LIBRARY OF CONGRESS 1 j-iA^'-^^H" ^^^. X M m >■ Jl » i .'('•^. y^ f «• •■^' NEEDLE-CRAFT: ARTISTIC AND PRACTICAL. •:^- «• coPVKu;nr, 1880, By the Butterick Publishing Comtanv, (i.imheu). METROPOLITAN -# ART SERIES. |-^'^t' NEEDLE-CRAFT ARTISTIC AND PRACTICAL. ^ fl ' I ^ NEW YORK: THE BUTTERICK PUBLISHING COMPANY, (Limited). 1889. ^\^ '■' So delicate with her needle.'' — Shakspeare. "The bright little needle — the swift-flying needle, The needle directed by beauty and art." — Samuel Woochvorth. ^r- -^- *^ * INTRODUCTION. * p* 4 ^ There is no subject which receives a greater share of attention than that of home decora- tion, and among the many books devoted to the consideration of various interests, none is more carefully read or more fairly condemned or approved, than those which are published for the aid and instruction of home-makers who are constantly looking about for helpful hints and suggestions. Much that is artistic is often nnpracticable, because it does not come within the possibilities of busy women, whose time must be carefully apportioned. Again, a great many of the beautiful designs furnished for home decoration are compatible only with certain modern styles of architecture and special furnishings. Pretty things that are not too capricious in style nor too extrav- agant in their requirements of material and labor are the most adaptable to the majority of homes, which owe their attractiveness to the busy fingers of wives and daughters. The actual value of decoration depends on its relation to surrounding objects, and de- signs which can be adapted to simple as well as to elaborately furnished rooms are the best aids to the woman whose efforts to make her home beautiful may make her acquainted with many implements beside palette and brush. This book is the first in a series devoted to home art. In it are included many of the numberless objects of use and beauty which deft fingers and artistic tastes enable a lady to provide at trifling or moderate expense, according to her means and inclination, for the adornment of her home. In the remain- der of the series a still greater number of fancy and practical articles will be illustrated and described. Upon its merits as a help to those who desire the aid of such a book, the initial volume is offered to home artists. THE BUTTER'IGK PUBLISHING G0MPANY, (LlMI'l'ED). NeeDLe-d^AFT. CHAPTER I. WHAT IS ARTISTIC NEEDLE-WORK ? ... CHAPTER II. MATERIALS FOR ARTISTJC NEEDLE-WORK, . CHAPTER III. SOUTH-KENSINGTON NEEDLE-WORK STITCHES, . CHAPTER IV. EMBROIDERED DOILY, AND EMBROIDERY DESIGNS FOR SET OF DOILIES, ..... CHAPTER V. TRAY-COVER, AND EMBROIDERY DESIGNS FOR ITS CORNERS, PAGE '3 15 NeeDLG-CRAFT. CHAPTER IX. DESIGNS SHOWING VARIOUS EMl'.ROIDERV STITCHES, CHAl'TER X. EMHROIDERV DESIGNS, ESPECIALLY ADAPTED TO THE DECORATION OF ARTICLES OF DRESS, . CHAPTER XI. DESIGNS ADAPTED TO KENSINGTON E.MBROIDERY OR PAINTINC;, CHAPTER XII. ILLUSTRATIONS AND DESCRIPIIONS OF VARIOUS DESKINS FOR CANVAS, CARDIiOARD AND OTHER EMBROIDERIES, CHAPTER XIII. SPECIMENS OF LACE AND METHOD OF MAKING, CHAPTER XI\'. EDGING AND INSERTION OF DARNED NET AND FANCV TIDV, ...... CHAPTER X\". CROCHKTTED WORK. EXPLANATION OF BASIS OF ALL CROCHEITED WORK. ILLUSTRATIONS AND DESCRIPTIONS OF STAR SlITCH, CHAPTER XVI. TAM O'SHANTER HAT AND MEIHOD OF MAKING IT. FANCV HORSE REINS AND MKI HOD OF MAK- ING THEM, CHAPTER XVII. CROCHETTED LAMnRE(JI-|N. AND METHOD OF MAK- ING, CHAPTER X\ III. CROCHETTED WORK IN CRA/,\' STITCH. l-AOE 49 63 69 73 81 85 89 93 97 i°5 &3 NeeDLe-cF^iiFr. IX CHAPTER XIX. CROCHETTED I.ACE EDGINGS AND INSERTION, CHAPTER X\. CROCHETTED LACE EDGING AND INSERTION^ SUIT- ABLE FOR LINEN, SILK. OR COTTON. CHAPTER XXI. CROCHETTED LACES, WITH BRAID HEADINGS, AND METHOD OF MAKING THEM, . . . . CHAPTER XXil. COLLARS, EDGINGS AND INSERTION OF FEATHER EDGED BRAID, ..... CHAPTER XXIII. MACRAME LACE WORK, CHAPTER XXIV. FRINGES AND THEIR CONSTRUCTION, . CHAPTER XXV. ORNAMENTAL PORTIERES, .... CHAPTER XXVI. MANTEL LAMBREQUINS AND DRAPERIES, I'3 117 127 133 147. (gl as @ (a) @ @ CHAPTER XX\TI. WINDOW DRAPERIES, CHAPTER XX\'III. TABLES AND TABLE .SCARFS, .... CHAPTER XXIX. FANCY SCARF WITH CRAZY EMBROIDERY. GROUP OF FANCY .STITCHES, CHAPTER XXX. ALPHABETS FOR MARKING, . )©©@©©€ 167 i7i 187 19.5 Neeii)Le-ci^AFr. COJSrjTElJSrTB. CHAPTER XXXI. RECEPTACLES FOR SHOES, UMBRELLAS AND CANES, CHAPTER XXXn. infant's CARRIAGE-PILLOW AND BLANKET, CHAPTER XXXIII. FANCY-WORK APRONS, CHAPTER XXXIV. SOFA PILLOWS AND CUSHIONS CHAPTER XXXV. TIDIES AND FANCY MATS, CHAPTER XXXVI. FANCY TOWELS AND SPLASHERS, . L c- NEEDLE ^^K^ CRAFT. L, T CHAPTER I. WHfiT- 'IS ARTlST'ld NEEDLE-WORK? ' Man to the field, and woman to the hearth, Man with the sword, <;« I I I t t I'i ^^^T- )i '1^ '1^ -I I II I I I I I I I n T^ ^jV -jj^ ^i\ -J] > ■ ^jV -jV ^A> -y5>' ^A> ^Q V tttttttt++tttttttt+t CHAPTER II. MATERIALS P0R ARTISTIG nEEDLE-(158RK. 'To gild refined gold, to paint the lily, To throw a perfume on the violet, To smooth the ice, or add another hue Unto the rainbow, or with taper-light To seek the beauteous eye of heaven to garnish. Is wasteful and ridiculous excess." ^,^^^~A^J:'^^\'ii\]S wrote the bard ^(> f y^^ \ of Avon, and how truly ! He, at least, understood the charm of perfection and in inimitable similes presented facts which are, alas, in principle still unheeded by wordy desecrators of much that is perfect both in ideal and reality. The charm of a golden sunset, to a real admirer, is not complete without silence. A voice dispels it, even though that voice be as sweet as the silvery note of a forest-bird — a charm in itself, but inharmonious with that entrancing the vision. So in Art. Although we are obliged to dally with the practical to reach the ideal, no words can add to the enchantments of artistic productions. They surround the worker with an influence that is like a dream, and in it he lives, with Genius for his master and Si- lence for his companion. Although ranking below ihe scale of high Art, the subject under discussion is one which justly receives much attention, and regarding which many inquiries have been made. Aided by our personal knowledge and all the in- formation obtainable, we ha\e gathered to- gether such facts in regard to materials and stitches, with illustrations of designs, as will enable our readers to indulge, to the fullest extent of their fancy, in '" artistic needle- work" of every description. Its fascinations we shall not attempt to describe ; the worker will discover them herself, once her design is before her and her needle threaded to begin. Foundation Fabrics. In commerce the word " canvas " embraces certain varieties of fabric, each with the same predominating characteristic of permitting regular cross or single stitches to be made upon it in every direction. One which is ex- tremely desirable on account of its texture and width, is Plain Worsted Canvas. This canvas is woven of thick wool threads in the ordinary manner, two threads of warp and tw-o of woof forming each square required for a cross stitch. It is generally worked in silk, crewel ox filoselle, and is used for all the ordinary canvas work, and sometimes for fur- i6 NeeDLe-CF^flFT. niture or piano spreads. It comes in all shades of red, blue, buff, etc., as well as in black, and occasionally in white. Its widths, like nearly every variety of canvas, are half a- yard, three-quarters, one yard, and a yard and a-haif. Silk Canvas. This canvas is always used for fine work, which is for inspection rather than for service. It is generally embroidered in floss and beads or in either alone, and is used for glove and kerchief bo.ves, cases for spectacles, covers for fancy toilette cushions and bo.xes, and especially for bracket-lambrequins. It comes in black, white and various tints, and requires no "filling in" after the design is worked, being a sufficiently handsome fabric in itself. Java Canvas. This variety comes in cotton and linen, and includes the worsted canvas before mentioned. As the threads are finer, two are woven to- gether so that f«ur of the warp and four of the woof make the square or block marking out the stitch. It comes in all the desirable shades, colors and widths, and is used for tidies, mats, sofa-pillows, slippers, covers for stools, bags for brushes, shoes, etc. Panama Canvas. This fabric is straw-colored and straw-like in te.xture, and forms beautiful fancy articles for the table, such as baskets, mats, card- cases, etc. It is generally worked in crewel, split zephyr or silk. Honey-Comb Canvas. This is a cotton canvas familiar to almost every one, from the resemblance its surface bears to honey-comb, e.xcept that the mesh is square instead of hexagonal. It is worked on the surface with long stitches of single worsted run under the threads forming the squares or meshes. The worsted run in for the border is cut off or looped at some dis- tance from the edge, to form a fringe. It is used principally for toilette-sets for bureaus and wash-stands. Railroad or Net Canvas. This is a stiff linen and cotton fabric in black or white, and woven in a large, open mesh. It requires double worsted to work with, and may be filled in for a background or lined. Cross and star stitches are principally used for it, but it may be worked in the same way as honey-comb canvas. It is often used for tidies and sof.i-pillows. Mummy Canvas. This is a variety presenting the same sur- face as regular mummy cloth, except that it is woven in close, irregular-looking meshes. Even for experts, counting threads will be necessary for regular work on this canvas, and therefore it is not advisable for beginners. It is handsome, however, and will require no grounding or filling-in. The color is the natural linen tint, and tlie fabric may be worked with crewel, silk or zephyr. It is used for chair backs and seats, fancy camp- stools, cushion-covers, sofa-pillows and any article requiring a strong foundation. Ida Canvas. This is a new, unbleached linen canvas, which is woven in loose meshes that look as if they had once been embroidered and then had the work picked out again. It is just the thing for beginners, and is also preferred to the Java for some purposes. It is worked with single zephyr and silk floss. Congress Canvas. For delicate tidies, covers, etc., to be done in fine crewel, floss or Ji/ose/le, this canvas is especially liked, .\lthough it is really very strong, being made of hard, twisted linen threads, it looks like coarse or heavy tarlatan, without the stiffness of and with the trans- IISeDLG-CI^ilFr. 17 parency iiaLiiral to the latter fabric. It is ornamented in stripes as follows : The length required is cut, and a satin ribbon, about No. 12, is basted through the middle, and one of another color at each side, so as to leave four spaces of canvas. The ribbon is fastened down at each edge, and at the center if desired, with fancy stitches in gay flosses. A floral pattern is then stamped between the ribbons, and is embroidered in one of the South Kensington stitches in natural colors with silk floss or filoselle. Tassels and the fringed ends of the ribbon finish the ends, and the sides are hemmed in a fancy stitch with bright flosses. It comes in white, black and all the fancy tints, and is very dainty. Fancy Canvases. Ida canvas, having its surface blocked off in two-and-a-half-inch diamond squares by a Grecian pattern that is woven in, constitutes a pretty background for several varieties of decoration. The squares are decorated in any fancy design in cross or back stitch, or with appliqueed classics, the Grecian efifect being left either undecorated or otherwise, as the taste directs. This canvas is suitable for tidies, toilette sets, cushion-covers, chair- backs, etc., and is seen in unbleached and cream-white. Another fancy canvas is of worsted, and its squares are one inch and a-half in size, and are separated or marked out by inch-wide weavings in honey-comb pattern. The squares are worked in either cross-stitch or back-stitch, and in any colors harmonious with the color of the canvas. For cushions and spreads it is very handsome. Cloth Fabrics. Upon regular fabrics all embroidery designs have to be stamped, and are generally worked in over-and-over or back stitch with crewel or silk, or with both combined. There are several varieties, such as broadcloth, mummy cloth, felt, and French flannel ; which latter is only an " artistic " rendering of the old-fashioned Canton or cotton flannel. Stand, table and piano covers, lambrequins, upholstery and wall-hangings are all made from these materials, which are soft in text- ure, rich in falling folds and eminently suit- able for any purpose for which thev are chosen. All the olives, old gold, aesthetic reds and antique blues and pinks are fashion- able in embroidery materials for such fabrics. Rug Materials. Sackcloth — better known as coffee-bagging — burlaps and a thick, coarse, unbleached canvas are generally selected for rugs. Ber- lin or Germantown wools and double zephyr are the embroidering materials. The border- ing may be purchased and then embroidered along its heading and sewed on, or one may be crochetted along the edge. Cross and star stitches are frequently used for rugs. Miscellaneous Fabrics. Scrim, a strainer-like fabric for curtains ; crash, which is made into chair-backs, cush- ions, rugs, spreads and towels, with crewel work for the decoration ; heavy linen and Bol- ton sheeting, and also any linen not having a glazed finish, are worked with crewels and silks. Then there are sail-cloth and fancy bed-ticking, Turkish towelling and cricketing flannel, all of which find a place on the list of fabrics for artistic needle-work, and are used for any purpose seeming appropriate. Fine Fabrics. The silk and velvet and plush textures used for decorative work are especially beautiful. Embroidery or floss silk, filoselle, chenille, beads, gold and silver threads and fancy metal ornaments are adapted to their embel- lishment. i8 iieeDLe-d^AFT. Implements and Working Materials. The proper kind of needle is one of the first considerations upon the list of Implements. Whether intended for silk or worsted, it should have an eye sufficiently large to allow the strand to pass through easily and without fraying, and yet not so large as to crowd the threads of the fabric. For all canvas em broidery, choose a needle with a blunt or rounded point ; but for embroidery upon close fabrics, a sharp-pointed needle must be used. A silver thimble, worn nearly smooth, or a plain ivorv one, is considered best for em- broidery. In embroidery upon satin or silk, two thimbles are used, one upon each hand. In large pieces of work, and in some small ones also, it will be found necessary to use a frame. A frame like that of a slate, made of the desired size, is nice. Two hoops are often used, one large enough to slip on over the other after the latter is covered with the fabric. The scissors should be small, very sharp and finely pointed. For cutting skeins of silk or wool into proper lengths, round-pointed shears are best. In some of the finer designs it will be nec- essary to pierce small holes, and for this a bodkin is needed. Just at present there is no material so pop- ular among wools as the kind called Crewel. Away back in our childiiood crewel was simply penny skeins of what we now call sin- gle zephyr, and though it worked softly and shaded beautifully, it is not so well adapted to artistic work as English crewel, which looks like coarse but even Shetland wool. It is composed of two closely-twisted strands of a soft and glossy, yet slightly wiry wool. This luster acts as an agent in shading, so that a leaf or petal done fiatly and in but one tint changes its shadows or shades with every rellection of the light. This quality is consid- ered one of its chief charms. It works in as easily and as prettily as silk, and is always used for satin stitch or a long back stitch. It comes in all tints of every shade, and is sold by the skein in small quantities and by weight in the larger ones. Zephyr. There are three kinds of this familiar wool — double, single and split, containing respec- tively eight, four and two threads. The double and single are very slightly twisted together, so that the strands can be divided for embroidery. The two strands of split zephyr are twisted as closely as crewel, and this wool is used principally for crochetting. Germantown and Berlin Wools. There is very little difference between these two varieties, each consisting of four strands of wiry wool twisted together a little more firmly than zephyr, but having more of the crewel finish. They are used principally for embroidering burlaps and canvas rugs, and for knitting spreads, house-sacks and shawls. Shetland floss, which resembles these wools but is softer than either, and Shetland wool, with which every one is familiar, may also be included under this head, as both are used for knitting shawls. Saxony Yarn. There are two kinds of this yarn, the " two- thread " and the "' three-thread," each twisted very closely. It comes in all shades, and while it is sometimes used for cross-stitch on canvas tidies, etc., it is principally used for crochetting lace, shawls, sacks, etc. Fancy Wools. Pompadour wool comes in all shades and is like split zephyr very loosely over-wound with fine-strand filoselle silk or floss. NeeDLe-cj^AFT. 19 A pretty novelty is " frosted " wool, which is extremely handsome, and conies not only in all the delicate tints but also in the cache- mire or metal effect. The latter, of which we have a sample before us, consists of three very fine strands of black wool, each wound \\ith a minute crimped wire of metal, two of the wires being gilt and one copper color. The effect is that of a string of very fine rain- bow beads. The pale tints of blue, rose, cream, etc., are wound with silver tinsel, and the yellows with gilt. Care must be exer- cised in working it, as it will not pass through any but large-meshed canvas. It can be laid on the surface with the same effect as satin stitch, and fastened down with silk stitches. Silk Materials. Saddler's silk, embroidery silk, which com- prises several kinds, floss and filoselle are the varieties in use. The first is used a great deal on flannels and for chain-stitch embroi- dery. The second is used for the main portion of any design and may be intermingled with floss to soften the edges of leaves and petals. Filoselle ys a coarse, untwisted silk, composed of several strands of very slightly twisted threads. It is sometimes used in place of embroidery silk, especially in designs where large blossoms predominate. It shades pret- tily and makes a satiny surface that is very handsome. It comes in skeins like the other varieties. Tinsel Threads. Metallic threads and cords in gold, silver, copper and various tinsel effects are much used in artistic needle-work. They are some- times employed separately, but more fre- quently they are associated with silk, chenille and crewel. Chenille and Arasene. These two materials are quite similar in effect, chenille being however round, while arasene is flat in strand. Both are employed for elegant embroidery, though work done with them is less durable than that developed with silk and crewels. Embroidery Cotton. Not only in white and the well-known Tur- key-red, but also in pale blue and pink and in seal, black and navy, is good working cotton obtainable. Crochet Thread. For crochetting many varieties of worsted are used, and in addition there are cotton and linen threads in white and fast colors which make beautiful laces. Linen Embroidery Thread. The high cost of elaborate silk embroidery has led to the production pf linen embroidery thread which possesses the gloss of silt:, insures durability and permits of frequent laundering without danger of fading or fray- ing. Some of it is in very fine strands, suita- ble for the elaboration of fine napery, etc., while other brands are woven in the thick strands adapted to the development of strong bold designs. Purlette Work. Purlette is a novel and beautiful decorative material, which may be applied with most effective results upon any smooth surface. It is a fine cord, and is applied with button-hole stitches separated by regular spaces. It may be associated with any variety of Kensington stitch, and is one of the most beautifying vari- eties of ornamentation for table linen, cushion covers, etc. It is illustrated in another chap- ter. ^- B E L D I N G B R O S • & c o "An Article of Permanency mnst have Merit for its Foandation." -§: :e:s'I'.a.ziXiXSXx:e:i3 X863. :^ THE LARGEST MANUFACTCRERS IN TUE WORLD OF Macfiiite MVtst, •^J»t^>^?<^*C^- AHEAD OF ALL OTHERS. REPUTATION ESTABLISHED BEYOND A DOUBT. BELDINC'S WASH SILKS are the best made. Phoe- nician Dyes and Fast Colors. "WASH ETCHING" or Fine Outline Embroidery for Classes of Work. "WASH TWIST" Embroidery for Heavier Work. "OUTLINE OR FILLING FLOSS," wMch may be split to any fineness for delicate work on Bolting Cloth, Gauze, Silk, etc. "POPE SILK." For raised work on Plushes, Chamois, etc., where elaborate effects are desired. These Goods are Unexcelled for LUSTIiE, PERMAKENT COLOR and REGULARITY. B E I N G B R O S • & C O BELDING'S SUl^ERIOR KNITTING SILK." DO NOT BE DECEIVED. THE BEST IS THE CHEAPEST. Don't allow vour shopkeeper to impose upon you by selbng yo>i some other Silk, represeniing that it is "just as good as BELDIXG'S." Every spool of EELDING BROS. & CO.'S 'Superior" Knittinp Silk has a blue label priuted on the end of (he spool, of which the illu-traiion here given is afac simile, and each spool of the silk is warranted by them as made of pure thread silk, identical with that used by them in the manufacture of tljeir well-known Machine- Twist and .Sewing-Silk, which have the highest reputation and have always been awarded PRIZE MEDALS for superiority, over all competitors, wherever exhibited. BELDING BRO'S & CO., -3VEXXjXjS :- ROCKVILLE, CONN. NORTHAMPTON, MASS. MONTREAL, CANADA. SAN FRANCISCO, CAL. LOXJisma: CHICAGO, BOSTON. ST. PAUL, PHILADELPHIA. CINCINNATI. SAN FRANCISCO. MONTREAL, CANADA. iieeDLe-cp^AFT, fc.!> *>!> *.J> *.;> *.T> _Jj I -2H K- 1-^ r T T T T T CHAPTER III. S0DTH-KENS1MCT-0N NEEDLE-W0RK STITCHES. South-Kensington Stitches. T South-Kensington, some la- dies of the nobility have es- tablished an art school, in which all styles of needle- work, antique and modern, are taught. One or two of these stitches have taken quite a hold upon the af fections of the embroi- dery-loving woman, and for the want of a better name each, is called " South-Kensington stitch." It will thus be seen that the article "a" is the appropriate one to use, and not "the," since there is more than one stitch belonging to the South-Ken- sington school. The stitch, however, which has gone abroad in printer's ink as the Souih- Kensington, is designated by this name in this chapter. South-Kensington Stitch. Figure No. i. — It will be seen by referring to the engraving that it is nothing more than a back stitch, the stitches being made to fit in between one another with no special regularity except to produce perfect shading. The out- line of the design is stamped, and must be perfectly even when worked ; but the interior of the petal or leaf is to be filled in according to the shape, and shaded to the taste, or the pattern — if there be one to copy. English crewel is the usual working worsted for this stitch. South-Kensington Outline Stitch. Figure No. 2. — Another stitch, known in the school mentioned above as the " stem-stitch," is here called the South-Kensington outline- stitch. It cannot be clearly explained in words, but may be comprehended at once by an inspection of the engraving. It forms an unbroken outline, which appears like a finely- twisted silk cord. It is very effective on satin, and is used for such designs as statuary with flowing draperies, Cupids, game, etc., looking when finished like a fine pen-and-ink drawing. One panel, done on old-gold satin with dark olive embroidery silk, is exquisite. There is no filling-in or shading — it is simply the out- line that is followed, and also the strokes which would be made with a pen to represent drapery, or any of the other details of an unshaded sketch. It is very effective in foliage, butterflies, animals, etc., and may be made upon almost any article of fanc}-work, as well as used for marking linen. Cross Stitch. Figure No. 3. — This is the first to be learned in doing canvas-work. It is made by NeeULe-CF^ftFT. a back-slitch movement, with the needle always pointing toward the left, as will be observed in the illustration, except sometimes in changihg the direction of the design. Of Java or ordinary canvas two threads each way is the limit for the stitch, one-half of which crosses diagonally from left to right, and the other half in jiist the opposite direction. Each stitch is completed before the next is commenced, although in some instances a line of half-stitches may be made from left to right, and the other halves finished in the opposite direction. Star Stitch. Figure No. 4. — There are four varieties of this stitch, which is seldom used to deline- ate a design, unless upon coarse net or rail- road canvas, for which the ordinary cross- stitch is not heavy enough. The illustrations delineate it very plainly, making it unneces- sary to give a special description of it. Borders in Ordinary Button-hole Stitch. Figures Nos. 5, 6, 7 and 8. — These four samples show as many different methods of setting button-hole stitches along the edge of flannel, canvas, linen or whatever fabric or article requires a border of this style. The effects are produced by changing the direc- tion of the needle when making the stitches. Silk floss, crewel, zephyr or any of the Sa.x- onv or Germnn wools may be used for the purpose. In doing fancy-work or bordering any useful article that needs to be gay, shaded silk will be very effective in the leaf style illustrated. Herring-bone Stitch. Figure Xo. q. — Tliis is a stitch used for joining the seams of flannel in a flat man- ner, instead of by the usual way. thus doing away with the ridge a fell makes. Being or- namental as well as useful, it is .tIso used for decorative purposes, and is seen upon tidies, towels, and bands of applied ribbons or fab- rics. While the work is done from left to right, the needle is set in the usual way in a sort of back-stitch, as will be seen by refer- ring to the engraving. Janina Stitch. Figure No. 10. — This stitch has recently appeared, and is worked wholly on the sur- face, except where the short back-stitch oc- curs along the outline, in making the stitches. A back-stitch is taken at each side, inserting the point at the next to the last thread and pushing it through to the outside again below the last thread. An examination of the ))ict- ure will make this clear to the reader, as the needle is set for one of the back-stitches described. The embroidery is suitable for toilette articles, small niats, and stand or table covers, and, in fact, for any purpose for which satin or any other surface stitch is used. Silk floss or English crewel is used in this embroidery. Embossed Button-hole or Tongue Stitch. Figure No. ii. — This style of stitch is much used in making borders on canvas or other materials when fringe is to be the com- pletion for the edge, and also in embroider- ins: monograms and initials. Two rows of running stitches are made wherever the border is to be located, and over them the button- hole stitch is made. The engraving fully ex- plains the method of formation and further suggests the peculiar adaptability of the stitch to the purposes mentioned. Satin Stitch. Figure No. 12. — Although from time to time designs in this stitch have appeared in the Dcliticator, special instructions have not always accompanied them regarding the manner of making, as it is an old and famil- iar stitch. It is done in all sorts of flosses, embroidery silks, zephyrs and crewels, and NeeDLe-ci^AFr. 23 Figure No. 1. — hourH-IvL.Noi.NuiuA ,, ., „ I-iuuKE No. -;. — Cross Stitch. ^ •^ Stitch. P'iGURE No. 2. — South-Kensington Outline Stitch. FllUKE No. 4. — Star Stitch. iM' l^^'SM- ' t'lGUKE No. 9. — ^^&^%^^K Herring-Bone Figures Nos. 5, 6, 7 and 8. — Borders in ordinary Button- Hole Stitch. Stitch. :lil!llllllllll»«H'll 'llllllllllMlil:! I'lcruK No. II. — I';mi;ii^>i i Button-Hole or Tongue /il.illillllll • Stitch, Figure No. 12.— Satin Stitch. Figure No. 10. — Janina Stitch. 24 NeeDLe-c^AFf. Figure No. 13. — Covered Knot-Stitch. FlGLKK No. M- — I'hKSlA.N' Cross-Stitch. FiGURL No. 1 5.— T.^PESTRV STITCH. Figure No. ib. — Wound Knot-Stitch. Figure No. 17. — Ikisii Stitch. Figure No. iS. — Tent Siiich. P'iGURE No. ly. — Urna.mkmal Stitches for Flannel or Canvas. FlC.UKE No. JO. — MhM SlUi,ll. Figure Nh. 21. — Wounu Figure No. 22. — Plain Figure No. 23. — Twisted Figure No. 24. — Vine Stucii. Ciiain-Siitch. Ciiain-Siitcii. Chain-Stitch. NeeDLe-d^AFT. 25 upon silk, satin, velvet, cloth and canvas. Tlie pattern must be stamped and then "run" along all the lines with silk or worsted, and each leaf and petal, if of good size, must be crossed and recrossed with the same, all before the real embroidery begins. There must be no break in the edge of a leaf or petal, and con- sequently each must be carefully and evenly set. In leaves, such as the one shown in the illustration, the center is defined by the meet- ing of the stitches, which must be exactly even. Satin stitch is simply an over-and-over stitch, and generally both sides of the work look almost equally well. Covered Knot-Stitch. Figure No. 13. — Knot-stitches are much used in embroidering upon linen and cambric, and are usually done in linen and Moravian flosses. The engraving of Figure No. 13 repre- sents one style of knot-stitch made by taking an ordinary back-stitch, winding the floss twice about the needle and then drawing the latter through, with the left thumb held closely over the coil. The needle point is then thrust to the other side almost exactly where it came to the surface, so as to locate another knot. This stitch is frequently adopted in making initials, handkerchief-cor- ners or any fine embroidery of that kind. Persian Cross-Stitch. Figure No. 14. — It is said that in the ir- regularity of this stitch, and the Oriental colors selected for it, consists its beauty when it cov- ers a design. By varying the length of the stitch, almost any design can be copied. The silk or worsted is carried across two threads of the ground for the first half of the stitch, and is then brought up between the two threads, and the cross is made over the upper half of the long stitch. The illustration will clearly explain the method and effect. Tapestry Stitch. Figure No. 15. — It is in this stitch that the old hangings and pictures, now so valued from their antiquity, were made. Although very simple, only those having some knowl- edge of the art of painting should attempt anything in this stitch, as the shading must depend upon the eye and not upon a counting of the stitches. Many of the old designs were painted upon the foundation canvas, which was of great assistance to the worker ; and we presume that some of the decorative art societies who are making a revival of Gobelin tapestry a specialty, will be able to furnish the same style of design. An artist in tapestry work can copy accurately from an oil-painted picture, with only the eye directing the coloring and shading. As we have before mentioned, four threads of canvas — two each way — mark out the space for one ordinary cross-stitch, and in this space two tapestry stitches are made. They are worked from left to right, crossing four threads in height and one in width with a back-stitch movement, bringing the needle out toward the worker at the bottom of the line upon which she is work- ing. The picture illustrates clearly the effect and the method of making tapestry stitch. Wound Knot-Stitch. Figure No. 16. — This is used for the same purposes as the covered knot-stitch de- scribed, and is made as follows : The needle is set, wound and drawn through, the same as in the first stitch, and is then thrust through the outside at the place indicated by the dot above the needle. This draws the wound thread into the knot illustrated, which is just as pretty as its predecessor. This style of stitch appears universally in all fine French embroidery. 26 NeeDLe-cF^AFT. Irish Stitch. Figure No. 17. — Tiiis is a "filling in'' or " grounding " stitch, and is made with alter- nate long and short back-stitches, the short stitches of one row commencing at the ends of the long ones on the row above. It is gen- erally done with zephyr, which is not too thick, as every perpendicular thread of the canvas is not overworked — only the spaces be- tween. The engraving gives the idea of the effect and the manner of working. The Ger- man Stitch is done in precisely the same way as the Irish, e.\cept that the stitch crosses the canvas diagonally. By exercising a little judg- ment and ingenuity, it will be seen that the worsted need only cover the surface. In doing it in the regular way, the under side, as well as the upper, is covered with the zephyr, a method which many condemn. Tent Stitch. Figure No. 18. — This is simply a short stitch made over a single crossing of the can- vas threads and all slanting from right to left, four tent stitches occupying the space of an ordinary cross-stitch. It produces a very fine grounding, and must be carefully and evenly done. The movement is the same as m the tapestry stitch, as will be seen bv referring to the engraving, which illustrates '■ tent ■' stitch perfectly. Ornamental Stitches for Flannel or Canvas. Figure No. 19. — Although this stitch is illustrated upon canvas, where it is sometimes used in a decorative manner, it is especially adapted to flannels which require a neat finish and will not permit of an elaborate one. It can be done in white silk or floss, or in colored worsteds, as preferred, and is very pretty above a hem. Stem Stitch. Figure No. 20. — This engraving shows a style of stitch largely used in making over- wrought vines. The design is first run with floss, and then the work is done with a regular over-and-over stitch, which is clearly explained by the engraving. It is suitable for either white or colored embroidery, and is useful in vine patterns. Wound Stitch. Figure No. 21. — This is a pretty stitch for embroidering grain, small leaves, or flowers having small petals. The accompanying de- sign shows the method by which the cord is formed. After the needle is wound, the thumb of the left hand is held firmly over it until the needle is pulled through and the coi! is firmly drawn in place. Two stitches only are necessary to form each kernel. The tiny stitches seen at the ends of the kernels may be lengthened to represent the barbs on real grain, if desired. Linen or silk floss may be used in this style of embroidery. Plain Chain-Stitch. Figure No. 22. — The engraving represents the old-fashioned, plain chain-stitch, which is still used for many purposes, such as fasten- ing the edges of applique work, embroidering slippers, mats, stand-covers, etc. Each stitch is made in the same way as the one for which the needle is set. The engraving explains the method better than any description can. Twisted Chain-Stitch. Figure No. 23. — This stitch is made on the same principle as the plain stitch, except that the needle, instead of being set back into the preceding stitch, is set at the left side of it. The engraving does not do full justice to the beauty of the stitch, as will be seen by making a few stitches for a trial with single zephyr. It is used along edges as headings to fringe, and sometimes to outline a design in Grecian or scroll work. Hems and tucks in flannel skirts may be stitched in this way in preference to machine or plain hand-sewing. Figure No. 25.