourth of two shades of yellow. The knotted stitch in the centre of 
 the ovals is violet. The dots outside the ovals are worked in satin- 
 stitch, and are alternately red, yellow, violet, and blue. The stems are 
 of black silk in point-russe stitches. The four ovals are worked in 
 chain-stitch with silk of two shades of brown. 
 
 Fig. 33. 
 
 LADDER-STITCH. 
 
 This is sometimes quite effective in ornamental embroidery. 
 Figures 33 and 34 give two different patterns. The material is partly 
 
 cut away in these illus- 
 trations, and in some 
 kinds of work this is 
 a great improvement= 
 Ladder-stitch makes very 
 pretty border lines — the 
 outer edges being done 
 in overcast, and the cross- Fig. 34. 
 
 stitches in point-russe. 
 Exquisite pieces of work have been wrought in silk embroidery 
 from time immemorial; and there is scarcely a material to which it 
 may not be applied. A fragment of old embroidery, worked more 
 than a century ago, is represented as a good subject for study in the 
 way of coloring. 
 
 This fragment is about eight inches deep, intended for bordering, 
 and is worked on white satin. The material is ravelled out in a fringe 
 at the bottom; then comes a line about an eighth of an inch wide in 
 dark red floss — then a row of disks shaded in a dark and a light 
 green; above these and touching one another are two broader lines 
 of red, one the same color as the first, the other paler; then there is a 
 representation of moss worked in chenille of three shades of green — 
 and from this mossy ground spring roses, carnations, forget-me-nots, 
 and leafy sprays. This part is treated quite decoratively; and no 
 attempt is made to preserve the natural proportions of the flowers in 
 relation to each other, or to their stems and leaves. 
 
 In the sprays, one or two leaves are of peach-blossom color. Above 
 this row of flowers are branches in festoons; of which the stems are 
 olive-brown, the leaves shaded, or rather, party-colored, with peach- 
 blossom inclining to pink, olive-brown, and two or three shades of 
 green. It will be seen that nature is no more strictly adhered to in 
 color than in form. 
 
 Over these branches is a pattern in two shades of peach-blossom, 
 mingled with a very little blue. Except the moss, the embroidery is 
 all done in floss silk split very fine. Seen by artificial Hght, this 
 
32 ARTISTIC EMBROIDERY. 
 
 beautiful piece of work has the brilliancy of cut and polished gems; 
 while the general effect of color is extremely rich and sweet, and 
 would harmonize with almost any suiToundings. 
 
 A beautiful way of treating the ground color, particularly if it be 
 one that seems to attract too much attentioQ to itself, is by working 
 a small diaper pattern all over it in a darker shade of the same color 
 — this gives depth and richness to the whole. A network of dead 
 gold may be imitated in silk of the right shade. 
 
 Dark, brownish greens, deep, dull blues, and rich maroons, make 
 good grounds; but black is best for a brilliant effect. The ground 
 must be decidedly dark, or decidedly light — no half-way shades being 
 allowable, as it is far more important for the colors of the work to 
 contrast strongly with the ground than with each other. 
 
 CHINESE EMBROIDERY. 
 
 The French and Chinese excel in silk embroidery; and the pains- 
 taking double work done in China is well known. The great care 
 with which the Chinese embroider preserves their materials bright 
 and shining. These materials are floss and twisted silks — also the 
 bark of a tree spun into a fine thread. Flat lines of gold also glitter 
 among the silks, and are used as stems and connecting links. 
 
 The drawing of these embroideries is sometimes as uncouth as that 
 of their paintings; but in some of their flowers (probably copied 
 from nature) they are often even botanically correct. The iris, for 
 instance, which frequently appears in their designs, is very true to 
 nature; and so is the time-honored stork. The iris, Figure 35, is a 
 good flower for embroidery; and may be made as effective in borders 
 as the sunflower. 
 
 The modern art of embroidery in China is thus graphically 
 described by a traveller: 
 
 "For 22 cash, or tsee)i, I purchased an elegant book filled with 
 choice subjects of the graphic art as patterns for the use of the young 
 needlewoman. She is assumed to be poor, and hence the little manual 
 is printed at about one penny of our money. It has a cover of a fair 
 yellow, studded with spangles of gold; and contains between two 
 and three hundred figures culled from the various stores of nature 
 and art. 
 
 "In fact, the objects are so well-selected and so numerous, that they 
 might serve as illustrations to a small encyclopaedia. One acquainted 
 with Chinese literature and natural history might deliver several 
 lectures with this book before him. The meadow, the grove, the 
 brook, the antiquary's museum, and the pages of mythology, with 
 the adornments of the house and garden, are all laid under contri- 
 bution. 
 
ABTISTIC EMBROIDERY. 
 
 33 
 
 "The book is said to be for the use of the person who belong, to fh^ 
 green w^ndou,-^h.oh is an epithet for the dLlling of a poor wom^^^ 
 
 Fig. 35, 
 
34 ARTISTIC EMBROIDERY. 
 
 while tlie red gallery denotes the residence of a rich female. The 
 industrious poor plies her task near the green lattice, which is made 
 of earthenware and lets in both the light and the breath of heaven; 
 while the rich dame leans upon the vermeil-tinted balusters of the 
 gaudy v^eranda, and gazes carelessly at the sunbeams as they sparkle 
 among the flowers, or waves the soft breeze which agitates the green 
 roof of the Indian fig-tree. 
 
 '' The title-page presents us with a venerable man in the weeds of 
 office, holding in his hand a scroll with this motto: 'Heaven's 
 Magistrate confers wealth.' Over his head are bats disjiorting among 
 the clouds; the emblems, I suppose, of wakefulness — for these animals 
 are on the alert while men sleep. 
 
 " I once saw two girls at this work in the village of Mongha. They 
 were seated upon a low stool, and extended their legs across another 
 of twice the height of their seat. In this way, a support was pro- 
 vided for the frame on which the piece to be embroidered was spread 
 forth. Their faces wore a sickly liue; which was owing, perhaps, to 
 close confinement and the unnatural position in which they were 
 oblio;ed to sit. 
 
 " The finest specimens of embroidery are, so far as my observation 
 goes, done by men, who stand while at work — a practice which these 
 dam>els could not imitate, as their feet were small. They were poor, 
 l)ut too genteel, in their parents' idea, to do the drudgery of the 
 Jiumble housewife; and so their feet were bandaged and kept from 
 growing beyond the limits of gentility. Their looks were not likely 
 soon to attract a lover; and hence they were compelled to tease the 
 sampler from the glistening dawn till dewy eve." 
 
 Chinese embroidery is particularly rich and effective for screens, 
 with its clear outlines, its gorgeous flowers, and showy birds and 
 butterflies. It bears the closest scrutiny — each stitch, even the hair 
 lines, seems to be placed just in the right spot; and applique is often 
 brought in so successfully, that it looks as if woven in the material. 
 The vivid clusters of crepe flowers are beautiful; and the judicious 
 introduction of gold thread here and there gives a marvellous richness 
 to the w^hole work. 
 
 Very fine floss-silk is the most common material used, and the 
 ■embroidery is done in long irregular stitches. Silk and satin are 
 generally used for the foundation; but whether the color is vivid 
 IdIuc, bright scarlet, or pale gold, the effect seems to be equally good. 
 
 The apparent carelessness of this work is one of its great attrac- 
 tions; the bold, free outlines seem easy of imitation; and a study of 
 the cheap Chinese and Japanese fans will be found very suggestive 
 in the w^ay of design and coloring. A simple design on one of these 
 fans has an intensely blue sky at the upper edge — a white moon in its 
 jfirst quarter at the upper right-hand corner — while at the left-hand 
 
ARTISTIC EMBROIDERY. 35 
 
 lower one, a small bunch of intensely pink flowers send a warm glow 
 over the whole. The efliect is extremely pretty. 
 
 Japanese onhr aider y, although similar in style and design, seems 
 finer and more dainty than the Chinese; and yet it is said that their 
 best specimens of work are kept for home decoration. The finest of 
 these are the cloths used as covers for the presents given by persons 
 paying visits of ceremony; these cloths are not given with the 
 presents they cover, but are family heirlooms. Really good Japanese 
 work is said to be rarely seen elsewhere. 
 
 The pieces of embroidery which are done purposely for a foreign 
 market are often very handsome; but they do not compare with those 
 which are executed for their own critical eyes. White birds, usually 
 storks, on a black satin ground, from which they stand out so clearly 
 that they seem in the very act of flying, are the most common subject. 
 Some rare pieces are occasionally seen in which the work is exquisite; 
 in one, the ground will be a deep, soft blue satin, like the sky of a 
 summer night; while the leading colors of the embroidery are gold, 
 pale blue, and white. 
 
 In another piece, the ground is of scarlet moreen, of a sufficiently 
 bright yellow scarlet to harmonize with the gold that forms the prin- 
 cipal color in the embroidery. The subject is a long flight of storks; 
 not less than eighty of them are flying upwards in a zigzag line — the 
 angles of which are very carefully studied from the bottom to the top 
 of the picture. 
 
 Most of these storks are embroidered in white silk, the direction of 
 the stitches giving much of their form; they are pricked out with 
 black, and there is a little pale pink or pale yellow-green in their 
 beaks and legs. About a quarter of them are worked all in gold — 
 representing the birds in shadow, or seen against the light ; and these 
 have little or no detail. Each bird is distinct, separately drawn, and 
 having his own expression, mode of flight, and position in the line. 
 
 The rest of the space is filled by horizontal bars of gold of varying 
 widths, and groups of fan-stitches also in gold; these seem to indicate 
 the flat sunset clouds and the tops of the distant trees passed over by 
 the storks in their flight. 
 
 Both in Japanese and Chinese work, the subjects are sometimes 
 partly painted and partly embroidered; and the two are so happily 
 blended, that it is difficult, at a little distance, to see where one kind 
 of work stops and the other begins. 
 
 In imitating this kind of embroidery for small articles, unmeaning 
 kinds of lines in the way of reeds and grasses, as in Figure 36, have 
 a particularly characteristic look. Small fans may also be introduced 
 to advantage; and Figure 37 would admit of a small bird and bough 
 at the top on a gold-colored ground, with brown lines for sticks; while 
 Figure 38 might have a top of pink floss or embroidery silk with 
 
36^ ARTISTIC EMBEOIDERT. 
 
 black lines at tlie bottom. These fans may be very mucb raried, and 
 can be made extremely ornamental. Figure 39 is a still (different 
 shape. 
 
 Fig. 36. 
 
 A full-sized fan with small ones embroidered over it Tvould be a 
 pretty conceit; or to introduce them in connection with flowers, 
 butterflies, and other emblems of summer. 
 
ARTISTIC EMBROIDERY. 
 
 37 
 
 It must be borne in mind that this kind of work is never over- 
 loaded — a few grasses, a butterfly, and a flower, often sufficing for a 
 good-sized object. 
 
 rig. 37. 
 
 Fig. 38. 
 
 Fig. 39. 
 
CHAPTER lY. 
 
 DESIGJflJfG AJ^D TRAJ\rSFEBRIJs''G DUSIGJVS, 
 
 This is a most important part of the work, and one that is done in 
 various ways. Patterns can always be stamped at the various fancy- 
 work stores, or bought all ready for working; but the embroiderer, 
 with original ideas and some turn for drawing, prefers to do this 
 herself. 
 
 T\"orsted patterns may often be used for outlines, as they are gen- 
 erally correct in this respect, and the leaves particularly are well 
 drawn. But those who are able to take their models from nature will 
 have less stiffness in their work; and a little practice in this way will 
 sometimes develop powers hitherto undreamed of. Large single 
 flowers of all kinds are easiest to begin with; and a lily, or a wild 
 rose, for instance, will be found quite easy to manage. 
 
 A pencil-drawing or a water-color painting can often be accommo- 
 dated to embroidery; and a too spreading branch or cluster may be 
 made more compact by a little management. A spray of apple- 
 blossoms, which is a particularly desirable model, will frequently over- 
 step the bounds assigned to it in one way, and not sufiiciently fill them 
 up in another. The best way to manage is to take a piece of paper 
 the size of the article to be embroidered, and divide it by lines into 
 four equal parts. The outline of the branch can then be sketched on 
 it; and the result will probably be that two of the squares are filled, 
 one barely touched with a leaf, and the other quite empty. More 
 blossoms, leaves, or twigs, can be added on one side and taken away 
 on the other; if the whole ground is not sufficiently covered, a butter- 
 fly, or a bird, may be introduced to furnish a bare corner. 
 
 The suitableness of any design for the purpose to which it is to be 
 applied depends upon whether its position is to be a horizontal or an 
 upright one. 
 
 Borders of upright sprigs, intended for a horizontal position, single 
 or grouped, require a line or two below, which serves to keep them 
 together; without this support they look disjointed, and each sprig is 
 too independent of the others. They need not touch the line — but 
 one near at hand seems to keep them from falling into space. When 
 
ARTISTIC EMBROIDERY. 
 
 39 
 
 the sprigs are large a series of lines should be used; and for this pur- 
 pose very pretty designs are often found in Oriental china. 
 
 Si 
 
 i 
 
 s 
 
 * 
 
 ^ 
 
 ^ 
 
 # 
 
 Fig. 40. 
 
40 ARTISTIC EMBROIDERY. 
 
 The combination in Figure 40 is simple enough in detail, but very 
 effective to edge a bordering. It is done in chain-stitch, ladder-stitch, 
 and point russe. 
 
 Small borders are often improved by a mere line on each side; and 
 the same effect is produced by sewing the bordering on material of a 
 different shade. 
 
 Birds and butterflies are naturally associated with flowers; they 
 give an air of life, and often serve to balance the inequalities of a 
 design. Butterflies are particularly appropriate from their great 
 variety both of size and coloring; and being worked like other artistic 
 embroidery, without any elaboration of detail, they are very easily 
 done. 
 
 Vases, which frequently occur in the fashionable designs, should 
 either be represented by some material laid on, or worked in lines 
 only — the outline with the pattern on it, as it would appear in a pencil 
 drawing without shading. 
 
 A beautiful piece of silk embroidery was worked on a ground of 
 bronze-green satin. There were sprays of convolvulus springing from 
 a vase of gray satin; the flowers were white, edged with pure blue — 
 not the purplish blue of the natural flower, for that would not have 
 harmonized so well — and yet there was nothing unnatural in the effect 
 of the color. The leaves were of yellow and gray greens, and the 
 stalks a browoiish green. 
 
 Then, to give warmth and life, some sulphur butterflies hovered over 
 the garlands. Thus, though in the coloring of the design the com- 
 ponent parts only of the bronze-green ground were used, the effect 
 was perfect. 
 
 TRANSFERRmG DESIGISTS. 
 
 Designs are traced in various ways, according to the nature and 
 color of the material to be embroidered. 
 
 For a light-colored ground, the best method is to trace the pattern 
 on tissue or other thin paper, lay the material flat upon a table, and fix 
 the place of the pattern upon it very exactly. Then put a piece of 
 carbonized blue or black paper, face downward, on the material, 
 between it and the paper pattern; and with a stiletto, or other hard- 
 pointed but not too sharp instrument (a metallic pencil or a knitting- 
 needle will often answer the purpose), trace over all the lines of the 
 design, taking care to keep the paper pattern from slipping, and that 
 the fingers do not press too heavily on the transf erring-paper, or more 
 color will come off than is desirable. 
 
 An old sheet of paper is more satisfactory than a new one; and it is 
 advisable to rub the latter gently with a cloth before using it, to 
 remove any unfixed coloring. 
 
ARTISTIC EMBROIDERY. 41 
 
 Pouncing is a more complicated process than tracing; but for dark- 
 colored materials it is safer. 
 
 The design must first be drawn on thick paper, and then pricked 
 along the lines with a pin. The paper should then be held up to the 
 light to see that the holes are clear, and close enough together to 
 make the pattern plain. 
 
 When the pattern is fixed, face upward, on the material, dust it over 
 with starch tied up in thin muslin so that the fine powder goes 
 through the holes. Flour will answer the purpose, and may be best 
 applied about the pattern with a soft brush. 
 
 The paper must then be taken up very carefully, lifting it straight 
 upward off the material so that it does not blur the little dots of 
 white, which ought to be in regular order underneath — marking out 
 the design. The lines of the pattern should be traced at once, as 
 indicated by the dots, with the original design before the eye, with 
 white tracing paint. 
 
 There is also a hlue powder for delicate light materials, that might 
 be injured by the carbonized paper. 
 
 Another method, when the nature of the design will permit it, is to 
 cut out the pattern in paper, place it on the material, and trace round 
 the edges with chalk. Then remove the paper, and go over the chalk 
 outline with Chinese white — renewing it where it is defective. 
 
 The richer the fabric, the more care, of course, is needed in trans- 
 ferring the design; and transparent materials should have the pattern 
 basted underneath. Embroidery in floss is often done on black net — 
 for which the design should be managed in this way. 
 
CHAPTER T. 
 
 ARTICLES IJV SILK EMBBOIDEBY. 
 
 There is scarcely an article for which ornament of this kind is 
 used that may not be decorated with silk embroidery, and it is suitable 
 for all materials. Curtains, portieres, and table-covers are very hand- 
 some done in outline with silk of the same color, but a lighter shade 
 than the ground; and whole sets of furniture have been undertaken 
 by ambitious workers. 
 
 A SCREEN" OF PEACOCK FEATHERS. 
 
 This was embroidered on a foundation of pale peach-blossom silk 
 with split floss, and made up with a plain ebony frame, ornamented 
 here and there with a little dead gold. 
 
 It was an exquisite piece of work, both in design and execution; 
 and so wonderfully did the brilliant silks reflect the changeful hues of 
 the bronze-greens and browns, that it was difficult to convince visitors 
 that real feathers were not fastened on. The only pattern used by 
 the embroiderer was one tail-feather dropped by a majestic fowl almost 
 at her feet; and while walking with the trophy in her hand, the 
 design of the screen came to her and was forthwith executed. 
 
 It was a good-sized fire-place screen; and as the room was furnished 
 in dark-blue, it showed to great advantage. 
 
 A PRETTY BANXER-SCREEK 
 
 This was fastened to the end of the mantel; and the crimson satin 
 foundation was covered with a small diaper pattern in maroon silk. 
 Thick clusters of small daisies without leaves were worked as a bor- 
 dering in embroidery-stitch; the centres in knot-stitch. In the middle 
 of the screen was a beautifully-designed monogram in gold-colored 
 sHk. 
 
 ANOTHER BANNER-SCREEN 
 
 was attached to a gilt stand. This stood on a table and was intended 
 to shade the eyes from a lamp or candle. The ground was of pale 
 green silk, and it was beautifully embroidered with ivy-leaves of 
 
ARTISTIC EMBROIDEBY. 
 
 43 
 
 darker shades. In the centre, there was an antique lamp done in gold 
 thread; and the banner was finished with a chenille fringe of green 
 and white. It was lined with white silk. 
 
 EMBROIDERED TABLE-TOP. 
 
 Figure 41 may be used for a variety of purposes. It makes a very 
 pretty top for a small table; and is worked in stalk-stitch, chain- 
 stitch, point russe, and knotted 
 stitch, with the flowers in pink, 
 claret-color, and yellow, on a 
 pale-blue ground. The sprays 
 and leaves are in shades of olive- 
 gi^n. 
 
 u^he table, which looks best 
 with a pedestal of ebony, or 
 ebonized wood, has a border- 
 fringe of Macrame lace. 
 
 WINDOW-CURTAm 
 DER. 
 