— Fancy Stitches and Purlette Work, 27 28 NeeDLe-CRAFT. Vine Chain-stitch. Figure No. 24. — This stitch is often used upon hems, as are both the other styles, and sometimes above bindings of ribbon. It is often used to complete plain blankets, flannel petticoats, little undershirts or any article for which it seems a suitable finish. The stitches are made to the right and left alternately, and are longer and more open than the other vari- eties. Fancy Stitches and Purlettc Work. Figure No. 25. — The fancy stitches repre- sented in this design are developed by artisti- cally varying and combining many of those illustrated and described on preceding pages. The e.xact method of their development is clearly pictured by the engraving, which also includes a very effective exposition of the work called " purlette." This is shown along the edges of the appliqu^ed plush sections upon the right of the engraving and in the scroll between these darker portions. It is done with a cord which is sold e.xpressly for the purpose, and is applied with silk, Bargar- ran cotton, embroidery, flax, chenille or any variety of working material that can be carried with a needle. The stitch employed is a button-hole stitch made at rather long inter- vals. The process is clearly revealed in the engraving, and the work is effective on napery, sofa cushions, toilet towels and all articles which are commonly beautilkd by needle- work. A little ingenuity will enable any lady to develop this design into a size adapted to articles as large as a sofa cushion, and to sep- arate it into sections suited to doilies or nap- kins. The fancy stitches may be worked inside any embroidery design done in outline stitch, with very pleasing results. ^^- -H^ -^-t-^- NGeDLe-CHflFT. 29 ^ ■^- ^•^ »» <» <» ♦» 4:' ff i p -,•/ CHAPTER IV. ErnbrGidered DqUy, and Enibretder^ Designs for Set of Doilies. f^ r*!.y*' ,+t )*" ^ Pretty Paiicy. This is how it was developed. A short piece of white sash-ribbon, having brocaded upon it a design of roses and their foliage, was left over from a sash. It was utilized by an ingenious young woman for the decorative portion of a chair cushion as follows : The foliage she outlined in various shades of green representing the gamut of tints seen in the natural leaves, and some of them she rendered heavier in efifect by working in considerable side-stitching, regulating its dis- posal to accord with the amount of shade that would fall upon leaves turned as they were. The roses were outlined with rose color and slightly shaded with side-stitching, and the plain portion of the ribbon was made the background for a lattice of gold thread, upon which the roses were apparently trained. It was then arranged diagonally across the cor- ner of a rather flat cushion covered with elec- tric-blue satin, and tied upon the back of a gilded chair, which illuminated as well as furnished a corner where a heavier and darker piece of furniture would have appeared sombre. NSeDLe-CI^AFT. 35 CHAPTER V TRAY-eeVER, AND EMBR01DERY DESIGNS F0R ITS G0RNERS. IGURE No. I. -This dain- ty tray-cover is made of white linen and is broadly hemmed at all its edges, the hems being generally hemstitched. A simple design is traced with nar- row braid on the hems, and inside the hems IT'^V square of the same fabric embroidered with white. These pieces are usually applied with hemstitching. In the corners, free from this border decoration, are embroidered designs, the correct sizes of which are given at Figures Nos. 2, 3, 4 and 5. The designs are all sprays, one showing blackberries, another a pear, another grapes, and the other cherries, all with their nat- hioi kL Ao -1 k VV-Cu\ EK. are two rows of applied pieces of porcelain-blue ural foliage. They are worked in Kensington linen in small diamond shapes, the rows being outline stitch, the leaves and stems in greens separated at each corner by a larger applied and browns, and fruits in their natural colors. 36 NeeDLe-cF^iiFr. A frill of the white material is the edge finish may be chosen for the squares, old-blue, for the tray-cover and may be plainly hemmed, pink, terra-cotta, sage-green, vermilion, gold. Figure No. 2. Figure No. 3. or button-hole, feather or briar stitched at Nile-green, rose, crimson, etc., being de- the edge. Medici, torchon, antique or any sirable. The colors displayed in the china Figure No. 4. Figure No. 5. preferred lace may be used instead of the may be seen in the squares, with unique material for the frill, and any preferred color efifect. NeeDLs-ci^iiFr. 37 *^c-M -)K- CHAPTER VI. Qrnamenlal DgHy. and EmbroiderY Designs for a Set of Twelve. HE designs illustrating this from the edge, and the remaining threads chapter will be appreciated are caught by a stout linen thread of the very highly by ladies who take same color, in a hem-stitch design. A pride in the style of their table first glance at the representation of this part linen and toilet mats. It is of the work would no doubt impress the now fashionable to embroider observer with what would seem an impossible doilies or napkins in colored cot- arrangement at the corners ; but the effect ton, linen and wash-silks with floral designs, is the result of study to overcome a dif- fer use with fin- ger bowls or under dishes of fruit or cake, following as nearly as possible the natural colors of blossoms, fruits and leaves. Figure No. i on this page repre- sents a doily all finished, and de- signs adapted to the embellishment of twelve doilies are included in the chapter. Af- g'iffiaMflfMMitM^^^^^ _ Kggg»sr»:iT»>-»:^:*:»:» »:»:»:^a»-»v;t'^',tg ficulty experienced in washing doilies in which the threads have been fully drawn, and an open space left at each corner. The threads are clipped before being drawn, so that they will pull out only the length of the hem- stitched border at each side as il- lustrated. The threads that would pull out at the cor- ter a square of the desired size is cut, the ners if left unsecured are firmly overcast by a center is worked as shown by the engravings linen thread of the same color, or with their numbered 2, 3, 4, etc. A few threads are own ends, which may be drawn for the pur- then drawn from each side a short distance pose, from one corner to the other at the same 38 NeeDLe-cp^AFT. side before they are clipped at the opposite each corner is a floral design embroidered corner. In making napkins or doilies it in the same color. The napkins are orna- would be well to experiment on a piece of mented with drawn-work, and in the corner old material in the manner of drawing and of each a floral design is worked. Linen em- fastening the threads. broidery thread, which may be obtained in a White napery embroidered in gold silk is effective and beautiful, and many ladies will select from these engravings designs for the Figure No. 2. Figure No. 3. corners of table-cloths, tray-covers, tea-cloths, variety of colors, is also used for the em- etc. A set of luncheon napery which is bellishment of napery. In the performance worthy of admiration comprises a cloth and of work of this variety incongruous colors are twelve napkins. The cloth has the damask of course avoided, but the good effect does border along its edges, followed by chain not depend upon the choice of only those stitching done in gold-colored silk, and in tints which are seen in the natural flowers. j^elps for Faijcy ((lorkers. Appliqueed flowers and foliage, which may other ornamental objects adapted to a variety be easily attached to the surface that is to be of uses are also obtainable, and so are plaited decorated, are much valued by ladies who ribbons suitable for borderings and drop orna- cannot afford the time to embroider lambre- ments in silk and in lamb's-wool, which may quins, scarfs, etc., and yet like to exercise be made into beautiful fringes or used to their own taste in the selection of materials, finish the ends of cords. Personal ingenuity tints, and stvle of ornamentation. Birds and will suggest their especial purposes. NeeDLG-CF^AFT. 39 Figure No. 7. Figure No. 8. NeeDLG-CHAFT. 41 S" ^' u*.' i^ ~ "^ CHAPTER VII. eUTMNE EMBR01DERY DESIGNS. LL of the figure designs included wrought in short back-stitch or fine chain- n the present chapter, from stitch. Cotton or Hnen embroidery thread the little darky dandy and the charming maiden mak- ing hay, to the music-master of the birds and the mis- chievous school-boy, are suit- able for embellishing tidies, screens, fans, mats, cushions, and table and other house linen of all descriptions. The outlines Figure No. i. Figure No. 2. in fast colors, crewels and etching silks are suitable working materials. The darky faces are imitated with indelible ink, so that they will wash nicely ; but if a sable face be de- sired, it must be cut from a bit of black flan- nel or cloth and arranged as represented. The floral designs cover a still broader range in this application, and may be effectively re- Ken- produced in decorating table scarfs, lambre- are generally followed in the sington outline stitch, but may also be quins and other draperies 42 NeeDLe-ci^fiFT. Figure No. 3. FlGLRE No. 4. 4?-'S^-T" Figure Xo. Figure No. 6. Figure No. 7. NeeDLe-cF^AFr. 43 Figure No. 12. 1? 4- -^rr-'i^ — j^ - » i f.'. Have you seen the Magazine entitled ''i\upsr)eeclt s (ptandard Raspionable 'Specialties, Adapted to the "Metropolitan Fashions?" RSHEEDT's Standard Sashionable Specialties" show how the Manufactures of the Kursheedt Manufacturing Company nriay be u sed to advantage, in securing economy and style, in union with the Metropolitan Fashions appearing in the Periodicals of The Butterick Publishin g Co. [Limited] , The Publication also contains many timely and appropriate remarks on current fabrics and garnitures, with especial reference to the Kursheedt Manufactures, chief among which ar e Lace Floiineings and Nets, Embroideries, Braids and Braid Garnitures, Jet Decorations, Embroidered Flannels, Appliqiiees. Tuclungs , etc., etc. Copious illustrations of these Manufactures are to be found in the Maga zine, which consists of 20 pages (size 11 x 16 inches), with a handsome coverj and is issued four times a year. The Subscription Price of " KURSHEEDT'S STANDARD FASHIONABLE SPECIALTIES" is 25 Cents Per Year, i }■ Ringle Copies, 7 Cents. Address : 192 SOUTH riFTB AVSNUS, NSW 70RK. In ordering the above publication, which we heartily commend to our friends, please mention " Needle-Craft."— The Butterick Publishing Co. [Limited], NeeDLe-CF^AFt. 45 «- «• ^m^i^ -:^- =SP" •:^- CHAPTER VIII. SPRAYS 0F PINKS IN G0RREGT SIZES P0R EMBRQ'IDERING. HE flower which forms the sub- ject of this design is one dear to the heart of the worker in dec- orative materials, because it is ef- fective upon all sorts of fabrics and does not require elaborate outlay to make it seem realistic. The designs ma)' be simply outlined as illustrated by Figure No. 2, or they may be done in South-Kensing- ton stitch as shown by Figures No. i and No. 3. The leaves are in natural shades of green, and the flowers and buds of pink, red, white, or any of the tints in which the flowers appear. These designs may be appropriately used to decorate lambrequins, table scarfs, handkerchief-cases, etc.; and they may be painted or embroidered, as preferred. The sizes illustrated are in correct proportion for working and may be easily transferred. Transferring and Stamping. Any design for embroidering or painting illustrated in this book may be transferred to paper, and a perforated pattern made, which may be stamped upon material, ready for working. Parchment paper is the best upon which to trace the design, because it is trans- parent without being too thin to be perforated closely, and it does not tear easily. Lay the paper over the design to be transferred and with a lead pencil reproduce all its outlines. With a tracing wheel follow these outlmes upon the paper, using care in turning curves and corners to keep to the original outlines. The next step is to lay the perforated paper upon the material that is to be decorated, with the rough side up, and rub the per- forated lines lightly with any good stamp- ing powder, taking up enough of the pow- der upon a bit of chamois or flannel tied over a cork to leave a clear impression along the perforations. Now remove the stamping pattern, lay a piece of tissue paper over the goods, and pass a warm iron slowly over it. If these directions are carefully followed, the design will be accurately reproduced upon the material when the tissue paper is lifted. A blue powder is best for light materials, and upon smooth black goods a white powder may be successfully used, though if it is liable to become indistinct, it is wise to outline the principal points of the design after it is transferred to the material, with cotton. A liquid preparation which will not run and is indelible is essential for stamping long-pile plushes and velvets. An ingenious method which may be followed without difficulty, is as follows : After the design has been traced 46 NeeDLs-ci^flFr. upon parchment paper, lay the latter upon should be thin enough to go through the per- the material with the smooth side up and then forations readily, but not so thin as to spread Figure No. i.— Spray of Pinks in South-Ken- sington Stitch. with a rather stiflf brush, dipped in tube paint, upon the material, and it should be of a go over the perforations slowly. The paint lighter shade than the goods, in order to pro- NeeDLe-CRflFT. 47 duce a distinct impression. When it has paper used several times. If rather heavy dried, the pattern will be ready for working. paper be used for designs that are reproduced Figure No. 2.— Sprays op Pinks IN South-Kensington Outline-Stitch. The powder that adheres to the paper trac- with the aid of a liquid preparation or tube ing may be easily brushed out and the same paint, it may be cleansed for future use by 48 NeeDLG-CRilFT. the aid of a little naphtha or turpentine. In using a tracing wheel, great care should Pour either over the perforations and wipe be exercised in following circles or curves, them dry and evaporation will do the rest. because wherever perforations are made by the wheel, the powder or paint is verj' liable to sift through ; hence the necessity for follow- ing the pencilled lines accurately. Figure No. 3. — Sprays of Pinks IN South-Kensington Stitch. NeeDLG-d^AFr. 49 ^- — ^ CHAPTER IX. BESICRS SH0(151NG ¥flR10yS EMBR010ERY STITCHES. J> Open-Work Embroidery. IGURE No. I. — This engraving is intended to illustrate the plan fol- lowed in making open embroidery, ^■^"■^i etc., and the stitch employed. The design is first marked or stamped, and then run with floss. Each leaf or petal is then slashed with a sharp scissors, and the material drawn 'i'* back to the running with an over- and-ovei- stitch done with coarse linen floss. Illillllllilllllliiail.::iiili«iiliiini«i»l Figure No. i. — Open-Wokk Embroidery. The style and stitch are much used in French embroidery and" make light, pretty work. Filling for Embroidered Scollops. Figure No. 2. — The method illustrated for " filling in " scollops before the embroidery is done, is very successful in giving a rounded formed of chain-stitching, is made in two rows between the outlining stitches, .\fter this. uemm Figure Nu. 2. — Filling lor Embroidered Scol- I.lllVS. the usual button-hole stitch is employed to cover the filling and complete the embroidery. Design for Embroidery. Figure No. 3. — This design will be found Figure No. -Design lor Embroidery. effect to the work when finished. The out- very pretty to darn along a strip of net to lines are run, and then an under-filling, form regular Breton edging. 5° NeeDLe-cF^flFT. Embroidered Bee. Figure No. 4. — The Kensington stitch is used in forming the body, head and legs of the bee, and the Kensington outline-stitch in forming the wings. The colors may be selected to form a very realistic-looking bee, or may be of any preferred commingling. To embroider in connection with a spray of Figure No. 4. — Embroidered Bee. flowers, etc., in positions suggesting several bees in search of honey, the design is very pretty. Design for Bordering. Figure No. 5. — This bordering is done in embossed or plain satin stitch. The latter is among the list of stitches described and illustrated on other pages, but perhaps it will not be amiss to state that it is simply an over- and-over stitch, which on the wrong side looks nearly as well as on the right. In regular designs a running is first made to give a roundness to the work, but in borders it is not required. After the border is worked in one shade, a fancy stitching is done with another shade as represented, being woven in and out through the other stitches in regular splint style. The border may be filoselle. A person skilled in the combination of colors may make the delineation realistic, but it will often be worked in one color alone. On silk handkerchiefs, the colors used should Figure No. 6. — BrTTtkKLV for EMiiRoiDERlfJG. accord with the ground shade, or the effect will be bizarre. Blue Jay, in South-Kensington Stitch. Figure No. 7. — This design, worked in blue crewel in the South-Kensington stitch, is especially suitable for scarfs, towels, tea- cloths, or serviettes. The stem is in brown and the leaves are in dark green, while much artistic taste may be shown in the blue shades used for the saucy bird himself. Silk, cotton or linen floss may be used instead of crewels, and, if one were not anxious to follow the Figure No. 5. — Design for BoRiJtKiNG. worked on tidies, mats, sofa-pillows or any article requiring a finish of this description. Butterfly for Embroidering. Figure No. 6. — This represents the exact pattern set by Dame Nature, the bird might size of a butterfly for embroidering in silk or be of any gorgeous coloring desired. Figure No. 7. — Blue Jay in South-Kensington Stitch. neeDLe-CF^AFY. SI Flower Spray, in Satin Stitch. row of such sprays to form a border to a Figure No. 8.— A spray of flowers, that towel would be in good taste, and any colors shows a pretty commingling of colors, is always a delight to the worker in crewels or silk. This is done in crewels, and the leaves and stem are of carefully selected dark green tones, the petals of the blossom are of deep yellow, while the hearts are of dark brown — a combination that must be a correct one, for it is copied directly from the flowers of the field. Any of the threads used for such work may form the pretty cluster, a consideration of the background and the use to which the Figure No. 8. — Flower Spray, in Satin Stitch. article is to be put deciding whether very simple or very elaborate materials be used. Bunch of Oats, in Satin Stitch. Figure No. 9. — A spray, especially pretty to have scattered over a tea-tray cover or pillow-sham, is here pictured. It is done in satin stitch with dark golden cotton in this instance, but could be of any color desired. On linen for pillow-covers it might be in clear white ; on a tea-tray cover it could be in scarlet, olive or yellow ; while on a table-cloth of felt, plush or any fine material, gold thread Figure No. 9.— Bunch of Oats, in Satin Stitch. desired, that would stand laundering, could then be selected. Flower Spray. Figure No. 10. — This graceful spray is embroidered in the Kensington stitch, and, Figure No. 10. — Flower Sprav. while the leaves should always be done in might be used with good effect. A straight green shades, the blossoms may be white, 52 NeeDLG-CHflFT. pink, salmon or any hue preferred. The cen- may be introduced, with elegant effect. Beads ters of the flowers are usually done in knot may be used for the eyes. Both designs may stitch. On table-scarfs, lambrequins, or any be embroidered on a scarf, in the points of article preferred, this design may be embroi- lambrequins, the centers of mats or the cor- dered as a corner decoration, or it may be ners of handkerchiefs. The butterfly is usu- repeated to form a graceful vine, with charm- ally surrounded by several wasps grouped in ing results. a fanciful manner. In the corners of hand- FlGURE No. 12. Figure No. ii. Figures Nos. ii and 12.— Butterfly and Wasp, in Kensington Stitch. Figure Xo. 13. —Design for Outline Emuroidery. Butterfly and Wasp, in South-Kensington Stitch. kerchiefs the designs may be white or in Figures Nos. 11 and 12. — The wasp and natural tints, as preferred. l)ulterfly here illustrated are done in South- Figure No. 13.— Such a design as this, Kensington stitch, and the butterfly may be suitable for the edges of a towel, a tray-cover as brilliant in hue as desired. Several colors or, indeed, any article to which it adapts NeeDLG-ci^iiFr. S3 itself, may be done in one or many colors in table scarf, etc. It is done in the South- the South-Kensington or outline-stitch. Its Kensington outline-stitch, with flosses, crew- simplicity is as attractive as it is suitable, and els, etc. will undoubtedly commend it to nian\'. Figure No. 15. — Rose pink for the blooms Figure No. 14. — Floral Design, in South-Kensington Outline-Stitch. Figure No. 15.— Briar-Kose Design, in South-Kensington Outline-Stitch. Figure No. 14. — This pretty design may and the tips of the buds, and olive for the out form a border to a table cover, piano cover, line of the buds and leaves, and also for the 54 NeeDLe-CRflFT, stems, are the natural combination of colors Kensington outline-stitch. Golden yellow and in a design of this kind. dark olive are the proper colors. The work Figure No. 17. — Pansy Design, in Outline-Stitch. FiouRE No. 16. — This engraving illustrates is simple, and the result, when neatly accom- a pretty design of buttercups, done in South- plished, veiy beautiful. NGeDLe-CRAFT. 55 Figure No. 17. — On lambrequins, table- The design of any of the fire succeeding scarfs, chair-scarfs, table-covers, etc., this is ones may be used as a border to lambrequins, I til 11 II Figure No. iS. — Swa.mp-Gr.'^sses .■vnd Cat-Tails, in South-Kensington Outline-Stitch. Figure No. 19. — Floral Design, in Outline-Stitch. a pretty and graceful design. It is merely table-covers, piano-covers, etc., of plush, cloth, outlined with floss, embroidery silk or crewels, or velvet, and maybe filled in with the much 56 NP;GDLG-CI?flFT. admired Soutli-Kensiiigton stitch when a rich, heavy result is desired. Figure No. i8. — The grasses and cat-tails composing this design are simply outlined with colored floss or any embroidery fabric, in Souih-Kensington oulline-stitch. The de- sign may be filled in with the South-Kensing- ton ^-titch, and will look best so completed when a heavy effect is desired. On plush, cloth, flannel, damask, velvet, etc., the design niav be. Silk or linen floss, crewels, or very narrow ribbons are used for working such designs. Fic;uRE No. 20. — This design is wrought in various shades of brown, but any combination of colors or any one color may be used for it. Its simplicity will commend it to those whose knowledge of embroidery is not great, while its correctness and beauty will find favor in the eye of the skilled work-wornan. It may Figure N'o. 20. — Floral Pattern, in Cutline-Stitch. is very effective. When filling-in is followed, the colors should match the natural hues as nearly as possible. FicuRE No. 19. — The daisy and cat-tail design here shown is in simple outline-stitch, it being a mere matter of taste as to whether it is done in that way or filled in. The foli- age is dull green : the cat-tails, a golden brown; and the daisies, wiiite with yellow hearts. Done in one color, this will be found a desirable pattern for towels or linen covers ; and, when elaborated, it is a favorite on all artistic fabrics, no matter how elegant they be suitably used on any article requiring a bordering. Embroidery Design. Figure No. 21. — A beautiful design for a border on table-covers, lambrequins, tidies, etc., of plush, felt-clolh, momic cloth, satin, velvet, etc., is here illustrated. The embroi- dery may be done with either satin or South- Kensington stitch in any preferred colors in floss, embroidery-silk, crewel ox filoselle. The daisies, embroidered with yellow centers and wliite petals, and the leaves, in dark green, will produce a beautiful realistic effect on NseDLe-ci^AFT, 57 olive, red, brown or green. The daisy petals caps or any decorative articles, with beautiful are effective, but not quite so complete in results. It is a tasteful selection for the appearance, when formed of two long threads embellishment of house coats or dressing of floss ; and in this event the rest of the gowns for gentlemen. l\ \ I Figure No. 21. — Embkoidery Design. pattern need only be outlined. This pattern is especially effective on a handsome table- cover. Embroidery Design. FiGURii No. 22. — A handsome floral design, Embroidery Design for Suspenders. Figure No. 23. — This design is done in satin stitch with silk floss of the realistic tones; the wheat being yellow, the forget-me- nots blue, and the thistle a d.irk purple. For Figure No. -Emiiroiderv Design. done in South-Kensington stitch, is here illus- any article on which a vine pattern was trated. The design may be used for table- desired, this would be especially suitable ; scarf.s, table or piano covers, tidies, smoking- and for ribbon strips to place as borderings S8 NeeDLG-ci^AFr. on fancy aprons or drapery, it will be in good one for any garment oi drapery requiring a taste. Sliglnly enlarged, it would be pretty running design, and to any one at all familiar Figure No. 23. — Embroidery Design for .Suspenders. on a towel ; and, in its present size, it is with the stitch will be found a very simple proper for a tea-tray cover. example of it. If desired, split zephyr may Figure No. 24. — Floral Design, in .South-Kensington Stitch. Floral Design in South-Kensington Stitch. be used, instead of crewels or floss, on flan- FiGURE No 24. — This design of roses and nels or any woolen materials. Figure No. 25. — Decorated Strip for Horders. foliage may be done in fine white, or some Decorated Strip for Borders. taste may be displayed in the use of natural Figure No. 25. — This engraving illustrates colors. The pattern will be found a pretty a strip of velvet decorated with applied leaves NeeDLe-ci^AFr. 59 of brilliant Autumn colorings. The leaves handkerchiefs, or to the corners or centers were selected from a line of manufactured of an)- articles for which such a design is floral appliques, and may be obtained in every required or considered appropriate. The variety. They are arranged in a vine design, tints selected must depend upon the taste, and the stems are done in outline-stitch. For shaded graj-, brow.i ,incl wood colors being a center strip for a chair, a border to a scarf, lambrequin or table-cover, etc., the strip is very handsome and graceful. Design in South-Kensington Stitch. Figure No. 26. — For the corners of hand- kerchiefs, or for decorating tidies, mats, lam- brequins, moui/ioir-CAses, or any fancy article, this design is graceful and pretty. The bird- may show the natural tintings of its plumage, and the bough, grasses, etc., may be olive Figure \u. 27. — Lai's Head, in Suith-Kensing- TON Stitch. generally used. The wood color is selected for the present example, with black for the eyes and tip of the nose, and red for the mouth. Design in South-Kensington Stitch. Figure No. 28. — The most brilliant shades of brown, together with dense shades of the same color, are selected in embroidering the Figure No. 26. — Design in South-Kensington Stitch. green, dark green or any desirable shade in green or brown. Silver or gray is very pretty for the bough, with green and brown for the grasses and cat-tails. The stitch is the well known South-Kensington stitch, and is simple and effective. This design will often be developed in various colors, as corner decora- tions for handkerchiefs. Figure No. 2S- -Design in Stitch. Soutii-Kensington Cat's Head, in South-Kensington Stitch. butterfly and cat-tail here represented. The Figure No. 27. — This engraving shows a design may have gay colors for the butterfly, design that may be applied to the corners of if desired. The plain Kensington stitch is 6o NSeDLe-CI^ilFT. here used, as by it the shading can be most properly done. Design in South-Kensington Outline-Stitch. Figure No. 29. — 'I'his design is done in straw color, and black, seal-brown and ecru shades of silk floss. A trifle of green, needed for the wheat-leaves, is also seen. Any other I^eijsingtou Painting. Figure No. 29. — Design in South-Kensington Outline-Stitch. combination of colors may be used for the butterfly, and, as Nature has provided such a multitude of animated designs, we do not see the need of making original suggestions as to the colors to be used. Embroidery Designs in Satin Stitch. Figures Nos. 30 and 31. — These two engravings illustrate rich and efifective designs which are developed in satin stitch. They aTC adapted to the elaboration of any article f(.r which a rich decoration is desired, and are especially suitable lor the ornamentation of smoking-caps, being in the correct sizes for caps cut by pattern No. 1914 which is illus- trated in the Metropolitan Catalogue and costs 15 cents. The designs being conventional ones may be duplicated in any color. Silks, crewels and chenilles are suitable for work- ing them. A.N'V variety of decorative work having its name prefixed by the word " Kensington" is certain to receive attention, and when it pos- sesses the artistic merits of Kensington paint- ing it is equally certain of being ]jermanently admired. A great many of the designs illus- trated in this book as being suitable for Ken- sington embroidery are equally appropriate for Kensington painting. The shading in Ken- sington painting bears marked resemblance to the arrangement of stitches in Kensington embroidery, and any one who understands the latter kind of needle-work and has a general knowledge of the blending of shades and the merest rudiments of decorative painting may attempt Kensington painting with a certainty of success. The designs that best repay the worker for her time and effort are those which permit of strong, bold touches. Amongst floral selec- tions those with bright blossoms are prefer- able. Birds, cats, dogs' heads, etc., are effec- tively represented upon artists'-board, blot- ting-paper, felt, plush with a short, thick nap, and velvet. If one be skilled in drawing, the design may be roughly sketched in outline, but if not it may be stamped according to the directions for transferring and stamping given' on another page. Tube paints are used, being adapted to the work without being thinned or reduced. All the outlining and all the sharp strokes are done with a rather long steel pen, that is heavy enough to bear some pressure, without spreading so as to weaken the nib after the first stroke. After deciding on the colors and mi.xing those that are necessary upon the palette, take the pen-holder in the hand, with the hollow side of the pen upward, and take up as much paint in it as it will hokl witiiout NGGDLe-CRfiFr. 6i allowing any to run over the edges. Clean back toward the material. After the outlin- off the back of the pen thoroughly with an ing is done the pen is filled with paint, and easel rag, and still holding it with the back the petals are filled or covered with paint, downward in 'scoop fashion, draw the point which is applied in pen strokes that are drawn '^^s* ^ ^ Figure No. 30. — Design in Satin .Stitch. over the outlines, turning the nib a trifle along toward the center in the same manner as the the outside to produce distinct edges, and turn- stitches are taken in embroidery, the em- ing it to the right or left, according to the di- broidered effect being further heightened by rection of these edges, but always keeping the scratching the bletided paint with the point 62 NeeDLG-CRilFr, of the pen, or with a needle. The tendency of the paint to form itself into little rolls as it leaves the pen aids the worker in producing a realistic effect ; and these rolls may be drawn toward the center in a way to greatly increase the light and shade elTect, the thickest por- tion being left where it is desired to have tiie shade darkest. The principal colors are first of painting, although if the design be a large one the paint may be applied inside the out- lines faster with a brush than with a pen ; and for flowers with thick clustered blossoms, such as sumac and golden-rod the brush is essen- tial, though the Kensington slitch effect is only attainable by the use of the pen. Good results cannot be assured unless plenty of Figure No. 31. — F.mf.rc.mherv Design in S.\tin .Stitch. applied and the darker shades ne.xt, after which the lighter tints are added and the shading and blending done, with the object that is being painted kept in mind. A good study or, if flowers are being painted, the nat- ural blossoms, are useful aids in this part of the work. Brushes are not much used for this variety time for drying be allowed, because part of the process consists in laying the paint on thickly and permitting it to remain in the lit- tle rolls which imitate stitches. The retouch- ing can be done a day or two after the first part of the work is completed, but the making up should be deferred if possible somewhat longer. *^- ^^- -^* NeeDLe-CRAFT. 63 * * *-¥■ * -i- *-(- *— i- * * K-4*T#T*T*t*4-*4-*4-*T*4-*-|-*-|-*4-*T*T*T*T*T* \1/ \J/ \f/ \»/ \f/ \J/ /|N /J\ /|\ /|\ /(\ ^ /y\ ^)>- yjV ^yy^ *£* ^t^- *i\ -y)^' ¥i\ 'jf^ *i\ ^i^ J/^^^ NGeDLe-CRfiFT. 69 CHAPTER XI. Designs Adapted 10 Kerisinglon En^brQiderY or Painting. Calendar. 'IGURE NO. I. — This beautiful bit of artisti,c work is very simply made and will prove a hand- some New Year's gift to either a lady or gentle- man. A piece of card- board of the size desired is covered on one side with velvet or plush embroidered with a graceful bird or other design, and the greet- ing, " Happy New Year." The other side is plainly covered with silk or satin, and a silk cord is sewed to the edges and coiled in a trio of loops at each corner. The pad may be purchased at almost any stationery store, and is neatly pasted in the upper right corner of the embroidered portion. Ribbons for hang- ing the calendar are fastened under bows to the top of the article and are regulated to be shorter at the side holding the pads, so that the calendar will hang straight. The ribbons are tied in a bow at the point of suspension. Such calendars may be of any color preferred, and hand-painting, instead of embroidery, may decorate them, with equally artistic results. An explanation and illustration of the bird decorating the calendar in this instance are given at Figure No. 2. Embroidered Bird for Calendar. Figure No. 2. — South- Kensington and satin stitches are employed in embroidering this knowing-looking cockatoo, and as floss in all the brilliant tints pecufiar to his lord- ship is artistically introduced, the effect is quite realistic. The bird is used in decorat- ing the calendar pictured at Figure No. 1. It is a pretty and effective design on table- scarfs, lambrequins, sachet and handkerchief cases, etc. Butterflies in South-Kensington Stitch. Figures Nos. 3 and 5. — Two sizes of the butterflies adapted to various articles are here illustrated, and both are reproduced in brown and gold coloring. Much taste may be used in the disposition of the colors, so that they may differ while yet of the same lineage and family. For the corners of hand- kerchiefs, especially the silk ones so much liked by gentlemen, either of these butterflies will form a pretty decoration. If one wished, a muffler might be made quite elaborate by having scattered all over it embroidered but- terflies of the smaller size. Humming-Bird in South-Kensington Stitch. Figure No. 4. — Brown and deep yellow tones are used for the delineation of this bird, which is wrought in South-Kensington stitch ^o NeeDLe-CF^AFT. Figure No. j—l'i II KKi'LY in S(H'iii-Ki-n>in(.tcjn Stitch. NeeDLe-cj^flFT. 71 and which forms part of the design on the mouchoir-case, or, indeed, on any article need- lambrequin illustrated. It would be quite ing a pretty but decided ornamentation, pretty as a decoration on a sachet-bag or n^ats a lid ^ugs. Rugs are very artistic as well as very prac- tical in their uses. They are too often disposed stiffly at the thresholds of living- rooms, where they are not needed for practi- cal purposes, and where their artistic value is not recognized. A mat of white Japanese goat-skin is among the least expensive of handsome rugs. It is not a practical selec- tion for a doorway mat, but it is a beautiful adjunct to the furnishings of a room in which ultra light colors do not predominate. Its disposal before the portifere of an arch, in front of a couch or sofa, or across a corner in which stands a small table or a fancy chair, is certain to prove attractive. Of course, the handsomer the variety of mat the richer the effect, but an inexpensive selection has been mentioned to illustrate the point of properly placing such articles. Sheepskin mats, dyed in various colors, are also among the medium-priced goods in these furnishings, and as they are not very wide they are especially suitable for threshold mats. Any one who has become accustomed to seeing such articles always spread primly alongside the threshold of a door between a hall and parlor or living-room will be sur- prised at the improvement noticeable if they are spread over the threshold, with half their width inside and half outside. Such a rug may be made the harmonious link between carpets which are not at all connected in the scale of colors. A couch in gondola shape, or one in low Turkish style, covered with a hand.some rug and having upon it cushions that are not too decorative to be useful, adds an air of com- fort and elegance to a library or study which seems inore in keeping with the uses of such an apartment than lighter and more airy fur- nishings. ^ •; o roiliicii..n> from Orieiiinl PaiutiiiMTS t»y Liila i'lnrkson. The Four Colored Plates are icorth the price of a year''s subscription. SAMPLE COPY TEX CENTS. (f you wish to examine tin- >Iat.'a/iiii- lufore subscrUjiu^'. seiul us your full a(| and 10c, and wt* will send you a SaSiple ( Oi'Y.vfuitaln- Ing.i Full Page Colored Plate by LiDA Clarkson. printed in ilio exact culors. in wliich It is to be painted, entitled "I\ THE GLOAMING " The Magazine also gives /ull iustruciions for painting it. Address TGMLLS'STAMPJNCrPAINT: ^^ USED FOR STAMPING I FELT, VEEVIH'. PLUSH^cJJiAKK GOODS SMALLTUBCS ISct*. LARGE TUBEA 25ci»- Wo send a TUBE of INGALLS' STAMPlN(i I'AlNT, also STAMPING BKUSH, f^fCEZS: with X^STG-^AXjIuS' 18SQ $1.00 Staxnpizig Outfit. .4M""* OrTFlT contains a Tube of InguUs' Stamplne I'ulnt luncd for atampliiie I'lusli. Velvet and Dark Goods), Stompins si» Bmsh, Boi Powder. Pad. Book of Instructlona for SlamplnE, and I>GALLS' 188!» CATALOGUE OF STAMPIXO PATTERNS, and the follonlnic Hat of FILL SIZED Stamplne Patterns: ANDSOraK AI-PHABET of 26 letters, ornamented with D.MSIES AND WHE.\T, eize two inches high— DESIGN OF APPLE BLOSSOMS FOR SCARFS, etc., size, 16x8 inches— BOEDER DESIGN OF ROSEBms. FERNS, etc.. size 20x8— C.\T-0'-NINE-TAILS, 16xS-DAISIES. 14xT— Gc>I.I>EN ROD, 14x8 —IRIS. 14xT-DESIGN FOR TIDIES, SOFA-PILLOWS. SHOIMMNG BAGS, APRONS. SCARFS, etc.— CAI.LA LILY. 10x9-FI'CHSIAS,10xs-rLOVER, SxS— NASTURTIT'MS. .Sx8-MoKNIN(; GLORIES, Sx7-SU5L\C, 8x6— TIHER LILY, 8x6— PANSIES. SxC-COXCOMH.SxB-TLI.IPS, Hx.'S-LILIES-OF-THE- VALLEY. 7x6-EASTEK LILIES. Tx.'i- SCALLOPS, 1!^ and S^ inches wide— TRAV-( LOTH DESIGNS-TURKEY ON PI. \TTER-STRING OF "FISH— STHA WHERRIES — CHERRIES AND GRAPES-SMALL DESIGNS FOR CRAZY PATl HWoRK. etc. — OWL-HITTERFLIES BUGS-TENNIS RACKETS-CHILD'S HEAD —SNOW-BALLS -DAISIES-PINKS -F0R(;ET-ME-N0TS -WHEAT- BUTTERCUPS -WILD ROSE -TRUMPET FLOWER, etc.— TINSEL DESIGN, 6 inches wide— L.ARGE DESIGN FOR TABLE SC.\RFS AND CO\'ERS — SPLASHERS - PANELS - TINSEL WORK, etc. - POND LILIES, 15x7— POPPIES, 12x8- SWANS, allx8-'W^LD ROSES, 16x18. We send this Ouffil htj mail, pnst-naid. /or $1.(10. This is the best ?1.00 Onlflt that we iLive ever advertised. With ttii« Outfit yon can save money hy doin^ your own Stampine. and make, money by doiiii; Si.impins; for others. The Patterns In this Oiitfif are made on 1.5 she ■t.'. of onr /jesf Parclimeiii Paper {size 0/ eacfi sfieet^iii^ iueheg.s-g.s.|.s.g4-g-BS/gr. □□ aa aa qd □□ ma no ag ■> Do_«3a_Ba_Bn_nB_aa_nQ^BB^BO- 8aBSBB"a«BBaBBHaBi)aaianaa .B a 13 oo Figure No. S.— Horse-Shoe Design. Figure No. 9. — Design for Canvas. NeeDLe-ci^iiFr. 77 Grade of Colors for Sunflower. Figure No. ii. — The colors used in making the sunflower and the niari< which in the design distinguishes them are here shown. The first in the scale is olive-green, then follow in regular order light orange, medium olive-green, light yellow, yellow, dark olive- green, light brown, and dark brown. A little care and there will be no trouble whatever in distinguishing just how the colors are used, and the growth of the sunflower will be quick and successful. Figures Nos. 12, 13, 14 and 15. — The borders illustrated at the corners of page 78 are neat headings to self-fringed tidies, mats and covers for cushions. Colors may be used in reproducing them, but on account of the fineness of the design, it is best to use split zephyr or Berlin wool. If done in black silk on white canvas, they look like strips of handsome lace insertion carried about the edges of whatever they decorate. Sometimes a wider border is placed between two of this description, with an excellent efliect. Fancy card-receivers are made of white perforated cardboard, and these patterns are just delicate enough for such dainty atTairs, and may be done in any colored floss or wool that may be preferred. In working Nos. 13 and 14 two tints may be associated in whatever materials are chosen, with specially good elifect. about the daisies, (which are yellow and white,) made with black zephyr. The long, branching design between the diamonds is done alternately in olive, red and blue, there being three shades of each color — dark, medium and light — in each design. The leaves at the points of the diamonds alternate in the saine arrangement of color, the me- dium shades only being used. The yellow daisies have black centers, and each petal is overlaid with yellow silk, while the white daisies have yellow centers and are attached with white silk. The top band is cat-stitched on with yellow silk, and the clusters of stitches in the points are made alternately of the medium tints of red and blue silk. The lower band is also cat-stitched on with yellow silk, the latter also forming the clus- ters of stitches outside the edges of the band. In the upright points formed by the cat-sfitches the medium and light shades of red alternate in the clusters of stitches, while on the inverted points between them the medium blue and olive tints are used. The star designs at the bottom are made of all the worsted colors in succession, but the clusters at the top and bottom of each are . made of the medium shade of olive. The whole effect is showy and pleasing, and experience has proved that both the design and its develo]3ment are very fascinating. Border Design for Canvas. FiGiTRE No. 16. — Of course all our readers are familiar enough with Java canvas to understand and follow the design as illus- trated, so we will simply try to give the colors and their arrangement, as illustrated. The button-hole stitches along the edge to hold the fringe are done with a pale wood- colored zephyr, probably as near the shade of the canvas as could be found. The bands are of black velvet, and the diamond outlines Design for a Border. Figure No. 17. — As the engraving clearly delineates the manner of working this design as well as the center-piece, it will only be necessary for us to give an idea of the colors used in the sample. The rings and diamonds are formed of three threads of zephyr, the outer one seal brown, the next one pale brown, and the inner one white. The angles are all concealed b}- gold-colored silk, which, as will be seen by the engraving, is button holed NeeDLe-CRAFt. *■?:■-.■ .-^ ■=>:-.■'-'- ■■IPT?' •'.•■-r-'^31«« .-> V ."G O O ■ . D '■■ D- - QV-r:? h.-. Op OOa aOD ;DD0 DDa::>-3fl ■ ■ . jU a D Q Q -D^i*!* r -. --D^O- OQD ODD ODQ. DOaoMtw •■-.Q Q \ 0_ -,D .. O ^^Dsa^ ODD DOD aDOJ-^HO O. O O at o o o a ■ ■ a u-.o- a---^ □ Q '3 Figure No. 12. — Border FOR Canvas OR Perfora- ted Carii- BOARD. KiM|iSDBin>aaBa«a*nn»mciiiiaaaM aaSnaBBaHaaBBaaiuiaaiiiKaBBaHU ■iipaiiBaaiaaaaa«*>ii|«aEx«»aai|ii3M o;. D' Vt. . ..■■ ' -.. TV' :•■ □..Q»o; □ o D D t :, p' □ - D - D >. 'ciQC' Doa ooD .tanD i, .^- -0 Hn^ ,_ _ .^ t. . m D O -D a 13aC G D D D'.D* Maa>aKoravaaaaiiaaBni»BaMi>Di:] nraaBwi««BaHnauBBm«>ttO >'' D a O D ■:a'-a o D- n OQC3"G ago fingo- aaaaawaaBBaaBi Figure No. 13.— Border for Can- vas OR ]'ERFORA- TF.D Card-Board. «■: O'JDao' 1 VBiaas*' ' D ' D .J ■■•as'^D o ■ ^ maaBQ' l< 't:> .^' E«aaa\DGOD':i -'-' S5»a^C o \n-j',a aaaarci ■■ d ti EaaBKO D >□>. ^3 »Baacoanoa--.aiB aBBBBQ3MQHna»aa ffaaaaaavRBeBaa■ aanaiBBaxacai ■■BBaaaaaBsaBirl ■■aaaaaaaaaaaai F CURE No. 10. — Sunflower in Cross-Stitcii. '-.' '1' Q-*.aK o .Qsiia OPC' ■ ij' : O ■ y - '-' Ci -- - , '-' '!< (I< ■ y o LI C" o '2 — ien Brown. Brown. Green. low. Yellow. ive-Green. Orangre. Green. Figure No. ii.— Grade of Colors for Sunflower. Figure No. 14. — ISoRDER for Can- vas OR Perfoka- iKD Card-Board. »■■■■ Figure No. 15. — Border for Can- vas or Perfora- ted Card-Board. .waaaaEiiiaat,' r!ifB;ii»BiiaaS O D -40300 n ' Q ■ j-F-n-irr • ■a ■. Fir-rO ■ ocm . 0-6; j^O xOdCQ tl, D ■ .-mi~irr a ~ ■ 5*0 a. ij . G o D n - NeeDLG-CF^AFT. 79 Figure No. i6. — Border Design for Canvas, J»Hjlll. Imt.; KK No. 17.— Design for a Border. 8o NeeDLG-ci^AFr. along inside of the white zephyr, and is also used to form the little prongs at the points of the diamonds. The stars within the rings are each formed of two shades of zephyr in three colors, arranged as follows : — one of scarlet, one of olive and one of blue, and so on, along the entire border. The center of each star is made with the silk. The little Design for a Piano-Cover or Table-Cloth. Figure No. i8. — This engraving represents a very handsome design for a table-spread, piano-cover or stand-cloth. The model from which this illustration was copied is made on garnet wool canvas with a rich, gold-colored floss, and is probably as effective a combina- tion as can be suggested. However, personal •iiKiiil |fi!!9|l[||pi| .■^' -i /' ^ V ' Figure No. iS. — I:)f.sig.\ for .\ Piano Cover or Table Cloth. stars in the diamond are made alternately of the lightest shade of red and blue used, together w-ith the silk. These colors form only one of many handsome combinations that may result from individual taste, and are therefore not the only ones that may be adopted. If three shades of one color be selected, the darkest should form tlie out- line, the reason for such a gradation being readilv understood. taste, and the prevailing tint in a room where the article embroidered is to be used, must d'- rect combinations. It is not necessary to use canvas, as cloth, felt or Canton flannel may be preferred ; but the meshes of canvas will be found of great assistance in following the pattern with regularity of stitch. The work is all done in a long, back-stitch or a sort of Kensington stitch, and is extremely effective in appe:irance. NeeDLe-cF^fiFr. 8i CHAPTER XIII SPECIMENS 0F LfiGE AND MET?]0D 0F MAKING.- , .SHE engraving on this and those ■'S^-if O" '^^ following pages illus- trate a variety of fancy-work that seems to be both imprac- tical and impossible for an amateur to undertake. It is, however, easily done, if one nows what to get for it and how to be- In the first place designs for lace work stamped upon thick paper, for making line of embroidery stuffs, you can purchase lace braid like the widest strips seen in the engravings, and feather-edge braid for the ex- treme border. The design is followed with the wide braid, which is flatly basted on ; and the outer border is produced by joining the loops of the feather braid to the edge of the lace braid. Figures Nos. i, 2, 3 and 4. — The specimens of lace pictured in these engravings indicate Figure No. i. — Cur.nek i,n Lace Work. barbes, collars, cuffs, etc., and one of these in their special uses. The fine lines on thtese ■ whatever style of article you want must be patterns are followed with single threads, the selected. Then at any fancy-store keeping a widest ones being two or three threads over- 82 NeeDLG-CHAFT. Figure No. 3. — Design for Lace Korher and Coknek. KicuRE No. 4. — Design for Insertion ok Lace Braid. NeeDLe-CP^AFT, 83 wrought closely in button-hole stitch. The pretty, and is much admired on dresses of dots seen are knots made at the crossings to gingham, print, cambric and other washable keep the threads from slipping, and the dainty textures. The tape with a lace-edge finish net-work about the inside of the border con- may be purchased in any shop where lace- FiGURE No. 5. — Russian L.ice. sists of a chain-slitch or lace-stitch done with makers' materials are kept, and the method is a single thread. somewhat similar to that followed in making Russian Lace. feather-edged trimming, a variety of fancy-work Figure No. 5. — This lace is durable and explained in another chapter of this book. It cannot be denied that Fashion is very instrumental in shaping feminine fancies, but when the good dame exercises her influence in fostering such agreeable and harmless diver- sions as making some variety of fancy-work, which shall as long as it lasts be cherished as a souvenir of the worker's taste and skill by whoever is fortunate enough to become its possessor she is above censure. Just now, in the name of sweet charity, many ladies are engaged in doing some variety of fancy- work in which they are especially proficient and disposing of it to the admirers of such work. Lace that has been made by some one who is known to the purchaser is especially liked, and the specimens illustrated in this chapter are among the patterns which the amateur lace maker most frequently selects. ^^- ^ 84 NeeDLe-CRflFT. A Rest for a Gherob. The cherub is only a little plaster figure, and his proper sphere seems to be illimitable space, but he has such a winsome face and is altogether so bewitching that although he is cast in plaster by the thousand he is sure to be admired, and whoever possesses him to look about for a place where he may swing without danger of colliding with less terres- trial beings. An arched doorway, a chande- lier that is not hung too low, or an alcove where a tiny hook may be inserted is a fitting abode, and to make a bower suitable for such an inhabitant fasten cords about the arms or wherever they can be attached so as to hold the figure securely and suspend them from the hooks. Then cover the cords with smilax, or any climbing artificial vine and around the figure arrange a little nest or arch of ferns or any kind of greenery that will answer the purpose, being careful not to have the arrange- ment appear stiff or to obscure the figure ; flying cupids, winged Dianas and various quaint little figures procurable in plaster, bisque and terra cotta at small e.\pense may be artistically suspended in this way. ^^:^'.*^<^'^^ NeeDLG-ci^iiFr. 8s /^ CHAPTER XIV. EDGING AND INSERTIQN 0F DARRED RET APD FARGY TIDY. /i^y^^^^HE net used for this fancy-work T?(^i^y^^ is the kind known as "wash net " or " wash blond." Linen and silk floss are both used for the em- broidery, but the linen is preferable, as it does not turn yellow like the silk. The lace edgings and inserlitins illus- trated may be used on basques, skirts and dresses of thin lawn, muslin or nainsook, and are very dainty in appearance. Darned Lace. Figure No. i. — This engraving shows the effect when the selvage forms the finish for the edging. The pattern needs no e.xplanation. Figure No. 2. — At this figure a more elabo- rate pattern for an edging is shown. The border is finished in button-hole stitch and the net below it may be cut away. Tidy of Darned Net and Braid Rosettes. Figure No. 3. — This engraving illustrates a dainty tidy of wash blond embroidered in a pretty and simple design to suggest rows of insertion, between which full, soft-looking rosettes of flat linen braid are fastened at equal intervals. A row of the rosettes is also arranged about all the edges of the tidy, and forms a rich-looking border. Pale blue surah silk is used for lining and forms an efTective background, as it exhibits eft'ectively the beauty of the design. Silesia, cambric, silk, satin or any similar fabric may be used in- stead of surah for lining, and may be of any delicate or bright tint most pleasing to the fancy or in accordance with the predominat- ing colors in the room. The work must be neatly and carefully done to look well, and is so simple that only a little time and patience will be requisite to a pleasing result. Design in Full Size for Tidy, Illustrated at Figure No. 3. Figure No. 4. — This engraving shows the full size and pattern of the embroidery used in making the tidy represented at Figure No. 3. It is clearly illustrated, and its description in detail may be read at Figure No. 5. Detail of Stitch and Design for Tidy, Illustrated at Figure No. 3. Figure No. 5. — A thorough idea of the stitch and design used in making the tidy mentioned, is given by this engraving. The design combines the single and double stitches, the combination of the two being much more effective than if either were used alone. The single stitch is made by taking up two meshes of the net and leaving one be- 86 NeeDLe-ci^flFr. tween. In the double siiich all the meshes accurate all through. The necessity for doing are taken up, the second stitch taking up the this does not however add appreciably to the one left bv the first stitch, and a solid and time consumed in doing such work, because a Figure No. i. — IJarnkd Lace. l-'nai;i N« -I 1 AkM 11 l.AI I . irregular result is obtained. The meshes little practice enables one to judge c]uickly should be counted in the same way as in em- of the space taken up by a certain number of broidering canvas, so that the pattern will be stitches. NeeDLG-ci^AFr. 87 Figure No. -Tidy of Darned Net and Braid Rosettes. Figure No. 4. — De;sign in Full Size fur Tidy Illusikaied at Figure No. 3. Figure Ni -Dktam, of Stitch and UesigN foi: UUUUMSSfiS^tftfiSfifil Tidy Illustkated at Figure No. 1-igl;re No. 6. — Design fuk Darned Net. 88 NeeDLe-cF^AFf. Design fcr Darned Net. Figure No. 6. — This design fully illustrates the double stitch in the border or margin. The stars have all the stitches radiating from one mesh, each stitch being "looped " through a mesh two or three holes from the center. This design may be employed for insertions — the engraving shows only half the figure — and applied to waists, childrens' dresses, skirts, etc., made of fine lawn or nainsook. Rosette, in Full Size, used for Tidy shown at Figure No. 3. Figure No. 7. — This rosette is dainty and soft-looking in effect, and is made of flat linen braid, which is usually white, but which may the braid is gathered a little in from the edge with medium long stitches, and is drawn in as Figure No. 7. — Kusoie in Full Size. be of any delicate or bright tint to match the lining of the tidy. Detail of Rosette. Figures Nos. 8 and 9. — These engravings illustrate the method adopted in making the rosette. In Figure No. 8 the first step taken in making the rosette is shown. One side of Figure No. 8. — Dktail ok Rosette. closely as possible to form the center, the ends being neatly joined so as not to be visi- ble. Figure No. 9 illustrates the mode em- ployed in shaping the outer margin of the rosette. The edge is caught down at equal intervals to the under side by stitches that are drawn only tight enough to retain liieni in place without wrinkling them. These ro- FiGURE No. 9. — Detail of Rosette. settes are much more easily made than those called " daisy " rosettes, and are fully as pretty in effect. The closeness of the ro- settes and the actual width between every two rows are simple problems, quickly solved by a few trial comparisons on the worker's part. <#]> (M--h <(^P (^^kk.\ (^^V NeeDLe-ci^flFr. 89 CHAPTER XV, GroGhelled (I5ork. Explanalion of Basis of all Greclielted cLork. llloslrations and DesGriplions sf Star Slitcti. HOUGH knitted work is as ancient as art itself, it has, like art, progressed with age, or how coarse it may be, the hook should be a perfect hook, or it will not " catch " well. Saxony yarn, Shetland floss, split, double and single zephyr wools, thread, floss, macranie and articles as fleecy cord, etc., are all suitable for crochet work ; as snow, airy and Shetland floss and split zephyr wools result- beautiful as floating Summer ing in the most exquisite of cloudy or fleecy clouds, and in usefulness, utility effects. itself, have come into being by the Detail of Chain-Stitch. aid of this simple and interesting Figures Nos. i, 2 and 3.— The funda- domestic employment. The stitches, espe- cental principle of all crochet work, whether cially in crochet work, are manifold in variety and as beautiful as they are numerous, and, by combining two or three fancy stitches in one article, a very tasteful and artistic bewil- derment of threads will result. These engravings illustrate and the accom- panying description explains a pretty and effective stitch called " star " stitch. The basis on which crocliet work of all kinds is founded is also fully explained both by description and illustration, so that those who stitch, the method of making which is fully are in blissful ignorance of the work may illustrated by the engravings and accom- become as blissfully wise. plished in the following way: Take an end An important item in the work is the of the thread or wool to be used in the work crochet hook or needle. This should be fine in the left hand ; twist the thread so as to or coarse to suit the worsted, thread, floss, form a loop, and hold the "loop between the cord or yarn selected ; and no matter how fine left forefinger and thumb ; throw the thread Figure No. i. — Detail of Chain-Stitch. the pattern is simple or intricate, is the chain- 90 NeeDLe-CRfiFT. over the first and second fingers, imder the tliird finger and over the fourth finger. The foiinh finger, by pressing against the third finger, serves as a sort of tension for the thread, so tliai the work may be done loose or tight, as desired. This is the method for holeUng the tliread properly, and is illustrated at Figure No. i. Pass the hook through the loop, and under Each time the hook is pulled through a loop counts as one stitch. A single crochet is made by inscitinj; the needle without throwing the thread over, and crochetting the two loops off at once. A double crochet is made by throwing the thread over the needle before inserting the latter and crochetting two loops off the needle at a time. Figure No. 2.— Detail of CiiAiN-SrricH. Figure No. 3. — Detail oi- Chain-.Stitch. the loose thread over the first fingers, as Method of Making Star-Stitch, shown by Figure No. 2. Figures Nos. 4, 5, 6, 7, 8, 9, 10 and 11.— 'i'hen pull the hook through the loop ; keep To make this stitch, first make a chain of the loop thus formed on the needle, and pass stitches of whatever length the article to be the needle under the thread and pull it made is to be. Then take up the first stitch through the loop, as shown by Figure No. 3. in the chain nearest the hook, and pull the C'ontinue in this manner, till a chain of thread through the loop in the manner illus- suitable length is obtained. traled bv Figure No. 4.. NeeDLG-CI^AFT. 9' Then take up each of the next five stiiclics make a chain-stitch to close the star, as in the chain in the same way, retaining all described at Figure No. 7. Figure No. 4. Figure No. S. the loops on the crochet hook and carrying the thread on the hook as represented by Figures Nos. 4, 5, 6, 7 and 8.— Method ok Mak- ing THE StAR-StITCH. Continue in this way till all the stitches in the chain have been used ; then fasten the thread b) making a chain-stitch, breaking the thread and pulling the end tightly through the loop. To make the second row of star-stitches : Figure No. 5 ; pull the hook through all the I^raw the thread through the first loop of the loops at one time, as illustrated by Figure No. 6. Figure No. 5. I- uauE No. 9, Figure No. '6. star-stitch first made, as shown by Figure No. , . , , ' q ; make three chain-stitches from this loop, as llien make one chain so as to close the ■' , „. -^^ , , shown by Figure No. 10 ; and take \m the star, as shown by figure No. 7 ; take up each ^ ° of the loops, lettered A, B, C, D and E, at Figure No. 7. Figure No. 7, in the same way as the stitches just described, retaining all on the hook as shown by Figure No. 8 ; then draw the hook Figures Nos. 9 anu 10. — Method ok Making the Second Row ok Star-.Stitches. stitches lettered A, B, C, D and E at this through, as described at Figure No. 6 ; and figure keeping all the loops on the hook till 92 NeeDLG-CKflFT. tlic five stiichcs are taken up, then draw them The effect of the stitches, when several off tlie needle and close them with one chain- rows have been made, may be seen at Figure stitch. No. II. Take up the next five stitches from the For nubias, shawls, fascinators, Afghans, star in the first row, and close this star like bab\--carriage robes and blankets, shopping the other one. bags, covers to hunting-bags, etc., this is a Figure No. ii. — .Shuwi.nh the KKKtir of .Several Rows OF Star-Stitches. Then proceed in the same manner all along beautiful and effective stitch. Of course, the line, and, when finished, commence the cord is preferable for shopping and hunting third row in the same way as the second, and bags, as it is very durable and can be easily so on till the article is completed. renovated when soiled. NeeiJLe-ci^iiFT. 93 s4c?*^s , CHAPTER XVI. Tarn 0'SFianler Hat and Method of Making "It. Fancy Horse Reins and Method of Making Them. %\^^l F Robert Burns had an inspiration for every fancy and a music for every mood, lie certainly also was blessed with the power to awaken Jb artistic genius in one man who has % been made famous by a most origi- nal piece of sculpture, which was the outcome of a true idea of the two jolly characters so vividly depicted in " Tarn O'Shanter," and which gave, undoubtedly, the first fame to the picturesque cap crown- ing Tarn O'Shanter's jolly head. This cap has a style that is entirely its own, and it is a favorite with children of all ages and both sexes and is much affected by young ladies while skating, sleighing, etc. Cro- chetted in crimson, scarlet, brown, blue or any becoming shade of wool, it is most useful, and its only needful decoration is a large pompon. In order to answer the numerous queries that have been asked in regard to directions for crochetting the cap, we have given its illustration and construction a prominent place in this book. Tarn O'Shanter Cap, and Method of Making It. Figures Nos. i, 2, 3, 4 and 5. — The cap illustrated at Figure No. i is made of dark-blue Germantown yarn of heavy quality. Take a bone crochet-needle of proper size and make three chain stitches, as shown by Figure No. 2. Figure No. i. Lift the first stitch on the needle, as shown by Figure No. 3, and draw it through the last stitch, as shown by Figure No. 4. Then in each of these stitches make two single cro- FlGURE No. 2. chets, and in each of these make two single crochets in the same way, working round and round, as shown at Figure No. 5, but not fasteninaf at the ends of the rows. After the 94 NeeDLG-CI^AFT. second row one single crochet only is made in each stilch, except when it is needful to widen so as not to make the work " cappy,"' two single crochets being made for this pur- pose whenever needed. All that is to be con sidered in the further progress of the crown is to have the work neither cap nor ruffle the least bit, and judgment will have to be exer- cised in introducing the two single crochets portion will be perfectly smooth when laid upon the outer part of the crown. The twenty-first row is made without widening or narrowing, and seven other rows are needed to form the brim and complete the cap. In making these last seven rows widen a little on each row, only enough, however, to make a band that will (\i ihe head of the person that is to wear the cn]3. When the last row Figure No. 3. in one stitch, as no rule can be followed in this matter. Crochet very tightly and evenly I-'igure No. 5. and do not widen regularly at certain places, is made finish of? securely and neatly. Then for this will spoil the circular shape needful, place this portion on the crown, with the right Forty rows are necessary to complete the sides together, and sew the parts together crown. The part for the side and brim is with a piece of the worsted, or crochet them made separately from the crown. Start with together by lifting together the corresponding a chain of as many stitches as there are .in stitches in the two parts and making half- the last row in the crown and join the ends Figure No. 4. of the chain ; then make a single crochet in each chain. In the second row make the same number of stitches as in the second row from the last in the crown, skipping a stitch when necessary to obtain the right num- ber ; each succeeding row should also con- tain only the same number of stitches as the corresponding row in the crown, until twenty Figure No. 6. stitches. The cap is then completed and ready for the pompon, which should be sewed on with strong thread at the center of the Fancy Horse-Reins. Figure No. 6. — That the coming man will rows are made. When correctly made this be fond of horses almost goes without saying, NeeDLG-CRilFr. 95 because from his youth up he displays a liking for their equipments, which is fostered by many a mamma and older sister. The reins shown have a pretty band of dark blue velvet, upon which is outlined a flying steed, whose record, it is fair to presume, has never been beaten. All around the edge are tiny bells that jingle with every movement of the pranc- ing boy. The reins are crochetted of scarlet worsted, and are sufficiently easy for even a novice to attempt. The stitch used in mak- ing the reins is called the Afghan stitch, and is illustrated and described at Figures Nos. 7, 8 and 9 in this article. Afghan Stitch for Horse-Reins. Figures Nos. 7, Sand 9. — Illustrations are given of the stitch employed in making the play reins just described. First make a chain of five, six or more stitches, according to the width desired. Take up the stitch in the Figure No. 7. chain nearest the needle ; throw the thread each stitch in the chain in the same manner till all the stitches are lifted on the needle, as shown by Figure No. 8. Then throw the thread over the needle and crochet two stitches off the needle, and proceed in this Figure No. 8. manner till all the stitches are crochetted off. In the next row each of these stitches is lifted as shown by Figure No. 9, in the same manner as the stitches in the chain, and crochetted off as described. This is known as the Figure No, "Afghan" stitch, and is much used for car- riage-blankets, lap-robes, etc. Zephyr wools are usually employed for this stkch. Care is required even in this, the simplest of crochet- over the needle as shown by Figure No. 7, and ting, to do the work regularly and not have draw the needle through the loop; take up one line loose and another tight. He.— Wc-U now, you have it at last I Certainly that is the Most Sensible Patent that has been Rranied in nn atje. Vm delighted to sec you have Hall's Ba* zar Fornif and wonder how any woman can get along with- out it. She.~Vcs, there is iiotlilii*; 1 have ever oiviicd that •rivrs mo so iniicli satlslae- tloii. I in»w .sit while draping my dresses, and actually enjoy working upon them. 1 would not part with this Korm for several limes its Cost if another could not be procured. i I .'RouSH- SEE YOUR DREJiiS AS OTHERS SEE IT, By ii^iiijr HJILL'S ^R2lSI% FOI^ifl. A household necessity^ iniiispcnsable to ladies who do their own dressmakings or , Invaluable for looping and arranging reception dresses, and for noting the effect of different costumes. Saves all the fatigue of standing. Adjustable to any size, and when not in use folds up like an umbrella. The only Form Endorsed and Recommended by all Fashion Publishers. Awarded Medal of Superiority at American Institute. New York, December 15, 1888. For Sale by BUTTERICK PATTERN AGENTS, or sent to any address on receipt of Price. CoMrLETE Form, --- --.