 BOR- 
 
 A very handsome bordering 
 for window-curtains was lately 
 worked by an artistic needle- 
 woman; figures of dragons in 
 Yi^. 41, gold-colored embroidery-silk on 
 
 a ground of maroon rep. The 
 bordering was intended for a soft gray material; and the straight 
 cornice-band was embroidered in the same device. 
 
 EMBROIDERED DRESSES. 
 
 Silk embroidery is very ornamental for dresses — although for this 
 purpose usually done only in one color. Ordinarily, it would be a 
 formidable piece of work to do it in the style of smaller articles; but 
 ingenuity and rapid execution sometimes go hand in hand. The 
 heroine of a story is represented as threading her needle with one 
 length of crimson silk, and with this scanty material, bringing out a 
 crimson rose on a silk handkerchief almost as quickly as a magician 
 could do it. A few deft stitches — and there it was. It was taken to 
 pieces quite as easily, and no trace of it remained. 
 
 But embroidery does not usually go on in this fashion; it is careful 
 work; and she who takes the greatest pains, as a general thing meets 
 with the best success. 
 
 Embroidered robes for full dress are decidedly the fashion now; 
 and one of black silk, or lace, embroidered with carnations, is beau- 
 
44 ARTISTIC EMBROIDERY. 
 
 tif ul for a brunette — while the delicate blonde may wreathe herself 
 with blue convolvulus, or deeply-pink wild roses, on a white or cream- 
 colored ground. Every one has her favorite flower; and to wear it 
 embroidered on an evening dress is a graceful way of proclaiming it. 
 
 PANELS. 
 
 Painted panels and tiles have become almost a mania; but the 
 needle of the embroideress can produce quite as charming results. 
 Painting is more quickly done; but every one cannot paint, while 
 many who cannot do this can embroider exquisitely. 
 
 To keep the embroidered panel or tile fresh and bright, it should 
 be protected by glass; and properly treated, it will be quite as satis- 
 factory as painting. t^ 
 
 The two panels for the doors of a small hanging-cabinet are very 
 pretty with a ground of cloth-of-gold, gold -colored satin, or silk — a 
 spray of wistaria worked on one — wild roses on the other. Violets 
 and anemones are pretty together; and on anything with four panels 
 may be represented the flowers or birds of the four seasons. 
 
 Silhouettes in black silk may be worked on all colored grounds for 
 tiles; and ingenuity can accomplish wonders in this way. The whole 
 procession of flowers, from the first snow-drop, or hepatica, of early 
 spring, to the holly and berries of Christmas, may be followed up on 
 tiles; the fans and umbrellas of all nations; and various other sugges- 
 tions, both practical and amusing. 
 
 SMALL CURTAI^s^S OR HANGINGS 
 
 For cabinets and book-shelves may be made of various materials, 
 and ornamented with silk embroider3^ The patterns should be more 
 delicate and finished, and the materials of finer quality than for large 
 hangings. Arabesques of chain-stitch in gold-colored silk on a dark- 
 blue ground of velveteen, with a pretty border pattern at top and 
 bottom; or a bright-colored bird on a branch, with a butterfly in one 
 corner, for a back-ground; buttercups and daisies on a ground of 
 golden-brown, would all be effective. 
 
 A WREATHED PICTURE. 
 
 Something new in the way of embroidery is to border a picture in 
 this manner. The frames with painted corners may be imitated with 
 the needle, and the daisies, violets, and other flowers will be found 
 quite as ornamental in embroidery. 
 
 But the wreathed picture was a fine engraving of the Mater 
 Dolorosa, small enough to make the process practicable. It was 
 unmounted, and the back carefully pasted on the foundation of light- 
 blue satin. Not a wrinkle was visible after it was thoroughly 
 
ARTISTIC EMBROIDERY. 45 
 
 smootlied with a soft piece of old cambric; and after sewing a piece 
 of narrow, gold-colored silk braid around the edge, a wreath of 
 Annunciation lilies was traced and embroidered on the satin. It was 
 so beautifully done as to look like painting; and with a glass over 
 the whole the illusion was complete. It was put in a gilded Floren- 
 tine frame. 
 
 AN EMBROIDERED ROOM. 
 
 It was very pretty to read about in a story, and not impossible to 
 carry out practically. The prevailing colors of the room were pale- 
 blue and carnation; and the curtain-lambrequins of pale-blue were 
 embroidered with sprays cf woodbine in its autumn dress of vivid 
 scarlet and crimson. The mantel-hanging was in blocks like tiles, 
 done in the same colors; and the panels of a home-made cabinet were 
 likewise embroidered. 
 
 These things, with other accessions, made it a charming room; and 
 if one could walk bodily into just such an apartment, the effect would 
 doubtless be all that it was represented. 
 
 A FAN TABLE-COVER. 
 
 Outlined palm leaves are very pretty, and fans are no less so. The 
 groundwork of cloth, flannel, or satin (if a small table), has three or 
 five parallel strips of velvet ribbon sewn down on each side with 
 point russe stitches of gold-colored silk, and put far enough apart for 
 fans of all colors to be embroidered between them. 
 
 These are worked in long embroidery-stitch; and although less 
 work if merely outlined, they are so very much richer and brighter 
 looking when filled in as to be quite worth the trouble. The ground 
 may be of any color that harmonizes with the rest of the room. 
 
 A CHAIR-COYER. 
 
 Long embroidered strips that will cover both back and seat of the 
 kind of lounging-chair now so much in use are very pretty worked 
 like the table-cover — the groundwork of the middle strip being of 
 gray satin or velveteen, with the rows of fans separated by garnet- 
 colored velvet ribbon, and a strip of the same colored velveteen on 
 either side of the gray. A fringe where the covering ends at top and 
 bottom gives it the look of being carelessly thrown there. 
 
 FIRE-SCREENS. 
 
 We have just been shown two exquisite pieces of embroidery 
 intended for fire-screens. One represented flame-colored gladioli on 
 a black satin ground, and was rich beyond expression; the other was 
 worked with cat-tails, reeds, and some unpretending little yellow 
 
46 ARTISTIC EMBROIDERY. 
 
 flowers on a blue ground. The material looked like a Chinese 
 groundwork. 
 
 The coloring of both of these needle-paintings was perfect; and as 
 to the stitches, it was difficult to believe that there were any — the 
 shades were blended as if with a brush. 
 
 A CHILD'S AFGHAN 
 
 It w^as made of strips of pink and white cashmere; the pink ones 
 embroidered with daisies, the white ones with pansies, in embroidery- 
 silk — and it was one of the prettiest things of the kind ever seen. It 
 w^as lined with thin pink silk slightly wadded and quilted, and 
 bordered with a ruching of pink ribbon. The seams were concealed 
 by lines of feather-stitch in garnet-colored silk. 
 
 The resources of silk embroidery are inexhaustible; and all sorts 
 of small articles, pin-cushions, brackets, watch-stands, glove-boxes, 
 sachets, etc., will suggest themselves. Fans, too, are beautifully 
 embroidered, and divide admiration with fine painting. Ornamental 
 velvets for neck, wrists, and belt, are a fashionable device — and these 
 are embroidered with single flowers : daisies, violets, etc. 
 
CHAPTER VI. 
 
 PBJJYT-WOBK. 
 
 This is a very fine kind of embroidery, and specimens of it are 
 quite rare. As the name implies, it is intended to imitate a picture, 
 and is generally used only for small subjects — the stitches being 
 almost too minute to be distinguished at all. 
 
 It is done on white silk or satin, which is carefully stretched in a 
 frame, and the design is then drawn on it. This is sketched with a 
 pencil, and usually worked in black silk; the various shades between 
 black and white may be used, but not colors — as the object is to 
 represent an engraving. Lead color, or pale slate, will be as suitable 
 as black. 
 
 A very fine needle must be used, and fine silk to correspond; and a 
 dotted engraving can be so well imitated in this kind of work that it 
 is almost impossible to tell the difference. The stitch used is known 
 as masking-stitch; and it is set as closely as possible without lapping 
 one over another. 
 
 In working a copy of an engraving, the embroiderer begins with 
 the darkest shades, which are done with black silk; gradually pro- 
 ceeding to the lightest tints, with silks of the intermediate shades — 
 blending them into each other with the nicest care. To accomplish 
 this, where it is necessary to introduce the lighter portions, the stitches 
 are set wide apart and the intervals filled up by putting in the lightest 
 tint used. 
 
 The worker must always have the engraving before her to study the 
 lights and shades. Fine engravings can be copied in the same way — 
 but the stitches should be longer and wider apart. 
 
 This kind of needlework requires great patience and is a heavy strain 
 upon the eyesight; and considering the beautiful effects produced by 
 other methods with less outlay, it is not likely to become very 
 popular. 
 
CHAPTER YII. 
 
 SILK EMBROIDERY WITH GOLD. 
 
 Much of the ancient work used for hangings was magnificently 
 "wrought with a mixture of gold embroidery — as much of the Indian 
 needlework is now done, especially in Japan and China. The royal 
 palace of Jeddo has a profusion of the finest tapestry, wrought by 
 the most curious hands, and adorned with pearls, gold, and silver, and 
 other costly embellishments. 
 
 The Moors of Spain have been especially celebrated for their rich 
 and beautiful decorative work; and ^vitli them originated the custom 
 of using tapestry for curtains. Mohammed forbade his followers to 
 imitate animals, or insects, in their ornamental work; and from this 
 circumstance, the term Arabesque, which represents their style of 
 decoration, was used to express all odd combinations of patterns from 
 which human and animal forms were excluded. 
 
 Gold was introduced into these arabesques with the richest possible 
 effect; and this style of design has never lost its popularity. It is 
 often mixed with other patterns in colors; but the simple richness of 
 an arabesque in black and gold cannot be excelled. 
 
 In the Middle Ages the most beautiful gold embroidery was called 
 opus Anglicanum y and this name clung to it whether it was done in 
 England or not. Much of this work was done in the convents, or 
 " shee-schools," as quaint old Fuller calls them; and besides church 
 vestments, which will be mentioned elsewhere, very beautiful secular 
 robes and pieces of tapestry were wrought in silk and gold. 
 
 The richest tapestry was in pieces like large flags or banners; and 
 was a prominent decoration on all occasions of festivity or rejoicing. 
 Ornamental needlework of all kinds was hung from the windows, or 
 balconies, in those streets through which a pageant, or festal proces- 
 sion, was to pass — just as flags are suspended now; and as the houses 
 were then built with the upper stories far overhanging the lower ones^ 
 these draperies frequently hung in rich folds to the ground. When a 
 street was thus adorned through its whole length, and partly roofed 
 by the floating streamers and banners above, it must have had some- 
 what the appearance of a suite of magnificent saloons. 
 
ARTISTIC EMBROIDERY. 49 
 
 The art of embroidering with gold and silver is very ancient, and 
 these costly materials were often woven into fabrics as well; but the 
 pure metal was then used, beaten into thin plates, and then cut into 
 narrow slips, which were rounded with a hammer and filed to make 
 threads or wire. 
 
 The method is exactly described in Exodus xxxix. 3, as practised 
 by the Israelites: "And they did beat the gold into thin plates, and 
 cut it into wires, to work it in the blue, and in the purple, and in the 
 scarlet, and in the fine linen with cunning work." 
 
 Old embroidered robes are mentioned made entirely of these gold 
 threads without any linen or woolen ground. Pieces of embroidery 
 worked with gold were called " orphreys," from the mediaeval 
 aurifrigium or aurifrasium / and mention is made, in the reign of 
 Edward III., of two vests of green velvet embroidered with gold, one 
 of which was decorated with sea-sirens bearing a shield with the arms 
 of England and Hainault. Also of a robe of velvet worked with 
 gold; and an outer garment wrought with pelicans, images, and 
 tabernacles of gold. 
 
 An ancient Persian carpet was of silk and cloth of gold sixty cubits 
 square. It was intended to represent a garden; and the figures were 
 of gold embroidery, with the colors heightened by precious stones; 
 the ruby, the sapphire, the beryl, the topaz, and the pearl, being 
 arranged with great skill to represent, in beautiful mosaic, trees, fruit 
 and flowers, rivulets, fountains, and shrubs of every description. 
 
 These specimens, however, are things of the past. 
 
 MODERI^ WORK 
 
 of this kind is generally used in large and bold designs, where much 
 display and extreme brilliancy are desired. 
 
 In these days, instead of the pure metal, silver, or copper wire, gilt 
 is used. Silver threads are covered either with the pure metal, or 
 with plated copper. The Chinese very cunningly use slips of gilt 
 paper which they twist upon silk threads, and with which they manage 
 to produce very beautiful effects. 
 
 MATERIALS USED. 
 
 Cord, braid, thread, bullion, spangles, beads, passing, etc., are all 
 used in gold embroidery, and in embroidery with gold and silk. 
 
 Of these, "passing," as it is termed, is the finest material of the 
 kind. It is a smooth thread of an even size, and resembles a thin, 
 metallic wire — differing from gold cord in the closeness with which 
 the flattened wire is spirally twisted round the silk, and in being 
 formed of only one thread. 
 
 It is used in the same way as silk, the stitch being generally satin- 
 stitch; and the needle should be an ordinary needle with a large eye. 
 
50 ARTISTIC EMBROIDERY. 
 
 and coarse enough to prevent the fretting of the gold as it is passed 
 backwards and forwards through the work. 
 
 Beautiful embroidery is wrought by the Turks with " passing " on 
 Morocco. 
 
 GOLD CORD. 
 
 This is a twist of two or more threads, which are wound around 
 with the flattened wires in a contrary direction to that of *' passing " — 
 two, three, or four threads being used for needlework. 
 
 Cord is often employed for edging braicl-work, or flat embroidery — 
 also for working braiding-patterns. It is also used with beautiful 
 effect as a ground for small, ornamental articles. Fine silk of the 
 same color is best for sewing it on; and great care must be taken, in 
 doing this, not to chip the metal surface, or the silk will show beneath 
 and give the work a broken appearance. The needle should be held 
 as horizontally as possible, and passed between the interstices of the 
 cord — slightly catching up a thread or two of the material it is 
 intended to ornament. 
 
 GOLD BRAID. 
 
 This is a kind of plaited lace, made of three or more threads. 
 There are various qualities and makes, suited to different purposes, 
 and great judgment is required in their selection. When it is to be 
 used on velvet, a round, full, close make should be chosen. 
 
 It may be bought of various widths; and as a general thing, the 
 less gold there is about it, the cheaper it is, and the more liable to 
 tarnish. Mosaic, or copper-gilt, is the least expensive, and also the 
 least durable. 
 
 BULLION. 
 
 This is a very rich and effective material — being made of a fine 
 wire so exquisitely twisted, that it forms a smooth, round, elastic 
 tube, which may be cut with scissors into the necessary lengths. 
 
 There are three kinds of bullion: rough, smooth, and checked — all 
 of which are frequently used together in the same piece of work. 
 When a large letter, for instance, is to be embroidered in bullion, 
 after it is traced, the surface is raised with cotton, and the bullion cut 
 into pieces of the proper size; then three stitches might be made with 
 the smooth, two with the rough, and two with the checked; then, 
 again, two with the rough and three with the smooth; this would form 
 a kind of pattern, and add very much to the richness of the letter. 
 
 Short pieces of bullion can be introduced into patterns worked with 
 gold thread to great advantage — two or three of them in the cup of 
 a flower, and in various other ways. To fasten them on properly, 
 
 
ARTISTIC EMBROIDERY. 51 
 
 take the stitch (the needle being threaded with gold-colored silk) 
 lengthwise of the bullion, through the twist — this causes it to lie flat 
 on the foundation. 
 
 Stars of every form may be made in this way: they are extremely 
 brilliant. The centres of flowers are often formed of bullion; in that 
 case, however, the stitch does not pass through the twist its full 
 length, but is shorter — so that the middle of the bullion is depressed, 
 and the extremities elevated; or the stitch may be passed through 
 both ends of the piece of bullion, and being drawn rather tight, a 
 slight prominence, or expansion, will be given to the middle. Either 
 method has a beautiful effect. 
 
 spa:n^gles. 
 
 These are small pieces of silver or other metal, gilt or plated — cut 
 into various forms, though usually round — and with a hole in the 
 centre through which the silk is passed that fastens them to the work. 
 
 It is not easy to secure them properly, and at the same time to con- 
 ceal the means by which it is done. The only way to accomplish it 
 is to bring the silk from the under side and pass it through the small 
 hole in the centre of the spangle; the needle is next to be passed 
 through a very small piece of bullion, and then put back through the 
 hole again. This does away with the unsightly appearance of a 
 thread across the spangle, and makes it more secure. 
 
 Spangles were once extensively used in decorative work, to give it 
 richness and glitter; but now they are chiefly used to ornament 
 fringes and tassels, and other Masonic paraphernalia. Their value 
 depends on their brilliancy and color, and the amount of gold used in 
 their gilding. 
 
 Spangled fans are very showy; and black satin or black tulle is a 
 good foundation for showing them to advantage. 
 
 GOLD THREAD. 
 
 This belongs more particularly, perhaps, to " the art of sewing in 
 golde and silke;" and " a robe of Indian silk thickly wrought with 
 flowers of gold" was certainly a gorgeous object. Another robe was 
 adorned with roses of gold wrought with marvellous skill, and 
 bordered with pearls and precious stones of exceeding value. 
 
 Various materials are used as foundations for embroidery in gold 
 thread: crape, India muslin, or some kind of silk, being usually pre- 
 ferred as giving the best effect, and displaying the rich devices to 
 the greatest advantage. 
 
 The thread used should be fine and even in texture; a little care in 
 this matter will make the work comparatively easy. Satin-stitch is 
 the one generally used; and if the material to be embroidered is 
 
52 ARTISTIC EMBROIDERY. 
 
 transparent, the pattern is laid under the foundation, and the outline 
 traced in white thread. 
 
 In working a slender flower-stalk, the running thread of white 
 should be omitted; gold thread should be run in, and then slightly 
 sewed over with another thread of gold; this will give a spiral 
 appearance, which is very beautifub 
 
 In using silk with gold thread, it is best to use silk of one color — a 
 variety of colors tending to destroy the harmony of contrast. Green 
 and gold have always been close friends, and silk of a bright green 
 mingled with the gold thread has a very rich effect. Gray and gold, 
 black and gold, and many other combinations might be mentioned; 
 but a green branch or sprigs embroidered in silk, with flowers formed 
 of gold thread and bullion, is as pretty a one as can be made. 
 
 In working crests, however, or coats-of-arms, in which gold thread 
 is much used, the heraldic arrangement of metals and colors must be 
 faithfully followed. In such cases, the silk must be of as many colors 
 as in the arms when properly emblazoned; and great care must be 
 taken in working devices in imitation of arms, never to place a metal 
 upon a metal, or a color upon a color. 
 
 In some very rich Indian work lately seen, the ground was of gold 
 thread worked in spirals — the rich colors of embroidery silks laid on 
 this made it perfectly dazzling. 
 
 India muslins are sometimes worked with a gilt or plated sheet of 
 very thin metal cut into strips, or any shape wanted, with scissors. 
 Tinsel is an imitation of it, and it comes in various colors. 
 
 Gold beads and gold and silver fringes are more or less used. 
 These all vary greatly in size and quality, and are valuable according 
 to the amount of gold used in their manufacture. 
 
 Silver thread, cord, or braid, is more likely to tarnish than gold, 
 and is not so rich-looking. There is, besides, embroidery silk of a 
 decidedly silver white, which produces almost the effect of silver 
 thread or cord. 
 
CHAPTER YIII. 
 
 EMBBOIDEBEB BOOKS AKD OTHER ARTICLES, 
 
 " And often did she look 
 On that which in her hand she bore, 
 In velvet bound and broidered o'er — 
 Her breviary book. " 
 
 Marmion. 
 