____. Skirt Form (Iron Post), to which bust can be added, __---- Skirt Form (weight 5 lbs.), ---_-_--- Sei^d for Descriptive Circular. •viploy $'"'•50 1-50 3.00 HAI.L'S BAZAR FOR9I CO, 833 Broadway, New York. We have placed HALL'S BAZAR FORMS on sale in all our stores in England and the United States, and recommend them to our patrons as being the only perfect forms ever introduced. THE BUTTERICK PUBLISHING CO. (Unnited.) NeeDLe-d^fiFf. 97 .!> -^^ -Mhh -M^ .!> ^^ ^1^ ^1^ CHAPTER XVII. (IR0G?1ETTED LAMBREQU'ID, AND METH00 0P MAKING. HK fundamental principles of crochet work which were fully described in a previous chapter, wherein also the method of making some fancy stitches was clearly shown, should be fully mastered be- fore attempting this work, as some of these same stitches are used in making the lambrequin illustrated. Crochetted Lambrequin. Figure No. i. — This handsome lambrequin is made of macrame cord and satin ribbon, and is very elegant in effect. The method of procedure is as follows : Crochet a chain of forty stitches ; then throw the cord over the needle and lift up the fourth stitch in the chain nearest the hook, as shown by Figure No. 2 ; throw the cord over the hook and pull the loose cord through the loops lettered A and B in Figure No. 2 ; throw the cord over the needle again, and pull it through the two loops remaining on the needle — this is called a "double stitch"; — make six more stitches in the same way in the same stitch in the chain to form a shell of seven double stitches, as shown by Figure No. 3. Then throw the cord over the needle, and take up the third stitch in the chain, counting from the shell ; throw the cord over the needle, and draw it through the nearest two loops on the needle, as shown by Figure No. 4; throw the cord over the needle again, and pull it through the remaining two loops, as shown by Figure No. 5. Then make two more stitches in the same way, taking up each consecutive stitch in the chain. Now make a chain of seven stitches ; throw the cord over the needle, and take up the seventh stitch in the chain, counting from the last stitch lifted, and proceed as shown at Figures Nos. 4 and 5, making three double stitches as shown by Figure No. 6. Now throw the cord over the needle, take up the third stitch in the chain, and make six double stitches in this stitch to form a shell. Then make three double stitches, taking up the third, fourth and fifth stitches in the chain consecutively, counting from the shell ; and proceed in making the seven chain and three double stitches and then a shell of six stitches, as just described. After this shell has been completed, make a chain of three stitches, as shown by Figure No. 7 ; throw the cord over the needle, put the needle between the third and fourth stitches in the shell just made, as shown by Figure No. 8, and make a shell of six double stitches. 98 NeeDLG-ci^AFr. Then throw the cord over the needle, and of seven stitches just beneath, as shown bv take up tlie first stitch in the group of three Figure No. lo; then throw the cord over the double stitches, as shown by Figure No. 9; needle, and pull it through all three loops on and make a similar group of three double the needle at once. !«?*rK'««k.«>iii^*s*Si0s<*>i^ l''lGL'RE No. I. — CUDCHETTED LAMIiREQUIN. l-'lCHRli No. Figure No. 4. Figure No. 3. Figure No. 5. Figures Nos. 2, 3,4 .-vnd 5. — Det.\ils oe Crochetted Lamhrequin. stitches, taking up each of the lower stitches Now make a chain of three stitches, throw in the same way. the cord over the needle, and take up the Then make a chain of three stitches, and stitches in the nearest group of three stitches, take up the fourth stitch in each of the chains proceeding as shown by Figure No. 1 1. NeeDLe-ci^AFr. 99 Cominue to the last shell in the first row in Then make a chain of three stitches, throw the same manner. the cord over the needle, and make a shell When the last stitch for the last shell in the of six stitches, as before, between the third second row is made, throw the cord over the and fourth stitches in the last shell made. Figure No. 6. Figure No. 7. Figure No. S. Figures Nos. 6, 7 .\nd S. — Details of Crochetted Lambrequin. needle, pass the needle between the first and Then complete this row in the manner second stitches made in the first shell in the described for the first row, making the chain first row, and crochet the loops off the needle of seven stitches between the groups of three as described for the double stitch. stitches. When the last shell is made in this NeeDLe-cp^flFT. row, make another shell of six stitches in the crochet the loops off at once, as shown by Fig- hole made by the chain of three stitches at the ure No. 13. turning of the first row to make the second Then make another chain of three stitches, row, commencing as shown by Figure No. 12. and pass the needle between the ne.xt two Figure No. q. Figure No. 10. Figure No. 11. Fkiures .\os, 9, 10 .wn 11. — Det.mls of Crochetted L.\mbrequin. Then make a chain of three stitches, and stitches in the shell, and so on all along the pass the needle between the nearest two shell, as shown by letters A. B, C and D in stitches in the shell just made, taking care Figure No. 14. 'I'lien make a chain of three not to throw the cord over the needle, ami stitches, and pass I lie needle in the hole be- NSeDLe-CI^AFT. Figure No. 13. Figure Ku. 12. . Figure No. 14. Figures No. 12, 13 and 14. — Details of Crochetted Lasibrequin. NeeDLG-CI^ilFT'. tween this shell and the next in ihe same Now throw the cord over ilie needle, and manner as shown by letter E in the same make a shell of six stitches in the next shell, figure. These loops finish a scollop, and are commencing as shown by Figure No. 14. Figure No. 15. — Effect of Several Rows of SrrrcnES. used at one end of the lambrequin to attach Continue to make this row in the same man- the fringe and at the other end as a head- ner as the row just made : finish a scollop at ing. tlie turninsT from this row to the next, as NeeDLe-CF^AFT. 103 described at Figure No. 14; and then make tliis next row to correspond witli the second row, by taking up the fourth stitches in the nearest two chains of seven stitches. An idea of how the lambrequin looks as it increases in width is given by Figure No. 15. The method described provides for the use of two rows of ribbon. If only one row is de- sired, a chain of twenty-five stitches will start it. If a deeper lambrequin is desired, six- teen stitches, added to the forty used for the double row, will provide for three rows of ribbon. The fringe is made by knotting several strands of the cord into the holes described as finishing the scollops, and may be of any desired depth. The ribbon may be of any color desired ; pink, pale-blue, car- dinal, orange, brown, peacock-blue, light-blue, olive, etc., being all pretty. The same pattern in crochet may be used in making tidies, with handsome effect. ]{ Pretty Easel. That is, it became pretty after it had been decorated, but when it was first placed where the study of roses in a gilded frame, which it supported, would receive a good light, it was rather discouraging. The varnish was appar- ent, and yet the quality of the wood was ap- parent too, and neither were satisfactory. But it had to be adapted to the purpose, and this is how it was accomplished. A glance convinced the furnisher that there were quite as many draperies in the room as its style and size permitted, so a scarf was not allowable, even if it would have answered the purpose of the decorator. Yet near a cer- tain corner, but not /« the corner, the easel must stand. Its lower part would be some- what obscured by a chair drawn in front of it. The mass of bloom within the frame would bear a subduing influence, and this was attainable in the shape of several long vines of artificial English ivy and a few fronds of maiden-hair. The ivy was twined about the upper portion as if it were a growing plant rooted in a concealed receptacle at the back, and the fronds of fern were deftly tacked to the back of the frame at one corner by pins, and bent to droop from the top and extend slightly along one side, their delicate foliage forming a slight screen over the roses but not obscuring them. The effect was not only improving, but positively beautifying. It betrays no hint that the means were resorted to for any purpose other than to develop a pai- ticularly effective background, and conse- quently it is worthy of being pronounced " artistic." *^^|^|^^^ I04 NeeDLe-cRAFT. = x^xx xxxx m #- ^ ^ Bit of Bloom. The modern fancy-worker may not be able to "paint the lily or gild refined gold," but the evidences of her liking for the golden finibh are quite obvious. A very pretty ornament for the corner of a room is made by gilding a fancy straw shade- hat and filling it with dried grasses, among which are set daisies that appear to be bloom- ing naturally. One side of the brim may be turned down so as to allow the grasses to fall over it, and an Alpine staff may. form the sup- port, the hat being attached to it by a large bow of ribbon. Artificial wild-roses, thistles, milk-weed pods with their fluffy contents dis- closed, or clover in masses of red and white, are all suitable blossoms for mingling with the grasses ; the hat may be mounted upon a lit- tle easel, but it is more picturesque when the staff suggests its association with a sum- mer's outing. NGeDLe-CRflFT. 105 <^;«f-^- CHAPTER XVIII. GR0GHETTED (150RK IN GRAZY STITGH. VERY pretty stitch known as the "crazy" stitch is introduced in this variety of crochetted work. Done in Shetland floss, split zephyrs, crewels, etc., it is beautiful and effective for shawls, Afghans and similar arti- cles. First, make a chain of stitches as long as desired for the article to be cro- chetted ; then throw the thread once over the needle, as shown by Figure No. i ; take up the by Figure No. 3 ; throw the thread over again, and pull it through the nearest two loops on the needle, as shown by Figure No. 4; and crochet the remaining two loops off in the same way, as shown by Figure No. 5. This completes the double stitch, which is also fully described in another chapter on crochet work. Make two more double stitches in the same loop, as shown by Figure No. 6. Then take up the third loop in the chain, counting from the loop holding the three double stitches, and throw the thread over the needle, as shown by Figure No. 7 ; then Figure No. Figure No. 2. third nearest stitch to the needle ; throw the pull the thread through it and the loop on the thread over the needle, as shown by Figure needle, at c/zu; to fasten down the shell thus No. 2, and pull it through the loop, as shown made, as shown by Figure No. 8. io6 NeeDLG-ci^Af r. Then make a chain of three stitches ; throw proceed all along the chain in making the the thread over the needle ; pass the needle chain of the three stitches, a shell of three through the loop holding the last stitch, and double stitches and the single fastening stitch, make three double stitches in this loop ; in order as described. FlGUKE No. Figure No. 4. Figure No. 5. FlGL'RE No. 6. Figures Nos. i, 2, 3, 4, 5 .\xd 6. — Details of Cr.\zy Stitch. Figure No. 7. make the single or fastening stitch in the When at the end of the chain make a chain third stitch in the chain from this stitch, as of three stitches, as shown by Figure No. 10. shown by Figure No. 9. Then turn the work and take up the third Then make a chain of three stitches, and stitch in the shell of three double stitches NeeDLG-CI^AFT. 107 last made, as shown by Figure No. 1 1 ; and stitches in the next hole foimed by a chain pull the thread through, to make the fasten- of stitches, and so on to the end otihe row. ing stitch described. At the end of the row, take up the last Then make a chain of three stitches, throw stitch in the shell remaining, making a single the thread over the needle, and pass the stitch here, needle in the nearest hole formed by the Then make a chain of three stitches, turn Figure No. 8. Figure No. 10. Ftcure No. II. Figures Nos. 7, S, 9, 10 and ii. — Details of Crazy Stitch. chain of three stitches in the first row, as the work and proceed all through the line shown by Figure No. 12 ; make three double and all through the work, as described for stitches in this hole ; then make a single the other rows. stitch in the third stitch in the next shell, then This stitch is very simple indeed, and is a chain of three stitches, then three double also very effective, as may be seen by Figure io8 NeeDLG-ci^AFr. No. 13, where the ajspearance of several rows out the entire article, or in alternating stripes, is shown. as desired. Contrastinj; colors may be in- In shawls, Afghans, nubias, fascinators troduced in Afghans and carriage-robes with and similar articles, a very rich and beautiful beautiful effect, making three or four rows Fir-.iiRE No. 12. — Detail of Crazy .Srnrn. Figure No. 13. — Effect of Several Rows of Stitches. effect may be obtained by using a thread of of one color for a stripe, and the same or a wool and a thread of silk floss together in sniallci inimhei- of rows of another color for a stripe. This may be continued througii- another stripe, and so on. mm.. NeeDLe-cF^AFr, CHAPTER XIX. 109 GR0(lHETTE0 LAGE edgings and INSERTlSn. ^HIS specimen of cro- chetted lace is done with Snxony yarn, and, uhile it may be suitably used on dresses, it is very ► appropriate as an edge to shawls having crochetted centers or centers of flannel, cashmere, merino, etc. It may also be appropriately used on underskirts or petti- coats for the grown lady or the child, and may be made up in white or any preferred color. The pattern is simple, and the method of mak- ing it is here fully described, so that but little efTort is necessary for a successful result. It would not be advisable to apply woollen lace upon any garment that is to be frequently laundered, as the design would soon become obscured by shrinking. There are, however, many articles to which such lace is particu- larly adapted that would not necessitate such a result. The scolloped portion is a light and airy garniture for infants' sacks, shawls and carriage robes, and also for ladies' house- shawls. The heading may be increased or decreased by beginning with twice or half the number of stitches. Before entering upon the method of con- struction, it will probably be best to refer to the stitches employed, so that the amateur in crochetting will not meet with difficulties. A single crochet, as previously explained, is made by inserting the needle, witJwut throw- ing the thread over, and crochetting the two loops off at once. A double crochet is made by throwing the thread over the needle before inserting the latter and crochetting two loops off the needle at a time. Crochetted Lace Edging and Insertion. FiGi-RES Nos. I and 2. — This pattern is simply executed and is very like torchon lace when made oi linen thread. The engravings clearly illustrate the pattern and style of stitches, and any lady familiar with crochet- work can readily pick it out. Insertion to match the edging is represented at Figure No. I. Made of coarse linen thread, the edging and insertion form a rich and handsome deco- ration for tidies, table and chair scarfs, and also for handsome scrim curtains. Crochetted Lace. Figure No. 3. — Make a chain of stitches about tu'o inches shorter than you desire the lace to be when finished; then turn and pick up the fourth stitch from the needle in the chain, making a single crochet stitch; make a cham of seven stitches, pick up the fourth stitch in the chain from the last stitch, mak- NeeDLe-CF^iiFr. ing only a single crochet stilcli, and continue stitch in the nearest hole, making a single in this nmnner all along the chain. crochet; then make a chain of seven stitches, Figures Nos. i and 2. — Crui. iu-.i 1 ku I.ace Edcinu a.\i» L\M'.RruiN. Wlicn at the end of the chain, make seven pick up the fourth stitch in the next hole, and stitches, and turn and pick up the fourth ron'.inne in the same manner all the way across, NeeDLG-CI^fiFT. Then make a chain of seven stitches, and turn for the second and third rows, and continue and make another row of holes in the same making the three rows of holes in alternation manner. with the single rows of grouped stitches until When the three rows of holes are made, a sufficient quantity of lace has been made, make a chain of five stitches ; then turn and To make the scollop : First row. — -When make four double crochet stitches in the near- the last row of the part just described is est hole. Make one chain, and then make made, make a chain of five stitches, and then mmMM Figure Nu. 3. — Crochetted Lace. four double stitches in the next hole, and so on to the end of the row. Then make a chain of seven stitches, turn, and make a single crochet in the hole between the clusters of four stitches. Continue in this manner all the way across. Then make two more rows of holes in the manner described make a double crochet in the nearest hole in the nearest long edge ; then make a cliain of two stitches, and make a double crochet in the right corner of the next hole ; make a chain of two stitches; make a double crochet in the left corner of the same hole ; make a chain of two stitches ; make a double crochet 112 NGeDLe-CRAFT. in the next hole ; make a chain of two double crochet in the right corner of the next stitches; make a double crochet in the next hole; a chain of two, a double crochet in the hole ; make a chain of two, and a double cro- left corner of the same hole ; and proceed in chet in the next hole ; a chain of two, a this manner to the end. ]{ ^ouie-lT^ade Portfolio. In the mind of the one who designed and executed it, " home-made" is not synonymous with poorly made, nor suggestive of any apology for the origin of whatever she under- takes ; and her portfolio is an evidence- of the creditable work that can be done by any one whose efforts are based on the same prin- ciples. Two narrow white wood frames, one considerably wider than the other, were pro- cured and around the margin of each a con- ventional daisy design was hammered as it would be on brass. The surface of the rest of the frame was punctured slightly with a small nail, and then the woodwork was sized with white glue and thickly coated with metallic silver powder sifted through a piece of scrim, f n the smaller frame a photograph of a wood- land scene was placed within a mat of Gobelin blue plush, and in the larger one the owner's inter-linked initials worked upon satin the same shade, above a scroll which incloses the words "Ars Longa." The satin is mounted on a stretcher, as an artist mounts his canvas, backed with cardboard, and the nicety and precision with which the work is done gives no hint of the words which usually follow the quotation, for the worker apparently took plenty of time to do her best. There is no glass over the photograph, but upon the inside of its frame satin is tacked, and over the tacking a handsome silk cord is invisibly arranged. The two frames are hinged together at one of the longest sides of each, their positions being regulated to bring the larger frame at the back with the satin upon the inside while the photograph frame forms the front. Small silver screw-eyes are inserted in the ends of each frame, and through them are run small metal chains har- monizing in color, which hold the two frames at a proper angle. The stand is covered with Gobelin blue plush, and like the portfolio is almost entirely home-made. The entire affair is as attractive as it is useful, and may be duplicated with any variations in its details which personal taste suggests. J*^:ffi-r j'^v-'A / XX X X \ y.' ,' ?c-:%r;:^!-} NeeDLe-ci^AFT. "3 %v^' 1^^ ji-.. ':^^ .f^c CHAPTER XX. (^rcchctted Lace Edging and Insertion: Suitable for Linen, $ilk or (^otton. Crochetted Lace. HIS lace is pretty for under- '^"^ garments, aprons, pillow- cases, etc., and is made of fine linen or cotton thread, crochetted with a steel needle. Make a chain of seven stitches, and make three crochets in the seventh stitch from the needle, throwing the thread over the needle each time ; then make six chain stitches, and turn as shown at figure No. i; throw the thread over the needle, and make three crochets in the middle of the first three crochets; continue as shown at figure No. 2 until four loops are formed at each side as shown at figure No. 3. Now make three chain stitches, and make nineteen crochets in the first loop to the left; beginning with the second of these crochets to make a chain of nine stitches into every alternating crochet, throwing the thread over the needle and crochetting the thread and loops all off at once for every crochet. Make a single crochet in the next loop. Make a chain of three stitches and fasten in the middle stitch of the first loop of nine stitches as shown at the left of the scollop pictured at figure No. 4. Continue in this way ail around, until all the loops are taken up. Now to continue the heading make three chain stitches and then three crochets into the center of the three crochets forming the head- ing. Proceed by making six chain stitches and three crochets into the center stitch of the three crochets just made; make a chain of three stitches, fasten with a single crochet to the top of the first loop of the scollop. Throw the thread over the needle, put the latter through the first hole in the scollop, throw the thread over the needle again, drav,^ it back through the hole and single crochet, and with it draw all the stitches off the needle. Repeat until four of these crochets are made in the hole. Chain one stitch and proceed as be- fore until all the holes of the scollop are filled as just described, and as pictured at the right of figure No. 4. Throw the thread over the needle, put it through the next loop in the heading, throw the thread over the needle, draw the thread through the loop, and with a single crochet take off the three stitches on the needle. Make a chain of seven stitches, turn, and take up the fourth stitch on the scollop. Continue in this way all around tlie scollop. Now to carry the heading along 114 NeeDLG-CF^AFT. make a chain of three stitches and three cro- entire scollop. Now tal;-.- u;- the first loon ir. chets, making the latter into the center of the that portion oi the heading originally formed; three crochets already made in the heading. turn, throw the thread over the needle, put it Make a chain of six stitches, and make three through the first loopo^ the scollop, throw the more crochets into the last group described, thread over the needk and draw it through FIGURE NO. I. FIGURE NO. 2. FIGURE NO. 3. FIGURE NO. 4. FIGURE NO. 5. Figure.s Nos. 1, 2, 3, 4 and 5, Crochetled Lace and Method of Making It. Then make a chain of three stitches; fasten the loop; then with a single crochet draw all to the center of the first loop in the scollop the stitches off the needle. Repeat this last with a single crochet. Make a chain of four crochet, throw the thread over the needle and stitches and fasten into the next loop of the make a double crochet in the loop; make a scollo;). Continue in this way about the chain of four stitches, throw the thread over NeeDLG-CI^ilFT. "5 the needle and draw it through this loop with another double crochet; follow this with two single crochets to complete the filling-in of this loop. Then continue this process in every loop about the entire scollop, to com- plete the outer edging. Making a chain of three stitches and fasten to the crochet which stage where the outer edging is begun. Then into the first hole of the second scollop make two single crochets, one double crochet and two chain stitches; take up the center stitch of the loop in the heading and the center stitch of the first loop in the edge of the com- pleted seollop with a single crochet; make a FIGURE NO. 6. FIGURE NO. 7. FIGURE Figures Xos. 6, 1 and 8, Crocheited forms the end of the heading thus far made. To continue the heading make a chain of si.x stitches and three crochets in the center of the three crochets already made in the head- ing, and continue with the heading until four loops are formed on each side. Make the second scollop the same as the first, up to the NO. 8. Insertion, and Meihod of Making It. chain of two stitches, turn, make a double crochet and two single crochets in the hole into which the two single crochets and the double crochet have been previously made. To make the second joining of the scollops, make two single crochets, one double crochet and two chain stitches; take up the center ii6 NeeDLG-ci^AFr. stitch of the loop in the edging of the com- pleted scollop with a single crochet. Make two chain stitches, turn and repent the double and single crochets as explained for the first joining. Proceed by finishing the edging of the second scollop, and repeat the process until the reeiuisite length has been accom- l)lished. Then make a row of chain stitching along the top of the heading for sewing on the decoration. Crochetted Insertion. This insertion is to match the lace above, described. Make a chain of twenty-four stitches, then turn, and in the eighth stitch from the needle make three crochets, throwing the thread over the needle, as described for the head- ing of the lace. Then make four chain stitches, and make a double crochet in the fifth stitch in the chain from the group of three crochets. Then make a chain of four stitches and another double crochet in the fourth stitch of the chain, counting from the last cro- chet ; . then a chain of four stitches and three crochets in the fifth stitch from this on the chain; this is shown at Figure No. 6, as is also the next step, which is as follows : Make a chain of six stitches, turn, and make three crochets in the middle of the last three crochets made. Then make a chain of two stitches, and make eleven cro- chets in the second hole, making a loop of six stitches into the top of the second of these crochets and a similar loop into each alternating crochet, as represented at Fig- ure No. 7. Then make a chain of three stitches, and make three single crochets in the middle of the three crochets near the tnd. Make six chain stitches, turn, and make three crochets in the middle of the three crochets just made ; then make a chain of two stitches, and fasten in the center stitch of the near- est loop ; repeat the two chain stitches and fasten in each remaining loop. Then make a chain of two stitches, and Make three crochets in tlie middle of the crochets near the end. Make a chain of six stitches, and make three crociiets in the middle of the three crochets just made. Make two chain stitches, and make six single crochets in the hole between the first two loops, making a chain of five stitches between the third and fourth crochets. Repeat in each remaining hole as shown at the unfinished top row of Figure No. 8. Then make a chain of two stitches, and make three crochets in the middle of the three crochets near the end. Make a chain of six stitches, turn, and make three crochets in the middle of the three crochets just made; make a chain of two stitches, and fasten in the first loop ; make a chain of three stitches and fasten in the second loop ; make a chain of four stitches, and fasten in the third loop. Make a chain of three stitches, and fasten in the fourth loop ; make a chain of two stitches, and make three crochets in the middle of the three crochets near the end. This completes the pattern and the begin- ning row for the next pattern, which is done in the same way and is shown at Figure No. 8. A chain is crochetted along each side, for the sewing-on rows. ♦ > ?• < ' NeeDLG-CI^AFT. 117 -^ph ^5 =22Sr I I gp^f;JF^ ^^ HEEHH HrJjj ^rgggg ' gr^ H r^ i" r" '^^^^ r^r^ ' jl ' E E?^ CHAPTER XXI. (^rochcttsd Lacss, with Braid Readings^ and IBcthod of making Them. % O make this lace, a i)iece of fancy braid with a loop edge and some fine cotton or line* H>?>»?»»y»?» "> 7^ ''''^^v ?»»»>»»?■> >^> FiGURK No. 6.— Design for Edging. Figure No. 7.— Design for Insertion. edged braid are here illustrated. The en- for the crochet part, but white is selected for graving explains the details better than all other purposes, because of its harmony words. The insertion is made just like the with all lints. 126 NeeDLG-CRilFr. I* ** I ♦ . * ************* ** 1 *_*_*_* Jr_* *_* *** *** I # *************** * * * *********** * Baiicy Q.[all-Pockets. A PRETiv wall-pocket, large and strong enough to hold trifles that one desires to keep, is made as follows : Take a shallow paper box that is square or nearly so and from the cover separate the edge which slips over the box proper. Finish the margin with a fancy cord or with a binding of velvet or plush, and then run narrow ribbons through corresponding holes made in both the box and cover, tying them so as to bring the two portions together at the bottom and leave ihein far enough apart at the top to permit of inserting whatever the pocket is intended to hold. Suspend it by cord or ribbons to a fancy-headed tack. A box that has a pretty picture on the top or is covered with fancy paper may be utilized for this purpose with pleasing results. If the edge of the cover is very shallow it need not be removed. Two flat pieces of Bristol board may be joined by gore-shaped pieces of plush, velvet or strong fancy paper, and upon that which is to form the front may be neatly gummed a p irtiait of some celebrity, such as is often published in the best illustrated periodicals of the day, or a small landscape engraving, which may be obtained from the same source. A band of ribbon velvet or of velvet paper, in some rich tint, forms a pretty framing, and a fancy cord provides a neat bordering for all the edges and also the means of suspension. If the board be strong enough and the deco ration artistic, a very durable and pretty pocket may be thus made at a trifling ex- pense. Scraps of velvet and tinsel paper, and the numerous varieties of wall paper in art tints which may be left over from making borders, friezes, dadoes, etc., may be utilized for such articles with good re- sults. NeeDLe-CHAFf. 127 CHAPTER XXIII. MAGRAME LAGE W0RK ^m lace seems to have held sway v\^" ■ over the human affection for W 'iS ■'"''"gs beautiful. The Egyptians, {']lp/k fvomans, Israelites, all indulged in '^^^ the luxury of lace embellishments ; and many of the beautiful laces which appear quite modern to us are revivals of those of ancient days. Among the most easily made laces, and one that, owing to its simplicity of formation, is within the reach of rich and poor alike, is that called Macrame. This lace is formed by knotting threads together, and many and beautiful are its patterns. It may be used in beautifying the toilette of my lady, and also in making lovely her boudoir, her parlor or her sitting-room. Lambrequins, table-cov- ers, whisk-broom holders, shopping-bags, game-bags for the sportsman, shawl-cases and bags for the traveller, hammocks, etc., may all be made of this handsome lace. By studying these engravings and follow- ing closely the accompanying descriptions, success will surely attend those who seek to unravel its mysteries. The requisites for making the lace are a desk, pins and cord. The desk, with the pins, may be purchased ; but a lady of ingenu- ity can easily make one for herself in the following manner : A smoothly planed board, about tweniy or twenty-five inches long and twelve or fouiteen inches deep, with nicely rounded edges, is the first requirement. Cover the upper side of the board with several layers of flannel or cloth, drawing all suf- ficiently taut to avoid wrinkles, and securing them perfectly so that not a wrinkle will rulifle the surface in the working. If the regular pins cannot be procured, small nails, carpet tacks or stout common pins may be used. Arrange the pins at equal intervals across the upper edge of the desk, and also at the ends wherever cross-threads are to be fastened. Tying cord and softly twisted fishing cord are sometimes used, and so also are the coarser threads in white or delicate tints either singly or combined. The finer the thread, however, the closer the pins should be placed. The cord or thread usually employed is known as the " Macrame," and may be obtained in fine and coarse, as well as in medium grades. Attachment of the Threads. Figure No. i. — This engraving illustrates how the threads are attached and the work be- gun. After arranging the pins according to pre- 128 NeeDLe-CF^flFT. vious instructions, fasten two threads of equal lengtiis about the pins as shown by Figure No. 1 — A. Then tie them in a single knot, as shown by Figure No. i — 13, and in a second knot as shown by Figure No. i — C, to pro- duce an ordinary double knot. Now arrange a cord across the desk, tying its ends securely to pins fastened in the ends at a depth sufficiently low to permit the cord to cross over the threads and just below the double knots. Then proceed as in Figure No. i — D, It is not unlikely that even as early as this stage of the work the hands will feel the effects of drawing the cord, especially if it is of the firm, hard, twisted variety, and to the novice the advice not to attempt too much without permitting them time to recover, may be given. There is a knack in handling the cords so as not to cut or chafe Ihe hands, and until it is acquired many ladies protect the palms and fingers by w'earing old gloves, from which the tips of the fingers have been cut. l-A. l-B. l-C. l-D. l-E. l-F. l-G. Figure No. i. — Attachment or the Threads. commencing with the first left-hand thread, bringing it ov'er the cross-thread and under toward the left, as illustrated ; using the same thread to tie the knot as illustrated at Figure No. I — E, drawing this thread very tightly, and producing the double coil as shown in Figure No. i — F. Tiien take up each of the succeeding threads in a similar manner, pro- ducing the result seen in Figure No. i — G. This completes the first unbroken cross-line cord from which the next stitch is worked, as shown bv Figure No. 2. The work is not retarded by such a course, indeed it is advanced, because the hands thus protected can w-ithstand the influence of con- stant friction from the material. It may not be amiss to add that if before beginning lace- making each time, the hands are bathed in warm water, and while still moist, rubbed with cold cream, or wliatever emollient ex- perience has proven best adapted to them, the cuticle will be less liable to lireak beneath the tension of a cord drawn too quickly or too lightly. NeeDLs-ci^fiFr. Diagonal Pattern. Figure No. 2. — This illustrates the diago- nal pattern, which in this instance is produced by the use of twelve threads. Selecting the first thread at the left as the leader or the thread over which the others are to be knotted, take up the ne.xt thread at the right, and tie it over the leader as seen at figure No. 2 — A, and draw it closely as directed for the cross-lines. Then take up each of the four succeeding threads separately, and con- tinue with each in a similar manner, produc- No. I — F, the result of which is also shown at Figure No. 2 — D. Although this may be properly termed only a preliminary to more elaborate patterns, it is in itself a very pretty and effective design and it is especially adapted to the embellish- ment of such articles as are constructed with a view to showing some delicate and bright color through its meshes. As it does not however permit of running ribbons into the heading it is less in favor than some others for decorat- ing articles for which an elaborate finish is fU ,'^^ P f% f\% 0^.^ 2-A. 3-B. 2—V. Figure No. 2. — Diagonal Pattern. ing the first diagonal pattern as shown by Figure No. 2 — B. Then again, take the left- hand thread as the leader, and proceed with the succeeding five threads as already de- scribed. Then take the right-hand thread of this cluster of twelve threads already selected, bring it over the five at the left nearest it ; then take up the first of these five threads nearest the leader, and knot it over the leader with a reversed knot, as illustrated in Figure No. 2 — C. Then proceed as directed in Figure No. 2 — B, producing the result as illustrated at Figure No. 2 — D. Below this arrange another cross-thread, over which tie each thread, as directed for the first at Figure required or desired. It is however commend- able for the ease with which it may be fresh- ened by the most simple laundry process. All macrame' lace may be renovated by washing it in water in which a little soap and bora.x have been dissolved. The dust should be shaken from it before it is wetted and it should be moved up and down vigorously after being allowed to soak for some time. Several rinsings and a thorough squeezing are in order, and before it is hung to dry it should be well shaken. When dry the pattern may be drawn into shape with the fingers and the fringe clipped to give it a fresh and attrac- tive appearance. 13° NeeDLG-cp^AFT. Tape or Braid Pattern. and proceed with the same stitch to produce l''i(:i.ri-!E No. 3. — This ilkistrates the tape the effect as shown by Figure No. 3 — C, below or braid pattern, which in this instance is wliich attach a third cross-cord, formed by selecting clusters of four threads •mtwtt -».«.» 3-A. 3-B. 3-r. FrnURE No. 3. — ^Tape (jr Braih Pattern. each. Of these clusters take the middle two Lace Pattern. threads, over which knot the outside threads, Figure No. 4. — This illustrates the lace disposing of the first as in Figure No. 3 — A, pattern. Separate the threads into clusters 4— A. 4-B. Figure No. 4. — Lace Pattern. drawing it closely to the cross-thread and of four, and tie a double knot over each of again tying the same two threads, as seen in the middle two of the clusters, as illustrated P'igiue No. 3 — B, also drawing this tightly ; at Figure No. 3 — B, to form the heading or NeeDLe-ci^iiFT. '3' commencement of the pattern. Then leave the two threads at the left, and take up the next four, over the middle two of which tie the two outer threads, as illustrated at Figure No. 4 — A, continuing this method as a second line of knots across the length of the desk. Then, taking up the two threads at the left, which were dropped at this row, take the two next to the right, to form a cluster of four ; then proceed to tie the first knot in the third row, combining the same to produce the nec- tlie tape pattern as illustrated in Figure No. 3 — C, to the amount of nine knots or stitches. Then take the two leaders, bring them up over the tape, insert them through the space between the lower diagonal cords, and draw the ends of the tape closely to the first stitch of the same, as seen at Figure No. 5 — B. Then, take the two working threads or cords, bringing them outside the commencement of the tape pattern, and tie them around the two leaders in the double knot to make the 5-A. 5-C. Figure No. 5. — Tape or Braid Knot. essary depth of this pattern, the completed result of which is shown at Figure No. 4 — B, which also discloses the fourth cross cord. Tape or Braid Knot. Figure No. 5. — This illustrates the fifth pattern in the series, the first arrangement of which is produced as in Figure No. 2, but discloses three diagonal cords, instead of two, with the tape or braid knot introduced, the production of which is attained as follows : Select the middle four threads of this double cluster of the diagonal pattern, and compose fastening, and complete the tape knot, as shown at Figure No. 5 — C, which also dis- closes a second line of diagonal cords, made as follows : Take the twelve threads, and work each of the six outward from the knot to complete this section of the pattern, which is divided by the fifth cross-cord from the tassel fringe that completes the series. It is always best to use the same make of cord throughout for each piece of lace as different makes are apt to vary in closeness of twist or some equally important jarlicular. 132 NeeDLG-ci^AFr. Tassel Fringe, for Finishing Macreme Work. The knots or stitches described are among Figure No. 6. — This illustrates the con- the simplest varieties, and by the exercise of struction of the tassel fringe : Select twenty- a little ingenuity on the part of the lace four of the threads at the left iiand and divide maker, manv beautiful results and quite an Figure No. 6. — Tassel Fri.nge, for Fi.nishinc Macrem^ Work. them into two groups of twelve threads each, assortment of \ery pretty patterns will be Then subdivide each of these groups into obtained. It would be well for the worker to three clusters of four threads each, and pro- remember, however, that every thread should ceed to knot them as illustr.nted. 'I'his forms be knotted twice, and that the knots or stitches the heading. Then untwist and comb the should be tightly drawn, to keep them from threads below the last knot, to form a light, slipping during the progress of the work or liuffv tassel. afterward. NeeDLe-CRfipr. ^33 r?^st||*^stssf$^?^ CHAPTER XXIV. FRINGES AND THEIR G0NSTRDGT-10N. worsted on the section, as shown by Figure No. 3, being careful to put the needle back in the place where it comes through till the thread comes out at the starting point ; then cut the worsted all around the edge of the section, and tie the thread run round the hole as tightl}' as possible. The manner of put- ting in the tvin;;- thread and cutting the Ball for Tassel Fringes, etc., and Method of Making It. JT^^^'y^^^i^IGURES Nos. I, ' K_J i '' 2' ^^^ 4-— I" making the ball illustrated at fig- ure No. I, worst- ed of any variety may be used in single colors or in two or three shades as preferred. First cut from card-board a circular piece about one inch in diameter, and cut a large hole in the center; run the worsted in and out through Figure No. z. worsted is shown at Figure No. 3, and the manner of tying the thread when the worsted is cut is shown at Figure No. 4. After cutting the worsted, pull it through the hole at one side ; clip the threads evenly and closely with a sharp scissors, rolling the ball between the palms of the hands to shape it : then shake the hole, about the solid portion of the sec- it well. The balls may be made any size tion, as shown by Figure No. 2, until the sec- desired by increasing or decreasing the size tion is very thickly and uniformly covered, of the card-board section upon which the Then run a thread of the worsted under the worsted is wound. Many persons make the Figure Ni_ 134 NSeDLe-CI^AFT balls by winding ihe worsted in and out be- shown by Figure No. 5 may be used entirely -tween the prongs of a fork and tying the as lambrequins or as edges for them, or they Fku'rk No. ■;. FuuiKK No. 4. entire mass through the center. The cutting, may edge table-scavfs, chair-scarfs, work- clipping, rolling, etc., is the same as that baskets, etc. The niei hod of constructing the I'Kil'RE No. 5. directed for the balls just described. The balls for these fringes is illustrated at Figures effect of the balls made in fringes is shown at Nos. 2, 3 and 4. Worsteds of all varieties Figures Nos. 5 and 6. mav be used in making such fringes, and the Styles for Ball Fringes FlCURK No. 6. Figures Nos. 5 and 6. — Styles for Bali. Frij.oes. balls may be of one color or may show two or Fii;fRES Nos. 5 AND 6. — Fringes made as three-colors, as preferred. NeeDLe-CRAFr. 135 Knotted Fringes. Figures Nos. 7, 8 and 9. — Three different ways of .knotting fringes are here shown. The fringe is formed by ravelling the ends of the article to be so completed, quite deeply, separating the fringed part into clusters of equal numbers of threads and then knotting them in any of the ways illustrated. Ii it be Bag for Soiled Clothes. Figure No. 10. — A very useful article is pictured in this engraving. It may be made of towelling, duck, crash, linen, canvas or any similar fabric. The section, which should be more than twice as long as it is wide, is folded up quite deeply, and the edges are seamed togeiher. I'he top is then folded over f-li.l-KL .\' Fu.rkE Xij. 9. Figures Nos. 7, S and 9. — Knuiteu P'ki.nges. not desirable to ravel the edge of the article, threads of silk, floss, etc., may be run through the edge until a heavy fringe is formed, and similarly knotted. Fringe, knotted in the manner represented at Figure No. 9, is used in decorating the bag pictured at Figure No. 10 in this chapter. a rod in cover fashion, and to the ends of the rod are attached the suspending ribbons. The edge of the cover and the lower end of the case are trinuned with fringe, and a little above the fringe are applied, with herring-bone or other fancy stitches, strips of ribbon that are embroidered along the center with daisies or 136 NeeDLe-CRAFT. other flowers. If a fancy ribbon be used the ornamented with simple designs done in out- application stitches only are necessary. The line stitch ; or such a bag may be made of fringe is made of a strip of the material, fringed towels having colored borders. Fioi'Rr. \u. 10. — liAi; i-uK SoiLtu Clothes. out and knotted tea depth sufficiently effec- Tassel for Fringes, etc., and Method of Making live for a heading. Various styles of knotted • fringes are illustrated elsewhere in this Fir.i'RF.s Nos. 11, 12, and 13. — In making chapter. As a bag devoted to the jjurpose the tassel sliown at Figure No. 11, many for which this is constructed is itself apt to strands of wool, floss or embroidery silk are need laundering occasionally, the ribbon deco- laid evenly and thickly together. Then a ration may be omitted in favor of linen bands piece of pretty silk cord or of the tassel NeeDLe-ci^AFr. 137 material is tied arouiul the middle of the passed under and over the mesiies of the can- bunch, as shown by Figure No. 12. I'hen the vas in the manner depicted in the engraving, bunch is doubled and tied around in the man- the point at which each strand passes under ner illustrated by Figure No. 13, the worker and over the canvas being calculated by count- tying it as tight as possible. Such tassels ing the bars in the fabric. A regular grada- may be sewed along the edges of lambrequins, tion, which is one of the chief charms of the Figure No. 12. P'kuires Nos. II, 12 AND 13. — Tassel for Fringes, etc., and Method of Making It. Figure Ni Figure No. n table-covers or scarfs, to make a heavy, hand- decoration, is thus obtained. The threads some fringe ; or they may be fastened to of canvas which are thus brought over the cords to be used as festoons or other decora- tions. The material used for the tassels may be left in the natural state, or it may be care- fully combed out. When used as decoration for the ends of cords, the cord should be used for the tying illustrated at Figure No. 12. Such tassels are often utilized in making fringe. Fancy Fringe. Figure No. 14. — This fringe is easily made and is effective as a finish to portieres, shelf- draperies or any hanging requiring such a completion. The foundation is canvas, and worsted are concealed and the beauty of the the fringe itself is formed of worsted in two fringe enhanced by making a stitch of silk shades cut in graduated lengths, as indicated directly over each thread of canvas visible by the engraving. Each strand of worsted is upon the surface. The engraving explains the it ■Vr jM ^f" i|;;i;;;;;:; w^ — f' ''lliiilif'""t 1 II 1 ' IHkS' in ' liliHzi: — It liDnBi — X m "rTfr I'Ri^l- Figure No. 14. — Fancy Fringe. >38 NeeDLG-ci^AFr. process so clearly that elaborate instructions regarding its details are unnecessary. It may be suggested, however, that the worsted is most easily slipped under the canvas by threading a canvas or embroidery needle with it, and that the fringe is renderml more firm looking by making each silk stitch thiough a half square of the canvas instead of merely around the mesh that crosses tlie worsted strand. Several shades of color or several contrasting colors may be united in a fringe of this style. The canvas may be trimmed off far enough from the ends of the strands to per- mit of their falling free, and the spaces between the irregular lengths may be filled in the width of the section depending somewhat on the thickness of the worsted used. A bit of pasteboard or, what is better still, a smooth match-shaped b'n of wood is then laid in the center of each section and a needle threaded with worsted is passed through the meshes nearest it on one side, brought to the surface tlirougii tlie corresponding ones on the other side, carried over the wood to the opposite side and passed under and over in this way for the length of the enclosed section. The process is repeated through the next succeed- ing row of meshes or openings on each side and so on until one half the space on each side has been worked over. The process is P'iGURE No. 15. — Fancy Ukauinu i-or Fki.nge. with any variety of embroidery stitch adapted to the te.xture. Fancy Heading for Fringe. Figure No. 15. — Although the title denom- inates this as only a fancy heading for fringe it will quite as often be developed as a border for shelf draperies and other hangings. or as a finish for fancy rugs. The foundation is can- vas, the fineness or coarseness of the mesh being decided by the variety of worsted chosen. The thick, fuzzy pile is produced in the follow- ing manner : The canvas is marked off into narrow bars or sections by rows of stitching as indicated at the right side of the engraving. clearly delineated by the partially completed bar shown in the engraving, the needle being passed under a thread of canvas in the act of bringing the worsted from one side to the other. When all the canvas has been w-orked over a pair of sharp-pointed scissors is needed to cut the stitches as they lie upon the bit of wood, and care should be taken to insert the lower blade so as to cut them evenly. When thus cut they will form the short thick pile represented by the left end of the engraving. Two or three colors, or several shades of the same color may be combined in this variety of work witli tasteful results. Such a border foriTis a handsome finish for a portiere of NeeDLe-ci^iiF 1. 139 billiard cloth or for one of tapestr\' embroidery. Made of very thick worsted or carpet ravellings it would be very effective about a rug. Of course such a finish would not be desirable for rugs that were to be subjected to constant use, but for the long narrow ones which look so well under mantels it would be quite suitable. If a fringe finish were in order one like that pictured at Figure No. 14 might be developed with especially harinonious results. Drapery Fringe. Figure No. 16. — This fringe is one of the graduating their distance apart by estimating how large a diamond shape they will form when brought together for the first row of lattice work. After they have all been attached begin to form the lattice work by bringing the corresponding cords together as if they were to be netted, but instead of knot- ting them fasten them securely with a few stitches done with a needle and thread ; care is necessary in this part of the work that they be not lapped nor stretched but simply brought together and fastened. In this way make as manv rows of the lattice or diamond work as Figure No. 16. — Drapery Fringe. easiest for the home decorator to make and one of the most effective which she can employ in the ornamentation of any furnishings wiiich require or suggest such an addition. It is made of silk cord and in attempting its con- struction it is best to start with a correct idea of how long a piece of fringe is needed. When this is decided upon procure a piece of tape or gimp of the same length and as much silk cord as the quantity required suggests. Cut the cord in lengths corresponding with the depth the fringe is to be when finished and attach the sections to the tape at intervals, are desired and finish the lower row by bring- ing the ends of contiguous cords together and fastening them so as to permit of tying tassels over them. Wherever stitches have been taken twist bits of chenille or finer cord, and when the fringe is applied tack a row of moss- heading or fancy gimp to conceal the founda- tion. Fringe of this style is used to drape very e.xpensive furniture, to form mantel lam- brequins, and for a variety of purposes sug- gested by its beauty. The engraving does not give a good idea of its rich effect, but any lady who has observed the beautvof such a decora- 140 NeeDLG-CRflFT. tion can readily obtain from it the requisite insight into its construction. Tlie ends of the cord may be allowed to hang free so as to tip each one with a tassel, or they may be grad- uated in length, and finished with tassels of different colors. Fancy Fringe. Figure No. 17. — A dainty fringe, suitable of crochetted loops, which are done in chain stitch and attached along its lower points. The second row of crochetted loops are much deeper, and each one forms a tiny circle at its lower extremity. The arrangement of the ribbon, which is of the narrow purl-edged variety, is clearly explained bv the engraving. Tlie upper row is tacked securely to the edge Figure No. 17.- for finishing a chair or bureau scarf or any article requiring an especially pretty and deli- cate completion is here illustrated. The engraving suggests the manner of its attach- ment, the plain upper portion representing the article to be finished, l^pon it is worked with rope silk a pretty design which is clearlv por- trayed, and apparently supports the first row -Fancy Fringe. of the fabric at every third crochetted loop, and the lower rows are knotted through the little circles, a brass ring being slipped on the ribbon before it is knotted each time. The irregular lengths of the lower ribbons are ob- tained by skipping every alternate ring when the first row is inserted, and taking the omitted ones up when the second row is arranged. NeeDLe-CF^AFT. 141 , f^^g^;^g-;;£;^-;;2^:;:S^l4 N^^ -■>g^--^;^|::|j^-^^-'-->^-^t». CHAPTER XXV. 0RNAMENTAL PQRT-IERES. MONG the most beautifj'ing adjuncts to the furnishings of a house or apartment are draperies and hangings iiarmonizing with the gen- eral tone of the upholstery. Very often it is such hang- ings which give to an other- wise cold appearing interior its most cheerful and satisfying effect. When it is practicable to remove doors that do not slide in panels it is always well to do so, but as it is not always per- missible to do this a few suggestions regard- ing the ne.xt best course may be of value. When a uniformly good effect from both sides is desired, hang the curtain from a pole set in sockets screwed into the casing, midway between its inner and outer edges, instead of upon brackets at either side. If it is an arched opening let the pole go as high as it will, and have the curtain only long enough to extend from it to the floor, unless it be arranged to drape in some artistic fashion above the pole, which may be accomplished in a variety of pretty ways, one that is very easily developed being arranged by means of a gilded rope and rings which screw into the top of the casing. The rope is passed through the rings and enough slack allowed to permit of throwing the top of the hanging over it; a few stout pins will maintain this portion in position, but a curtain thus arranged does not permit of being drawn out of the position in which it is hung. It is not therefore an advisable disposal for d.oorways which must sometimes be entirely screened. A pretty device for fill- ing in the space above a pole thus placed consists of Japanese fret-work, which may be purchased by the foot and fitted to any outlines. It may be gilded or finished in any other way desired, and is in itself very attractive. After any hanging is adjusted care should be taken not to draw it out of its plaits or cause it to sag by careless hand- ling. A dexterous movement will suffice to draw a heavy drapery which refuses to yield to misapplied efforts, and as rings and all the other fixtures required for perfect man- ipulation may be procured at a moderate out- lay there is no reason for an unsatisfactory disposal or an unsightly appearance. Among the materials which are utilized by people of artistic tastes who are not deterred from asserting their fancies by dread of being miconventional, are plam ingrain carpetings. 142 NeefiLG-CHAFr. These goods are woven in a variety of colors or they may be worked through on canvas, and drape handsomely. which may be withdrawn, thread by thread, Embroidered Portiere. when the embroidered figure is completed. Figure No. i. — The elegant portiere here The natural colors of the flowers should be shown is made of Gobelin-blue plush, richly copied to achieve the desired result. Felt, ll'.lKK ,\ll. I. — KMIUiOIDKKK.H roKriKKl-. embroidered with detached sprays of dififerent cloth, salin or any preferred plain material kinds of flowers, with their special foliage, may be used instead of plush, with handsome The designs may be en applique if preferied, effect. HeeDLe-ci^AFT. 143 Handsome Portiere. Figure No. 2. — This engraving illustrates a sumptuous door-drapery of crimson plush. The curtains are embellished near the top with a large Horal design en appliijiic, and small detached flowers and leaves en applique' are strewn all over in an apparently careless but carefully studied manner. The rod is ebony, in raw silk, satin, cretonne or any suitable curtain fabric, the material being usually selected to accord with the furniture of the rooms. Instead of the decoration illustrated an effective design in fruits or flowers or in geometrical or other conventional outlines, might be applied by a lady who is clever Figure No. 2. — Handsome Pokiierf. and above the curtain is a smaller rod, from with the brush. Lustra-painting is a most which a width of plush droops in a handsome beautiful means of ornamenting such a festoon at the center, the ends being thrown drapery. artistically over the curtain rod. Cord and heavy tassels drape the curtains back, and Decorated Portiere. a lining of crimson satin is added both to Figure No. 3. — This handsome portiere is the curtains and to the lambrequin drapery. made of China silk, and is rendered very rich The same effect in drapery may be achieved and elaborate by four bands of velvet which 144 NeeDLe-CF^AFT. cross the bottom, the lowest band being about is achieved with fancy stitches done wiih a quarter of a yard wide and the other three vari-colored flosses. The curtains are attached about one-third as wide. The wide band is to brass rings run over a brass rod, and may enriched along its lower edge with plush ball- be tied back with wide ribbon or allowed to Lji«IIIIkrai*c-^^^ i ^V v^^^- •;# CHAPTER XXVIII. TABLES AND TABLE' SCARFS. lHE prevailing fashion of decorating fancy tables with scarfs is conducive to charming effects, which do not demand a large out- lay of money, provided time and taste can be expended freely. Table Scarf. Figure No. i. — Reps of the shade of yel- low fashionably called pumpkin yellow was chosen for this pretty scarf, and the ends are decorated with a row of deep antique lace, above which is a handsome decoration of applique' pansies with embroidered leaves arranged in single file. The pansies used were selected from manufactured floral applique's. .\ny other preferred applique flowers or other designs may be used, or the entire decoration may be hand-embroidered or hand-painted, as preferred. Fringe, orna- ments, etc., may be used instead of lace, and mstead of the reps, felt, plush, silk, satin or any preferred material may be used. Scarf for Square Table. Figure No. 2. — This scarf is designed especially to meet the requirements of the small, square table that is so prominent a feature in many houses. The square in the center defines exactly the part that will cover the table. The scarf is of dark green plush, and the ribbons applied upon each corner are of shrimp satin, silk floss in the same shade and in one of the fancy applique stitches be- ing used to hold them. After they are fin- ished, the center square is laid over and fastened down with the same stitch. All this may be done over a lining of thin muslin, and the real lining of satin-finished silesia need not display stitches. For the distances indi- cated, the edges are ornamented with crescents of green plush, caught securely and yet so loosely that they hang easily. Any favored combination of colors, or one that will suit the furnishing of the room, may be substituted for this, though the shrimp of the sea and the green of the ivy form a combination that is approved by high art. Decorated Scarf. Figure No. 3. — A handsome white towel having floral sprays woven in it in white is used for this scarf. The pattern is outlined with scarlet and green, the green being used for the leaves, which are also veined. A pretty dash of color is also given the ground by running it with scarlet, but to look nice the work must be done carefully. Other pat- terns may be obtained, and the colors chosen 174 NeeDLs-ci^AFr. are usually in accordance with the pattern, are the proper kind for this beautiful work. However, scarlet is much used, for it is very The pattern is outlined with red, blue, pink, effective and bright-looking. green, broun or any other preferred color or F'ic.L'RE Js'u. I. — Table- .Scarf. Some beautiful towels may be purchased colors, and then the ground is rendered bright with floral patterns the shade of the cream or with dashes of the color run in broken lines white groundwork woven in them, and these through it. NeeDLG-CI^iiFT. '75 Pongee Scarf. forni.s tlie necessary finish. Such scarfs are Figure No. 4. — On this pretty ecru pongee so easy to make and so decorative that their scarf, with its hem-stitched ouilining, are ap- desirabiHty is conceded by all who admire plied morning-glories in purple and pink, pretty surroundings. Sometimes the flowers Ki(;ui;e Nd. 2.— Scarf for Square Taule. Figure No. 3. — Decorated Scarf. clambering over a trellis of gilt. The flowers are outlined with silk and their natural colors are machine-made floral appliques, and the reproduced with paint. The effect of such a pretty trellis is outlined with gilt thread. The combination is beautiful, and is easily de- fringe is gilt and pale purple chenille, and veloped on all smooth materials. .76 NGeDLG-CI^AFr. Bureau Scarf. Fuu'RE No. 5. — For the bureau or dressing table this i.s a very dainty-looking scarf. A long, narrow Turkish towel is widened on either side with three rows of ribbon of as many diiiferent shades, joined together by fine over-and-over stitches. The ends of the rib- bons extend below the fringe and are finished in long points that are each tipped with a obtainable in fine grades and in various colors as well as in white. A white towel elaborated with bright yellow ribbon and stitching de- velops handsomely. Table Scarf. Figure No. 6. — This handsome scarf is of heavy satin a.nd has a dado decoration at the end done with colored embroidery silks. The Figure No. 4. — Pongee Scarf. Figure No. 5. — Bureau Scarf. brass ring through which silk floss is pulled and tied to form a heavy tassel. The ends of the towel are embroidered over the border stripes with simple fancy stitches, and a band of ribbon applied with fancy stitches heads the fringe, with very handsome effect. The ribbons may combine any three harmonious shades, and all sorts of colors may be blended in the embroidery stitches. Such towels are irregular pattern is done in chain-stitch with gold silk ; the circles are done with crimson silk in the same stitch, and filled in with a rainbow combination of colors in knot-stitch. A row of deeply netted fringe is added to each end, and may be made of silk in one color or a combination of colors. Any variety of fringe may be used, and velvet, plush, silk, cloth or any preferred material may be NeeDLG-CRAFT. 177 selected for the scarf. Metallic or tinsel cord tassel. A tassel made of floss is also fastened adapted to portions of this work may be where the discs touch and also at a similar obtained for a small sum. It is in various point to the outer discs. The other end, shades and does not soon lose its brilliancy. which falls much deeper, is bordered with two bands of velvet edged at each side with tinsel Ornamented Scar.f. cord arranged in a single scroll. The lowest FrcuRE No. 7. — To throw over a towel-rack, band is directly at the edge, and pendants Figure Xo. 6. — Table Scarf. FlCURE No. 7. — ORNAME.NIEI) Scau a table or the back of a large chair, this scarf is useful and decorative. The fabric is China silk, and the end which hangs over is deco- rated with a row of applied velvet di.scs edged with tinsel cord. A crochetted ring is fastened to the bottom of each disc, and through it is fastened a bunch of silk floss to form a large formed of crochetted rings and floss tassels are tacked to form a fringe all across the edge. The other band is a short distance above, and a row of crochetted rings depends from it. The method of crochetting the rings is illustrated and described in another chapter of this book. 178 NeeDLe-cp^AFr. Pluf-,h Table Scarf. Figure No. 8. — Purjile plush is used for this scarf, tlie liliing being of pale yellow sateen. Satui is laid under the plush, and the latter is cut in the fancy outlines represented and sewed upon the satin ; and an entwining of gold thread is then used to produce an effect like that of the fine black lines in the engraving. Tlic fringe is of plush, slio\viii<^r the two colors, die long pendants swinging from the ends of tiio little brass crescents bv pattern may easily be obtained by folding a piece of paper and cutting out the combined designs with the edge having the crosses (x) on the fold. The cross (X) marks show the center of the pattern, while the figures at the end should fit to those corresponding on the other portion of the design. The figures should fit exactly to each other, and, if care be taken, the result will be as pretty and dainty as possible. The yellow satin is laid under the plush before the lining is put on. F'iGURE No. 8. — Plush Tablii Scarf. which they are fastened to the edge of the scarf. Any colors suited to one's drawing- room may be developed in silk and velvet, satin and plush. Sections of Design for Cutting the Ends of a Table Scarf. FiotJRES Nos. 9 and lo. — Half of the pat- tern for cutting out the ends of the table-scarf shown at Figure No. 8 may be obtained by combining these two designs, and the entire and tlie plush cut out in the fancy design and outlined with gold braid, showing in what sculptors call very low relief. The necessity for sharp, pointed scissors to do the cutting is imperative, as the edges should be absolutely true, and the nap of the plush not broken or matted, a result which is sure to follow the use of dull implements, the blades of which do not work easily. Plush having a short nap is the most desirable to use for this kind of work. NeeDLe-ci^AFr. 179 Figure No. 9.— Section of Design for Cutting the Ends of a Table Scarf. i8o NeeDLe-ci^ftFr. FuiURK No. 10.— Section of Desii-.n tor Cutting the Ends of a Table Scarf. NeeDLG-ci^fiFr. i8i Figure Nu. u. — Tmile Scart and Lamp Shade. l82 NeeDLe-ci^AFr. Table Scarf and Lamp Shade. the decoraied bands the scarf is cut in hand- FiGURE No. II. — Very rich and handsome some points, and between the bands it is are these accessories to a table and a lamp, somewhat shorter; the points and shorter The scarf is of crimson plush, and is bordered portions being bordered with rich fringe. The '^^l Figure No. 12. Figure No. 12 — Floral -Applique. Fu;ukE No. 13. Figure No. 13. — Floral APPLIQUfi. B'iGURE No. 14. Figure \o. 15. Figures Nos. 14 and 15.— Leaves ix Outline, anmi METHon ok F.MiiRniriERiNG Them. at each side with a wide band of gold satin embroidered and applique decorations are ribbon, handsomely embroidered with moss- fully illustrated and described at Figures Nos. roses and daisies en appliijui', and their foliage 12, 13, 14 and 15. Plush, velvet, felt, cloth, can- done in Kensington stitch. At the ends of vas, raw silk, pongee or any preferred material NeeDLe-CRflFT. 183 may be used for such scarfs, and on silk the fringe may be whatever are most pleasing to border bands will usually be velvet or plush. the taste. These bands may, of course, be embellished 'I'he lamp shade is made of two deep Figure Xo. 17. — Embroidery De Figure Xo. 16. — Fan'cy Table Scarf. with embroidery. Ornaments of any pre- flounces of lace mounted on a section of bob- ferred variety may be added as a fringe, and binet that is almost as deep and just as wide as the colors introduced in scarf, bands and the upper flounce. Heading the upper flounce 184 NeefiLe-cF^ftFT. is a row of lace beading that is edged with a row of narrow lace, and through the beading is run a narrow ribbon that ruffles the lace prettily and is tied at one side in a cluster of pretty loops and ends. A row of tiny pom- pons is fastened along the scollops of the lace flounces, with pretty effect. Any kind of lace may be used for such lamp shades, which are as dainty as they are beautiful, and the ribbpn may be of any preferred color. Floral Appliques. FicuRES Nos. 12 and 13. — These pretty flornl appliques are selected from the usual machine-made varieties, and are used to decorate the table scarf illustrated at Figure No. I r. Thev may be used as decorations on scarfs, lambrequins, etc., and are very rich in effect. The foliage to accompany them is usually stamped and embroidered in South- Kensingtou stitch, as shown at Figure No. 14. Leaves in Outline, and Method of Embroidering Them. Figures Nos. 14 and 15. — These leaves represent the foliage of the moss-roses and daisies decorating the scarf illustrated at Figure No. 11. They are of the correct sizes, and are filled in with the South-Kensington stitch as shown by Figure No. 14. The natural shades are selected for them in filoselle, crewel, embroidery silk or fioss, etc. This is the mode usually adopted in providing foliage for applied flowers, but sometimes the leaves are cut from velvet, etc., and also applied. The result is, however, mucii handsomer when the foliage is embroidered. Fancy Table Scarf. Figure No. 16. — This handsome scarf is made of reps and is bordered at each end with a broad band of plush or velvet. 