 Whe:n' books were regarded as precious treasures, and the purchase 
 of a single volume involved as much outlay as a rare painting, before 
 the art of printing became established, the caskets that held such 
 valuable possessions were deemed worthy of much labor and expense. 
 
 Rare old carved ivory, gold and silver plates, and precious stones, 
 were often used on book-covers; and the most ancient existing speci- 
 men of this gorgeous style of book-making is written in silver and 
 gold letters on a purple ground. Rich and curious devices were often 
 wrought with the needle on the velvet, or brocade, which last became 
 more exclusively the fashionable material for binding. 
 
 The new passion for books which was at its height in Queen Eliza- 
 beth's day made the ornamentation of book-covers a favorite employ- 
 ment of the high-born dames of England. A book of rhetoric of that 
 time has been preserved as much for the sake of the outside as for its 
 contents. The cover is of crimson satin, on which is embroidered a 
 coat-of-arms: a lion rampant in gold thread on a blue field, with a 
 transverse badge in scarlet silk, the minor ornaments all wrought in 
 fine gold thread. 
 
 A MAROON-VELVET BOOK. 
 
 Another old book is bound in rich maroon velvet, with the royal 
 arms, the garter and m.otto embroidered in blue; on a ground of 
 crimson, the fleur-de-lys, leopards, and letters of the motto are worked 
 in gold thread. A coronet, or crown of gold, is inwrought with 
 pearls; at the comers are roses in red silk and gold; the cover is 
 finished with a narrow border in burnished gold thread. 
 
 A QUEEN'S NEEDLEWORK. 
 
 A book of prayers copied out by Queen Elizabeth before she 
 
54 
 
 AETISTIC EMBROIDERY. 
 
 ascended the throne is covered with canvas wrought all over, in a kind 
 of tent-stitch, with rich crunson silk and silve? thread intermixed 
 
 Fig. 42. — BOKDEE FOE CoVEE OP BiBLE, PbATHE-BoOK, ETa 
 
ARTISTIC EMBROIDEEY. 55 
 
 Elizabeth's own needle worked the ornaments, consisting of the 
 letters " H. K.," intertwined in the middle — a smaller " K " above 
 and below — and roses in the corners — all very much raised, and 
 worked in blue silk and silver. 
 
 PETRARCH'S SONNETS. 
 
 An edition of Petrarch's Sonnets, printed at Venice in 1544, is still 
 in beautiful preservation. The back is of dark crimson velvet; and 
 on each side is worked a large royal coat-of-arms in silk and gold 
 highly raised. The book belonged to Edward YI. 
 
 ANOTHER ROYAL BOOK 
 
 has a cover of crimson silk with a Prince's feather worked in gold 
 thread in the Centre. The three feathers are bound together with 
 large pearls and wreathed with leaves and flowers. Round the edge 
 of the cover there is a broader wreath; and corner-sprigs in gold 
 thread are thickly interspersed with spangles and gold leaves. 
 These elegant volumes, 
 
 '* In velvet bound and broidered o'er," 
 
 are to be seen in the British Museum; and although the day is past 
 for adorning book-covers in so showy a fashion, these articles may be 
 more modestly ornamented with very good effect. 
 
 Kid, or leather, makes a very suitable cover for a Bible or Prayer- 
 Book. Two shades of brown may be used for the border pattern in 
 Figure 42 — the figures in the lighter shade to be worked around with 
 gold thread, either in chain-stitch or in stalk-stitch. Silk may be 
 substituted for the gold thread. 
 
 A ground of gray kid, with the figures in black edged with gold, 
 would be equally suitable. On one side of the cover, a small cross to 
 match the border — and on the other, the owner's monogram would 
 make an appropriate finish for either book. 
 
 The rich design in Figure 43 is on a foundation of black velvet, to 
 which white faille is applied around the cross. 
 
 The figures of the design being outlined, the lines are run on the 
 edges with maize-colored silk — going back and forth, and overcasting 
 them with gold bullion. The passion-flowers, wheat, leaves, and 
 ornaments of the cross, are worked in satin-stitch with gold thread. 
 For the stems and vines, gold cord is sewed on with gold-colored 
 silk. 
 
 A BOOK OF ENGRAYINGS 
 
 would be very ornamental with an embroidered cover. Crimson or 
 maroon-colored velveteen, brown kid, or gray canvas, could be 
 
56 
 
 ARTISTIC EMBROIDERY. 
 
 handsomely worked with silk and gold thread. Borderings of 
 catalogues and circulars might be copied to advantage — some of 
 
 Fig. 43. — Cover eor Prayer-Book. 
 
 these being very rich: black, with gold bars and dots, pink, crimson, 
 or blue. 
 
ARTISTIC EMBROIDERY. 
 
 57 
 
 Heraldic devices, rich monograms, dainty corners, all look well in 
 this kind of work; and a bordering of gold acorns, or clover leaves, 
 on a brown or olive ground, is always handsome. 
 
 SCRAP-BOOK COVERS. 
 
 may be made as attractive as the contents, 
 according to the style of the illustrations. Rus- 
 sia duck is a very good foundation; and if the 
 contents are of a comic nature, a Chinese or 
 Japanese figure, or dragon, or either uncanny 
 beast or bird, may be outlined and made very 
 rich and showy with embroidery in the 
 proper colors mixed with gold thread or 
 braid. 
 
 Pongee, too, may be nicely embroidered; 
 and is very pretty for thin books tied with 
 a ribbon at the back. In this way, the 
 contents can be changed at pleasure. 
 
 ALBUM COVERS 
 
 should be more delicate, and 
 
 worked on velvet, or silk. 
 
 Figure 44 makes a very 
 
 pretty corner for this 
 
 purpose; and Figure 
 
 45 is very effective 
 
 Fig. 44. — Corner of Border in Satin Stitch Embroidery for 
 Album Covers, Portfolios, etc. 
 
 on a small book. The stars might be done in gold thread, the centre 
 in point-russe with black silk — the diamonds in satin-stitch of a lighter 
 or darker shade of the same color as the foundation. 
 
58 
 
 ARTISTIC EMBROIDERY. 
 
 Portfolios may be embroidered in tlie same way; and whether for 
 writing materials or for engravings, they can be made very orna- 
 mental. 
 
 LETTER-CASE. 
 
 A very rich and handsome letter-case is represented in Figures 46 
 and 47: Figure 46 showing it when completed, and Figure 47 display- 
 ing the principal part of the embroidery. 
 
 The most suitable ground for the rich gold embroidery is velvet- 
 
 Fig. 45. 
 
 brown, crimson, or blue; but it may be made very handsomely in kid 
 or morocco. The larger part of the case is eleven inches long, and 
 eight inches wide; on the upper part of this book, there is a pattern 
 in gold soutache, and the word Letters or Lettres embroidered in 
 gold bullion; beneath this, there is a pattern worked with white 
 satin beads, edged round with fine white chenille — the scroll pattern 
 is embroidered in gold. 
 
 i 
 
ARTISTIC EMBROIDERY 
 
 59 
 
 The second part is placed over the lower part of the first, and forms 
 the pocket which holds the letters. The central flower is formed with 
 
 Fig. 46. 
 
 eleven oval beads, edged with white chenille; another white bead is 
 placed in the centre, and edged with gold. The other flowers are 
 also composed of white satin beads edged with gold. 
 
60 
 
 ARTISTIC EMBROIDERY. 
 
 GOLD a:n^d silk embroidery. 
 
 This rich pattern is intended for a cushion, or chair-cover. It is 
 particularly handsome on a ground of blue velvet, or satin; and the 
 
 Fig. 47. 
 
 large flowers, leaves, and stems, are all outlined with gold thread 
 sewed on with fine yellow silk. The stamens are worked in satin- 
 
62 
 
 ARTISTIC EMBROIDERY. 
 
 stitch with yellow silk, and the veins in point-russe with blue 
 silk. 
 
 Fig. 49. 
 The forget-me-nots are done in satin-stitch with blue silk, and the 
 centres in knotted-stitch with gold thread. The veins and stems are 
 
ARTISTIC EMBROIDERY. 
 
 63 
 
 done in stalk-stitch, and the sprays and vines in point-russe with blue 
 silk. 
 
 The work is finished on the outer edge with a thick cord of blue 
 silk and gold thread. 
 
 Figure 49 is intended for a cigar-case; but if widened, it would 
 make a very pretty book or portfolio cover. 
 
 The material should be light-brown Russia leather; the wheat- 
 sheaf is embroidered in satin-stitch with dark-brown silk — the stem 
 and light outlines in stalk-stitch with gold thread. The bordering is 
 of gold cord, with a network of dark-brown silk, and stitched with 
 black at all the crossings and centres. 
 
 Fig. 50. 
 Monogram in Gold Thread. 
 
 This very pretty monogram is worked with gold thread; the leaves 
 and flowers may be done with silk if preferred. 
 
CHAPTER IX. 
 
 APPLIED WORK WITH EMBROIDERY. 
 
 Applique, as it is usually called, is the most simple kind of decora- 
 tive needlework, being nothing more than a pattern cut out of one 
 material and transferred on another. It must, of course, like all 
 fancy-work, be neatly done, with no rough edges or mis-matching 
 figures, and embroidery of some kind is used as a finish; but the 
 same amount of skill and practice is not required as in other artistic 
 work. 
 
 When properly done, it is very rich and effective; and it recom- 
 mends itself by the charming results produced with comparatively 
 little labor. The materials may be of almost any kind; but it is 
 necessary that the ornamental part should harmonize with the founda- 
 tion. One would not think, for instance, of applying velvet on 
 cotton, or linen — while on satin, it makes the richest kind of applied 
 work. 
 
 Applique may be fine or coarse according to the purpose for which 
 it is intended; if fine, it is safer to put it in a frame before beginning 
 the work. If the groundwork is velvet, satin, or silk, holland should 
 be stretched in a frame, and the design drawn upon it and upon the 
 velvet or other material; they should then be pasted together, and 
 cut out with a sharp pair of scissors. Cloth and commoner materials 
 do not require this "backing," as it is called; but may be cut after 
 the pattern is traced, and pasted directly on the groundwork. 
 
 The gum, or paste, used for this purpose should be as thick and 
 dry as possible, for fear, of its coming through and staining the 
 material; and before p£:sting on cloth or velvet, it will be well to lay 
 the pieces down where they are to be fastened, and view them from 
 various points to see that the pile always goes the same way — or a 
 different shade of color will be the result. 
 
 When the material is particularly delicate, isinglass is used instead 
 of paste; and the piece applied should be very carefully smoothed 
 before it is left to dry — as a curved or cross-cut piece is apt to get out 
 of its proper curves or to stretch too much. 
 
 With a complicated design, the pattern should be traced on the 
 material, and the duplicate parts numbered that they may fit perfectly 
 
ARTISTIC EMBROIDERY. 
 
 65 
 
 together. One way of fastening the edges down is to buttonhole 
 them witli a lighter or darker shade of silk than the material applied. 
 The veins of leaves are defined by long stitches, also of a lighter or 
 darker shade. 
 
 In the commoner kinds of applique, cloth, for instance, on duck, or 
 Turkish towelling, or on cloth of another color, basting will generally 
 answer the purpose of keeping the pattern securely in its place. 
 
 Magnificent work is done in applique; curtains of gold-colored 
 satin with garnet velvet leaves — the edges defined with a white cord, 
 in which a little blue was mingled; cushions of Moorish arabesques, 
 scarlet velvet on white satin — the velvet edged with gold braid; 
 mantel-lambrequins of brown velvet figures on a groundwork of dead- 
 gold ; these suggest endless variations, which a little taste and some 
 eye for color may make beautiful in the extreme. 
 
 Ivy leaves are especially satisfactory in this kind of work; and so 
 is any large, clearly-defined figure. The accompanying illustration 
 will be found useful for a bordering. The leaves and flowers are 
 
 Fig. 51. — Border iin" Applique. 
 
 made of crimson cloth — the stems and veinings of black embroidery 
 silk. This would be very effective on a gray ground; but any color 
 both of cloth and silk may be used. It would be particularly pretty 
 for a basket or a table-cover. 
 Our next illustration is 
 
 A LAMBREQUm m APPLIQUE. 
 
 Beautiful combinations may be made with white, scarlet, and blue 
 cloth, embroidered with black, gold-colored, and maroon silks, in 
 feather-stitch and point-russe — which are the principal stitches used 
 in this kind of work. For small lambrequins, to decorate baskets and 
 
66 
 
 AUTISTIC EZSIBROIDEET. 
 
 "brackets, such combinations are very effective; and tlie illustration 
 shows a particularly pretty one. 
 
 The upper part of the lambrequin is of white cloth cut in points, 
 and pmked in a small pointed j^attern; the under part, of which the 
 points are larger and pinked in scallops, is of garnet color. On the 
 
ARTISTIC EMBROIDERY. 
 
 07 
 
 white points are star-like flowers with buds of blue cloth; and on the 
 claret-colored ones, the same in pink cloth — ornamented with point- 
 
 Fig. 53. 
 
 rnsse stitches of silk to match. The middle of each flower Is a round 
 iece of yellow cloth fastened with point-russe stitches of red silk. 
 
6S ARTISTIC EMBROIDERY. 
 
 The stems and sprays are done in stalk, chain, and feather stitches of 
 light green silk. 
 
 The dark points have, near the pinking, a line of twisted button- 
 hole stitches in maize-colored silk — and the light points have a similar 
 line of red silk. Both are also ornamented with steel beads. 
 
ARTISTIC EMBROIDERY. 69 
 
 A handsome tobacco pouch may be made from the illustrations, 
 which a-epresent the two patterns used — each side being duplicated. 
 
 Four such pieces are cut out of crimson or scarlet cloth, and worked 
 in applique. In the first one, the chain-stitch border (not the outer 
 edge) is worked with green silk. The knot from which the different 
 articles are suspended is done with black silk; the cigar-case is of 
 yellow cloth; the cigars worked in satin-stitch with brown silk. The 
 case has two bands of chain-stitch in blue silk, and is edged all round 
 with button-hole stitch in the same color. The pipes are of white 
 cloth shaded with long stitches of gray silk, and edged with yellow. 
 The upper part of the pouch is of blue cloth, with a white silk edging 
 and yellow dots; the under part of brown cloth, with black edging 
 and a pattern worked in chain-stitch with white; the three tassels are 
 ■embroidered with black and yellow silk. 
 
 In the second pattern, the outer border is yellow, the knots black; 
 the small pattern at the top is of blue cloth edged with yellow; the 
 pipes of white cloth edged with blue and shaded with gray. The 
 bundle of cigars is of brown cloth shaded with black stitches, and 
 fastened on with double rows of chain-stitch in yellow silk. The 
 cigar-case is of light green cloth edged with white; the Grecian 
 pattern and dots are embroidered over it with white silk also. 
 
 To make the pouch up, join the four pieces together by seams — 
 which are concealed by gold braid; cut out also and join four similar 
 2)ieces of white kid for the lining; fasten this to the outside at the top 
 only. Sew small brass rings around the top, and run a double piece of 
 crimson silk cord through them. Put silk tassels of various colors at 
 the bottom of the pouch and at each of its four corners. 
 
 Appropriate devices for needlebooks, work-baskets, toilet-boxes, 
 etc., maybe made from these suggestions; and there is no reason why 
 the small articles in daily use should not be as complete and artistic 
 in their way as more pretentious undertakings. Many who cannot 
 attempt large pieces of work will appreciate these small patterns. 
 
 Figure 55 gives a quarter of a very handsome lamp-mat in applica- 
 tion and embroidery. 
 
 The foundation is a square piece of olive-green cloth, on which is 
 applied a rim of pale-blue cloth two inches wide. The edge is 
 bordered with a thread of dark-blue and light-brown double zephyr 
 worsted, which is overcast on the foundation with fawn-colored silk 
 floss. 
 
 Having transferred the outlines of the design to the rim and to the 
 olive-green cloth foundation, as shown in the illustration, work the 
 buds in the centre of the foundation with pale pink and light yellow 
 bourette worsted — and the calyxes with reseda worsted, in two shades, 
 in diagonal button-hole stitch; the loops of which meet in the middle 
 of each leaf, forming the vein. The vines are worked in herring- 
 
70 
 
 ABTISTIC EMBROIDERY. 
 
 bone stitch with old gold-colored filling silk. Chain stitches of similar 
 silk define the stems. 
 
 On the blue cloth, the flowers are worked with pink and yellow 
 bourette worsted in two shades; and the leaves and calyxes with olive 
 and reseda worsted, in several shades, in diagonal button-hole stitch. 
 The vines and stems are worked in chain-stitch with yellowish-brown 
 filling silk in three shades. The calyxes are defined with satin-stitches 
 
 Fig. 55. — Design eor Lamp Mats. — Applicatio:n^ Embroidery. 
 
 of light-yellow filling silk, which are edged with chain-stitches of 
 dark-yellow silk. 
 
 The rim is embroidered in point-russe with light-brown double 
 zephyr worsted in the manner shown in the illustration. For the 
 trimming on the outer edge of the mat, overcast a thread of yellow- 
 brown and a thread of light yellow double zephyr worsted in double 
 
AUTISTIC EMBROLDEEY. 71 
 
 rows with dark and light yellow silk floss on the foundation in 
 scallops — fill the interval with knotted stitches of pale pink worsted^ 
 and border the scallops alternately with a long and a short button- 
 hole stitch of old-gold-colored filling silk. Trim the pinked edge of 
 the foundation with tassels cf worsted in the colors of the embroidery. 
 
 Fig. 5G. — Applicatio:n" Border. 
 
 These pretty borders may also be» used as strips for afghans and 
 chair-covers. 
 
 For Figure 56, a strip of blue cloth an inch and a quarter wide is 
 placed on a foundation of ecru linen; and through the middle is run 
 a white braid with horizontal stitches of green, vertical stitches of 
 yellow-brown, and cross-stitches of pink worsted. The blue strip is 
 bordered on both sides with dark-green worsted braid, sewed on with 
 a cross-stitch of light-green worsted, which is wound with maroon 
 worsted. Diagonal stitches of light and dark red worsted, crossed 
 with horizontal stitches of dark-blue worsted, border the braid on the 
 outside. 
 
 The border in Figure 57 is made also of ecru linen, on which claret- 
 colored braid three-quarters of an inch wide is basted. On the latter, 
 dark-green braid a quarter of an inch wide is fastened with a cross 
 seam of white split filling silk, caught down with black. The crossed 
 stitches on the inner edge of the maroon braid are in blue and gold — - 
 the point-russe stitches beyond in scarlet and black. 
 
 In the middle of the border, apply round pieces of white cloth with 
 point-russe stitches of green silk; and connect them with vertical 
 stitches of maroon, which are fastened on the foundation at the 
 middle with cross stitches of the same color. 
 
 KEY-BAG IN APPLIQUjfc AND EMBROIDERY. 
 
 Both sides of this handsome key-bag are given in Figures 58 and 
 59. It is made of gray kid and lined with gray silk. 
 
12 
 
 ARTISTIC EMBROIDERY. 
 
 On one side is embroidered a key formed of poppies, with their 
 leaves and stems* and at the top of the key is perched an owl. The 
 poppies are worked with five shades of blue-green silk; the plumage 
 of the owl with four shades of brown silk — the shades all blending 
 almost imperceptibly together. The owl's eyes are worked in scarlet 
 and white silk. 
 
 The other side of the bag has appliqu^ figures of steel-colored silk 
 in the form of a Gothic lock. They may be edged either with gold 
 cord or with fine gray silk cord. The screens are done in satin-stitch 
 with silver-gray silk. 
 
 After lining each side, the two parts of the bag are joined with a 
 border of gray ribbon, continued around the whole as in the illustra- 
 tions. It is stitched on with fine gray silk. The bag is fastened 
 with a steel button and a silk loop. 
 
 Fig 57. — Application Border. 
 
 Figures 60 and 61 are rich border patterns suitable for table-covers, 
 mats, and brackets. The embroidery is in button-hole, point-russe 
 stitches and knots; the veinings of the leaves in Figure 60 in stalk- 
 stitch and long embroidery stitch. The colors can be arranged to 
 suit the taste of the worker. 
 
 SILK APPLIQUE WORK. 
 
 This is principally used for flowers and leaves; and when care is 
 taken in shading, the efliect is almost if not quite equal to embroi- 
 dery. 
 
 The pansy is one of the easiest flowers to imitate in this way — the 
 two upper petals being made of purple silk, and the lower ones of 
 violet, or yellow; with the edges button-holed round, and a few long 
 stitches put in by way of veining. 
 
ARTISTIC EMBROIDERY. 
 
 73 
 
 » 
 
 Rose petals may be beautifully done by selecting silk of the pre* 
 vailing hue of the petal, and shading with fine embroidery or split 
 
 h 
 
u 
 
 ARTISTIC EMBROIDERY. 
 
 filling silk. Stalks and tendrils, and leaf-veinings are worked witK 
 embroidery silk. 
 
 05 
 • I-i 
 
AUTISTIC EMBROIDERY. 
 
 To 
 
 A cluster of apple-blossoms is very pretty in this kind of work; 
 and n\ay be done on a ground of pale-blue, gray, or olive. Satin or 
 velvet would make a very handsome foundation. So delicate a piece 
 of work should be done with great care; and besides the edging in 
 button-hole and the long stitches in embroidery-silk, delicate shading 
 is done with filling silk. 
 
 The main stems and tendrils are worked in stalk-stitch with green 
 and brown embroidery-silk; where the stems join flower or bud, and 
 for other little finishing touches, satin-stitch is used. The centres of 
 the blossoms are of yellow silk in knot- stitch and common embroidery- 
 stitch. 
 
 Silk is sometimes applied on lace with good effect; and the finest 
 specimen known of this work is the beautiful shawl made for the 
 Empress Eugenie, and for some time past on exhibition at Stewart's. 
 
 Fig. 60. — Border in^ Applique. 
 
 Seen through its glass-case, it is a marvel of coloring and truth to 
 nature; the roses almost perfume the air, and the graceful droop of 
 the wistaria in the centre is perfect. This piece of art-needlework 
 fully deserves its name, and is valued at 8100,000; but it is a question 
 if all that weary labor with those minute pieces of silk (so joined on 
 the under side that the points of meeting can be seen only through 
 a magnify ing-glass), to say nothing of the cobweb-lace foundation 
 (also hand-made), could possibly be remunerated with money. 
 
 CRETONNE-WORK. 
 
 The subject of applique could not be exhausted without some 
 reference to this popular branch of it — which, when new, was con- 
 sidered the most bewitching fancy-work ever invented. 
 
 The most desirable flowers and figures for cretonne-work are to be 
 
16 
 
 ARTISTIC EMBROIDERY. 
 
 found in the fine, soft, French cretonne; and the most tiresome part 
 of the work is that which has to be done first — the careful cutting 
 out of these figures with a sharp pair of scissors. They are then to 
 be gummed, or fastetied with a few stitches done with fine cotton on 
 the foundation. Much basting is not desirable, as it pulls the mate- 
 rial and frays the a})plied work. 
 
 Black satin is a very effective foundation for cretonne-work, as it 
 throws out all the bright and delicate colors; and farmer's-satin 
 answers very nicely. Soft gray and blue silesia are often very satis- 
 factory for this purpose; and a work-basket, made by the writer, of 
 gray silesia, with pink rosebuds and leaves in cretonne-work on each 
 panel, and lined with blue silesia, quite exceeded her expectations. 
 
 Workers differ about the best methods of doing cretonne applica- 
 tion; some suggesting for the edge a loose buttonhole of rather fine 
 
 Fig. 61. — Border in" Applique. 
 
 silk, on the plea that this prevents raggedness and answers the pur- 
 pose of making the work subservient to the application. But the 
 most approved method is to treat the cretonne merely as a design and 
 a guide to color — covering the flowers and leaves almost entirely with 
 split floss and embroidery silk. A thick outline in satin stitch secures 
 the edges; and the leaves besides being veined are frequently orna- 
 mented with small French knots, or short backstitches. Flower- 
 centres are done in French knots. 
 
 Chairs and mantels may be handsomely ornamented by a rich stripe 
 of cretonne- work in pink or red roses on a black satin ground; and 
 table-cover borderings may be made in the same way, and attached 
 to the main body. Sofa-cushions, foot-rests, portfolios, and many 
 other things, may be decorated in the same way. 
 
ARTISTIC EMBROIDERY. 77 
 
 The simpler kinds of applique- work have been made very common 
 by the immense number of animals, insects, and figures, such as were 
 never seen in earth, air, or sea, exposed for sale in all the fancy snops, 
 and offering easy inducements to amateurs to fasten them in almost 
 any way upon whatever material their fancy might dictate. The 
 Turkish-towelling fever raged throughout the length and breadth of 
 the land; and although a little of this work, when well done, is very 
 effective, especially in a cottage parlor, it has been carried to such an 
 excess and much of it. so bunglingly done, that there is a very general 
 pushing of it aside for something newer. 
 
 Dragons and Chinamen, the most popular figures for this kind of 
 work, were never known to infest Turkey; and whatever else we are 
 in fancy-work, it is desirable to be harmonious. Rich arabesques in 
 colored cloth of the true Oriental hues, edged with black to give them 
 greater brilliancy on the pale brown groundwork, would be far more 
 in character; and the inevitable ruche of scarlet braid should be 
 toned down to a more quiet red, or whatever color is most suitable as 
 the key-note. 
 
 We may be artistic even with Turkish-towelling and cloth applica- 
 tion; but unless we are this, let us not be ornamental. 
 
 CRAPE PICTURES IN APPLIQUE. 
 
 Among the newest materials for application-work, are those prepos- 
 terous representations on a ground of crinkly material known as 
 Chinese pictures. These are of various sizes, and are found now in 
 most of the fancy stores; and although they usually defy all the rules 
 of reason and of color, they are, nevertheless, highly orna'mental. 
 
 One of these works of art is before us now, divided into, four com- 
 partments by bands of bright yellow, and tending* generally to 
 ornithology on original principles. Two skies are pink, one green, 
 and one yellow; surrounded by the pink sky, a small bird of the 
 sparrow order, with notoriously short legs and unwebbed feet, is 
 walking at ease on some lead -colored water, while a small forest of 
 foliage springs apparently from his back; under the yellow sky, a 
 maize-colored bird on an inky bough opens his mouth evidently at a 
 mulberry a few feet below him. Semesis is upon him, however, in 
 the shape of a silkworm that is attempting to climb his back. The 
 best that can be said of the mulberries is that they are deeply, darkly, 
 unmistakably purple; and we know them for mulberries because they 
 are purple, and because the green leaf cannot be intended for any- 
 thing else. 
 
 The other divisions are perfectly harmonious; and as an art-study, 
 this " bit of color '' would not be recommended. Skilfully applied, 
 however, and "touched up " with embroidery, it would be found very 
 ornamental. 
 
78 ARTISTIC EMBROIDERY. 
 
 Many of these pictures have Chinese or Japanese figures on them; 
 and the confused coloring is best brought out by a frame-work of 
 black velvet ribbon. The}^ make pretty tidies sewn on gray Java 
 canvas, with a bordering of black velvet from two to three inches 
 wide embroidered in feather-stitch — and beyond that an equal width 
 of the canvas worked in a sort of mosaic pattern in point-russe with 
 floss-silks — then a fringe of the canvas, with the different colored 
 silks mixed in, about two inches deep. 
 
 Lace is often used as a trimming for these , tidies, but it is very 
 unsuitable. Long embroidery stitches of silk, as in cretonne-work, 
 improve these pictures very much; and many of them are so brightly- 
 colored in themselves, that they are as decorative as Chinese fans. 
 They may be used for a variety of purposes; and appliqucd on black 
 velveteen, make handsome hangings- for mantels. 
 
 LINEN APPLIQUE. 
 
 Handsome embroidery is sometimes done by working the design on 
 linen, and then applying it to richer materials. The embroidery, when 
 finished, is "backed " by paper before taking it from the frame, to 
 give it firmness; when quite dry, it is taken out and cut carefully 
 round the figures with a sharp pair of scissors, leaving about a six- 
 teenth of an inch as a margin. It must then be laid on the material 
 and tacked down, if the latter is loose — if it is framed, the piece of 
 embroi<slery should be fastened on it by small j)ins thrust perpendicu- 
 larly through it. It must then be more fully secured by sewing it 
 ov^er in small stitches. 
 
 The linen edge is covered by a gold or silver cord, fastened down 
 with fine silk matching the cord in color. It is well to paint the back 
 of the embroidery with paste, that the ends of silk may be secured. 
 
 A great deal of Eastern embroidery has the look of applied work 
 — being done in the long embroidery-stitch in regular lines from east 
 to west, or across the shaj^e to be filled, instead of from north to south; 
 no attempt being made to follow the natural lines of the leaf or 
 flower. 
 
 This style has a rich effect in purely conventional forms, but is not 
 suitable for floral designs; a line of black or gold around the figures 
 is nearly always used. We saw some Cretan work lately, that was 
 several hundred years old, done in this way wiih silk and a sort of flat 
 gold thread on coarse linen; and the effect was very gorgeous. 
 
CHAPTER X. 
 
 EMBROIDERY IM CHEJflLLE, 
 
 At one time chenille work was all the fashion. Its beautiful, 
 T-elvety appearance, and the soft brightness of its colors, made it very 
 effective; but it was an expensive material, and would only hear the 
 most delicate usage. 
 
 Silk hand-screens were frequently embroidered with chenille; and 
 in some old-fashioned mansions, such an article of the shape of Figure 
 ^2 may be found even now. 
 
 Fig. 62. — Hand-Screen^ i^ Chenille. 
 
 To do a " piece " in chenille was quite a necessary part of a young 
 lady's education; and these pieces were treated like Miss Linwood's 
 paintings in crewels. They usually represented landscapes; and 
 liandsomely framed, and protected by a glass, were hung in a place of 
 honor, as a sort of certificate that the worker was entitled to be 
 pronounced finished. 
 
80 ARTISTIC EMBROIDERY. 
 
 A performance of this kind that is now cherished as ai^ heirloom, 
 the work of somebody's great-grandmother, consumed a hundred 
 dollars' worth of chenille. It is a mourning-piece: a tomb and two 
 weeping figures in the foreground, the country church, and grave- 
 yard. It is very smooth, beautiful work, and has the effect of a 
 painting. 
 
 Chenille is still used in a measure for small, ornamental articles; 
 and no material represents moss so well. It is suitable both for flat 
 and raised embroidery; and it may be worked on a variety of 
 materials; but those with smooth surfaces are best suited to its velvet- 
 like appearance. 
 
 A needle with a round eye is the proper kind for embroidering witK 
 chenille, and this should be large enough not to fray the thread. As 
 it is an expensive material, it should be used economically; and all 
 waste at the back of the work should be avoided by bringing the 
 needle close up to the last stitch and not crossing it on the underside. 
 It is easy to measure or guess the length of the needleful required for 
 working each particular part, and to cut it as short as possible, to pre- 
 vent the using of the same position again, and also to draw a very 
 small piece through the eye of the needle. 
 
 The necessity of making knots may be avoided by working a small 
 stitch or two in the part intended to be covered. 
 
 In shaded embroidery, the stitches should not be matted too closely 
 together, as this destroys the velvety appearance of the chenille. It 
 should be more closely shaded than silk embroidery; at least six 
 shades should be used in flowers and leaves. 
 
 In flat embroidery, the stitches should be regular, but not closer 
 than to allow the chenille to lie roundly on the surface. It is always 
 pretty edged or mixed with gold. 
 
CHAPTER XL 
 
 SILK EMBROIDER Y OJf LIJSTEJ^. 
 
 Egyptian embroidery was done on linen or cotton, the threads of 
 the material being almost or entirely pulled out one way, and the 
 remainder embroidered with bright-colored silk. The effect was very 
 rich and showy; but the peculiar art of doing it has been lost. 
 
 Some specimens of Egyptian embroidery in the time of the 
 Pharaohs, now in the Louvre, are described as follows: one has narrow 
 red stripes on a broad yellow stripe, wrought with a pattern in needle- 
 work; another piece is on blue, and worked all over in white 
 embroidery, in a kind of netting-pattern, the meshes of which outline 
 irregular cubic shapes. 
 
 Silk embroidery on linen is an old fashion revived; and it was used 
 particularly on coverlets and curtains in the form of outline work. 
 This was often done in one color only; and in a bold, set pattern, it 
 was very effective. A more flowing or branching design, well enclosed 
 in lines and borders, looks equally well, with the worker's name or 
 monogram, and the date added. 
 
 These coverlets and curtains were sometimes made of Bolton 
 sheeting, rather as a foundation than a ground — ^being nearly covered 
 with an apjilique pattern of flowers and leaves in cloth, and the stems 
 worked in crewel or silk. The small vacant spaces were often filled 
 with a very simple diaper. 
 
 Strong linen makes the best ground for outline work; and a pattern 
 in silk is more durable as well as pleasanter to work. It must be 
 remembered, though, that in silk embroidery for articles that are to 
 be washed, great care must be taken that the embroidery does not 
 fade into one pale, undistinguishable hue. 
 
 To prevent this, the silks should first be unwound, cut into pieces 
 of a suitable length, and thrown into boiling water. If, after boiling 
 for several minutes, they retain their color when dried, they may be 
 "warranted not to fade." It is recommended to boil but one shade 
 at a time — using fresh water for each one. 
 
 Many useful and pretty things may be made of embroidered linen; 
 and it is particularly pleasant for summer use. Tea-table cloths look 
 well with ends embroidered towel-fashion, or bordered all round — 
 
82 ARTISTIC EMBROIDERY. 
 
 outline-work being more suitable for this purpose than filled-in 
 embroidery, as it will l)ear washing better. 
 
 Embroidered linen makes very nice tidies; and original designs, or 
 figures from Japanese fans, will often transform these conveniences 
 into works of art. White linen decorated with blue only is very 
 pretty when the other furnishings are blue. 
 
 Bedroom hangings are very pleasing in this linen outline-work — 
 also pieces to hang above washstands and borders for brackets. 
 
 EMBROIDERED FRUIT DOYLEYS. 
 
 These may be made very dainty and charming — suggesting (not 
 filling in) the most perfect little pictures. The skill of the worker 
 should bring out the idea clearly without the aid of detail. 
 
 A few descriptions lately met with will furnish illustrations of this 
 kind of work. 
 
 A set of very small doyleys, about six inches square, had the edges 
 ravelled out in fringe nearly an inch deep — the border serged with 
 fine thread to keep the flowing strands in place. Half an inch from 
 this, and half an inch in width, were a number of threads drawn out 
 all around, giving the appearance of an insertion. The cross threads 
 were then drawn backwards and forwards over each other, four 
 strands at a time, and stayed with one row of thread, like the old- 
 fashioned herring-bone— forming a cross at each corner. 
 
 In the centre of each doyley was embroidered with Japanese silk 
 a cup and saucer, a teapot, a pitcher, etc., in graceful forms, and soft, 
 shaded colors — all according to the design and taste of the embroid- 
 erer. They were scarcely more than outlines — the impression given 
 being more of quiet artistic beauty than of the object represented. 
 
 On another little doyley is sketched a slender Indian jar; beside it, 
 a bed of reeds, or water-grasses, seems to sway and rustle in summer 
 airs — so pliant are the stems, so free the groupings. As if just risen 
 from this cool quietude, a flight of birds soars upwards and away. 
 
 The jar is wrought in gold-color, red, blue, and soft drab. A few 
 bars, ovals, dots, and lines indicate the rich decoration. The reeds 
 which, of course, are not shaded, are done in brown and a dnll green. 
 The rising birds are dark blue. It hardly need be said that both reeds 
 and birds are conventionalized — the reeds being the slenderest shadows, 
 and the birds mere converging lines. 
 
 Directions for this kind of work are given as follows: 
 
 Select close, even linen, of the kind used for sheeting, and a yard 
 and a half in width, and be careful to see that it has no uneven 
 threads; half a yard and one inch, the latter to allow for shrinkage 
 and uneven ends, is sufficient for one dozen doyleys. Have it washed 
 in strong, boiling-hot suds, well rinsed, and then boiled in clear water 
 
ARTISTIC EMBROIDERY. 88 
 
 to remove the starch and render it pliable; rinse from clear cold 
 water, and put it to dry without any addition of bluing. 
 
 When dry, cut off the selvedge ; and pull a thread at top and bottom 
 that it may be cut perfectly straight. Do not attempt to cut any part 
 of the work without first pulling a thread as a guide, for it is impos- 
 sible to have it perfectly regular either by creasing it or by following 
 an unpulled thread. 
 
 Divide the linen into two pieces, each of which will be a quarter of 
 a yard in width, by a yard and a half in length. Each of the^e pieces 
 is to be cut into six — giving twelve pieces, each nine inches square. 
 Ravel them all around until you have a fringe seven- eighths of an inch 
 in depth; it is better to make a faint pencil-mark on each of the four 
 sides before commencing, that the fringe may be perfectly even. 
 With No. 100 unwaxed cotton and a fine needle, whip them around — 
 taking up four or five threads on the needle at once, and having the 
 stitches as even and regular as possible; do not use knots, but run the 
 cotton along at beginning and end — commencing with a thread long 
 enough for the whole side, and avoid catching the fringe in the work. 
 
 Place the doyley straight before you, and with a rather coarse 
 needle mark a point seven-eighths of an inch from both the upper and 
 left-hand sides — then mark a point half an inch below this one, and 
 parallel with the left-hand side of the doyley; with a pair of sharp- 
 pointed scissors cut the linen from point to point. 
 
 Turn the linen around so that the left-hand side shall be the upper 
 one, and the lower at the left hand; cut a slit in this corner corre- 
 sponding to the other, and continue until each corner has been cut. It 
 would Le better to practice the cutting on a piece of paper first; and 
 when you find the cutting at each corner is at right angles with the 
 one below it, the work is right. With the neerlle-point pull a thread 
 loose at the top and bottom of the slit cut, drawing it along until you 
 come within three-eighths of an inch of the slit cut in the other 
 corner. Cut the linen from thread to thread, and repeat at the other 
 three corners. When finished, there will be eight cuts in the doyley 
 — the two on each side parallel to each other. 
 
 With No. 80 unwaxed cotton, button-hole around each one as 
 neatly as possible; then pull out all the threads on each side that 
 were made free by the cutting. These threads are now to be herring- 
 boned, using a fine needle and the same cotton; this is done by com- 
 mencing at one end of the threads, and taking up four threads on the 
 needle, draw the cotton through them, bringing it up at right angles 
 to the work; take another stitch in the same place, only catching the 
 body of the linen slightly with the needle and cotton. 
 
 Repeat this until you come to the other end — when, turning the 
 doyley upside down, commence taking up the threads again on the 
 needle, only taking two threads from each cluster of the row before; 
 
84 ARTISTIC EMBUOIDERY. 
 
 this makes a sort of ladder-work in the border, much prettier than if 
 the threads were taken in corresponding clusters. 
 