'l"he upper part of the band is decorated with a handsome desig,n in embroiderv, and the ends are bordered with a row of thick caterpillar fringe. The ends are slanted so that the scarf is much shorter at one side than at the other, and the effect is unique and pretty. A painted plaque on an easel, a handsome lamp or any preferred ornament may be placed upon the table. The embroidery design used in decorating the scarf is illustrated at Figure No. 17. Embroidery Design. Figure No. 17. — This engraving illustrates the design used in embellishing the scarf represented at Figure No. 16. It is in the correct size, and may be very easily repro- duced. The stitch is the well-known Ken- sington stitch. Such a design may be worked on lambrequins, chair or table scarfs, etc.. and may be used as a center decoration or as a border, as preferred. Decorative Scarf of India Silk. Figure No. 18. — This scarf is particularly beautiful for the use illustrated. It consists of a width of silk decorated at either end with a row of lace headed by a light metal gimp, and fringed with tiny, tiuft'y tassels. On one end is pictured a vase containing leaves sim- ilar to those in the vase holding the scarf. Any shade of silk may be used, and the lace and painted decoration may be varied to please the fancy. Table Scarf Figure No. 19. — Cn'tonnc in two contrast- ing patterns and colors is combined with black velvet ribbon, cord fringe and heavy tassels in making this beautiful table-scarf. The cretonne is cut in strips — two of each pattern — of ecjual widths, and the strips are neatly joined together, the two kinds being arranged to alternate. Over the seams are herring-boned with gold-colored floss strips of velvet ribbon, wliirh impart a rich and elegant J NeeDLG-ci^AFr. 185 Fir.vRE No. iS.— Df.corative Scarf of India Silk. I- IGURF. No. 19.— 1 Al;l.E ^CAKF. FlGlKE No. JiJ. — l-\IU,F SCAKl'. i86 NeeDLe-CRflFT. effect. A row of fringe borders the ends of the scarf, and over the fringe at each corner of the scarf and at the end of each strip of velvet ribbon is fastened a heavy tassel. The scarf may be lined with silesia or cambric, if desired; and, when a lining is used, the cre- tonne may be cut away beneath the velvet rihljon. Such scarfs may be as brilliant in hue as desired, and the fringe may be of any preferred variety. Plush and felt cloth, plush ill two contrasting shades, velvet or plush and satin, make very rich and elegant scarfs ; and the ends may be decorated with fringe or plainly finished. Table Scarf. Figure No. 20. — This scarf is made of a width of India silk of the needed length for the table which it is to adorn. The ends are decorated with alternate strips of velvet and silk of equal width, but of different lengths, the silk strips extending not ciuite as far bei low the edge nor so far up on the scarf as the velvet strips. .411 the strips are finished in points at both ends, and all the edges are stitched with coarse silk of a contrasting color. The lower ends of the strips are tipped with chenille pompons. The velvet and silk may be of contrasting shades, and the pompons may be the color of each or of both. On each end the strips and pompons may be of different colors. This is a most decorative method of utilizing scraps of silk or velvet, or odds and ends of ribbon of any variety one may have on hand. , - "\ . '^ ~ ' ' ~ I — ■"' ' ■ — I — ~ - _— .^>> . ^-? A. < X X X X X X X X >-J;7--^-^ NeeDLG-CRfiFT. 187 CHAPTER XXIX. Fancy Scarf, with Grazy EnibrGidery. Crocip ef Fancy Stitches. *HE furor prevailing in woman's kingdom for " crazy ' effects — otherwise known as mosaic and oriental effects — in portieres, quilts, sofa-cushion covers, etc., has brought into use every kind of stitch hitherto employed in embroidery, and has developed many pretty new stitches. The well-known darning stitch has become quite a favorite and effective embroidery stitch, and is used for decoration in all its stages, from the first simply crossed threads to the heavier and completed stage ordinarily called the " basket " stitch. Feather, herring- bone, button-hole, cross, satin, Kensington and cat stitches are all used, and a little in- genuity and artistic taste will, out of these and the excellent variety of stitches which are illustrated in this chapter, create the most fascinating mosaic effects that could be im- agined. All sorts of shapes in scraps of \el- vet, silk, satin. Surah, fancy and plain ribbons, pretty brocades in silk and wool mixtures, etc., are used in mosaic patch-work. They are basted to blocks of muslin, crinoline or sheet wadding; the edges slightly turned under and then applied in any and all the fancy stitches mentioned, with flosses in a veritable rainbow of colors; and the result is brilliant in a be- wildering assortment of hues, shapes and em- broidery. Birds, animals, Japanese figures, flags, stars, ships, monograms, Greenaway fig- ures, flowers, single and in sprays, fruits, veg- etables, etc., are introduced in this peculiar patch -work, and the more varied the effect, the more perfect the Oriental result will be. The blocks are usually square and may be of any size preferred; and, in uniting them, care should be taken that no suggestions of their joining be apparent. A broad band of bro- caded, plain or fancy velvet, silk, plush or satin is a handsome bordering for the work, and should be monochromatic in its coloring, as the solid tone affords an artistic framing for the brilliant work and heightens the Ori- ental look. Black, dark garnet, deep crimson, navy-blue, ruby, violet, olive, purple, dark green, cardinal and brown are especially ef- fective colors for borderings, the depth of their hues softening the brilliancy of the work, yet bringing out its beautj' in the same way as a suitable frame shows off a handsome paint- ing. Neatness in application and general work is an absolute necessit)'. Fancy Scarf. Figure No. i. — A handsome scarf, as ap- propriate for a mantel, piano, etc., as it is for i88 NeeDLS-CI^AFT. a table, is here illustrated. It is made of felt any color desired, and the velvet ribbon iiiav cloth, edged at the ends with a fringe formed be like it or a contrast in color. Any kind of of heavy silk tassels, alternating with large fringe preferred may be substituted for that plush pendants. A little above the fringe is illustrated. applied a broad band of " crazy " patch-work embroidery, formed of three blocks of patch- ^'°'^'' '" Crazy Patch-work. work separated by bands of velvet ribbon ap- FiouRii No. 2. — This engraving shows how I'lGlRF. No. I. — F.VNCV SCARK. plied and decorated with a variety of fancy a block, formed of scraps of plain silk or vel- stitches done with many colors in silk floss, vet or both, may be richly elaborated with Bordering the band on each side is a row of embroidery combining all the variety of wide velvet ribbon, blind-sewed on. The stitches illustrated in this department. The blocks of patch-work may be very different in scraps are in all sorts of shapes, and are ar- appearance, a most effective block being ranged in all sorts of conceivable ways and shown at Figure No. 2. The cloth may be of positions. NeeDLe-CRfipr. 189 Embroidery in Darning Stitches. Figure No. 3. — This design forms an ef- fective decoralive feature in the bloclc sliown at Figure No. 2, at which it is worked on a plain piece of sillc or satin. It is first out- lined, and then the spaces are embroidered with the stitches described at Figures Nos. 4 and 5. Darning Stitch. Figure No. 4. — This is the ordinary basket through at the point where the next stitch is to be made, as illustrated. Embroidery Stitch. Figures Nos. 6 and 7. — These engra\ings illustrate a pretty stitch formed of three long stitches and a loop, the method of making the loop being clearly pictured at Figure No. 6. Embroidery Stitch. Figuric No. 8. — In making this stitch, the short stitch is made first, and the needle car- FlGURE No. 2. — Bl.OCR IN GrAZY PaTCH-Wi IKK. darning-stitch used in darning hosiery, etc. It is a well-known stitch, and a little study of the engraving will soon make it clear to any one who is not familiar with it. Embroidery Stitch. Figure No. 5. — The long threads in this design are run in like darning stitches, only farther apart, so as to form diamond shapes, and are caught down at the crossing with a simple back-stitch : the needle being drawn ried through at the point locating the end of the loop to be made; the needle is then carried back under the short stitch and down to the end of the loop. Embroidery Stitche;;. Figures Nos. 9 axd 10. — These illustra- tions show how a variety of stitches may be developed from that shown at Figure No. 8. The long stitches may be made in any di- rection. 190 NeeDLe-CRAFT. Embroidery Stitch. carried through at a point showing the lenj;lh Figures Nos. ii and 12. — Figure No. n of the sicm or middle stitcli ; the needle is Fii'.rRE No. •!. ij" -4-r^<. W^ -^V f Figure Nu. 4. Figure No. 5. Figure No. 6. Figure Nu. 7 Figure No. 9. Figure No. 8. Figure No. 10. Figure No. 12. Figure No. ii. Figures Nos. 3, 4, 5, 6, 7, 8. 9, 10, 11 anh 12. — Embroidery Stitches. shows the method of making the stitch at then carried back to the end of the last stem Figure No. 12. In making the last stitch in or middle stitch in order to complete this a figure, it will be observed that the needle is stitch properly. NeeDLG-ci^AFr. 191 Figures in Embroidery. more shorter stitches, as preferred. Figure Figures Nos. 13 and 14. — These figures No. 15 illustrates the method of putting in the are effective on applied ribbons, bands, etc., long stitches. ^w \^^^ V Figure No. 13. Figure No. 14. Figure No. 15. V Figure No. 16. Figure No. 17. ^ Figure No. iS. Figure No. 20. Figure No. 19. Figure No. 2 Figure No. 22. Figure No. 23. Figures Nos. 13, 14, 15. 16, 17, iS, 19, 20, 21, 22 and 23. — Embroidery Stitches. and also as center pieces to sections in mosaic Embroidery Stitch. patch-work. The stitches are all run out from Figure No. 15. — These stitches all radiate a common center, which is crossed b}- one or from a common point, and may be of equal 192 NeeDLe-cF^AFT. leiigtlis, or the center one may be the longest. Three, five or more stitches may be grouped in a pattern, and, while they may vary in length, the corresponding stitches at the sides should be alike. Embroidery Stitch. Fic.URE No. 16. — In making this pretty stitch, the needle is carried down over the thread, as illustrated. The stitch is pretty and simple, the only care being to take up the stitches in a line and to make them even in length. Combination of Embroidery Stitches. Figure No. 17. — This engraving illustrates an effective combination of the stitches ex- plained at Figures Nos. 15 and 16. The combination is very effective and may include one or two colors. Combination of Stitches. Figure No. i8. — The stitch explained at Figure No. 15 is here combined with a knot- stitch to form a very effective variety in stitches. Embroidery Stitch. Figure No. 19. — .\nother very effective arrangement of the stitch described at Figure No. 15 is here portrayed. The stitches are made at regular intervals at each side of the edges to be appliqued, the lower stitches being made so as to come midway between those of the upper row. Embroidery Stitches. Figure No. 20. — This stitch is commonly known as the " herring-bone '" stitch, and is simple and one much used in decorating flan- nel under-garments, as well as for applique work. Combination Stitches. Figure No. 21 — This engraving illustrates a combination of the stitches explained at Figures Nos. 15 and 20. The stitches may be of contrasting colors, and are particularly effective combined in this way. Embroidery Stitch. Figure No. 22. — The engraving clearly illustrates the method of making this pretty stitch. Care should be taken to make all the stitches even. Combination Stitches. Figure No. 23. — The diamond outnnes are each made with four long stitches, carry- ing the thread under the needle at the corners. A simple cross-stitch, made in the center of each, completes this simple but pretty com- bination. Group of Fai|cy Stitcl^es. Group of Fancy Stitches. Figures Nos. i to 13. — Those who are making " crazy " quilts or covers for chairs, pillows, etc., will appreciate the novel com- binations of stitches illustrated in this group. They are very effective when done in gold thread or, indeed, in silk, so that all the short bits left in the work-basket may be used up by the aid of such stitches and a decidedly oriental effect achieved. For the application of ribbons, etc., they are equally effective. They are all formed partly or entirely of the well-known herring- bone, knot-stitch, feather-stitch, and long stitches grouped artistically. A careful study of the engravings will aid the searcher after NeeDLG-CRAFT. 193 Figure No. 2. Figure No. 4. ® @ @__® &' ty_^. Figure No. 7. Figure No. 9. Figure No. i. Figure No. 3. Figure No. 6. cT^~r^ ciz^ -"CS^* Figure No. 5. Figure No. 8. Figure No. 10. Figure No. 11. Figure No. 13. Group ok Fancy Stitches. 194 NGeDLS-CRilFr. pretty stitches in obtaining a variety of effects, and in either grouping one, two or several colors may be attractively introduced. It would seem as though the management of the needle had reached such a point of excellence that fine work done with it is no longer men- tioned without its prefix of " artistic." Such work is the successor of " plain sewing," for the study of which, by-the-bye, classes are frequently formed, because \Yithout a proper knowledge of "plain sewing" one can have no certainty that, if she only knows how to do fancy work, she will always do it well. The dainty finish and the ease with which linings, especially, are made to retain their proper position are, in nearly all instances, due to knowledge obtained when the worker has been properly taught to hold the needle. At that time one learns to have the thread short, not to moisten the end of her silk so it will fray, and above all things to give thought to that which she is doing, else it will be a failure. ^ Il^osalc ii? Grocljet Uiork. A SOFA cushion suggestive of mosaic, or as it is more commonly termed crazy work, is covered with crochetted squares measuring a little more than three inches on each side. The squares are crochetted in the well-known shell-stitch and each one displays variety of colors arranged so as to present a striking difference to the others. Here are a few examples of the arrangement of colors. One square is black for half its dimensions, measuring diagonally from one corner to another; the other half shows a diversity of tints, one shell being orange, another white. another cardinal, and still another purple. Another square is composed of alternating shells of salmon and moss-green around a smaller solid square of darker green. Odds and ends of worsted, embroidery silk, chenille and all sorts of crochet and embroidery mate- rials left over from various pieces of fancv- work may be utilized to good advantage in mosaic work. Of course some dark color may be selected and used as a setting for the brighter and lighter tints, and a worsted cord of this color, or of all the tints combined may finish the edges. NeeDLG-ci^AFr. 195 t T. ■ I . I r-T- CHAPTER XXX. ALPHABET FQR MARKING. J> .^i- -)K- r IS essentially a womanly weak- ness to like one's initials upon one's belongings, but she — that mysterious and universal she — has also cultivated this pretty taste in ' her brothers and father and hus- band by making them gifts of silk or linen handkerchiefs, with the letter or letters deftly embroidered in one corner. There seems something es- pecially womanly in this work, and the con- stant demand of the fair workers is for new designs in letters and new combinations in coloring. While the letters are more mediaeval when done in wonderful browns, and sages, and blues, and scarlets, still it is well to remember that white washes the best, and that no other color can be cited as infallible. Ne.xt in order to the white comes scarlet and then sage, but the best blues and browns will be apt to grow dingy and disagreeable-look- ing. Those who have had much experience in using various embroidery materials make it a rule not to use two different makes or brands in the same piece of work, even though they may seem identical in color, twist and texture. because the process of working or the effect of laundering is sure to emphasize any differ- ences which may exist. They affirm that this rule is especially applicable to embroideries which are liable to form acquaintance with soap and water, though quite worthy ot con- sideration in the use of silks, chenilles and arasenes, some being quite close and somewhat stiff, while others are loose and flexible. The eye of the needle should be large enough to permit of the thread moving freely in it and the point sharp enough to penetrate the fabric easily. Alphabet No. 1. The letters here shown are sufficiently artistic to appear as if they had been copied from some old missal where they had been gorgeously illuminated. The outlines of the letters are done in plain over-and-over and stem stitch, while the inner portions are in seed stitch. Individual taste must govern largely when combinations of coloring are used, but it would seem proper to make all the outlines and the large dots of one shade and the small dots of another, or each of a different one. All white is, however, consid- ered in best taste. These letters are suitable for use on towels and table-cloths. 196 NeeDLS-CRAFT. iLL>3PHEJi.3B3ET ITO. 1. NeeDLe-ci^fiFr. 197 198 NeeDLe-cF^fiFT. ^ 2!t«*l -^mt 4^ NeeDLG-CRAFT. 199 a 3 NeeDLe-cf^AFi'. Alphabet No. 2. ferred. The method is simple, the embroi- Tlie letters here ilkistrated are intended for dery, being done by an over-hand stitcn, which marking handkerchiefs, napery, under-gar- increases in length to form the heavier parts ments, etc., and may be done either in white of the letters or what in ink would be the or colored embroidery, cotton or floss as pre- shading. It is well to fill in this portion with ^A ■<«^,'¥ oft. ii -^ NeeDLG-C^AFT, running before making the embroidery, so delicate, while the leaves are fashioned in the that the latter will have a round raised sur- same manner as the thick |3arts of the letters. face. The finer portions are done with In transferring the designs the outside lines stitches taken through only two or three must be followed in every instance in order threads of the fabric, so that the lines will he to produce the requisite sizes. x^Y^'*'^^ >^ NeeDLG-CI^AFT. 203 Alphabet No. 3. The tiny forget-me-nots which give such a graceful, floriated effect to this alphabet may always be made in their natural colors when the letters are done in silk or crewels, but if it be desirable to use all white in working with cotton, no fear need be felt that the effect will not be good. Such letters are especially pretty for souvenir marking, but they are equally well adapted to napery, etc. White and colored floss and marking cotton are used in their development. The work is done in an over-and-over stitch and it always comes out most effectively, when the design is run with floss or filling cotton before the actual embroidery is begun. ii.Li3PeEJt3BKT' DSfO. 3. NeeDLG-cRAFr. 205 if 9 It is to the proper filling-in of the raised por- tion of the work that finely executed embroi- dery owes mucli of its good effect. Too often this portion is slighted, because it is to be overlaid by the final stitches ; a smooth firm finish is not obtainable unless the filling- in be well done. Such work may be done rapidly after the necessary skill has been acquired, but the beginner should not permit herself to be controlled by a desire to do more than she can do well. Fine blue chenille makes very natural looking forget- me-nots, though, of course, it is not recom- mended for any article that is to be laundered. Two or three shades of blue may be intro- duced in making several of these dainty blossoms, as nature does not limit herself to a monochrome. ,, gQ , OOr?C ' ' '>" 206 NeeDLe-CRAFT. AX^3PSEii.B3ET HO. 4. ^ \ NeeDLG-CRAFT. 207 Alphabet No. 4. This alphabet is very artistically designed for working in outline stitch. Any article, whether for ornament or use, becomes em- phatically one's own when the monogram or initials are upon it ; and these letters are of a desirable size for all kinds of marking, and niav be used as initials or combiqed in mono- grams. The making of monograms has always been thought much trouble, but these artistic letters are especially adapted to the purpose, and may be associated in any way admired. Of course the space between the outlines may be filled in and worked solid if preferred, or French knots may be scattered through these open spaces with good effect. @®SI®S«S3®l«5!^^::g3t«®®i)© 2o8 NeeDLe-cp?AFr. &L3PBEiS.3BET TSTO. 5. .i?^ \ NeeDLe-CRAFT. 209 Alphabet No. 5. These letters are embroidered in satin stitch and French knots, and while not diffi- cult to do are elaborate enough to serve for marking souvenir or gift articles which one may wish to render particularly attractive. They are also adapted to handsome napery and may be worked all in white or in a uni- form color or a combination of tints, accord- ing to the fancy of the worker. "Vovi ar-o E«,r-n.ostly Ixx-^rxt-od to Try DR. SCOTT'S ELECTRIC CORSETS AND BELTS. Corsets, $1.00, $1.50, $2.00, $3.00. Belts, $3.00. Nursing Corset, Price. $1.50, Abdominal Corset, Prlce.$3.00. PrulxiMy never •tliicr llic Invriitloii »>f' <'or»i'lt* liitH no liir(c«- u r. Soott'n KU-ftrlr Curnets und ItfiU. 0\ vr I C r the i'urnvt ur Ki-lt. A valuable Book, "The Doctor's Story," free to any one on | receipt of name and addre-s AX^' OF THE ABOVE, If you will mention "Needle-Craft " will be SENT ON APPROVAL, post-paid, on receipt of price, with 30 cents added for paekinK or registration, and we guarantee safe delivery Into your hands. Monev wll| be refunded if not just as represented. Stat« exact size of waist when ordering Belt or Corset. Make all remittances payable to QXJICH CITKE. PROMOTES HEALTH STRENGTH & ENERGY. boo" ^X{^ / ^^t'5)^'^^ R H E U M A T I S M^^^-Am^JM^iaH ■ .'■Pllt INDIGESTION * Itm T i *» NATURES OWN REMEDV. NERVOUS /iFFECTlONS. All ladles are earnestly requested to trj- our beautiful Electric Corsets. They are similar in look and shape to the best kind of ordinary Corsets and are no more exjH'nsIve. I'ri'fi ssional men a.ssert that there is hardly a dis- ease A\'bich Electricity or Magnetism may not benetlt or iLitf, and they ilaily practice the same, as your own pliysician wili iiifurm you. A celebrated New York physician lately lectured uix>n this subject, and advised all medical men to make trial of these aKcncIes. describing at the same time mi.i.-;t remarkable cures he had made, evt-n in ca.se>- which would seem hopelcf-s. A valuable book "The Doctor's Story." mailed free to any address i.iostpald, on receipt of address. It contains much valnable information. Heads of families should adopt this practicaK posi- tive and Inexpensive nunhod of treatment and save those "big Doctoi-s Bills." PRICE LIST. Resular Standard Belt, ...full pnwer. $:!.00 Kxtrifline Sjitcin B^t, " ".OO ?icrvf und i.unts liivleoralor, — " ^S A 10.00 c«r-tt»« »i.«o, i,r,o. aoo. K.OO HuiiUrurtiicM 1.00, i.r.o. a.f»o, «.oo FIc.*h BruHhes, ».00, 5.00 plasters for $1, for family use. They annihilate painsaud aches. Stamps taken. GEO. A. SCOTT, 842 Broadway, New York. -Each article is ylamped with the English coat-of-aniK* and the nainc of the proprietors. N. B.- TliE PALL M:A.LL ELECTRIC ASSOCI ATION. NeeDLe-CF?AFT. >^ .g;;g^■^^;;g^.■^ ?;:g^^r ^M::^l^^■■^-i?^:^H?>t^ ^* //.;.;.v.v.v.v.y.[-^^iJ^^ iiimiiiiiimiiiiiiilitiniiiiiiiimraiiiiiiii CHAPTER XXXI. REGEPTAGliES FOR SH0ES, UMBRELLAS AND GANES. HE articles illustrated in this chapter, will without doubt be much prized for their usefulness and the 1^ tasteful manner in which they ">• are developed. Shoe-Bag. Figures Nob. i and 2. — These engravings illustrate a handy and pretty re- ceptacle for shoes, slippers, etc., Figure No. i showing the bag closed and Figure No. 2 showing it open. The material is canvas, and the lining is Silesia. The outside is cut long enough to fold over and form the covei', which is nicely curved at its edges and held down with a loop passed over a button ar- ranged as pictured. The pockets are formed of a straight section of the canvas lined like the outside. Two box-plaits are formed on the under side about midway between the center and sides, and the section is joined at its sides and lower edges, and also down the center of the plaits, which give the pockets the needed spring. A row of wide velvet ribbon is stitched along the top of the pock- ets, and the lower edge is decorated with short strips of narrow velvet ribbon of alter- nating lengths. The outside of the cover is similarly decorated with strips of the narrow velvet ribbon, and the owner's initials or monogram in embroidery or metal may deco- rate the cover. Any preferred material strong enough for the uses of the article may be selected, crash, linen, towelling, cretonne^ etc., being much liked. Fancy stitching may be applied as decoration instead of the velvet ribbon, or all the edges may be bound with bright-hued ribbon or braid. Decorated Shoe-Box. FiGtJRF; No. 3. — The ever useful shoe-box — and in this instance a well-dressed one — is here pictured. Of- its utility every woman knows, and its admirers are many in number. An ordinary box is lined with pink satin and has pale-blue satin on the outer side, and on the latter are arranged flowers cut out of pink satin and slightly wadded. The middle of the flower is made by a knot stitch of tinsel thread, and the stems are formed in the same way. A cording outl'ines the box and con- ceals the sewing. If preferred, the entire box may be covered with sateen, and the flowers may be of the same material. The size for the petals of the flowers on the box is given at Figure No. 4. NeeDLS-CRAFT. ibkfeliityiihltltititltttltfeltltlttttiUd KiouKic No. I. — Smde-Baij — Closkii. I'lGURE No. 3. — Decokated SilUE-BoX. Figure No. 4. — Section ok Flower on Shoe-Bo.k. NGeDLG-CI^flFr. 213 Figure No. 5. — Umhrella- and-Cane Pocket. Figure No. 6. — Embroidery Design for Umbrella- and-Cane Pocket. 214 NeeDLS-CRllFr. Section of Flower on Shoe-Box. Figure No. 4. — The design for one petal of the flower on the shoe-box is here sliown. Care should be taken that the petals are all of one size ; if not, the effect will be irregular and undesirable. Umbrella-and-Cane Pocket. Figure No. 5. — The back of this handsome receptacle for the umbrella and walking-cane is made of heavy cardboard, that is covered smoothly on the outside with cloth, linen can- vas, crash, felt, Silesia or any preferred mate- silks, and fancy stitches also decorate the lower part above the band of wide ribbon that neatly completes the end. A long loop of narrow ribbon is fastened to each upper cor- ner, by which to hang up the pocket, and a rosette bow of wider ribbon is attached to the end of the left loop ; while a bow of long loops and ends of ribbon is tacked over the end of the right loop. A cane and umbrella crossing each other are embroidered on the center of the pocket. The outline of this design may be seen in full size at Figure No. 6. P'IGURE No. 7. — Umkrei.i.a-Case. rial, and on the front side with any of the fabrics mentioned or with silk, plush, pongee, etc. The front portion is of fine felt cloth and is cut wider than the back and curved out deeply at the top. It is joined to the back at the sides and lower end, and is faced on the outside to the depth of a wide hem at the lop. Along the lower part of the facing are grouped in an ornamental manner fancy stitches done with vari-colored embroidery Embroidery Design for Umbrella -and - Cane Pocket. FicuRE No. 6. — This design is embroidereo on the lunbrella and cane pocket illustrated at Figure No. 5 in this chapter. It is the proper size for the decoration, and may be done in outline or Kensington stitch, as preferred. Wood-brown, dark-blue, black or any preferred color or colors may be used. Usually, the cane will contrast with the um- brella. NeefiLe-ci^AFT. 215 Umbrella- Case. Figure No. 7. — This case includes a back portion and two pockets made from jean, felt cloth, heavy canvas, burlaps, reps, or any suit- ably heavy material. The side edges of the parts are joined and then bordered with bright-colored braid machine-stitched on, the braid being arranged in a similar manner about all the edges. The pockets may be cut separatel)', but the case will be all the stronger for cutting them in one piece. In either event stitching catches them to place down the middle, and a row of the braid is placed over the fastening to correspond with the finish at the sides. The pockets may be decorated with embroidery done in the South- Kensington outline-stitch, or they may have the owner's monogram embroidered upon them. A loop is fastened at the top of the back at the center, to suspend the case on the wall. Such cases will be found an excellent protection for nice umbrellas, are really very simple in construction, and require but little lime to make them. Laiiip-Slnifles. A PRETTY shade for a piano lamp that is to stand in a room where ilie general effect is light and dainty, is of pink satin, bordered with a flounce of pink lace, and trimmed w ith pink clover-blossoms and delicate green grasses, branched with a few ferns. As the shade is mounted on a wire frame having but few supports between the outer ring and the small one at the top, the satin is lined with thin pink tarlatan to give it a little firmness. The fulness is drawn into a frilled hearling, at the smallest portion and the floral decov;i- tions are arranged with careless grace, and yet in such a way that no fear of their slip- ping out of place need be entertained. A pretty gradation of tints which harmonizes with almost all colors seen m draperies, up- holsteries, etc.. is in three shades of yellow. One which is to shade a table lamp in a white and gold room is of white silk with a fringe of gold-colored silk. An orange shade, with white lace for its garniture, is effective upon an iron lamp, which is to stand in a room fur- nished in rather dark colors. r\ aiTTITiniF^'^^TI]]] 111 1123 2i6 NeeDLe-ci^HFT. •^■-^ /^-n ^^1^ ■■'^-•"^ -^-^ -^ """^tf ^^^ ^ Sluiiiber I{olls. Some, of them, which are really very hand- some in the hand, seem to lose their beauty when attached to the chairs they are sup- posed to make comfortable. If not properly adjusted, they are not apt to impart either beauty or comfort. One shaped like a diminu- tive round bolster is attached to a chair of an- tique oak as follows : The roll, which is covered only with muslin, is firmly tied to the back of the chair with linen tape, securely fastened at its ends and center. A scarf of India silk, twenty-seven inches wide and a yard and three-quarters long, is then wound in and out about the framework of the chair-back so as to cover the roll in loose, graceful folds. One end of the scarf is hemmed and caught up at its corner so as to form a sort of loop, while the other is bordered with a fringe of spun-silk tassels and falls in a graceful cas- cade of folds. Crescent-shaped slumber rolls may be cov- ered to serve as scarfs by allowing considera- ble e.xtra length at each end of the cover, and width enough to give a graceful fulness. A pair of oblong cushions hung in saddle- bag style over the head -rest may be made very ornamental without extra work if they are covered with flowered silk or cretonne, and tied on with ribbons. The one which hangs over the back need not be filled with anvthing betier than e.xcelsior inside a layer of cotton batting. -^ -^ NeefiLe-CRflFT. 217 ^*^4^S^^*^%|^\|@)-; CHAPTER XXXII, IMFANT'S (lARR'IACE-PILLQW Md BLAHKET. Infant's Carriage-Pillow. IGURE No. I.— This dainty head-rest for Baby while enjoying an after- noon airing in his carriage is made of white Surah, upon which are embroidered grace- ful sprays of small flowers that look as if they had been just showered on the pillow. The sprays may be merely outlined, or they may be embroidered solidly or worked in the South-Kensington stitch ; or, if desired, the flowers may be made of ribbon. Hand-paint- ing is also effective. A frill of deep lace, headed by a ruche of fringed-out Surah, trims the pillow all around; and the result is soft and delicate. Of course, the pillow is made of down, feathers or whatever is preferred, put in a case of stout fabric and then covered as pictured. Delicate blue or pink or any other shade of Surah or silk may be used instead of white ; and the lace may be of any preferred variety. The sprays may be made of applique ornaments, with good effect. Sprays in South-Kensington Outline-Stitch. Figures Nos. 2 and 3.— These pretty sprays decorate the infant's carriage-pillow pictured at Figure No. i. In this instance they are worked in South-Kensington outline-stitch, but may be solidly embroidered if preferred. The sprays may be embroidered on any arti- cle of ornament, with pretty effect. Figures Nos. 2 and 3 show two of the sprays in outline-stitch. Figure No. 5 shows a spray solidly embroidered in South-Kensing- ton stitch, and Figure No. 4 shows a cluster of blossoms done with ribbon. All these sprays, worked in either manner, are pretty for adorn- ing the pillow represented. Cluster of Flowers Made of Ribbon. Figure No. 4. — Very narrow ribbon is used for the flowers, and the stem is done with floss. Each petal is formed of a section of ribbon, and the center is composed of knots of floss. The work is very simple, but re- quires care to result well. It may be done on •cloth, plush, velvet, silk or satin, and results handsomely. Spray in South-Kensington Stitch. Figure No. 5. — This spray forms one of the bits of adornment on the carriage-pillow pictured at Figure No. i. It is done in the well-known South-Kensington stitch, and is just as suitable for the adornment of lambre- quins, table-scarfs, etc., as for the pillow. 2l8 Neei)Le-cHAFr. Baby's Blanket. embroidered on it in white. Hlue-ancl-wliite ]''i(;(:re No. 6. — In the engraving is shown and pink-and-white are dainty colors for these a dainty blanket formed of a square of cream- blankets. Flannel, smooth clotli, eider-down white camel's-hair cloth powdered with yellow cloth and camel's-hair are the preferred nuite- _ ~^^rj^^p-*=r FrcuRF Xo. 1.— Inka.\t".s Carriace-Pii.i.ow daisies done with embroidery silk. The rib- rials, and sometimes pale, delicate colors, bon is tiie pale gold shade of the daisies and such as blue, pink and yellow, will be cliosen. is blind-sewed on, the word " Baby " being 'I'he edges are generally pinked. The daisies NeeDLs-CRiiFr. !I9 Figure No. 4. — Cluster of Flowers Made of Ribbon. Figure No. 2. Figure No. 3. Figures Nos. 2 and 3. — Sprays in South- Kensington Outline-Stitch. Figure No. 5. Figure No. 5. — Spray in South- Kensington Stitch. NeeDLe-cHAFT. may be done in colors to harmonize with the Word Decoration for Baby's Blanket, ground, and the ribbon may be of any pre- Figure No. 7.— This pretty lettering is for ferr€d varietv. tiie blanket illustrated below. It may be p--K, Figure No. 6. — Baiiy's BLANKtr. Figure No. 7. — Word DECOR.vriON for Baby's Blanket. The proper size for the word " Baby " to done in outline, Kensington or satin stitch be embroidered on the blanket is given at with floss or metal thread, or it may be hand- Figure No. 7, and it may be easily traced. painted. NeeDLe-CF^AFT. CHAPTER XXXIIL FANGY-a50RK /\PR0NS FIT comjianion to the work- basket is a fancy-work apron, i/(J%. and much artistic taste is now flimjrS^? expended on this garment to make i,iVS*',», it a bit of loveliness to the eye and a dressy contribution to the toilette. All kinds of dainty fabrics are used for its construction, and there is no limit to the beautiful effects to be achieved with ribbons, embroidery, lace, etc. Fancy Apron. Figure No. i. — This dainty apron is made of scrim. It is hemmed at the side edges and more deeply at the bottom, the hems being cat-stitched to position. Above the hem at the lower edge threads are drawn crosswise for three rows of ribbon, w-hich are run in and out in the usual way. The ribbon is of a pretty heliotrope shade, and so is the embroi- dery silk used for the stitching. The top of the apron is gathered and joined to a belt that is extended to form long ties, which are bowed at the back. A row of cat-stitching is made along the top of the belt, and a bow of ribbon wider than that across the bottom of the apron is fastened to the belt near the left side. On the right side of the apron is a handkerchief pocket in patch style ; a hem pocket, and cat-stitching is also used in apply- ing the pocket. Ribbon is run in the pocket just below the hem, and a small bow of simi- lar ribbon is tacked to the center of the pocket. The ribbon may be of any color preferred, and the stitching may be feather, brier, herring-bone, etc., as preferred. f'iGURE No. I. — Fancy .Xi'ron. Words to Embroider on Fancy-Work Apron. Figure No. 2. — These three words may be outlined on any fancy-work apron when cat-stitched to place finishes the top of the plain material is used for its construction. NSeDLG-CRilFl'. They are of suitable size, and the Kensington bottom, at the sides and across the top, a outline-stitch is used. On an apron shaped wide ribbon being inserted in the hem at the like that shown at Figure No. i the words top to draw the apron in and to tie about the could be embroidered on one side or about the waist. The hems are held with button-hole lower edge. Of course, they are also adapted stitches of yellow floss ; threads are drawn ^rC^ /f^ ^ O ^ U ^ Kif.uKK \o. 2. — Words to Kmiikoidkr on Kancv-Work Ai'Kox. to any other style of lancy-work apron, and abo\-e the bottom hem lo form three rows of crewels, flosses, silks, etc., may be used for outlining. Fancy Apron. Figure No. 3. — 'I'liis apron is pictured as made of scrim. A deep hem is made at the squares, whicli are filled in with long stitches of the floss radiating from the center to the edges. These stitches produce the effect of daisies and are soft and beautiful. Narrow ribbon the color of the embroiderv silk is run NeeDLG-CF^iiFT. 223 in to show in the openings at the corners of Fancy Apron. the squares. The stitches may be shaded Figure No. 4. — Linen is the material used blues, heliotrope, pink, scarlet, pale-blue or for this apron, the simple finish being a deep green. A row of button-hole stitching is also hem, with the threads drawn and caught in Figure No, -Fan'cy Apron. Figure No. 4.— Fancy Ai'Run. made across the apron at the top of the squares. E.xtreme care is needful in drawing the thread to form the regular effect which is so desirable to the good finish of the work. network fashion. Above this are Greenawav designs done in many colored crewels, while the belt is confined at the back by long lies of ecru ribbon. Pongee or Surah silk is often 224 Neei^LG-CI^ilFT. chosen instead of linen, but the ease with which the latter may be embroidered goes far Outline Design for Decorating Fancy Apron. FlGfRE No. -Whether the little Romeo to commend it to the amateur worker not as is here urging an invitation to the dance or Figure Xo. 5. — Outline Design for Decor.'vting Fancy Apron. yet certain of her success on finer stuffs, suggesting a cool and shady retreat, nobody The designs used in embellishing this apron can say, save the little maid who listens so are illustrated at Figures Nos. 5, 6 and 7. intently. Such designs would be particularly NeeDLe-CF^AFT. 22S appropriate for hangings, for linen covers for a he dances forward to meet his partner. The baby's couch, or for the mantel drapery in a exact delineation of her gown and bonnet young girl's especial retreat. cannot but call forth admiration, and convince 5^^\/ Figure No. 6.— Outline Design i-or Decorating Fa.nxy A v"CY Aprux. Outline Design for Decorating Fancy Apron. the lovers of the picturesque how much more Figure No. 6. — This sketch in outline- possible it is to draw pretty maidens than stitch gives the interested looker-on an oppor- graceful swains, e'en though the latter merit tunity to study the position of the courtier as our especial admiration. 226 NeeDLe-CRflFT, Outline Design for Decorating Fancy Apron. brought before llie mind's eye with very little Figure No. 7. — This pretty " treading " of trouble. Very quaint effects are obtained oy a measure is one of the outline designs that choosing tints the reverse of realistic for this decorates the lower edge of the No. 4 apron, kind of work. Very often the entire design is Figure No. 7. — (Outline Desil;.\ for Decoratixc. F.\ncv -Atron. It is done in crewels, and to the taste of the done in one color, and it is really wonderful worker is left the choice of colors. These how much originality of effect may be brought designs are given in the full size, so that they out by such uniformity. Any preferred coni- can be easily understood and the effect mingling of tints is, however, in order. NeeDLe-CF^AFT. 227 CHAPTER XXXIV. S0FA PlLL0a)S AND GUSHIGRS. ^HE fashion of having couches and sofas pro- vided with pillows and pillows and pillows, cush- ions and cushions and cushions, leads to the de- velopment of beautiful articles into which the worker introduces whatever style of needle- work or variety of painting she is most profi- cient in doing. Sofa-Pillow. Figure No. i. — -A square of velvet forms the foundation for the top cover of this beau- tiful pillow, and is enriched with embroidered ribbons in different colors, arranged to pro- duce a plaided effect. The embroidery on the ribbons consists of crazy-stitches done with many-colored flosses, and produces a bril- liant effect. Silk cord borders the visible edges of the ribbon, and two rows of the cord border the edges of the square, being fanci- fully looped at the corners. The ribbons may be different shades of one color or of several contrasting shades. Two triangular pieces of very wide sash-ribbon, separated by a section of plusli, velvet or satin, to which they are united so that all form a square, may be util- ized for one side of a cushion or pillow, with good eiifect. Handsome brocaded ribbons are effective for this purpose. Sofa-Pillow. Figure No. 2. — This engraving illustrates an odd-looking but handsome sofa-pillow of garnet plush, old-gold plush and delicate blue satin. The band about the middte is of old- gold plush, edged at both sides with gold-and- garnet silk cord. The corner of blue satin is elaborately embroidered with embroidery silk, done in South-Kensington stitch. Cord borders the top of the embroidered section, and also the opposite end of the pillow. The pillow is shaped like a bag, and at its cord- bordered edge is deeply lined with old-gold satin, and the pillow is then tied closely about at the end of the lining with gold-colored satin ribbon, which is arranged in a rosette of long loops and ends upon the upper side. The result is both rich and elegant. Other colors in the same materials may be as effectively combined, and hand-painting or appliques may decorate the satin corner, instead of the em- broidery pictured. Sofa-Pillow. Figure No. 3. — The shape of this sofa-pil- low is such that one finds it espcially suitable to have it perfumed with lavender or violet. 228 MseDLe-CRflFT. the powder being thrown among its feathers the satin underneath, and, as it is drawn in or ilown. The satin cover is of a pale-bhie by a broad pale-bkie satin ribbon tied in a shade, and tlie velvet portion that apparently bow at one side, the likeness to a large sachet Figure No. i.— .Sofa-1'ii.:.ow. overlies it is of very deep crimson, liaving pas- is preserved. Wiiile very decorative and de- sion flowers in their blue shades worked upon cidedly beautifying to a room, it is well to re- it. The outlining of the points is done with member that such cushions cannot be coni- liale-blue silk cord, and the frill at the top is mended for any other purpose than the purely finished in the same wav. Tiie fiill shows ornamental. NeeDLG-CI^AFT. 229 Sofa-Pillow. long stitches across the surface of the pillow, Figure No. 4. — The brilliant combination which is like a gleam of sunshine in a pretty of white and gold is achieved in this lovely room. A frill of inexpensive white lace sur- FlGURE No. 2. — SOFA-I'lLLOW. Figure No. 3.— .Sofa-Pi i.low. pillow. The material is white India silk, rounds the pillow, adding to its dainty effect. on which the design pictured is stamped and Other colors may be combined in a similar then simply outlined with bright yellow filo- way, and the lace may be of any preferred selle. Threads of the bright color show in variety. Sometimes the designs on the pil- 23° NSeDLe-CRAFT. lows are tv/ (T/J/Z/i////, but they are not so dainty It is embellished with leaf-sprays and blos- as that pictured. Fancy Sofa-Pillow. Figure No. This engraving illustrates soms cut from cretonne and embroidered all over in Kensington stitch, done with colors exactly matching those in the design. The corners of the cushion are covered with corner- ,^^'. 1^ Figure No. 4. — Sijka-I'ij.i.ow. Figure No. 5. — Fanxv Soka-1'ii.i.ow. a very effective sofa-pillow. The center-piece pieces of antique lace, and about the joinings is of silk arranged so that its corners come of the corners and center-pieces is a narrow midway between the corners of the pillow. plaiting that is pressed over its seam. A row NeeDLe-CRfipr. 231 ot pompons edges the pillow, those at the cor- velvet, plush, satin, cloth, etc., and similarly ners of the pillow and the center-piece being decorated. A design may be cut from any 1'Ii;l-re No. 6.— Suia-I'jllow. FiGURK No. 7.— Fancy Pillow. larger than the others. The entire center- preferred piece of cretonne and similarly piece may be of cretonne, or it may be of applied, with pretty effect. 232 NeeDLe-CRflpr. Sofa-PiUow. square is einbellishod with oak leaves cut Figure No. 6. — The liandsome sofa-pillow from tlie velvet and applied with filoselle. It here illustrated has a center square of corded is bordered all round with cord arranged in FrouRE No. 8. — -Soi a-1'illow. i-n.ruE .No. 9. — rMjiA-l'ii.i.iiu . silk and a band-like border of velvet in a very loops at the corners, the middle loops being strongly contrasting shade, the silk being pale- interlinked by similar loops arranged at the gold and the velvet golden-brown. The outer corners of the pillow, which is edged all NeeDLG-ci^AFr. 2Z3 round with cord. The decoration is very ef- fective and very artistic. The back of the pillow shows the shade of the silk. Green velvet may be used with pink or blue or with light golden-brown silk; and if one has artis- tic ability, the leaves maybe tinted in Autumn colorings. Any preferred variety of leaf may be chosen for application. Fancy Pillow. Figure No. 7.— This exquisite pillow is of dark-green velvet, with its upper corner of cresson, forming a decided contrast and sug- much nicer and be very suitable to have down fill the case. Applique is how much used as a decorative item in preference to hand-painting and em- broidery, although these have by no means lost favor in the eyes of art-lovers. Sofa-Pillow. Figure No. 8.— The dainty sofa-pillow here represented is a charming illustration of this beautiful work, and is made of garnet plush and heliotrope satin. The center is a square formed of two triangles, each made of strips of plush and satin joined together, and Figure No. 10.— Fir-Pillow. gesting a scale between the two shades. In the lower corner is carefully applied a beauti- ful cluster of water-lilies, specimens of manu- factured silk-embroidered applique's, and un- derneath them in outline-stitch the worker has an opportunity with her needle to portrav the water in which they grow. After being made, heavy silk cord in a golden shade is used for outhning the pillow, and a prettily made bow of green satin ribbon is placed in the upper corner to bring out the cresson shade as well as add to the beauty of all the rest. By-the- bye, it is well to remember that it will make it having their seams covered with pale-pink floss in herring-bone stitch. The strips in each triangle are differently arranged, so that a stiff, set appearance will not be produced. The cushion is made octagonal in shape by hexagonal sections of plush and satin arranged alternately all around the square. In each section a flower design is appliqueed, and these may be different in every section or only in the alternating sections, as preferred. If a delicate effect be desired, the flowers may be of velvet or plush, and the stems and leaves may be formed with floss in the South-Ken- 234 NSeDLe-CI^iiFT. sington stitch. The colors for the cushion may under a large rosette bow of ribbon. The be any two most pleasing to the worker's taste, leaves and stems of the sprays are done in the and may be delicate or brilliant, as preferred. Kensington stitch, while the daisies are worked in a loop stitch. The centers of the Sofa-Pillow. daisies are usually done in the well-known Figure No. 9. — This handsome sofa-pillow knot-stitch. Any desired material may be Fir.rRK Xo. 11. — Ix'^rRirxioN kor FiR-rn,i.n\v. is made of garnet velvet, and is shaped in the made into sofa-pillows, and the design may be usual manner. It is edged all around with either painted or embroidered, garnet-and-gold cord, that is also very orna- mentally looped at the corners. On one side Fir-Pillow and Inscription for Decorating It. is embroidered artistically grouped sprays of Figure Nos. 10 and 11. — A fir-piUow with daisies, that are seemingly tied to one corner its delightful woody aroma is a delight to NeeDLe-CRAFr. 235 most people. Such a pillow is here illustrated. The cover is of pongee silk in its natural tint and the filling is young cones and twigs, cut with a pair of sharp scissors from the par- ent bough while they are still filled with the pungent, agreeable odor which they give out so freely after being dried. Upon the cover the inscription " Dreams of the Forest," is worked with brown silk, the words being ar- ranged so as to permit of increasing the dec- orative effect by the addition of young cones and fir twigs, which are worked in pine green chenille and appear to have been carelessly scattered over the surface. Figure No. ii. — The words composing this inscription are of the proper size for dec- orating a cushion and are worked in outline stitch. Embroidery silk, crewels, gilt thread, metal cord or any working material harmon- izing with the material made up may be used for them, and this arrangement of the w'ords may be varied to agree with the position of whatever other decoration is wrought upon such a pillow. ^ Couple of PiUui-Le^if Eai]s. Thev form the back of a wall pocket, as novel and pretty as it is useful. Eacli fan is doubled lengthwise until its outer edges meet. These edges are tacked firmly together to preserve the shape thus produced, and the two fans are placed against each other with their centers meeting, and are held in this position by a tacking at their lower extrem- ities and a string wound tightly about their handles. The front of the pocket is formed of a piece of pasteboard covered \Vith plush, and the cornucopia shaped openings formed by the folded fans are filled in with puffings of silk. The handle is covered with silk or plush, and all the edges are finished with a thick silk cord. The pocket is suspended by a ribbon bow or a loop of cord, and the appear- ance is much more attractive than when a single fan forms the back, while the cost is increased only the merest trifle. ^ r^ !)f o !}{! -Y,''-.".-Tf' 9? '^ ")? ■'^' -58 rScVXVX VXVX V^'ip-'-.-SpVxVX VXVX VXl (Ti , ix I X t X I X I X I ^>.-;^> I X I X I X I X 1 yj'i ssL^ ji I X X IXl X jx Xi ^^^5^X I X j X I X I ^ I ^V . ■\.yj\ I A I /i [ ^ I ?^ I K ^^^^ ''CS »AXAXAX/sXAr-**--;.T'^'';/NXAXAXAXAS:' , or- S^/^b. GUARAOTeeD (^IR(JULACIOa OYGR ODG QUAHCGR OF A miLLIOD gopies monc5LY.= Parties subscribing are requested to particularlv spedfy the number -with lohich they wish the subscription to cojnmence. Subscriptions li'ill ?iot be received for a shorter term than one year, and are a/^cays payable in advance. IFe have no Club Rates, and 710 Co?nmissions are al/oived to any one on Subscriptions sent us. The Postage on the "Delineator" is prepaid br us to any part of the United Kingdom, the U7iited States, Canada or Mexico. F^ATeS 0F POSTAGG T0 Foi^GIGN (otlNTl^IGS: THWH. the VKLJNJl'ATOR is to be sent front the Publishing Office in New York to any of the following Countries, 3o Cents for Extra Postage must accompany the subscription price of the Magazine :— Africa (Brtti.'ih Colonies on West Coast), Abyssinia, Argentine Republic, Asia, Austria, Azores, Bahamas, Barbadoi-s, Belgium, Bermudas, Bolivia, Brazil, B7-itish &uiana. Cape Verde, Ceylon, Cfiili, China, (ina Hong Kong or San Francisco), Columbia ([', ,S'. of), Costa Eica, Curacoa, Egypt, France, Ger- many, Gold Coast, Great Britain. Guatemala, Haivaiian Kingdom, India, Ireland, Italy, Jai/iaica, Japan, Madagascar (St. Mary and Tamatave only), Mauritius, Nassau (New Providence), New Caledonia, Neufoundland, Nicaragua, Panama, Paraguay, Penia, Peru, Russia, Sandu-ich Islands, Servia, Siam, Sierra Leone, Singapore, Spain, Sweden, Switzerland, Trinidad, Urxtguay, Vene* ^uela and Zanzibar. For the following Countries the Ej-tra Rate to be prepaid ti-ith each subscription is appendea : -Australia, 24c.; Fiji Islands, 24c.; Neic South Wales, 'ZXc; New Zealand, "He: Accra, SSc; Africa, West Coast of {except British Colonies), 88c.; Cape Colony {South Africa), 88c.; Natal (British Mail), 88c.; Orange Free State, 88c.; Madagascar (except St. Mary and Tamatavo, $1.32; Trans- vaal, $1.32. _A-»J !-« kij .'— CHAPTER XXXV. T'lDlES ARD FAPGY MATS ^„/,RA\VN-WORK in all its differ- wft ent varieties is in great favor Z^A^ for chair-scarfs, tidies and all the odd but numerous belong- ings of a room to which it may be adapted. On scrim the threads are caught and the weaving process arranged by the use of very narrow ribbons specially sold for the purpose, gamut to the deepest shade ; and occasionally they will offer a contrast, pink and blue, crcssoii and shrimp, and orange and brown, being much liked. Scrim Tidy. Figure No. i. — A tidy or cover for a cush- ion. I'he scrim is drawn at regular intervals, and the ribbon run through is orange satin, the lightest shade being first and a very deep Figure No. i. — Scrim Tidy. and which are easily drawn through the eye tone being reached in the last row. Where of a worsted needle. Sometimes all the the ribbon ends a loop is arranged, and rests rows of ribbon will be of one color; again against the fringe formed by fraying the edges they will start from the lightest and run the of the cover. Such tidies or covers are usu- 238 NeeDLG-CRAFT. ally placed in diamond shape on a cushion the instance are Autumn foliage, including color of the ribbon, and in this instance the sumach leaves and blossoms, both of which cushion could be of satin in a light yellow are described and shown in the required size shade. at Figures Nos. 3 and 4. Scrim Tidy. Figure No. 2. — This handsome tidy for a Sumach Design for Scrim Tidy. Figure No. 3. — This pretty design forms Figure No. 2,— Scrim Tidv. chair or table is made of fine scrim, hem- stitched all around. Crossing the center botli ways is a narrow section of scrim hemstitched to position, the threads being drawn in the usual way. In each of the large squares thus formed contrasting designs are embroidered with flosses. 'J"he designs employed in this part of the embroidery elaborating the tidy shown at Figure No. 2. The sumach flowers are done in the knot and filling-in stitches. The leaves are worked in South-Kensington stitch, and may be green or may show the brilliant tiniings which Autumn gives them, as best liked. NeeDLG-ci^AFr. 239 Autumn Leaves for Scrim Tidy. are brown, gold and olive, or red, gold and Figure No. 4. — This graceful spray of olive. If desired, the entire spray may be in leaves is worked in South-Kensington stitch olive tints, to suggest young leaves, and may Figure No. 3. — Sumach Design for Scrim Tidy. Figure No. 4. — Autumn Leaves for Scrim TlDV. .^-S^^JJI^^I^ijC^^^ ^mIm. Figure No. 5. — Fancy Tidy. in brilliant flosses or crewels. The colors be embroidered on plush, velvet, cloth or any that blend well and naturally in such leaves fabric. 240 NeeDLe-CRAFT. Fancy Tidy. velvet, satin or silk, or one shade of velvet Figure Xo. 5. — Tliree oblong sections or pliisii with two ciifTerent shades of silk or l-icU'KK No. 0. — Fancy Mat. Figure Xo. 7. — Tuiv, with Painteu Japanese Center. which may combine three shades of plush, satin, are comprised in this beautiful item of NeeDLG-CI^AFT. 241 decoration. The sections are neatly joined White lace may be used instead of black, and by over-and-over stitches on the under side, ribbons of any desired hue may be selected, and the joined portions are bordered all Sometimes the centers of purchased tidies are around with some pretty lace, which may be appliqueed upon linen, canvas, etc., and these e.xpensive or not as desired. The sections are less e.xpensive than the painted ones, are embroidered with different designs, the center section being more elaborate in its work than the other two. A band of wide ribbon, embroidered in a pretty vine design, crosses the center section diagonally, the em- Fancy Tidy. Figure No. 8.— A tidy, suitable for the back of a chair or the arm of a sofa, is here illustrated. A square of velvet forms the broidery upon this section being done so as f„,,„Wot;^„ „ui i .• -n a 1 <: 1^ •' ^ * loundation, although satni, silk, flannel, felt or to appear to be partly concealed beneath the -i„,k „, 1 „ 1 • ^ 1 t^ • 1 ' '^ 1" .? cloth may be used instead. It is crossed diagonally by two strips of ribbon, one of Fancy Mat. which should be either blue, orange, red or Figure No. 6.-This pretty mat may be 'i")' °'^^er color desired, while the other used under a lamp, vase, etc. It is of deep- sh°"''' ^^ ^ direct and bright contrast in purple velvet and has a border decoration of '"'^°'- I" ^'^'s instance one is sapphire-blue, pansies in purple and gold, with their foliage. ^"^^ *^ °"^^'' '^ S^''' ^°^'''- «" "^« '^^"er The decoration is c-n applique', and is one of ^""^ arranged tiny squares of velvet, which are the manufactured silk appliques, of which over-stitched in coarse blue silk-floss, the there is a large assortment on the market. ^'"'S" ^eing clearly illustrated by the en- graving. The edges of the yellow strip are Large artificial pansies such as are used in millinery are sometimes employed as a border for such mats. Asters or any flowers that can be arranged to lie flatly may also be used as a border for a fancy mat that is not liable to frequent disarrangement. Japanese Tidy. fastened down with blue floss in star-stitch, while the blue ribbon is caught in the same way with gold-colored floss. Narrow-, loz- enge-shaped strips of vehet are arranged crosswise on the blue ribbon, and llie em- broidery over and around them is done in gold-colored floss. Tiny flat buttons of the Figure No. 7. — The fancy for Japanese satin ribbon in both colors are arranged on art is expressed in a variety of ways and the angles of the crossing of the ribbons, and finds many charming exponents in articles of they are also crossed with floss and otherwise household decoration. An unique specimen decorated as represented. The whole tidy is of it forms the center of this tidy. This por- then bordered with lace, which may be of an tion of the article can be bought all ready for antique pattern or of any design preferred, use, or, if a person have considerable skill Antique lace for bordering tidies of silk, with the brush, this design or any other can satin or blocks of the same lace, conies in be reproduced upon silk. Two bands of satin pretty patterns and at moderate prices. ribbon in contrasting colors are now applied The blocks are about six inches square, and as a border, their edges being joined by dif- no two are alike. Two of them, and two ferently colored silk in perceptible stitches of satin blocks of the same size ornamented like any kind. Outside of this is a border of the large tidy described, would form a hand- black lace, stitched on in the same way. some tidy if bordered with antique lace. In 242 NeeDLG-ci^AFr. joining them, the lace and silk blocks come at shown in the engraving. The silk is pale the diagonall)' opposite corners. Fancy Tidy. Figure No. 9. — This dainty piece of work is formed of an oblong section of silk, all the edges of which are fringed out neallv. Inside blue, the ribbon black, and the stars yellow, while the floral decoration is one of the current manufactured appliques, represent- ing Marechal Neil roses and their foliage. Scrim forms a pretty background and would be less expensive than silk, and a pretty effect the fringe the edges are bordered with three might be produced on it by having purple vel- FiGURE No. S.— Fancy Tidv. strips of velvet ribbon, which are pointed at vet ribbon and an applique of clustered pan- the ends and extend the full breadth or width, sies. Daisies cut from white lamb's-wool as the case may be ; the lower ends of the cloth might take the place of stars, with pretty lengthwise strips falling a short distance effect. below the fringe. These ends are tipped Canvas Tidy. with silk fringe matching the stars holding the Ficure No. 10.— Tidies are greatly diver- ribbons where they are crossed. A cluster of sified in material and pattern, and certainly roses with realistic foliage is applique'ed as reward the ingenious maker liy their beauty NeeDLG-CF^AFT. ^43 and usefulness. The one illustrated is com- Though the combined eiTect of the colors is posed of white Java canvas and two colors quite Oriental, yet the design is of the Fic.uRE No. 9.— Fancy Tidy. Figure No. ro.— C..\nvas Tidy-. of ^vorst^d-cardinal and gclden-yellovv. simplest character, bein<; cardinal mar-uerites 244 NeeDLG-CRflFT. or daisies with yellow hearts. A reference to the engraving will best explain how they are worked, as all the threads of the canvas are fully delineated and may be easily counted. The design is of the proper proportions and size, and the fringe of the required length. The tidy may be made as large as desired, and when the marguerites are worked, the margin of the canvas is ravelled to form a fringe, the edge remaining being then over cast in button-hole stitch below a narrow cross-stitch design. Cardinal threads are next caught at regular intervals through the edge with a crochet-hook and firmly knotted, after which the fringe is " evened " along the ends. Canvas Tidy and Decoration with Diagram for Colors. Figures Nos. ii, 12 and 13. — Some- thing very pretty in the w.iy of tidies is here represented, and full instructions as to the colors to be used accompany the illustration of the article. As the tidy is designed princi- pally for the backs of large chairs, arms of sofas, etc., it is ingeniously cut in a half-square of the triangle shape. The bias edge is plainly hemmed so as to make the tidy look as if folded under, and the edges are finished with a fringe of worsted, each tassel being drawn in by three stitches and then cut off at an even and desirable length. The extra canvas under the fringe is then cut or ravelled away. The butterfly is done with single zephyr, in the shades indicated by the line of blocks, and named according to the corresponding blocks in the design. To make it very showy four threads of canvas are taken up in each stitch, instead of the two seen in the pattern, which is given in the usual canvas stitch. If silk is used, then the design had better be done in the usual stitch so as to make it appear thick enough. An odd fancy in mak- ing a square tidy is to work a large butterfly in one corner, and one or more smaller ones Hying downward or upward from it. The butterfly may also be used as a center-piece only, with a fringe of the same colors about the edge. Pearl, drab, or e'cru canvas is the prettiest for a butterfly tidy. The design will be found very neat upon collar, cufif, glove or jewel boxes. ' Tidies of Satin and Lace. Figures Nos. 14 and 15. — The most troublesome portions of the tidies represented are the satin blocks, which should be deco- rated as represented either by embroidery or painting, whichever is preferred. The rest of the work is easy enough, as it consists simply in joining blocks of antique lace to those of satin and bordering the edges with a frill of lace to match. These blocks and the edg- ing may be found in almost any fancy-goods store, and are very pretty when formed into a tidy, but are anything else when seen on the counters. The blocks and lace are loosely woven of what looks like unbleached linen thread, but, when combined in tidies or on curtains for windows with satin or batiste, they are very tasteful indeed. The tidies illus- trated may be used for a sofa or a large chair ; tiie large one being for the back and the other for the arm. Pale-blue, navy-blue, rose-color and cardinal are the shades of satin usually selected to combine with the lace. Marguerite Tidy and Sections Composing It. Figures Nos. 16, 17. iS and 19.— Among pretty specimens of home fancy-work the tidy known as " The Marguerite " is particularly noticeable. One would scarcely suppose that such common materials as serpentine braid and a few bits of silk would, when properly arranged, form so charming a tidy ; yet the result must be seen before its loveliness can be fully realized. Figure No. 16 shows the NeeDLe-d^fiFT. 245 Figure No. ii. — Butterfly Design for Tidy. I I- 1 ■\--\'\-]'t r I n 1.1 I i_u-[ - m n ■.'.!. I- 1 I I ! 1^1 . 1 ' ±_i_i . ^^n lUE m c B » S r S S P g ? 7 fa S H S 73 ~ G "- Vi Figure. Nil i3. — 1)i.\gr,'\m for CoLORii. Figure No. 13. — Design for Tidy. 246 NeeDLS-CRftFT. appearance of a portion of a tidy when fin- daisies are joined, which is one of the most ished, though on a very diminutive scale ; for important details. The foundation is made as many marguerites as are necessary to ;1in. nnd rut just the size indi- FiGfRF. N'li. 14. — Tidy ok Satin and Lace. Fkure Xl>. I ■ - Tll'V Ml ^A 1 l.N AMI l.Al E. obtain the desired size must be joined when cated by Figure No. 17, which also shows how making the tidy. The engraving, however, the wrong side of the flower looks while serves to explain the manner in which the uiulergoing the process of its formation. It NeeDLG-CRAFT. 247 will be noticed at Figure No. 18, that, when the braid is sewed on, the inner points are drawn closely enough together to prevent curling over too far ; and it would probably be a good idea to gather the braid before applying it to the foundation. After the two rows are sewed on, a button-mould is covered yet tidies of this description may be made of any color the braid is found in. If care is taken to make them substantially, "iVIarguerite tidies " may be washed as easily as a piece of muslin. Figure No. 19 shows a single daisy when completed, and ready to join to others already made. In connecting the points care c#?^- Figure Xo. 17. i^rft? Xfi FiGUEE No. 16. — Section of Mar- cuERiTE Tidy. Figure No. 19. Figure Xo. iS. Figures Nos. 17, iS and 19. — Method of Making Marguerites. with yellow or brown silk to form the center of each, and is Joined to the muslin founda- tion, so that the inner points of the second row are concealed by it. If preferred, a worsted center may be made, or the yellow- worsted buttons used by upholsterers "may be substituted. Although white marguerites with the centers described are the truest to Nature, should be taken to do it very thoroughly, as such articles are liable to be pretty roughly treated, especially if they adorn chairs and sofas that are in daily use. Damask Tidy. Figures Nos. 20 and 21. — The tidy illus- trated by Figure No. 20 is probably one of the prettiest in vogue, while also novel in construe- 248 NeeDLG-CRflFT. tion. The block shown by Figure No. 2 1 is an enlarged representation of those seen in the tidy, and is calculated to show the method of making, and also the general effect. Stair damask is the material for the foundation, and as it has a light and a dark side, the former should be chosen for the surface, because it will throw up the colors of the worsteds used in the embroidery in a belter light. When the tidy is worked in the blocks illustrated, tlie embroidery of the lines is done in an over- the bars may be worked with one color and the leaves with alternate green, brown and orange or scarlet, to represent Autumn tints : or the bars may be of solid color and the leaves of shaded worsted in one color or in the tints just mentioned. Both large and small tidies may be made in this way. Covers for furni- ture or hassocks may also be elaborated by this process if a lady has leisure and patience, thus forming a pretty decoration at a moder- ate expense. Any canvas may be used in Figure iso. 20. — Ijamask Tidy. hand stitch as pictured in the engraving of the single block. In making the leaf it would be better to put a coarse filling through it before overlaying it with the smooth stitches. The latter should commence at the center of each portion so as to form the veining of the leaf. Sometimes these tidies are worked all in one color, and again several tints are introduced, or shaded worsteds are used. ]*'or instance, the embroidery may be done in brown, blue, scarlet, purple or crimson ; or Figure No. 21. — Section ok Tidy. this manner, except such as generally forms the foundation of slippers and cushions, when the groundwork is formed of a filling of worsted. In making the pattern the lines should extend to within about two inches of each edge, and when the embroidery is finished this spare margin should be ravelled to form a fringe, a tiny overcasting holding the thread firmly at the top of the fringe. If prepared for delicate tidies the bars and leaves may be NeeDLS-CRAFr. 