 When they have all been herring-boned, the fascinating work of 
 decoration begins. For silk, letter D button-hole twist is the most 
 satisfactory in all colors, except shades of red and green. There are 
 four shades of blue: navy that is almost black, a navy that is bright, 
 a bright sky blue, and a very delicate one; brown of two shades; 
 gold-color, lemon, and two shades of sage-green. Bright red shading 
 on scarlet, and entirely free from a Solf erino tint, deep and bright 
 rose peach blossom, and a turquoise-blne are best when on quills. 
 
 Having boiled and dried the silk, it will be found in using it that it 
 is three-stranded; but it must be separated and only one strand used 
 in working. This should be carefully moistened when it becomes 
 flossy and uneven. Green is the most diflicult color to manage; and 
 it is only the old-fashioned apple-green found in skeins that will be at 
 all satisfactory. 
 
 The designs should be drawn on the doyleys with a sharp lead- 
 pencil — being careful not to soil the work by wrong outlines and 
 erasing. If the latter is necessary, it is better to wash out the marks 
 with warm water and soap than to use any other method; and then 
 begin outlining again. 
 
 A set done in fans, of different shapes and decoration, are as pretty 
 as one could desire. If it is impossible to draw from one lying before 
 you; cut a pattern in pasteboard and outline with the pencil. The 
 different periodicals occasionally give beautiful styles of fans; and 
 the cheap Japanese fans are very suggestive in the way of color and 
 figure. 
 
 Outline them in bright blue, with an inner line of pink ; navy with 
 light blue; sage green with pink; or any other colors that contrast 
 or harmonize; make the stick and ribs of bamboo color, or gold. An 
 open fan is beautiful outlined in gold, sticks and all; with sprays of 
 star-shaped flowers done in red, stems in gray, and leaves in green. 
 These flowers, etc., are only outlined, not done in the solid satin- 
 stitch, and should be as delicate as possible. 
 
 The stitch called Kensington is used; and is the one familiar to all 
 embroiderers, in both flannel and muslin, as stem-stitch. The needle 
 is kept with the point toward the worker; and you are constantly 
 working from you. 
 
 Very quaint and pretty designs can be taken from Japanese print- 
 plates, tea-trays, and cabinets. Two fans, one-fourth open, the one 
 in the middle, the other at one corner, are very effective; but when 
 an open fan is used, one is sufficient for a doyley. 
 
 A spider's web, hanging from a branch just coming over one side 
 of the doyley, is extremely pretty. Outline the stems in gray, leaves 
 in green, and the web in light-blue — making it out perfectly round, 
 
ARTISTIC EMBROIDERY. 85 
 
 but longer one way than another; have some of the rays to project a 
 little, others caught on the branches — and from one of the lower ones 
 a spicier dangling, while in the rib a stitch or two of black makes a 
 good representation of his prey. Give a little color in one of the 
 lower corners by a few rushes — one or two of which should have a 
 few red tassels. 
 
 An apple-bough with a leaf of green here and there; tiny flowers 
 of red and pink, some of which have drifted off before a gentle wind, 
 make beautiful designs; but when one's eyes are open to them, it is 
 astonishing how many ideas are gathered here and there that would 
 otherwise be lost. A walk among one's flowers, a border in a maga- 
 zine or art-journal, will give suggestions in some form or other. 
 
 The cold marble of one's dressing-table or bureau loses its cheerless 
 aspect by the color one of these covers gives it. A piece of linen a 
 yard and a half long and three-eighths in width, should be fringed an 
 inch and a half at front and back, with a much deeper one at the 
 ends. Work a border an inch deep, a quarter of a yard from the 
 herring-bone at each end, and meeting the herring-bone at the sides. 
 
 Use red, bright gold, and light blue, with a touch here and there of 
 navy blue. A spray of wistaria at one end, and apple-blossoms at 
 the other, are very pretty. Tray-covers should be from a yard 
 square to seven-eighths one way, and a yard the other. Fringe and 
 herring-bone them, decorating only the corners, as the centre is so 
 covered that decoration would be lost. 
 
 These very explicit directions have been taken almost entire from a 
 late periodical; and will be found so full and satisfactory, that almost 
 any needlewoman, on reading them, might successfully attempt this 
 pretty work. 
 
CHAPTER XII. 
 
 HOLBEIJ^ WORK, 
 
 This is a simple and truly artistic kind of needle-work, chaste and 
 elegant in design and correct in style; its beauty depending not upon 
 strong contrasts or striking patterns, but on its exquisite finish and 
 neatness. 
 
 Holbein work is a kind of linen decoration with colored threads; 
 and was highly popular several centuries ago. Lingerie table-linen, 
 towels, and bed-linen, were thus adorned in a charming and tasteful 
 manner; and as instruction in this branch of needlework, of which 
 so few remnants remain, is chiefly given through the master works of 
 the younger Holbein, it has been named from him. 
 
 This great painter has reproduced the embroidery with wonderful 
 fidelity, showing plainly its charming i^eculiarity of being alike on 
 both sides. It differs in this respect from all other embroidery, 
 except that of some Oriental nations, and has literally no wTong side 
 to show, and requires, therefore, no lining to conceal defects. "Divers 
 colors of needlework on both sides,'''* is the oldest kind of ornamental 
 needlework of which there is any mention. 
 
 To accomplish this work on both sides is by no means difficult, as 
 might at first be supposed; and many articles for which no other 
 kind of embroidery would be appropriate may be very tastefully 
 ornamented with Holbein work. The effect is that of colored lines 
 on a white ground after the fashion of a pen-dra\ving — the design 
 being equally distinct on both sides 
 
 The foundation for this embroidery is usually white linen Java 
 canvas, Avhich washes better, and is of smoother and firmer texture 
 than cotton canvas. If linen canvas cannot be obtained, the ordinary 
 cotton canvas, or colored Java canvas, may be used instead. 
 
 A piece of canvas, a canvas needle with a dull point, red Turkish 
 cotton No. 30, or else several threads of colored or black silk (some- 
 what coarser than ordinary sewing-silk), are all that is required for 
 Holbein work. 
 
 No knot should be made, to look ugly on the under side, in the 
 beginning; and to avoid this, insert the needle between the double 
 layer of the threads of the canvas, so that the working thread is con- 
 
ARTISTIC EMBROIDERY. 
 
 87 
 
 cealed on both sides; let the end of the thread project a little, so that 
 it may be held in the hand, pass the needle around one of the four 
 threads forming a square (with the ordinary cotton canvas, only half 
 of a thread should be caught), carry it back the same way it was 
 inserted (see Figure 63), and draw the stitch tight — at the same time 
 holding fast the projecting thread. 
 
 Fig. 63. 
 
 The single thread on which the working thread is fastened is drawn 
 in between the double threads of the canvas in tightening the stitch, 
 so that the latter is not visible on either side. The manner of doing 
 this is shown in Figure 64. 
 
 Then work the second stitch (see Figure 64) similarly to the first; 
 but underneath the nearest threads running in an opposite direction, 
 draw the stitch tight, so that it is concealed; and then repeat the first 
 stitch once more completely, in order to fasten the thread securely. 
 After working these three stitches, the thread should be quite firm; 
 and the fastening should scarcely be visible. 
 
 Cut off the projecting end of thread close to the canvas, and begin 
 the embroidery. To work a straight line, as in Figure 65, make a 
 horizontal stitch of two squares of the canvas, pass over two squares, 
 work another horizontal stitch on the following two squares — and 
 continue the first row in this way, always taking up two squares for 
 one stitch, as shown by Figure 66. This is called running stitch. 
 
88 
 
 ARTISTIC EMBROIDERY. 
 
 When the line has been worked of the length desired, for instance, 
 ten stitches, there will be five running stitches and five intervals on 
 
 Fig. 64. 
 
 each side; and the stitches on one side will always come on the inter- 
 vals of the other side. In order to close the line, and fill all intervals, 
 
 work, going back, just as in the first 
 row (see Figure 67), which completes 
 the line, and brings the working thread 
 back to the point where the work was 
 begun. This point is always indicated 
 by * in the illustrations. 
 
 JVork this straight line, consisting of 
 ten stitches, from right to left in the 
 order of the figures given in Figure 67. 
 Only the upper stitches are counted and 
 numbered; but, as a matter of course, the other side of the work is 
 to present the same appearance as the side on which it is done. The 
 
 ■^ MM MM MM i^ ^ mm wm ^ MM .^ mm 
 
 Fig. 65. 
 
 Fig. 66. 
 
ARTISTIC EMBROIDERY. 
 
 89 
 
 regularity of the work will be increased if, in working straight lines, 
 the needle is always, in the second row, inserted underneath, and 
 drawn out above the threads in the first row; in this way the thread^! 
 
 Fig. 67. 
 
 of both rows are regularly intertwined, and the stitches are slightly 
 slanting, as plainly shown in the last illustration. 
 
 A diagonal line, as in Figure 68, is worked simi- 
 larly to the straight line, except that instead of 
 crossing two squares in a straight direction, they 
 are taken up diagonally, as in ordinary cross-stitch. 
 The first stitch, therefore, exactly resembles half of 
 a cross-stitch; and between the first and second 
 stitches, an interval of the same number of threads 
 remains, which forms half of a cross-stitch on the 
 other side. The line a, Figure 69, shows the first 
 row of a diagonal line of five stitches; and the 
 line h shows this line finished by the second row. 
 
 For the zigzag line in Figure TO, take a diagonal 
 stitch upward over two squares of the canvas, pass over two squares, 
 and insert the needle downward diagonally in the opposite direction; 
 
 aaaaannaDGD 
 
 
 
 A 
 
 a 
 
 • 
 
 » 
 
 » 
 
 a 
 
 m 
 
 
 m. \ 
 
 \ • i 
 
 1 ■ 
 
 • 
 
 « 
 
 • 
 
 « 
 
 m 
 
 
 « \ 
 
 \\ < 
 
 » • 
 
 • 
 
 ■ 
 
 • 
 
 » 
 
 m 
 
 
 » 
 
 t *• '^ 
 
 \T 
 
 « 
 
 • 
 
 •- 
 
 • 
 
 « 
 
 
 4- 
 
 ^ « 
 
 'S 
 
 m 
 
 » 
 
 .. 
 
 
 " 
 
 
 dt 
 
 .V. 
 
 > «» 
 
 \ 
 
 * 
 
 m 
 
 
 * 
 
 
 
 It- 
 
 a" 
 
 
 s 
 
 m 
 
 Ik 
 
 K 
 
 
 
 m i 
 
 1 « 
 
 m 
 
 
 
 m 
 
 • 
 
 • 
 
 9 
 
 
 • * 
 
 P. i» 
 
 ' 
 
 * 
 
 m 
 
 \ 
 
 • 
 
 4 
 
 «J 
 
 1 « 1 
 
 1 « 
 
 » 
 
 ■• 
 
 * 
 
 ■> 
 
 • 
 
 Fig. 68. 
 
 Fig. 69. 
 
 take another diagonal stitch upward; and continue in this manner, as 
 shown by a in Figure 71. In the first row, all the stitches on both 
 
90 
 
 ARTISTIC EMBROIDERY. 
 
 sides appear slanting to the left. In working the second row, going 
 back, lill all tlie intervals, as indicated by the figures on the line h in 
 Figure 71. 
 
 * '''''' 1 1 1 1 — 'III — L__ 
 
 Fig. 70. 
 
 For the Greek line in Figure 72, take a vertical stitch downward 
 over two squares, pass over two squares in a horizontal direction, take 
 a second vertical stitch upward over two squares, so that the stitches 
 
 
 ■"* 
 
 ■^ 
 
 — 
 
 
 "" 
 
 ■" 
 
 "" 
 
 
 
 - 
 
 - 
 
 r 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 "lU 
 
 "LT 
 
 1 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 : 
 
 
 
 
 
 ^^ _ 
 
 
 
 
 
 ^ 
 
 Fig. 72. 
 
 always inclose four squares. In this design, all vertical stitches come 
 on the upper side (and all horizontal stitches, consequently, on the 
 underside) in the first row, as shown by a in Figure 7o; while in 
 filling the intervals in the second row^ the order is reversed, and all 
 
 horizontal lines come on the upper side, and the vertical lines on 
 the under side. The line ^, in Figure 73, shows the Greek line in 
 
ARTISTIC EMBROIDERY. 
 
 91 
 
 course of work, and indicates by figures the order in which the 
 stitches should be taken. 
 
 For the stair line in Figure 74, work a liorizontal stitch from right 
 to left on two sqiiares, pass the needle 
 straight down under two squares, and 
 draw it out; repeat this three times, 
 and then work three stitches upward 
 again. In this design all the horizontal 
 stitches come on the upper side, and all 
 vertical stitches on the under side in 
 the first row, which is shown by a in 
 Figure 75; while h shows the lines 
 finished by the second row, and indi- 
 cates the order of stitches by figures. 
 
 The thread, which is always carried back to the point where the 
 work is begun, should be sewn in firmly, as described for the begin- 
 nmg, so that the fastening cannot be detected, and then cut off close 
 to the canvas. 
 
 
 
 
 
 
 
 
 
 
 ~ 
 
 ^ 
 
 
 ^ 
 
 ^ 
 
 ^ 
 
 "T 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ir 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 jr 
 
 
 
 
 
 
 
 
 ; 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 T 
 
 
 
 
 
 
 
 
 
 
 
 
 
 • 
 
 
 
 
 
 . 
 
 * 
 
 
 
 _ 
 
 
 
 
 
 ^ 
 
 75 
 
 ft 
 
 ^ 
 
 « 
 
 ,■ 
 
 Fig. 74. 
 
 Fig. 75. 
 
 These simple designs being mastered, the learner is now prepared 
 for more ambitious efforts; and the lines are frequently divided into 
 branches richly ornamented, that form complicated patterns, and 
 require some study to make both sides of the work alike. 
 
 The patterns now consist no longer of simple lines, but of long 
 lines with short ones branching off from them, which may be called 
 main lines and branches. 
 
 The design in Figure 76 consists of a main line with upright 
 branches, which is worked in rounds going back and forth, and is 
 thus completed in two rows; no stitch should be omitted on either 
 side, nor should any stitch appear double; and the working thread 
 should always return to the point where the work was begun. 
 
 Figure 77 shows the manner of working the first row of this 
 design, the needle indicating how to take the last upright stitch. 
 
92 
 
 ARTISTIC EMBROIDERY. 
 
 Begin the line from *, so that an interval always remains between 
 every two stitches, and work to the point where the line branches off. 
 These branches are worked separately, and are completed in two rows; 
 so that in working the second row of the main line no attention need 
 be paid to them. 
 
 I I 
 
 Fig. 76. 
 
 Fig. 11, 
 
 Figure 78 shows the same design finished by the second round; the 
 order of stitches is indicated by figures. 
 
 The same rules apply to design 79 — which shows a main line with 
 stair-line branches meeting the main line always at two points. In 
 this case, too, the branches are always finished separately before 
 working the main line beyond the j^oint from which the stair-branches 
 proceed. 
 
 
 Fi^. 78. 
 
 
 
 
 
 "liijc x_x__ - 
 
 
 
 
 
 Fig. 79. 
 
 Figure 80 shows the first row of this design; the first branch being 
 finished, and the second in course of execution. 
 
 Fig. 80. 
 
ARTISTIC EMBROIDERY. 
 
 93 
 
 Figure 81 shows the design finished by the second round, the 
 figures indicating how to take the stitches. The fact that the 
 branches intersect the main line at two points does not affect the 
 work in the least. 
 
 Fig. 81. 
 
 Sometimes the branches of the main lines are again furnished with 
 smaller branches, as shown by the forked design in Figure 82. 
 
 In this case, the smaller branches are 
 also worked separately from the point 
 from which they proceed; but the middle 
 line is worked similarly to a main line; 
 working first one row with intervals, next 
 forming the smaller branches or prongs, 
 and then, going back, filling the intervals 
 of the middle line, and returning to the 
 main line. 
 
 Figure 83 shows the first row of this 
 design and one of the branches just begun; Figure 84 shows the 
 design finished, and the order of stitches indicated by figures. From 
 time to time, it will be well to glance on the under side and see that 
 the design appears precisely the same as on the right side, which will 
 
 
 
 
 _::__;;_»i_ 
 
 i!!i::! -.T 
 
 -Z^^ZZlmZJL 
 
 
 
 
 Fig. 82. 
 
 Fig. 83. 
 
 always be the case when the stitches are worked exactly in the order 
 given in the illustrations. 
 
94 
 
 AETISTIC EMBROIDERY. 
 
 Frequently the smaller lines branch off from the main line in oppo- 
 
 site directions, as shown by Figure 85. In 
 
 this design the forked 
 
 
 ^ 
 
 ^ 
 
 Fig. 84. 
 
 figure appears on one side, and the stair-line on the other side — both 
 meeting at one point of the main line. 
 
 AVith such patterns, begin with the main line and work to the point 
 
 where the branches begin — always work- 
 ing these separately. It is immaterial 
 which of the two branches is worked 
 first; but they should both be finished 
 in the first row, so that, in the second 
 row, only the intervals in the main line 
 need be filled. As a general rule, it is 
 well to complete as much of the pattern 
 ^. as possible in the first row. 
 
 ^' As Figure 85 is formed by a combina- 
 
 tion of figures similar to those shown in Figures 65 and 60, it will 
 only be necessary to refer to the description of those figures to enable 
 the' worker to execute this design with ease. 
 
 Tree figures, shown in illus- 
 tration 80, are worked so that 
 the trunk forms the main 
 line, and all the small line? 
 the branches; but the main 
 line should be worked to the 
 point without the branches, 
 the latter being formed in the 
 second row going back. Thus 
 the trunk, forming the middle 
 line, will serve as a guide for 
 
 Fig. 86. 
 
 Fig. 87. 
 
 placing the branches. Figure 87 shows the manner of working such 
 a figure, the stitches being indicated as usual by numbers. 
 
 Each individual design requires separate sewing in of the thread; 
 all connected lines, on tlie contrary, are worked without interruption. 
 
ARTISIIC EMBROIDERY. 
 
 95 
 
 The working thread should always be taken as long as possible; and 
 when it is used up, it should either be carefully sewed in, as described 
 in the beginning, or it should be fastened to the new thread by means 
 of a weaver's knot. This knot has the advantage of being made small 
 and strong at the same time. 
 
 Fig. 88. ^ 
 
 Sufficient instructions have now been given to enable the beginner 
 to do a very creditable piece of Holbein work; and Figure 88 is a 
 particLilarly easy pattern for a towel-border that may be done in red 
 or blue cotton or silk. 
 
 Fig. 89. 
 
 Fig. 90. 
 
 The towel may be made of heavy linen sheeting; or a bordering of 
 linen embroidered in this way may be applied to either end of a 
 
96 
 
 ARTISTIC EMBROIDERY. 
 
 damask towel with a line of feather-stitch. Sufficient material 
 should be allowed for a deep, tied fringe. 
 
 This pattern will also be found pretty for a bureau or dressing- 
 table cover, as well as a variety of other articles. 
 
 Figures 89 and 90 are very effective both for towels and covers. 
 
 Holbein work is frequently mixed with cross-stitch and satin- 
 stitch, which give it a richer effect; and for elaborate designs, this is 
 a great improvement. Figures 91, 92, and 93, show very handsome 
 towels embroidered in this way. 
 
ARTISTIC EMBROIDERY. 
 
 97 
 
 These towels are made of a piece of linen sixty-eight inches long 
 and seventeen inches wide, embroidered in cross-stitch and Holbein 
 work with blue or red cotton. The towels are trimmed besides with 
 an open-work design and knotted fringe, and are hemmed narrow on 
 the sides with a cross seam of the colored cotton. 
 
 To make a towel, work eight inches from the bottom a rich design 
 in Holbein embroidery, and edge it on both sides with a narrow 
 border in cross-stitch embroidery. Each cross-stitch is worked over 
 two threads in height, and the same in width. Above this border, at 
 
 Fig. 93. 
 
 a distance of an inch, ornament the towel in a design worked in 
 cross-stitch over canvas with colored cotton. 
 
 After finishing the embroidery, draw out the threads of the canvas, 
 and between the borders execute an open-work design. For this, 
 draw out always four threads of the linen lengthwise and crosswise, 
 letting the same number of threads stand, and overcast them diagon- 
 ally, first in one direction, and then, crossing the same square in the 
 opposite direction; and finish the edge of the borders adjoining the 
 open-work design with button-hole stitches. 
 
 Underneath the narrow border, draw out the crosswise threads of 
 
98 
 
 AETISTIC EMBROIDERY. 
 
 the linen, and knot the lengthwise threads to form fringe, as shown in 
 the illustrations. 
 
 Handsome portieres and curtains may be made of burlaps orna- 
 mented with Holbein and other embroidery. 
 
ARTISTIC EMBROIDERY. 99 
 
 For the design in Figure 94, draw out eight threads, each two inches 
 and a half and five inches and three-quarters from the outer edge; 
 cross every eight of the threads left standing, and run them with gold 
 soutache. Between these open-work patterns work the border (see 
 Figure 94) in satin-stitch with light and dark red filling silk; and in 
 Holbein work with light and dark olive-green filling silk. 
 
 The open-work pattern is edged with point-russe stitches of dark 
 brown and fawn-colored silk, and cross-stitches of dark red silk. 
 
CHAPTER XIII. 
 
 CHURCH EMBROIDERY -PART I. 
 
 The general rules for artistic needlework apply equally well to 
 church embroidery, which is, nevertheless, a distinctive art. In ancient 
 times its magnificence was unparalleled — the workers feeling privi- 
 leged in working for God's service, and anxious to spare neither time 
 nor expense on their labor. 
 
 This branch of decorative needlework has " narrower limitations, 
 stricter laws of fitness, bonds of symbolism, rules of color, and tradi- 
 tions of style; but a student of art needlework will not find these 
 stricter laws prevent church work from being beautiful and harmoni- 
 ous; indeed, they will be aids rather than hindrances; while the know- 
 ledge already acquired of general principles of color and design will 
 be a safeguard against placing vulgar, crude, or tasteless combinations 
 where, in many eyes, they would be not only ugly, but irreverent." 
 
 It has been well said that, in this kind of work, unity of design and 
 harmony of color take a new and deeper meaning; and honesty of 
 workmanship becomes a duty ; while a new reason for conven- 
 tionalism is seen when we remember that we ourselves, when in God's 
 house, lay aside an ordinary and natural demand. 
 
 The descriptions of the richly-embroidered ecclesiastical vestments: 
 robes, sandals, girdles, tunics, vest?, palls, altar-cloths, and veils or 
 hangings of various kinds, that were common in churches in the Middle 
 Ages, would almost surpass belief if the minuteness with which they 
 are enumerated in some ancient authors did not attest the fact. 
 
 The cost of many of these articles was enormous, for pearls and 
 precious stones were literally interwoven with the needlework, and 
 an almost incredible amount of time and labor was bestowed on them. 
 Several years would frequently be spent on one garment; and some 
 magnificent ninth century vestments are described, which Pope 
 Paschal presented to different churches. 
 
 One of these was an altar-cloth of Tyrian purple, having in the 
 middle a picture of golden emblems, with the faces of several martyrs 
 surrounding the Saviour. The cross was wrought in gold, and had 
 round it a border of olive-leaves most beautifully worked. Another 
 h-^d golden emblems, and was ornamented with pearls. 
 
ARTISTIC EMBROIDERY. 101 
 
 This same pope had a robe worked with gold and gems, with the 
 liistory of the Ten Virgins with lighted torches beautifully related. 
 He had another of Byzantine scarlet with a worked border of olive- 
 leaves. He had also a robe of woven gold, worn over a cassock of 
 scarlet silk; and another of amber hue embroidered with peacocks in 
 all the brilliant and mysterious shades of their plumage. 
 
 Modern church needlework is much more simple and less expensive, 
 and with an ordinary amount of skill and patience and attention to 
 rules and details, almost any embroiderer can accomplish very satis- 
 factory results. 
 
 Coarse, prepared linen or muslin, made very stiif, is first stretched 
 in a frame, and the material to be embroidered carefully tacked or 
 pinned on it. This makes a firm ground for working, and gives body 
 to the article to be embroidered. The silk or calico lining is to be 
 placed on the other side of the muslin. 
 
 A well-made frame is another important point; and four-piece 
 frames, or frames without stands, formed of two bars with webbing 
 to which the material is sewn, and two laths or stretchers, with holes 
 to receive the pegs, will be found most suitable for this kind of work. 
 They are fastened with screws, and the sizes generally needed range 
 from 20 inches to 6 feet 4 inches. 
 
 Figure 95 represents one of these four-piece frames, in which a 
 piece of linen is stretched, and upon it the central figure of an altar 
 frontal in progress of work. It is better not to stretch the frame 
 more than 20 inches at a time, as it is very fatiguing, for a continu- 
 ance, to take a longer reach than 10 inches from each side bar of the 
 frame. 
 
 Great care must be taken not to rub over the material while working; 
 and for this purpose a cambric handkerchief, or an equivalent of soft 
 paper, should be laid upon it. The needlework should always be cov- 
 ered with a soft clean cloth whenever it is left, no matter for how 
 short a space of time. 
 
 IMPLEMENTS NEEDED. 
 
 The implements used for church embroidery are needles, pins, 
 stiletto, scissors, thimbles, and the piercer for manipulating gold. 
 This latter article is as necessary as the scissors in regulating bullion 
 and other materials, as it is rounded and pointed at one end like a 
 small stiletto, and wider and flat-sided at the other. 
 
 Round-eyed sharps, from 7 to 2, are the needles most likely to be 
 required for every kind of silk ; the first principally for sewing-silk, 
 the others for crochet and other coarse silks. The best rule for size 
 is to be able to thread a needle instantly, and to draw the needle 
 backwards and forwards through the eye, without the least friction. 
 
102 
 
 ARTISTIC EMBROIDERY. 
 
 Fig. 95. — Four-Piece Frame. 
 
ARTISTIC EMBROIDERY. 103 
 
 An experienced worker will choose a needle very large in proportion 
 to the thread it is to hold in preference to a smaller one. 
 
 The stiletto is used in many ways, a steel one being the best. The 
 ends of stiff cords should be put through holes made by this instru- 
 ment; and occasions for its use are constantly arising. 
 
 Short pins are needed for transferring designs, instead of basting; 
 and in applique work, every part of it is carefully arranged by pin- 
 ning before the process of sewing begins. Cardboard patterns, too, 
 for modern embroidery, are kept in place by this means. 
 
 Two thimbles are needed, as the use of both hands is particularly 
 necessary in this kind of work. Thimbles worn a little smooth are 
 preferable, as the roughness of a new thimble catches the silk. 
 
 Sharp, strong nail scissors will be found most serviceable, and they 
 should be as large in the bows as possible to secure the thumb and 
 finger from hurt in cutting out cardboard designs and textile materials 
 for applique. 
 
 STITCHES. 
 
 The stitches used in ancient ecclesiastical embroidery are found on 
 examination to be quite simple, yet capable of producing the most 
 beautiful effects. 
 
 In using gold thread, for instance, it was seldom pulled through the 
 foundation, but couched: laid on the surface and sewed down, two or 
 three threads at a time, by stitches taken either somewhat irregularly, 
 or with such method as to produce by a series of them a perfect 
 diapered pattern of color on a gold ground. Figure 96 is an example 
 of what is known as plain couching. 
 
 Fig. 96. — PLAiiq- CoucHii^G. 
 
 Gold-colored embroidery silk has an almost equally rich effect by 
 making three or four parallel lines with it, and working the cross 
 stitches in the contrasting color. 
 
 Wavy couching is as easy as plain, the undulated first line regu- 
 lating the position of the others to any extent. 
 
 Diaper couching is another variety often used in old church 
 embroidery for representing pavements, and frequently for back- 
 grounds to emblems, and figures of saints. 
 
 Diamond couching is very pretty, and useful for holding down 
 silk, as well as passing, in the ornamentation of large fleur-de-lis, or 
 
104 ARTISTIC EMBROIDERY. 
 
 Other conventional forms. The illustration (see Figure 100) is a 
 
 
 Fig. 97. — Wavy 
 Couching. 
 
 Fig. 98. — Diagonal 
 Couching. 
 
 diamond of four stitches each way. The size of the diamond depends 
 upon the dimensions of the space to be covered. 
 
 Fig. 99. — Diaper Couching. 
 
 The line and cross diaper will be found desirable for covering large 
 spaces with a diapering of needlework. It also makes a very pretty 
 
 Fig. 100. — Diamond Couching. 
 
ARTISTIC EMBROIDERY. 
 
 105 
 
 border to enclose a plain ground in which a cross or other design is 
 worked. This pattern is most effective when done with lines of pass- 
 ing caught down at their intersections by a cross of crimson or other 
 bright-colored silk. The dots in the centre may be made either with 
 gold beads or French knots. 
 
 Fig. 101. — Line and Cross Diaper. 
 
 Various other combinations will suggest themselves in couching; 
 which is one of the most charming and useful methods in the whole 
 range of embroidery. 
 
 BASKET-STITCH. 
 
 This is another very effective device, and is particularly ingenious. 
 It is used principally for straight borders, or for the raised parts of a 
 conventional crown, a large monogram, or for any pattern of a formal 
 outline where a plaited and interlaced effect is the aim. 
 
 To work a border in basket-stitch, any even number of rows of 
 twine, from four upwards, must first be sewn firmly down upon the 
 framed foundation; and over this the gold is to be carried two 
 threads at a time The worker begins by taking two threads of pass- 
 ing and stitching them down, first over one row of twine, then over 
 tioo rows, and over two again, till the single row at the opposite side 
 is reached. 
 
 Any number of threads may be carried across in this way before 
 altering the arrangement of sewing down, according to the width 
 decided upon for the divisions of the plait. Say that six threads, or 
 three layers of passing, have been turned backwards and forwards, 
 and caught down precisely alike; the gold is then to be sewn over 
 two lines of twine, each time, from side to side of the border, for three 
 layers more ; and so alternated to any extent. 
 
 Medium purse silk is best for sewing down the gold; and a close, 
 firm twine, like whipcord, should be used for the lines. The thickness 
 of the twine must be governed by the size of the figure or space that 
 the basket-work is intended to cover. 
 
106 
 
 ARTISTIC EMBKOIDEEY. 
 
 The border should be finished on each side by a gold or silk cord, 
 or an edging of some kind to hide the looped ends of the passing, 
 which are not pulled through, but turned backwards and forwards as 
 evenly as possible. 
 
 FLOSS-SILK. 
 
 For large leaves, spaces in scrolls, draperies of figures, or fore- 
 grounds, long loose lines of colored floss, secured at intervals by single 
 threads of passing laid across, produce a very good effect. Below is 
 the simple lo7ig-stitchj upon which principle all floss-silk embroidery is 
 wrought. It is the petal of a flower worked in two distinct shades of 
 
 102. Lo:JfG-STITCH. 
 
 blue, and edged with amber crochet-silk sewed down with white. 
 The light shade is to be used first— beginning from the outer edge of 
 the centre of the petal, and working first to one side and then to the 
 other. Then the dark shade is to be worked in like manner dow9i' 
 wards. 
 
 Fig. 103. — Scroll with 
 Passing. 
 
 Figure 103 shows a scroll in twist-stitch enriched by passing. The 
 twisted effect is produced by working stitches of an even length one 
 behind the other on an even line. The passing is couched after the 
 silk scroll is worked. 
 
CHAPTER XIV. 
 
 CHURCH EMBBOIDERT-PART II. 
 
 Altar-covers have often been made in a style of great magnificence, 
 and are the most costly articles of church embroidery. It is not 
 necessary in a small work like this to give one entire, especially as 
 many modern Gothic churches have richly-carved stone or wooden 
 altars for which only a super-frontal of needlework is required. 
 
 Fig. 104. — Super-Frontal in Fleur-de-Lis. 
 
 The fleur-de-lis pattern in Figure 104 is both simple and effective; 
 and wrought in white and gold would be in good taste on either a 
 green or crimson ground. 
 
 The embroidery is done in couching — the fleur-de-lis and the curved 
 stems in gold twist-silk, sewed down with orange. The bands of the 
 fleur-de-lis and the trefoils between in white twist-silk, sewed down 
 with gold color. The white to be edged with white cord, the gold 
 color with gold cord. 
 
 The fringe is gold color mixed with the color of the ground. 
 
 A conventionalized rose is given in Figure 105, full size, to be used 
 in the bordering of a super-frontal. 
 
 It is edged with gold cord and worked in two shades of pale pink 
 
108 ARTISTIC EMBROIDERY. 
 
 floss, long embroidery-Stitch. The central ring is of bright green silk 
 
 the diamonds it encloses gold-color couched on a pale green ground; 
 
ARTISTIC EMBROIDERY. 
 
 109 
 
 the rays, deep rose-color, in long stitches. The outer lines are long, 
 loose stitches in gold thread. 
 
 The leaves are in two shades of olive green floss in long embroidery- 
 stitch; the stem, scroll, and finish are in two shades of olive brown, 
 edged with gold thread. This part may be done in couching. 
 
 The roses may be in divisions separated by gold-colored lace, or 
 alternated with annunciation lilies. 
 
 Fig. 106. — Reading-Desk with Hanging. 
 
 PULPIT, OR DESK HANGINGS. 
 
 These are often needed where no altar covering is used ; and are 
 much simpler in construction. Figure 106 shows a reading-desk 
 draped; Figure 107 gives a suitable design for the centre; and Figure 
 108 a very pretty bordering. 
 
110 
 
 ARTISTIC EMBROIDERY. 
 
 The cross and lettering of the central figure are to be done in gold 
 thread, or gold-colored silk, and edged with black. On a white or 
 crimson ground this would be very effective; and it has the advan- 
 tage of hai-monizing with any ground color. It may also be done in 
 applique, instead of embroidery. 
 
 The border pattern may also be done in gold, or in a mixture of 
 gold and white. 
 
 Fig. 107. — Monogram for 
 Desk Haxgixg. 
 
 Fig. 108, — Border for Desk 
 
 HA.NGING. 
 
 Figure 109 gives a rich pattern in full size for the border of an 
 ante-pendium, or desk-hanging. It is embroidered on white silk rep 
 with silver and gold thread; and sewn on over a black velvet, rep, or 
 
 Fig. 109. — Boeder ik Applique axd Embroidery. 
 
 cloth centre. The dark patterns are worked in applique with black 
 velvet; the two other shades in gold and silver brocade. 
 
ARTISTIC EMBROIDERY. Ill 
 
 The embroidery is done in satin-stitch with gold and silver braid, 
 silk and cord of the same material. 
 
 The border can be worked upon the material for the centre if it is 
 not intended to contrast with it. The pattern can also be worked 
 entirely in silk with satin-stitch. 
 
 GHURCH BOOK MARKERS. 
 
 These are comparatively easy of execution, although to be done ac- 
 cording to the same rules which govern other church needlework. 
 They are made of plain rich ribbon, varying in width from one to 
 three inches, in the five ecclesiastical colors of crimson, blue, green, 
 white, and violet. 
 
 Nothing elaborate in the way of embroidery should be attempted 
 on such small articles. A Latin cross on one end, a.nd a simple mono- 
 gram on the other, are always suitable. Or words such as " Creed " 
 and " Collect," as suited to particular parts of the service, may be 
 worked at the separate ends, in plain Old English letters, surmounted 
 by a Greek cross. 
 
 The length of the marker depends upon the size of the book for 
 which it is required. A yard, not inchiding fringe, is the ordinary 
 length. This makes a double marker, as it can be divided in the 
 middle by a barrel or register, to fall over two pages of the book. 
 
 A very good contrivance for this purpose is a piece of ivory, of the 
 width of the back of the book, pierced with holes, through which 
 pieces of silk braid, from which the ribbon is suspended, may be 
 inserted and tied. The pieces of ribbon may measure less than half 
 a yard, as the suspender, which should be of stout silk braid the color 
 of the ribbon, is two or three inches long. 
 
 An ordinary book-marker may be properly made from the follow- 
 ing directions: 
 
 The width of the ribbon is two and a half inches; the length, one 
 yard, after it is finished. To ensure this, a yard and a quarter of 
 ribbon is procured, and a piece of fine linen tightly framed. 
 Upon this, the end of the ribbon, to the dej^th of ten inches, is to 
 be smoothly tacked at the extreme edges by fine cotton. Along 
 the bottom edge, and across the top of the ten-inch length, the ribbon 
 must also be tacked. 
 
 Five inches from the end of the ribbon, the design, traced and cut 
 out in cardboard, is to be fixed with small pins and then sewed down, 
 and embroidered in gold, silver, or purse-silk, according to circum- 
 stances. This being done, the work should be covered from dust, and 
 the other end of the ribbon (if the framed linen is large enough to 
 receive both) tacked down and treated precisely similar, only the 
 pattern must be worked on the contrary side of the ribbon, or, as a 
 double marker, it will not hang right when in the book. 
 
112 
 
 ARTISTIC EMBROIDERY. 
 
 When the embroidery is finished, the linen should be cut from the 
 frame, and then from the back of the ribbon close to the work. 
 
 To make up the marker, the plain end below the embroidery is to 
 be turned back four and a half inches over the wrong side, leaving 
 half an inch of plain ribbon below the design on the right side. 
 
 The two edges of the ribbon, to the depth of four and a half inches, 
 are now to be sewn together by the neatest stitches of fine silk the 
 exact shade of the ribbon. The raw edge of the turned up end is to 
 be hemmed across, above the design, by stitches so fine as to be invis- 
 ible on the right side; and the book-marker, which should now appear 
 as neat on one side as the other, will be ready for the fringe. 
 
 A soft-twist silk fringe two inches deep is best, if the embroidery 
 is done in silk. If in gold, a gold fringe is more suitable. Twice the 
 length of the two ends, and three inches over for turnings, is the 
 proper measurement. The fringe should be sewed along one side of 
 the marker singly, and then turned and sewed along the other, so that 
 both sides may be perfectly neat and alike. 
 
 Fig. 110. — Desigi^^ for Alms-Basin Mat. 
 
 Figure 110 is a simple and chaste design for a circular mat of 
 velvet to fit the bottom of an alms-dish and deaden the jingling 
 sound of coin upon the bare surface of metal. 
 
 The mat should be of velvet, lined with silk, and trimmed with a 
 fringe of gold or silk, as best suits the embroidery, not over an inch 
 deep. 
 
 Small articles like these, of suitable materials and careful workman- 
 ship, are often most acceptable offerings from those whose limited 
 
AKTISTIC EMBROIDEKY. 113 
 
 time or means will not justify their undertaking larger pieces of 
 church work. 
 
 A sermon-case is a very useful present for a clergyman, and may 
 be embroidered quite simply, or elaborately, according to the taste 
 and means of the w^orker. As the same rules and designs will apply 
 to this as to the other articles described, it will be sufficient to give 
 directions for making up the case when worked. 
 
 Sermon-cases are made in two ways, either stiff and flat like a 
 book-cover, or firm and soft for rolling. 
 
 For the book-cover kind, two sheets of stout cardboard must be cut 
 to the exact size, and joined at the back by a narrow strip of calico 
 pasted along each side. Over this foundation thin lining muslin 
 must be smoothly stitched inside and out; after which the velvet may 
 be tacked evenly on by stitches drawn over the inside edge. A full 
 half inch of velvet should be turned over to make the edges secure. 
 
 The silk lining is then to be adjusted and sewed to the velvet with 
 neat stitches, every one of which, if rightly taken, will tend to 
 tighten the material over the mounting-board. 
 
 As a finish, a well-made cord of gold or silk, or a mixture of both, 
 is to be sewn all around the case. This cord, which must De about 
 half an inch in circumference, should effectually conceal the stitches 
 uniting the edges of the velvet and silk. A piece of elastic, a quarter 
 of an inch wide, is to be sewed, top and bottom, on the inside of the 
 back, for the sermon to be passed through. 
 
 The size of the case must be governed by the size of the sermon- 
 paper used by the clergyman for whom it is intended. Ten inches by 
 eight is a good size for quarto paper. 
 
 JBy using parchment instead of cardboard, and kid or morocco in 
 place of lining muslin, the sermon-case may be made to roll. 
 
 DESIGNS ON CARDBOARD. 
 
 The use of cardbcard designs in church embroidery is a mechanical 
 method of working, but it is also quite an effective one. It is metal- 
 lic-looking, however, and should not be used in imitations of ancient 
 work. For monograms, letters of texts, and geometrical figures 
 which require clcnr, sharp outlines, the firm edges of a cardboard 
 foundation will be particularly serviceable. 
 
 Embroidery designs to be worked over cardboard must first be 
 traced on thin paper, and then transferred to the cardboard by one of 
 two ways: that of placing the drawing on the cardboard, with black 
 transfer paper between, and tracing it carefully with an ivory stiletto 
 or hard pencil; or by pricking, pouncing, and drawing, as directed 
 for other patterns. 
 
 A clear outline of the design having been made on the cardboard, 
 it should be cut out accurately with sharp scissors. In this cutting 
 
114 
 
 ARTISTIC EMBKOIDEKY. 
 
 out, strips of the cardboard, called stays, must be left here and there 
 to keep together such parts of the design as would separate or fall 
 away, if the entire outline were cut around; and these stays must not 
 be cut off until the edges of the cardboard pattern are firmly secured 
 on the framed material by close stitches of cotton. 
 
 After the stays are removed, if the design is to be raised, one row 
 of even twine should be sewed down along the centre of the figure; 
 it is thea to be worked over with the silk. This one row of twine 
 will give to the work the bright sharp effect of gold in relief. More 
 than one row would spoil it. 
 
 The thickness of the twine must be regulated by the size of the 
 figure to be raised. To raise the embroidery at all is quite a matter 
 of taste, as excellent specimens of work are constantly done over the 
 card alone. 
 
 For gold, or gold-color silk embroidery, the upper side of the card 
 foundation should be painted yellow. This can be done by a wash of 
 common gamboge or yellow ochre. The best cardboard for this pur- 
 pose is that known as thin mounting board. 
 
 CHURCH-WORK IN APPLIQUE. 
 
 This may properly be used for almost any material; and a great 
 deal of church decoration is done entirely by this method. 
 
 For letterings, or labels, applique is particularly appropriate; and 
 the description of a crimson cloth ground labelled with gold-colored 
 letters will explain the method of doing it. 
 
 Stout gray holland a few inches longer than the label is first to be 
 framed and the piece of crimson cloth pasted on it. When this is 
 dry, and while in the frame, the outlines of the label and letters are 
 to be pounced and drawn upon it in Chinese white with a camel's hair 
 brush. 
 
 In another frame, a piece of gold-colored cloth is to be prepared on 
 brown holland; and upon this the whole of the letters, or as many as 
 possible, are to be pounced and drawn in India ink. Over the out- 
 lines of the letters, a black cord must be closely sewed; and when the ' 
 frameful is completed in this manner, the holland is to be pasted all 
 over at the back to secure the stitches and make the letters firm. 
 
 When quite dry, the holland with the letters may be taken from 
 the frame. They are then to be cut out with sharp nail scissors — 
 leaving the sixteenth of an inch of cloth beyond the black cord every- 
 where, and laid in their places on the crimson cloth, fixed with pins, 
 and finally sewed down through the black cord by stout icaxed silk in 
 stitches an eighth of an inch apart. The small edge of gold-colored 
 cloth beyond the cord should not be interfered with; it will rather 
 improve the effect of the letters on the crimson ground. 
 
ARTISTIC EMBEOIDEKY. 
 
 115 
 
 A black cord must also be closely sewed along the outline of the 
 label, and beyond it a gold silk cord the color of the letters. This 
 done, and the work strengthened at the back by paste, the label may 
 be taken from the frame. It should then be cleanly cut to within an 
 eighth of an inch of its outline all around, when it will present a 
 perfect piece of work of its kind, and will be in a condition to transfer 
 or mount to its final position. 
 
 'Fig, 111. — Pattern for Linen Altar-Cloth. 
 
 The " fair linen cloth " is laid on the thicker covering at the top, 
 and falls over the table in front to the depth of the worked border, 
 unless there is an embroidered super-frontal beneath, which it would 
 conceal. 
 
 It is made of lawn or the finest linen, and bordered with an appro- 
 priate design in chain-stitch — which may be worked either with white 
 or colored cotton. This cloth should be long enough either to cover 
 the two sides of the altar; or it may be made only to turn down, as 
 at the front, to the width of the border; which, in every case should 
 be continued along the two ends from the front of the cloth. 
 
 The. pattern in Figure 111 may be used for white or colored cottons, 
 or for a mixture of both. Crimson and blue are the most suitable 
 colors for embroidering altar-linen. The worked border should rest 
 upon a plain hem an inch deep. 
 
CHAPTER XV, 
 
 LIJ^EM LJCE-WORK. 
 
 Much of this is very ancient, and it is often so beautiful that it 
 comes properly under the head of art-needlework. 
 
 POINT-CONTi, 
 
 Best known by its modern name of Guipure d'Art, is almost the 
 only kind of ancient work which, in its modern revival, has retained 
 some degree of beauty. 
 
 Ancient guipure was made of thin vellum covered with gold, silver, 
 or silk thread; and the word guipure derives its name from the silk 
 when thus twisted round vellum being called by that name. Cotton 
 afterward replaced the A^^ellum, and several modern laces are known 
 as guipure; but the name is not correct, and is appropriate only to 
 that kind of lace where one thread is twisted round another thread or 
 substance, as in the ancient Guipure d'Art. 
 
 This is effected by netting a foundation, and darning a pattern 
 over it with the same linen thread; so that the high-sounding point- 
 conte is simply darned netting. But beautiful effects are produced 
 with it, and it has a look of old church Ince. 
 
 The groundwork should be netted with linen thread in the shape of 
 a square; and the thread may be coarse or fine according to the pur- 
 pose for which it is intended. The netting is begun with two stitches, 
 and one is added at the end of every row, until there is one more 
 stitch than is needed for the number of holes. Thus if a square of 
 twenty-six holes is required, increase until there are twenty-seven 
 stitches; then decrease one at the end of every row until only two 
 stitches are left. The last two are knotted together without forming 
 a fresh stitch. 
 
 Great care should be taken to have the netting true and even, so 
 that it will stretch properly in the little frame used for the work. 
 
 Each corner of the netting should be fastened to the corresponding 
 corner of the frame; and the lacing should be made as tight as possi- 
 ble, as it is much easier to work on than when loose. 
 
 The working of the most elaborate patterns in Guipure d'Art 
 
ARTISTIC EMBKOIDERY. 
 
 IIV 
 
 depends entirely upon a mastery of the stitches, of which there is 
 quite a variety. Those in most common use are Poixt d'Esprit 
 Point de Toile, Point de Feston, Point de Reprise, Point de 
 Bruxelles, and Wheels and Stars. 
 
 @ 
 
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 Fig. 112. 
 
 Point d'Esprit is a succession of small loops. Beginning 
 in the lower right hand corner of the framed foundation, a row 
 of loops should be worked of the length required; then the frame 
 should be turned, and loops worked on the opposite half of each 
 
 Fig. 113. 
 
 square, intersecting the first loops in the centre of each intervening 
 bar of netting. The illustration will make the work quite plain. 
 
118 
 
 ARTISTIC EMBROIDERY. 
 
 This stitch is worked with finer thread than that used in the founda- 
 tion, No. 10, perhaps, on a netting of No. 6. 
 
 PoixT DE ToiLE, or LixEX Stitch, is merely plain and regular darn- 
 ing over and under each cross thread, making the foundation a closer 
 piece of network. There must he the same numher of stitches in each 
 square both ways, to keep the foundation perfectly even; and al- 
 though the illustration has only four squares within each of the larger 
 ones, it is often made fine enough to contain six or eight. 
 
 Point de Festox is done in overcast stitches. At each stitch the 
 frame is turned; the stitches are taken across the square, and increase 
 in length at the top of the square. 
 
 Fig. 114. 
 
 Fiof. 115. 
 
 PoiXT DE Reprise, or Darxixg, is begun by stretching two or 
 three threads over one, two, cr more squares. The threads are then 
 darned over and under; and the last stitch, while passing through, is 
 
 Fig. 116. 
 
 Fi^. 11' 
 
 arranged with the needle to form the next. This is one of the easiest 
 stitches to learn; and it is always worked with coarser thread than the 
 foundation. 
 
ARTISTIC EMBROIDERY 
 
 119 
 
 Point de Bruxelles is merely a kind of loose button-hole stitch, 
 and is principally used for filling up squares. It will also form leaves 
 when the number of stitches is lessened in each row until they finish 
 off in a point. 
 
 Wheels arc begun in the centre. Four threads are taken across, 
 as shown in the first illustration; the thread is twisted in returning to 
 the starting point, and the wheel formed by passing thread under and 
 over the netting and the crossing threads. It is fastened off at the 
 back of the wheel. 
 
 Fig. 118. — Wheel Begun. 
 
 Fig. 119. 
 
 The next design is a square wheel. It is worked in the same way 
 as the preceding, wdth the addition of loops in Point d'Esprit, 
 through which and under and over the cross-twisted threads four or 
 five rows of thread are passed. 
 
 Fig. 120. — Square Wheel. 
 
 Stars are of various forms, as shown in figures. 
 
 The first one is worked in Point de Feston around a single square 
 hole, which is filled in by a small w^heel, or rosette. 
 
 The second is worked alternately in Point de Feston and Point 
 de Bruxelles around a centre crossed by Point d'Esprit threads^ 
 
 Figure 123 is more elaborate. Begin at the place marked a (Figure 
 124), twist the thread three times round the nearest thread of the 
 netting, draw it on to the knot, h ; repeat this three times, following 
 the order of the letters; twist the working thread also between the 
 threads, as seen in the illustration, and fasten it underneath the knot, 
 
120 
 
 ARTISTIC EMBROIDERY. 
 
 a ; for the wheel, fasten on the cotton afresh, and work the rest of 
 the pattern in Poixt de Reprise. 
 
 Fig. 121.— Star. 
 
 Fig. 122. 
 
 The small square is worked on a foundation which is netted over a 
 mesh 2 1-10 inches round; this foundation has seven stitches each 
 way. The embroidery is in Darxixg-Stitch, Point d'Esprit, and 
 
 Fiff. 123. 
 
 Fig. 124. 
 
 Wheels. The outer edge is button-holed. Larger squares can be 
 made in the same way, with a few added rows in length and breadth. 
 These pieces are easily joined together with a few stitches. 
 
 A quarter of a large square is given on page 121. The outer border 
 is done in Poixt d'Esprit; next to this there is a border in linen 
 stitch. In each comer there is a large star, which is worked in raised 
 darning-stitch, and fastened to the netting at each point; there is a 
 wheel edged with button -hole stitch in the centre of the star. The 
 pattern for the centre of the square — only a quarter of which is 
 shown in the illustration — consists of four branches forming small 
 
ARTISTIC EMBROIDERY. 
 
 121 
 
 triangles in Point de Bruxelles, four open-work stars or wheels worked 
 over four holes of the netting, and a four-branched centre of Point 
 de Feston with a wheel in the middle. 
 
 ^^^.g—^^^^^^;^ 
 
 
 
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 1 
 
 
 
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 Fig. 125. — Small Square. 
 
 Fig. 127 is a pretty square that has the advantage of being very 
 quickly worked. The border and groundwork are done in Point 
 
 Fig. 126. — Quarter of a Square iiq^ Guipure d'Art. 
 
 d'Esprit, the centre star in Point de Reprise, the pattern in Point de 
 Toile. The four holes in the centres of the darned squares are filled 
 in with wheels. 
 
 Small squares are very pretty for cuffs, handkerchiefs, or cravat 
 ends. They are worked with very fine cotton in the same manner as 
 
122 ARTISTIC EMBROIDERY. 
 
 the larger ones, beginning on two stitches in one corner. The differ- 
 ent stitches in the two patterns given will be recognized as Point de 
 Feston, Point de Reprise, Point de Toile, and Point d'Esprit. 
 
 Fig. 127. — Square for Axtbiacassar. 
 
 The handsome square (Fig. 130), is worked in Point d'Esprit,with an 
 outline edging of Point de Reprise. This part may also be done in 
 close button-hole stitch. The groundwork is in Point de Toile^ with 
 
 Fig. 128. — Square in Guipure Fig. 129. — Square ix Guipure 
 d'Art. d'Art. 
 
 Point de Reprise worked on it. It is very effective, and large and 
 small squares may easily be multiplied by different combinations. 
 
 ROSETTES, INSERTIONS, ETC. 
 
 The first Rosette is worked in Point de Toile and small wheels. 
 The central wheel is larger, and is ornamented with a round of over- 
 cast. 
 
ARTISTIC EMBROIDERY. 
 
 121 
 
 The star-shaped one has a knitted groundwork, which is made by 
 casting on six stitches, joining the stitches in a circle, and knitting in 
 
 Fig. 130. — Square in Guipure d'Art. 
 
 the first round two stitches in every stitch. For the next eight 
 rounds, two stitches in every increased stitch; in all the other stitches. 
 
 
 
 
 
 
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 3 
 
 
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 H 
 
 ■ 
 
 %-Jr^ 
 
 ^ 
 
 
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 Fig. 131.— Rosette m Fig. 132.— Rosette in" Guipure 
 Guipure d'Art. d'Art. 
 
 one stitch. The last, or tenth round, is worked without increasing. 
 
124 
 
 ARTISTIC emBroid:e1iy. 
 
 The rosette is then darned in darning-stitch, linen-stitch, and Point 
 d'Esprit. The edge is worked in button-hole stitch, three button- 
 hole stitches to every selvedge stitch. 
 
 
 
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 Fig. 133. — Insertion in Gfipure d'Art. 
 
 The netted foundation of the inserting pattern is six holes wide. 
 Begin the netting at one corner with two stiches; work five rows, at 
 the end of each of which increase one stitch; continue to work the 
 
 Fig. 134. 
 
 Fig. 135. 
 
 strip with 'the same number of stitches — alternately decreasing one at 
 the end of one row, and ^?^creasing one at the end of the next. To 
 decrease, net two stitches together; to increase, net two in one hole. 
 
 Fig. 136. Fig. 137. 
 
 When the strip is long enough, finish it by decreasing in the same 
 proportion as the increasing at the beginning. 
 
ARTISTIC EMHEOIDERY. 125 
 
 The pattern is worked in Point de Feston and star- wheel; the 
 border is of Point d'Esprit. The strip is finished on each side with 
 a row of button-hole stitches. 
 
 The four patterns given above will be found very useful for filling 
 up small squares, or for varying the groundwork of Point d'Esprit. 
 
 Figure 134 is a succession of Point de Feston stitches, which half 
 fill each square of the netting. This pattern, to, look well, must be 
 worked very evenly. 
 
 Figure 135 is a kind of double Point d'Esprit. 
 
 Figure 136 is a twisted thread taken across each square, and 
 resembles lace stitches 
 
 Figure 137 is a succession of small, close wheels, mingled with Point 
 d'Esprit. This makes a very effective grounding. 
 
 Fig. 138. — Flower ix Guipure d'Art. 
 
 This flower, which can be used for many purposes, is worked in 
 Point de Reprise, and may be done either with linen thread or with 
 purse silk in colors. 
 
 The pretty corners for cushions, handkerchiefs, etc., are worked in 
 Point d'Esprit, Linen, and Darning-stitch; and the netted foundation 
 is done by casting on two stitches, and working in rows backwards 
 and forwards — increasing one stitch at the end of every row. 
 
 The corner border requires a strip of netting nine squares wide, cut 
 out in Vandykes on one side, and worked round in button-hole stitch. 
 The embroidery is done in Darning-stit(*h, Point d'Esprit, Linen- 
 stitch, bars, and wheels. It is edged with button-hole stitch on the 
 outside, on which is worked a row of crochet-purl. 
 
 For this, work one double in every button-hole stitch; after every 
 other stitch draw out the loop on the needle about one-tenth of an 
 inch; take out the needle and leave the loop as a purl; take up one 
 loop in the last double stitch, and cast it off with the next double 
 stitch. 
 
126 
 
 ARTISTIC EMBROIDERY. 
 
 Besides being used for tidies, cusliions, etc., this border makes very 
 pretty inserting. 
 
 But we must leave the fascinating subject of Guipure cVArt, and 
 turn our attention to one or two other kinds of Linen Lace-Work. 
 
 POINT COUPE, 
 
 Or Cut-work, improperly called Greek lace, is made on a foundation 
 of linen, of which some of the threads are cut away and the others 
 worked over, making regular square spaces. 
 
 A clearly defined ground plan is thus produced, and the pattern, 
 however rich and varied, is subdued and confined by guiding lines, 
 and may be made to form stars, circles, crosses, or cobwebs, of a 
 geometrical character. 
 
 Ym. 139. 
 
 Fio\ 140. — Corner Borders. 
 
 This kind of work is very durable, and has all the respectability of 
 age. Old specimens of it are frequently seen, and the seventeenth 
 century painters w^ere very partial to it, using it for the turned-up 
 cuffs of the Vandyke dress, and to edge the falling collars. The finer 
 kinds of it are very laborious, and one beautiful variety wrought on 
 thin linen fabrics is known as Spanish nun-work. 
 
 Point Coupe is very effective in furniture decoration, and for this 
 purpose it can scarcely be too coarse. Brown packing-cloth makes a 
 good foundation; worked with brown thread in a suitable pattern, 
 simple enough to be clearly defined by the thick threads, it will make 
 a beautiful border. A Macrame fringe, made of the same thread as 
 th^t used for the work, will form a pretty finish, if the knotted pat- 
 tern is simple and unobtrusive, as it should not divide attention with 
 the border, to which it is only an appendage. 
 
ARTISTIC EMBROIDERY. 
 
 127 
 
 Cut- work is particularly suitable for the ends of a white linen altar- 
 cloth, worked on stout linen with a thick, soft, white linen thread, 
 and m a very rich pattern. The lace should be firmly finished off 
 with a flat hem of the linen all round, making it complete in itself. A 
 fringe of linen thread is a suitable finish to the Point-Coupe. 
 
 After the cover, of finer linen, has been washed and gotten up with- 
 out starch, the cut-work borders should be sewn on the ends with an 
 open stitch, which may be easily cut when the cloth becomes soiled; 
 which will occur much oftener than with the borders. 
 
 Afternoon tea-cloths, cake-covers, etc., 
 
 may be very prettily ornamented with 
 
 this linen work. When intended for a 
 
 ' border, it should be finished with close 
 
 button-holing to make it strong. 
 
 For a tea-cloth, holland or crash makes 
 a good foundation; and a suitable pat- 
 tern for this purpose is riiade by drav/ing 
 out nine threads each way, and stitching 
 all around the square spaces — taking up 
 three threads with every stitch. In the 
 openings thus 
 made, wheels, stars, 
 or other figures, 
 are worked. 
 
 POmT-TIRE, 
 
 Or drawn -work, 
 is also suited to 
 decorative pur- 
 poses; it is very 
 simple and easy of 
 execution — being 
 very effective in 
 proportion to the 
 labor spent upon it. It is an Italian invention, and is very ornamental 
 for the ends of table-cloths, toilet-cloths, tidies, or towels — the last 
 especially being its original use. 
 
 Point-tire is made in the material of the cloth itself; some of the 
 threads being drawn out, and the remainder worked into patterns more 
 or less elaborate. A hem-stitch like that used for pocket-handker- 
 chiefs is useful in this work; it may be done singly along a row of 
 drawn threads, or for a broader line on both sides the row — either taking 
 up the same threads as those taken on the other side, so making little 
 bars, or taking half the threads from each of two of the opposite 
 stitches, and thus forming a zigzag. 
 
 Fig. 141. — Corner Border in Guipure d'Art. 
 
128 
 
 AUTISTIC EMBEOIDERT. 
 
 Other patterns may be made by passing a tbick linen thread along 
 the centre of a row of threads from which the weft has been drawn, 
 and either tv^isting them over each other or knotting them into 
 groups. It adds to the beauty of an article to embroider the spaces 
 of plain linen between the rows of drawn work, either with silk, or 
 
 Fig. 142. — Cover for a Small Tray. 
 
 with red or blue embroidery cotton, mixing a little of whichever is 
 used with the fringe. The patterns should be very simple: line pat- 
 terns, dots, stars, etc. 
 
 Figure 142 is a good specimen of embroidered drawn-work. 
 
 The materials used for this cover are white linen and coarse white 
 
ARTISTIC EMBROIDERY. 1C9 
 
 embroidery cotton. The linen must not be very fine, and it should 
 be of rather loose texture. 
 
 AVhen cut to the desired size the first thing to be done is to ravel 
 out the threads for the purpose of forming the fringe, which should 
 be about an inch deep. It should at first be ravelled on only three 
 sides: the selvedge and the two cross sides — the other selvedge side 
 being left until the work is nearly finished. 
 
 For the work, draw out twenty-seven threads close together; then 
 leave a space, and draw out twenty-seven more in the same manner. 
 The space from which the threads are drawn is worked in a kind of 
 open-stitch with coarse embroidery cotton. Twelve threads are taken 
 up with the needle, and fixed by a back-stitch. Six threads are 
 drop2^cd; and then again twelve are taken up in the same way as 
 before — thus forming the chain pattern shown in the illustration. 
 
 From the middle of the opaque stripe a single thread is drawn, and 
 worked in common hem-stitch; and on each side, narrow stripes in 
 satin-stitch form a sort of herring-bone pattern. 
 
 The work consists entirely of a series of opaque and open stripes. 
 When the requisite number of stripes is complete, the fringe may be 
 ravelled out on the fourth side, and the cover is finished.- 
 
 This work washes well; but it should not be starched or ironed. 
 The proper way of doing it up is to pin or baste it flat and tight 
 while wet, upon a board, or the floor, and let it dry. 
 
 IMITATION OF ANTIQUE LACE. 
 
 A very rich kind of work founded upon old lace is done by drawing 
 patterns on linen and overcasting or button-holing the outlines. The 
 ground between is then cut away, and the patterns enriched with 
 bars, cords, and raised work. 
 
 This kind of linen embroidery may be made very beautiful and 
 lace-like; the exquisite patterns of Venetian, rose, raised, or bone 
 point, can easily be reproduced in it, although, while preserving the 
 peculiar beauty of their forms and proportions, they should, to adapt 
 them to this work, be considerably enlarged and their details much 
 simplified. Unless these rules are carefully followed, the linen-work 
 will appear only a coarse and unsuccessful imitation of the original 
 lace. 
 
 This work is sometimes outlined with gold thread, which has an 
 exceedingly rich and beautiful effect; and with a lining of amber, or 
 golden-brown satin, a handsome and unique covering. may be made 
 lor a variety of articles. 
 
TABLE OF CONTENTS, 
 
 Chapter I.— Worsted Embroidery. 
 
 PAGE. 
 
 Crewel Work 6 
 
 The Crewel Stitch 7 
 
 Articles to be Worked in Crewels. 12 
 
 An Embroidered Frieze 12 
 
 A Dado in Crewels 12 
 
 A Worsted- Worked Portiere 13 
 
 Curtains Avith Sprays of Sumac 14 
 
 A Sweet-Pea Table* Cover 14 
 
 Screens in Crewel Work 14 
 
 Carriage Wraps 15 
 
 Chapter II. — Simple Ideas op Colors. 
 
 Chapter III.— Silk Embroidery. 
 
 The Stitch for Silk Embroidery 20 
 
 Grroup of Flowers for Silk Embroidery 21 
 
 French, or Flat Embroidery 23 
 
 The French Knot 24 
 
 Stalk-Stitch 24 
 
 Point Russe 25 
 
 Herring-Bone, or Feather Stitch 27 
 
 Chain-Stitch. 28 
 
 Ladder-Stitch 31 
 
 Chinese Embroidery 32 
 
 Chapter IV.— Designing and Transferring Designs. 
 
 Transferring Designs 40 
 
 Chapter V.— Articles in Silk Embroidery. 
 
 A Screen of Peacock Feathers 42 
 
 A Pretty Banner-Screen 42 
 
 Another " " 42 
 
 Embroidered Table-Top 43 
 
 Window- Curtain Border 43 
 
 Embroidered Dresses 43 
 
 Panels 44 
 
 Small Curtains or Hangings 44 
 
 A Wreathed Picture 44 
 
 An Embroidered Room. 45 
 
 A Fan Table-Cover 45 
 
 A Chair-Cover 45 
 
 Fire-Screens 45 
 
 A Child's Afghan 46 
 
 Chapter VI.— Print- Work. 
 
 Chapter VII.— Silk Embroidery with Gtold. 
 
 Modern Work 49 
 
 Materials Used 49 
 
 Gold Cord 50 
 
CONTENTS. 
 
 Cirold Braid. ... 5q 
 
 Bullion '.'.'..".'.'....'.....'.'.'.'.'.'.... 50 
 
 Spangles 51 
 
 Gold Thread .'."..'.*.*.'.*. ..".".'.'.' *.'.'.* 51 
 
 Chapter VIII.— Embroidered Books and Other Articles. 
 
 A Maroon-velvet Book 53 
 
 A Queens Needlework , , 53 
 
 Petrarch's Sonnets. ... '. 55 
 
 Another Royal Book r»5 
 
 A Book of Engravings 55 
 
 Scrap-Book Covers 57 
 
 Album Covers 57 
 
 Letter-Case 58 
 
 Gold and Silk Embroidery , . . , 60 
 
 Chapter IX.— Applied Work with Embroidery. 
 
 A Lambrequin in Applique 65 
 
 Key-Bag in Appliqu^ and Embroidery 71 
 
 Silk Applique Work ' 73 
 
 Cretonne Work 75 
 
 Crape Pictures in Applique 77 
 
 Linen Applique 78 
 
 Chapter X. — Embroidery in Chenille. 
 
 Chapter XT.— Silk Embroidery on Linen. 
 Embroidered Fruit Doyleys 82 
 
 Chapter XII. 
 Holbein Work 86 
 
 Chapter XIII. — Church Embroidery.— Part I. 
 
 Implements needed 101 
 
 Stitches 103 
 
 Basket-Stitch 105 
 
 Floss Silk 106 
 
 Chapter XIV. —Church Embroidery.— Part II. 
 
 Pulpit, or Desk Hangings 109 
 
 Church Book-Markers Ill 
 
 Designs on Cardboard 113 
 
 Church- Work in Applique , 114 
 
 Chapter XV.— Linen Lace Work. 
 
 Point-Conte 116 
 
 Rosettes, Insertions, etc 133 
 
 Point-Coupe 126 
 
 Point-Tire 137 
 
 Imitation of Antique Lace 129 
 
ORNAMENTAL DESIGNS 
 
 FOR 
 
 FRET-WORK, SCROLL SAWING, FANCY CARVING, 
 
 AND 
 
 HOME DECORATIONS. 
 
 Fret Sawing has become an art of such wonderful popularity that the interest in it has 
 been shared by both amateurs and professionals to an astonishing extent. Hundi-eds ai-e 
 earning large sums of pocket-money by cutting these beautiful household ornaments, and 
 selling among friends or acquaintances, or at the art stores. 
 
 Ladies and the Young Folks find in it a fascinating recreation, and are making dozens 
 of fancy articles at small cost, to decorate their homes in a charming manner, or to give as 
 Holiday Presents to friends. The following books contain mechanical designs of full size 
 for immediate use, and are invaluable alike to amateurs, ladies, young folks, mechanics, 
 architects, and all of professional skill : 
 
 Part i contains full size designs for Picture Frames, Small Brackets, Book Racks, 
 Fancy Letters and Figures, Ornaments, Wall Pockets, etc. (Has patterns worth at usual 
 prices over $8.) Price 75 cents, post-paid by mail. 
 
 Part 3 is devoted exclusively to designs of Brackets of medium to large size, all en- 
 tirely new, and of the most tasteful detail and execution. (Contains over 50 plans, worth 
 at least $15.) Price, $1.00, by mail, post-paid. 
 
 Part 3 is devoted to Fancy Work, Ladies' Work Baskets, Easels, Crosses, Match Boxes, 
 Pen Racks, Paper Cutters, Calendar Frames, Thermometer Stands, Watch Pockets, Fruit 
 Baskets, Table Platters, etc. Nearly 100 designs, many of them really exquisite. Price $1.00. 
 Part 4— FRET SAWYKR'S ANNUAL, 1876. Contains 84 patterns of Crosses, Shrine 
 Frame, Photograph Holder, Stereoscopic View Rack, Card Receivers, Borders, Cake 
 Baskets, etc. This is a very cheap and tasteful book of designs. If sold singly would be 
 worth $2.50. Price of book, 50 cents, post-paid by mail. 
 
 Part 5.— SILHOUETTES FOR SCROLL SAWING AND INLAID WORI^ . Contains over 
 100 exquisite designs of Silhouettes and Fancy Scroll Work, containing patterns of Ani- 
 mals, Birds, Children, Horses, Dogs, Crosses, Scenes of Poetry and Sentiment, Women, 
 Soldiei"s, Deer, Flowers, Mottoes, and Fancy Ornaments, all ready to saw out, and most 
 beautiful for inlaid work. They open a new field in this favorite work, and these are the 
 best designs yet published in the L^nited States. They are remarkably handsome, many 
 very comical, and some perfectly superb. The page of CROSSES is alone worth the price 
 of the book. This book also contains many exquisite designs for painting on wood. Furni- 
 ture, and Pottery— also for Mechanical Ornaments, and Fancy Work of all descriptions. 
 Price 60 cents 
 
 Part 6.— FRET SAWYER'S ANNUAL, 1877. Published Oct., 187T. This is composed of 
 new patterns, designed expressly for this season, and will be found specially adapted to 
 amateurs or others who have hitherto purchased only the cheap and single patterns of 
 more common and less pleasing designs. The price of this book is so cheap that it will be 
 easily afforded by every one, even the poorest. Contains 29 new patterns, Avorth at sheet 
 prices fully $1..50. New Picturi; Frames, Easels, Visiting Card Case, Bracket, Doll's Car- 
 riage, Mirror Frame, Fancy Match Box, etc. Price 30 cents by mail, post-paid. 
 
 Part 7.— NEW DESIGNS FOR 1877 and 1878. This is the latest and most artistic vol- 
 ume of the series ; will be found by experienced Scroll Sawyers the best collection yet 
 published. Contains 63 patterns, worth over $3.00 — New Easels, Woi'k Baskets, Wall Pocket, 
 Motto " Welcome," Photograph Frames, Wheelbarrows, Crosses, Match Box, Glove Box, 
 Savings Bank, Standard Match Safe, etc. Price 60 cents, post-paid by mail. 
 
 Parts.— FRET SAWYER'S ANNUAL FOR 1880. Published Jan. 1, 1880. Fret Salving 
 has increased so much within the last few j'ears, that the manufacturers of fret saws have 
 thought it worth their while to bring their saws as near perfection as possible. Not only 
 does this spirit animate the manufacturer, but it stirs with equal force the publisher of 
 patterns, so that each new issue of designs is made better, if possible, than the last. We 
 claim that this last volume of our issue eclipses, for originality of design and beauty of 
 ornamentation, any previously issued. It contains patterns for a complete set of ai'ticles 
 that no room should be without, all done in the Eastlake style, and no two articles alike. 
 This book contains over 10 patterns. Price $1.00, post-paid, by mail. 
 
 Address ADAMS & BISHOP, Publishers, 
 
 46 Beekman Street, New York. 
 
n 
 
 JL-L \^ 
 
 K^ 
 
 TTr^ 
 
 J^-L^^ 
 
 T/te most beautiful Ladies' Book ever published. Get it for yotir 
 Work Basket or Parlor. A Beautiful Gift to Friends. 
 
 BY HENRY T. WILLIAMS AND MRS. C. S. JONES. 
 
 VOL. 2.— WILLIAMS' HOUSEHOLD SERIES. 
 
 A splendid new book on Household Art, devoted to a multi- 
 tude of topics, interesting to ladies everywhere. 
 
 GOISTTEHSTTS 
 
 Chap. 1.— 
 
 Chap. 2. 
 
 Chap. 3. 
 
 Chap. 4. 
 
 Chap. 5. 
 
 Chap. 6. 
 
 Chap. 7. 
 
 Chap. 8. 
 
 Chap. 9. 
 
 Chap. 10. 
 
 Chap. 11. 
 Chap. 12. 
 
 Transparencies on Glass for Windows, Lamps, Halls, etc — 
 Diaphanie. Vitremanie. 18 Engravings. 
 
 Fancy Work with Leaves, Flowers, and Grasses — Phantom 
 Leaves, Autumn Leaves and Mosses. 23 Engravings. 
 
 -Spray Work or Spatter Work. 23 Engravings. 
 
 Brackets, Shelves, Mantels, etc. 27 Engravings. 
 
 Picture Frames. 17 Engravings. 
 
 -Fancy Leather Work. 29 Engravings. 
 
 -Wall Pockets. 18 Engra^'lngs. 
 
 -Work Boxes and Baskets. 17 Engra^-ings. 
 
 -Wax Flowers, Fruit, etc. 21 Engravings. 
 
 -Indian Painting in imitation of Ebony and Ivory. 14 Engrav- 
 ings. 
 
 -Cone, Spruce, and Seed Work. 35 Engravings. 
 
 -Miscellaneous Fancy Work. 46 Engravings. 
 
 Hundreds of exquisite illustrations decorate the pages, which 
 
 are full to overflowing with hints and devices to ever}' 
 
 lady how to ornament her home cheapl}', tastefully, 
 
 and delightfully, with fancy articles of her own 
 
 construction. By far the most popular and 
 
 elegant gift book of the year — 300 pages. 
 
 Price, 81.50, Sent postpaid by mail. 
 
 Address ADAMS ^ BISEOP, Pichlishers, 
 
 p. O. Box 2456. 
 
 46 Beekman Street, New York. 
 
p^%^*-«-V 
 
 
 
 OOeSKKilOfLrOOKII^IE 
 
 IN UNITED STATES 
 
 Gew^ of Beauty I Ladies! Yommg Follks! 
 Just the Paper for You! 
 
 SEND 25 CENTS FOR TRIAL TRIP 3 MONTHS. 
 
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 ^^^ ^£€T'Q>mM& M@MM €®MP^MmJf* 
 
 Devoted to Household Elegancies, Housekeeping, Art, Music, 
 Home Pets, Ladies' Fancy Work, Society, Amusements, 
 Flowers, Window Gardening, Cottages, etc. The 
 Prettiest Ladies Paper in America^ Beautifully Illus- 
 trated. A perfect Gem. Full of good sense, 
 and invaluable to every lady for its re- 
 finement, elegance, and rare value. 
 
 Price, $1.30 per year, including beautiful Chromo. 
 Price, 35 cents, three months, including beautiful Chromo. 
 Price, 15 cents, three months, on trial. Specimen copy, loc. 
 
 None Free. 
 
 Agents Wanted. Get up a Club. Premium List Free. 
 
 ADAMS & BISHOP, Publishers, 
 
 46 BEEKMAN STREET, NE"W YORK. 
 
 N. B.— Please state where you saw this notice. 
 
BY HENRY T. WILLIAMS. 
 
 An Elegant BooJ^, witn 250 Fine Engravings and 300 Pages, 
 
 Oealaiiisi a itsiflpll?© llgl af all flmU %uMlh M Wladew Eilte-t. 
 
 A ready and invaluable aid to all Avho wish to adorn their houses in 
 the easiest and most successful manner Avith plants, or vines, or flowers. 
 Instructions are given as to the best selection of plants for Baskets or 
 Ferneries and Wardian Cases. Several chapters are devoted to Hanging 
 Baskets, Climbing Vines, Smilax, and the Ivy, for decorative purposes. 
 Bulbs for House Culture are fully described; also ornamental Plants for 
 Dinner Table Decoration. Other topics are w^ell considered, such as 
 Balcony Gardens, House Top Gardening, Watering Plants, Home Con- 
 servatories, Fountains, Vases, Flower Stands, Soil, Air, Temperature. 
 Propagation, Floral Boxes, the Aquarium, Rustic Conveniences for 
 Household Ornament, and directions in detail for the general manage- 
 ment of in-door plants for the entire year, throughout the winter, spring, 
 summer, and fall. The volume is profusely illustrated with choice en- 
 gravings, and pains have been taken to make it one of the most attrac- 
 tive books ever issued from the American Press. For sale, or supplied by 
 bookstores everywhere, or sent postpaid by mail on receipt of price. 
 
 PRICE, $1.50. 
 
 By DAISY EYEBRIGHT (Mrs. S. O. JOHNSON). 
 
 A delightful little volume, written by a lady fond of flowers, as a 
 special help and assistance to others interested in out-door flower garden- 
 ing. Simple directions are given, how to lay out and plant Flower 
 Borders, Ribbon Beds, and arrange ornamental plants. Among the 
 topics treated are Geraniums, Fuchsias, Bulbs, Ornamental Flowering 
 Shrubs, Everlasting Flowers, Ornamental Grasses, Coleus, Paeonies, 
 Shade Trees, Garden Vegetables, Old Fashioned Flowers, Annual 
 Flowers, Perennials, Ornamental Vines, Lawns, Insects, Manures, Water- 
 ing Soils. When and How to Plant Dahlias, Lilies, Gladiolus, Verbenas, 
 Cannas, Balsams, Portulaccas, and nearly all the popular varieties of 
 flowers and shrubs. The book contains 148 pages, is charmingly written 
 by one deeply in love with the subject, who appreciates the tastes of 
 ladies, and aims to do good with agreeable, kindly advice on home gar- 
 dening. For sale, or supplied by Bookstores everywhere. 
 
 Price, in handsome Pamphlet Covers, 50 cents; bound in Cloth, $1; 
 postpaid by mail. 
 
 Address ADAMS & BISHOr, rublishers, 
 
 P. O. Box 2456. 46 Beekman Street, New York. 
 

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