249 made of silk, with a very prett\- effect ; or if a still more delicate article be desired, the tidy may be made of white net, and the bars and leaves darned in with floss of various tints or all white. \\'hite Swiss, embroidered with white in similar designs, is pleasing when laid over dark or delicately colored upholster- ing. Chair Tidy. Figure No. 22. — This pretty tidy for chair or sofa is made of an oblong section of garnet little below the cloth and tipped with fancy chenille ornaments. The cloth may be of any preferred color, and so may the velvet ribbon ; and any desired style of ornament may be added to the ends of the bands. Fancy Tidy. Figure No. 23. — The center of this dainty tidy is an oblong section of velvet with the corners cut off neatly ; and it is handsomely decorated with an enibroiderv design of fine ffirf»..y.. Figure No. 22. — Chair Tidy. Figure No -Fancy Tidy. felt cloth. The edges are scolloped and pinked, and down each side of the center is a band of wide velvet ribbon ajsplied with fancy stitches of floss in a variety of colors, the stitches being so arranged as to outline all sorts of fancy shapes in fans. The ends of the bands are finished in points, which come between the scollops in the ends, the lower ends of the bands being e.xtended quite a flowers, the flowers being made of narrow rib- bon and the leaves, etc., worked with filoselle. It is bordered all round with wide fancy ribbon, and a decoration of wide lace is added to the outer margin of the ribbon. The center may be of wide ribbon, plush, velvet or satin, as preferred ; and the ribbon bordering it may be of any color that will contrast agreeably with it. ?5o NeeDLe-CRAFT. NeeDLe-CRAFT. 251 Fancy Mat. Figure No. 24. — A use for the peacock here suggests itself. Two pieces of paste- board are cut the proper shape, and each is covered with purple velvet, the under one, however, not being decorated. The upper por- tion is embroidered in silks, the colors being greens, golds and browns. Then with much care the feathers are fastened between the mats as pictured, and the one perfect mat is achieved. Glue or stitches will be found the surest way of holding the feathers, which should be fastened to the under mat before the upper one is added, and care must be taken not to soil the velvet. A section of the embroidery design used in decorating the mat is given at Figure No. 25. Embroidery Design for Mat. Figure No. 25. — A quarter of the design embroidered on the peacock-trimmed mat is here given, so that the exact idea may be got- ten and the worker draw her own design if she wishes. % Daii^ty HQat. Those who carefully study efifect in house decorations know that lack of harmony in grouping is the cause of most of the failures attending the efforts of many who are obliged to confess that with all wished for means at hand, they cannot make their apartments appear tastefully furnished. A cabinet or a fancy table that is overloaded with the choicest specimens of Keramic art is not decorative, and it does not display its beau- tiful burden to good advantage. A china vase, a delicate statuette, or a pretty easel supporting a photograph or an etching, some- times has its beauty entirely obscured by being placed in too close proximity to larger and inharmonious objects. As a rule, all dark woods are unfriendly to objects of art which are dark or neutral in tone, or which have not sufificient surface to throw the dark back- ground into obscurity ; and this is the reason why "a dainty mat" is always appreciated. One which adds to the artistic effect of a low round vase with a short and narrow neck, is formed of a square of very yellow ]3lush, bor- dered with lace, that is quite oriental in effect. The plush is a scrap about eight inches square left from a cushion, and the border is simply a piece ot linen lace, neither very fine, nor very coarse. It has an open, regular de- sign in which silver, gold, copper and electric blue metallic cords are run, their insertion being guided by the design of the lace and as much being run in as the openings permit. The lace is laid flatly about the plush, with its edges extending a little beyond, and its sel- vage after being sewed to position is overlaid with a row of the metal cord. The corners are neatly and uniformly turned and securely tacked, and the effect is very attractive. When placed in position beneath the vase only enough of tlie yellow plush is visible to form a narrow rim outside the cloudy gray which is the color of the vase at its base. The lace shows the brilliant metallic tints to good advantage, and possesses an air of special richness that well repays the maker for having expended a few cents for the rem- nant and carefully saved the odds and ends of metallic cord remaining after making a piano cover. 252 NeeDLe-CRflFT. y.fr'^4.'^^^^ ]{ Gon).n^oi^ HQistake. In selecting fringe for the ornamentation of any article having many curves or angles, it is a mistake to choose that which is composed of thick, heavy strands, although at first thought such varieties seem most desirable on account of their fluffiness. The strands sep- arate and fall apart if applied otherwise than in a straight line, and consequently a fringe with netted or latticed work for the greater part of its depth can be used to much better advantage. Such fringe may seem to be sparsely tasselled as it is held in the hand, but in its proper place it is mucli more effect- ive than the heavier varieties. Xery often a fringe having a deep, open heading above a row of tassels may be arranged to overhang (drape, the upholsterers call it) a fringe that is composed of heavy single strands. Such a combination gives the effect of sufficient body, with an airiness and grace which could not be developed with the heavier fringe alone. > » .^ '^'•a*'%* ^ ■«»,»»♦ 1-^ NeeDLe-cF^Apr. 253 CHAPTER XXXVI. PflNGY TSOiElS ARD SPLASHERS Decorated Towel. 'IGURE No. I.— As a cover for towels that are to hang upon a rack after being used, or even as a scarf for tables, chairs, chiffonniers, etc., the towel here illustrat- ed is at once handsome and convenient. It may be of damask, Turkish towelling or any fabric that will fringe out nicely. The bird may be of any color or colors desired, its cor- rect size being illustrated at Figure No. 5. A cream-colored damask towel is very effect- ive decorated in this way. Fringe of Decorated Towel. Figure No. 2. — The effect of the fringe on the towel illustrated at Figure No. i is beau- tifully represented by this engraving. The strands are separated at wide and narrow intervals alternately, and are knotted as described at Figure No. 3. When the strands have been divided at the last wide interval, they are tied in ordinary knots, instead of with the thread, and the tassels produced be- low the last knotting are full and heavy. The fancy stitches in the upper wide depth of strands may be of worsted or silk floss, and are worked in the manner so clearly illustrat- ed at Figure No. 4. Drawn-Work for Decorated Towel. Figure No. 3. — This engraving very clearly illustrates the method of knotting the threads in the first row or heading of the fringe on the towel. The fringe threads are separated into strands, having equal numbers of threads, which are knotted by a single thread from a needle. These strands are also divided into halves, each half from each strand being knot- ted in a similar manner to the nearest half of the adjacent bunch of threads. Ornamental Design in South-Kensington Outline Stitch. Figure No. 4. — This design is done in the South-Kensington outline stitch, and is pretty for borders or headings to towel fringes, or for embroiderv, edging inserted strips in table- covers, scarfs, lambrequins, etc. Bird in South-Kensington Stitch. Figure No. 5. — This lovely bird may be of one or many colors, and is done in the well- known South-Kensington stitch with worsted, linen or silk flosses. The butterfly may be of brilliant hues, and the bough of olive green. The bird is of the proper size for towels, scarfs, lambrequins, etc. Designs for Feather-Stitching. Figures Nos. 6 and 7.— These two designs are very pretty for fastening the edges of 254 NeeDLe-CRAFT. ribbons or strips of contrasting fabric to posi- will show how handsome a plain Turkish tion, or for outlining borders, hemming flannels towel may be made with coarse linen thread and embellishing fancy-work generally. It is and bright floss, either linen or woollen. To ;;s:i™i Figure No. i. — Decor.\ted Towel. Figure No. 2. — Fringe of DECOR.vrEU Towel. Figure Nu. 3. — Dkawn-Work for Decorated Towel. ^&mm^mmi^m&m^^r/;m^ Figure No. 4. — Ornamental Design in South-Kexsington Outline-.Stitcii. done by the chain-stitch movement, and is form tiie fringe, unbleached coarse linen very simple. thread is drawn in as illustrated, the loops Embroidered Turkish Towel. serving to confine the threads to the towel. Figure No. 8. — A reference to this figure and knots securing them in fringe form at the NeeDLe-CRflFT. 2SS end. Although of necessity the design for handsomely arranged. All of these tints may the darning in of the colored floss as well as be mingled in the fringe as well, if preferred the fringe, is quite small, it will serve as a to the unbleached thread. Figure No. 5. — Bird in South-Kensington Stitch. Figures Nos. 6 and 7.— Designs for Feather-Stitching. guide to the worker. The colors generally Lace Splasher. employed are scarlet, bright-blue, yellow and Figure No. 9. — This dainty adjunct is black, which are ornamental in effect when made of four contrasting squares of antique 2s6 NeeDLG-CI^ilFT. lace carefully sewed together so that they may lie perfectly flat, and is to be placed behind the receptacle for waste water. A finish is given by a border of antique lace arranged without any fulness, each corner being cut so that no gathers will be necessitated. When the square is completed it is placed over another, somewhat larger, of bright 'J'urkey- red, and the two are firmly tacked to position. If the Turkey-red is not in harmony with the room, material of any other shade may be blind-stitched to position ; the upper edge of tile band concealing the ends of applique'ed selections from Nature's garden. These selec- tions comprise cat-tails in their rich brown color, matured mullen blooms and leaves in their queer green and yellow hues, and sumach leaves in the glowing lints of Autumn color- ing. These may be embroidered in crewels or flosses to obtain the proper tinting, or only those with the varying colors need be embroidered. Damask and other handsome FiGLKE No. 9. — Lace Si'I..\sher. Figure No. S. — Embroiuered Turkish Toweu substituted ; but, being a healthy tone and one that does not fade soon, It is often pre- ferred. Fancy Towel-Cover. Figure No. id. — .\ tastefully decorated towel-cover is illustrated in this engraving. It consists of a linen towel of a diagonal pat- tern, with heavy tassel-fringe upon the ends. Above the fringe its ends are crossed by a broad band of Turkish towelling, that is neatly towels may be elaborated in this way. The Turkish towelling may be omitted in favor of contrasting silk, velvet, satin or embroidered felt-cloth, etc., when momie cloth or other fine material forms the foundation. When canvas, silk, velvet, felt-cloth, plush or Turkish towelling is used for the formation, they will be decorated with beautiful worsted fringes, appliquees or embroider)-, as preferred. A lining of Silesia, silk or satin will usually be added 10 very handsome articles of this kind. NeeDLe-CRAFf. 257 Kitchen Splasher. splasher, which will be useful in protecting Figure No. ii. — A section of enamelled, the wainscoting or wall at the kitchen sink. Figure No. iio.— Fancy Towel-Cover. Figure No. ii. — Kitchen Splasher. marbled oil-cloth was used for making this Its edges are pinked and it is fastened to 5 258 NeeuLe-ci^AFT. place at the lop by three large brass-headed nails. The utensils pictured upon it may be outlined with embroidery cotton or painted, as preferred. When the splasher !s soiled, a careful wiping with a soft cloth will freshen it. Linen-and-Lace Splasher. Figure No. 12. — This splasher has a cen- ter-piece of coarse linen, with cat-tails and their foliage worked upon it in crewels. Fitted around this as illustrated are twelve Embroidery Design for Splasher. FiGtJRE No. 13. — This design is worked on the center-piece of the splasher illustrated at Figure No. 12. It may be done in browns en- tirely, though a better effect is obtained if browns and greens are used. Unless one is used to working in crewels, it would perhaps be wise to present the design in outline-stitch. The practical value of fancy work lies in the ability of the worker to make her work atlract- FlGURE No. 12. — LINEN-ANU-LACE Sl'LASllKK. squares of antique lace, each in contrast with the other. The border is of antique lace, and the whole, when finished, is laid against the background of Turkey-red. Small brass tacks may be used for the fastening to the wall, or the heads of ordinary tacks may be covered with a bit of Turkey-red. If preferred, scrim may be substituted for linen, the effect being equally good and many finding it easier to work upon. This splasher is to be placed back of the washstand. ive without impairing its usefulness for the pur- pose it is designed to serve. Dotted Swiss mus- lin decorated with long, overwrought stitches in zephyr or crewel serves many practical and pretty purposes, some of which are here illus- trated. Splasher, to Fasten Back of a Washstand. Figure No. 14. — This splasher is made of zephyr-decorated, dotted Swiss, laid over pink, blue, red or lavender cambric, and bordered with lace. The bows match the tint of the NeeDLG-CRAFT. 259 cambric and cover the tacks holding the splasher to the wall. A border of plain, plaited Swiss, with or without a lace-finished edge, may be used in place of the lace frill here seen. Design, in Full Size, for Splasher Illustrated at Figure No. 14. Figure No. 15. — This engraving shows similarly to the other, but in a different design, and with plaited Swiss about the edges, and worsted cord and balls in place of bows. Lace, either gathered or plaited, may be used for the border. Design, in Full Size for Splasher, Illustrated at Figure No. 16. Figure No. 17. — This design is more intri- cate than the other, but is easily followed. Figure No. 13.— Embroidery Design for Splasher. the method of embellishing Swiss for the pur- pose mentioned. Single zephyr is used for the lines and to otherwise decorate the muslin. Blue, red, olive, pink, brown, lavender or any other tint preferred may be represented by the worsted. Splasher, to Fasten Back of a Washstand. Figure No. 16. — This splasher is made The dots upon the Swiss are closer and smaller than in the other, and the material is well covered by the design. Fancy Bath-iiTowel Holder. Figure No. 18. — This holder is made of a length of wide velvet ribbon that is passed through three rings and then doubled, two of the rings being placed in the folds, while the 26o NeefiLG-CI^iiFT. third comes where the ends are joined and is tiny rings sewed all over it in a simple figure used to suspend the holder. Through each of design. Wooden rings of the kind illustrated "Plillll Figure No. 14. — Splasher, to Fasten Back OF A Washstand. Figure No. 15. — Design, in Full Size, eor Splasher Illustrated at Figure No. 14. rMltTT' ■Trr,-( Figure No. 16.— Splasher, to Fasten Back of a Washstand. Figure No. 17. — Design, in Full Size, for Splasher Illustrated at Figure No. 16. the other rings a fancy bath-towel is drawn to are obtainable for a small sum and maybe util- fall gracefully. The ribbon is decorated with ized in a variety of practical and pretty ways NeeDLe-cF(AFT. 261 about the lavatorj-. Four of them, hung in a may be utilized to good advantage where row, will hold several towels, and where the ab- space is limited. Besides holding baih-towels, kitions of two or more persons are performed, a wash-bag, shoe-bag and similar articles may the rings holding the special towels of each be suspended from it ; and, if arranged to may be marked with initials done in fancy- hang at dififerent lengths, no one article will headed tacks or nails. If metal rings are infringe upon another. A practical hint, not ^^fei:iilil;iiii.lliiilil FiGUKK Nu. iS. — Fancy Bath-Towel Holder. used, it is advisable to crochet over them with misplaced in this connection, is as follows : cord. A strip of linen, ornamented with out- use round cord for suspending any receptacle line stitching, or without any decoration, may that is to receive much weigiit. Cord of this take the place of ribbon. description will bear the strain imposed upon A ring larger than those illustrated, with it much longer than tape, braid qr any flatly several hooks or screw-eyes fastened in it, woven material. -^A '^ Welcome + Book.*^ TJI£ LATEST AND BEST IDEAS iTxi-Sti IE'TxTDlL±sIhxec3— Price, $1.00, or 4s. ^HAT to Do and How to Act in every phase of Social Life is entertainingly set forth in this COMPREHENSIVE WORK, which is replete with valuable hints and suggestions for the guidance, not only of young people who may be seeking success in the sphere of Polite Society, but also of persons of maturer age in all the varied relations of life. —A% A BOOK OF REFERENCE*— to settle disputes regarding the nicer or more rare points of Etiquette, it will be found invaluable. It includes 384 pages of reading matter, printed in clear type on handsome paper, and is elegantly bound in cloth, with gilt title. On receipt of $1.00, or \s., " GOOD MANNERS" will be sent Pre-paid to any address in the United Kingdom, the United States, Canada or Mexico. If the Book cannot be obtained from the nearest Agency for fhe sale of our goods, mail your order direct to us, sending funds by draft, post-ofifice or express money-order, or registered letter. The Butterick Publishing Co. iLimitedi, ni to 175, Regent St., London, W.; or 7, O and 11 West Thirteenth St., Wetv York. NeeDLG-ci^AFr. 263 .^.h CHAPTER XXXVIl, FflOGY P'lLLQO) ADD SHEET G0¥ERS-C0(I3nS AHD CQWH GASES. -1> r;;sa TJs^TJT -)K- XTREME daintiness in the dress- ing of one's coucli is always re- quisite to a person of refined instincts, and suggestions for pretty covers for pillows and for sheet-shams are always appre- ciated. This chapter contains several designs which are as prac- tical as they are pretty. Fancy Pillow-Cover. Figure No. i. — A pillow-cover matching ferred, pale blue, scarlet or any color liked could take the place of the rose ; but, some- how, it seems especially suitable, while the blue belongs to the cradle of a wee baby. Fancy Sheet-Sham. Figure No. 2.^ A sheet-sham of very sheer lawn, intended for ornament, has its use in a household where the head of it is inter- ested in art at home. This one is finished around the edge with a deep border of antique lace, and its beauties are brought out by an Figure No. i.— Fancy Piixow-Cover. the sheet sham on the following page is here intermingling of Kursheedt's Standard satin shown, the materials employed being .sheer quilting of rose color. Each point of the lace white lawn and rose-colored satin. If pre- is tied over the silk by a rose-colored ribbon, 264 NeeDLG-CRAFT. and the whole air is as dainty and fresh as square is a row of embroidered insertion, the Spring roses it should herald. and bordering this is a row of deep, fine Fancy Pillow-Sham. embroidered edging. The centers of the two Figure No 3.— This engraving illustrates a pillow-shams may differ, but the borders of :«•i.=^ Figure No. 2. — Fancy .Sheet-.Sh.'^m. FicUKE Nil. 3. — Fancy Pii.i.hw-Siiam. very handsome pillow-sham made of scraps of insertion and edging should match. The bed- all kinds of embroidered edgings and inser- spread may correspond, if there be enougli tions put together in the informal manner pecu- pieces to form it, in the worker's collection of liar to crazy patchwork. About the " crazy " scraps. NeeDLG-d^AFT. 265 Fancy Pillow-Sham. lace edging is added, being slightly fulled in Figure No. 4. — The center of this beauti- the corners. The edge decoraii&n may be of ful pillow-sham is made of scraps of all kinds any preferred kind of lace and ma)- or may Figure Xu. 4. — F.\.\cv Pillow-Sham. Figure No. 5. — 1'illow-Sh.\m. of lace edgings and insertions put together in not match the bordering row of insertion, crazy patchwork fashion ; around the square Italian lace is inexpensive and very dainty is a row of insertion, and then a row of pretty for edge decorations to shams and also to 266 NeeDLG-CRAFT. spreads, which may be similarly made up. joined to form squares, the sides of which The two shams and' the spread may show are bordered with insertion. Samples of entirely different scraps and different arrange- edging or insertion, or pieces left from ments of them, but the edge finish of all dresses or underwear, may be thus utilized, should be alike. Torchon. Medici and all and shams made in this way will launder Figure No. 6. — Night-Gown Case. kinds of linen and cotton laces inay be used. Pillow-Shara. Figure No. 5. — This handsome sham is made of samples of embroidered edging and insertion joined together, and has a border formed of a row of edging. The pieces of edging are almost all of equal size and are better than the " crazy " style illustrated in this chapter. Night-Gown Case. Figure No. 6. — This pretty receptacle for robes dc iiuif when not being worn is made of fine linen shaped as illustrated and having two receptacles for the gowns. Each is hem- stitched all around, and then the entire case NeeDLe-ci^AFr. 267 is finished with antique lace, sufficient fulness on the gown-case. It may be done in white being allowed at each corner so that it will or colored cottons, crewels or silks, the choice not draw. On the one pocket is embroidered depending entirely on the material used for in white the welcome wish " Pleasant the case. Silver and gold tinsel thread are Dreams," while on the other is a band of especially effective for embroidery or outline Figure No. 7. — Embroidered AfoxTa musiciarfs who, from the energy they infuse into work upon dark backgrounds. As a rule, their work, would hint that one must awaken however, the preferred material for the and be up for it is no longer time to court the making of gown-cases will be bright in color, drowsy god. Of pongee or scrim, this case though dark fabrics may be used if pre- would be pretty and would not be more diffi- ferred. cult to work upon tlian the linen. Outline Work in Full Size for Gown-Case, as Embroidered Motto. Illustrated at Figure No. 6. Figure No. 7. — An illustration is here Figures No.'^. S, 9, 10 andii. — This funny given, in its proper size, of the desirable wish little quartette of musicians is embroidered 268 NeeDLe-CRAFT. in outline-stitch, as illustrated on the gown- sufficient individuality to be shown separately. case. They may, however, be embroidered or The e.xpression on each face is capital, and Fic.iTRE No. 8.— Paut or Outline Work in Full Size for GowN-C.\sii. done 111 pen-and-ink, and they may be to- handy maidens can easily see how they may gether at their enjoyable task or may have be utilized upon scrvkttes, tea-cloths, towels or NeeDLs-ci^fiFr. 269 menus. The last, of course, would be done done by their home relatives, and the results with pen-and-ink. are often elaborate and beautiful. The work Figure No. 9. — Part of Outline Work in Full Size for Gown-Case. The decoration of the sleeping-gowns of is very simple, and with pretty designs to the male members of the family is generally follow is not in the least arduous. i 270 NeeDLe-d^AFT. In tills chapter are also shown designs and most effective in the catalogue of stitches, that are pretty and graceful for specified and one that is not injured by laundering. -^\'^d (^ >Mi^^ Figure No. 10. — Part ok OurLixK Work i.\ Full Size for Gown-Case. portions of these garments of the bed- Colored wash cottons on cotton goods, chamber. The stitch is the South-Ken- worsteds on wool goods and wash silks and sington outline-slitch, one of the simplest fadeless etching silks on silk textures are NeeDLG-CI^AFT. 271 used for the embroidery, and any preferred show all the natural colors carefully blended, color or colors may be chosen. Sometimes Blues and reds are especially liked for Figure No ii. — Part of Outline Work in Full Size for Gown Case. the entire design is done in one color, and monochromatic effects, as they are less likely oftentimes several desirable shades are used, to fade by the frequent laundering than the with very good effect. Floral designs often more delicate colors. 272 NeeDLe-CRAFt; Gentlemen's Night-Shirt, and Designs for A patch pocket is applied on the left breast Embroidering It. and the design used in its decoration is Figures Nos. 12, 13, 14, 15 axd 16.— This portrayed at Figure No. 15. The cuffs are shirt is made of fine cambric. Its collar is ornamented with the design shown at Fi<^ure Figure No. 12. — Gentlemen's Night-.Shirt. Figure No. 13. — Design for Embroidering Collar. in rolling style and is decorated with em- No. 14, and are moderately deep. The broidery in the design shown at Figure No. 13. designs are all pictured in the correct sizes The applied lap down the closing is elabo- for the parts they are to decorate, and may rated by the design shown at Figure No. 16. be traced on thin paper, which may be basted NeeDLs-ci^fiFr. 273 Figure No. 14. — Design for Embroidering Cuff. 274 HeeDLG-CI^AFT. Figure No. 15.— Design kok Emhkomjkring Pocket. Figure No. 16.— Design for F.MIiROIllEKING L.\I'. NeeDLG-CI^AFT. 275 on the parts to be decorated and the design along the edges of the collar. A very nice worked through the paper. The pocket, pattern for night-shirts is No. 2479, P^ice I9. FicuRE No. 17.— Sachet .Shirt-Case, Closed. FicuRE No. iS.— Sachet Shirt-Case, Ope\. lap and cuffs are stitched to position at their or 25 cents. It is in eight sizes for gentlemen, edges, and a row of stitching is also seen from twenty-eight to forty-six inches, breast 276 NeeDLe-CJ^AFT, measure, and is illustrated in our Catalogues for the season. The upper pan of the back is a smootii-fitting yoke. If desired the shapes here shown for the cuffs and pocket may be substituted for those provided in the pattern. Sachet Shirt-Case. Figures No. 17 and 18. — These engravings illustrate a handsome receptacle for a gentle- man's day and night shirts. The case is made of satin and lined with quilted satin evenly wadded, the cotton being thoroughly sprinkled with some favorite sac/iii powder. The pockets are sections of satin of suitable width, similarly lined, and are decorated with a simple design done with embroidery silks. Figure No. 17 shows the case closed and decorated with a spray of strawlwrry vine i-u appli(]ne, which shows the progress of the fruit from the frail blossom to the luscious ripe berry. The spray is a selection from Kursheedt's Standard floral applique's, and is very graceful and rich in coloring. Figure No. 18 shows the case open and tlie mode of arranging the shirts. The edges of the case are bound with velvet ribbon. Plush, velvet, silk. Surah, pongee or any preferred material may be used for such cases, and the colors may be selected according to taste. The lining will often contrast with the out- side, but the pockets will usually be of the same color as the lining. Any decoration preferred may be added to tiie outside, the monogram or initials of the owner being very effective. : O'oo o o <><> o o \^ ^£2>. X X X X X X X X X XXZ^i NeeDLs-ci^iiFr. 277 ^S^^^'^^^^^^SjEt^^^i'^s^i^^^^ CHAPTER XXXVIII. FAHGY BAGS. HE ingenious woman who seeks to deco- rate her home and make some of the dainty Httle attributes in vogue for her own irsonal use, soon finds of how much vakie is each scrap of bright ribbon, each twist of gay-colored silk and each of the so-called odds and ends. The time always comes when they may be used, and never were they more desirable than in these days of striving after Oriental effects and strange minglings of coloring. Not only does one wish to have the work beautiful, but also to have it in a proper casing ; and as everything antique in shape or odd in design is specially desir- able, it is easy to understand why fancy bags for holding work, opera-glasses, cards, etc., are pronounced " too lovely."' A little care in combining the colors, and much care in making the stitches even, are the principal requisites needed toward making such arti- cles a success. Work-Bag. Figure No. i. — The bag illustrated is made of sirips of different colored ribbon, joined together by an over-and-over seam and then ornamented on the right side with feather-stitching in gold floss. All the seams are completely joined, save one, which is left open in the middle for a suitable distance, to allow the work to pass in and out. The ends are drawn together, and a full silk tassel of yellow silk finishes each. The sliding rings are of ivory and may be obtained at any sad- dler's. While a very rich effect is obtained if parti-colored ribbons are used, still, if de- sired, only two shades need be employed, good contrasts being obtained with pink and grenat, blue and lemon, bronze and deep scarlet, or lavender and orange. Satin, gros- grain or any quality of ribbon may be used, while, for greater elegance, gold or silver slides may be gotten, instead of the ivory ones. If a mourning bag is wanted, black and purple satin libbon may be used, with black silk and jet tassels finishing the ends and the rings formed of ebonv. Detail of Stitches Used in Figure No. i. Figures Nos. 2 and 3. — Illustrations are here given of the method of joining the rib- bon for the bag together in the usual over- and-over seam, and also of the feather-stitch that serves to ornament the strips. As a specially decorative result is attained by the 278 NeeDLG-CRfiFT. use of bright yellow floss, it is oftenest chosen for this purpose. If desired, a single row of the feather-stitching only may be employed, in which case it should be immediately between the two strips. Knitting-Bag. Figure No. 4. — As a receptacle for the ball of knitting wool or silk this bag is most useful ; it is also an artistic ornament to hang over a chair or on the corner of the work- preity lining. 'I'he revers or lap is elaborated by embroidered floral sprays and a row of imitation old coins about the edges. The lower end of the bag is plaited in along the fold and finished with loops and ends of cord tipped with large plush pompons. The coins may be replaced by any preferred style of drop ornaments, or the edge may be left plain. Such bags may be as beautiful as the most fastidious taste requires and may be made of ^""^^ Figure i\i>. 2. — 1 1\ 1 r-\nii-( >ver .'iriTLii fSED IN THE WoRK-PaG Shown at X-'. 1 Fu;uRE No. r. — Work-Bac. Figure No. 3. — Feather-Stitch used in THE Work-Bag Shown at No. i. table when otherwise not in use. It is formed of a straight piece of silk lined with a contrasting color, folded double, crosswise, and joined at the sides. Two deep slashes are made from the top down for several inches in the front of the bag, the slashes starting from the same point in the edge and diverging in V shape. The point or V thus formed is turned over on the outside, and the rest of the way round the bag is shirred in on ribbon in a line with the top of the revers. The corners above the latter are plaited and caught down back of the revers, effectively displaying the silk, velvet, plush, etc ; embroidery, hand- painting, appliquees and all sorts of ornamen- tal work may embellish them, and individual taste may decide as to the colors. Nile or bright green, with pale pink for lin- ing ; crimson with while, pearl, lemon or pale blue ; two shades of green ; gold with violet or lavender; gray with crimson, heliotrope or pale blue ; brome with olive, cream, gold or apple green; two shades of any one color; black with heliotrope, orange, scarlet, laven- der or bright green are all fashionable combi- nations. NGeDLG-CRAFT. 279 Opera-Glass Bag. lining of deep crimson satin. A casing is Figure No. 5. — This pretty bag for liold- made, and strings of crimson satin riljbon are ing opera-glasses is made of olive plush. run in, so that they draw easily. On the The bottom is shaped like the large part of front is embroidered in pale olive crewels a Figure No. 4. — KNij-riNc-BAO. the glass, and is stiffened with pasteboard, decidedly Japanese study of storks. Velvet The bag part is formed of two pieces properly or plush ma\- be employed for the outer part shaped and carefully seamed at each side ; of a bag of this description, while silk or satin and a perfectly smooth effect is given by the may be used for the lining. The decoration 28o NSeDLe-CRAFT. is a matter of individual taste, it being prol> stripes upon large pieces of work, they will be able that when tlie bag is to have much foimd desirable, and niaj-, of course, be in any usage, it will not be considered necessary. coloring the worker prefers. Designs for Embroidery on Opera-Glass Bag. Figures Nos. 6 and 7. — These- designs, Opera-Glass Bag and Designs for Embroidering It. Figures Nos. 8, 9 and 10. — This hand- FiGciRK N(i. 5.— ()1'ERa-Gl.\ss Bag. ^'Vi^^ .^^^iU^.^^- FicuRF.s Xos. 6 AND 7. — Designs 1 or Emhroidkrv on Opeka-CJlas.s ilAc;. done in South-Kensinglon stitch with pale some bag is of olive plush and made in regu- olive crewels, are effective, and being distinct, lar bag shape, two sections being joined though small, especially adapt themselves not togetlu-r at the side and lower edges and lined only to this bag but to all articles where a with deep orange plush. The outside and small but unique decoration is desired. On lining are sewed together a little below the serviettes or on ribbon bands to be used for tojj to form a casing for the draw ribbons, NeeDLe-ci^ftFr. 281 which are pulled through openings finished at dery designs being given at Figures Nos the side seams and tied in bows. The deco- and 10. An_v preferred colors and material- Figure No. S.— OrERA-Gi-ASb B.\: Figures No.s 9 and 10.— Designs for Emiiroidering Opera-Glass Bag. ration is worked in South-Kensington stitch may be chosen for the bag, and, if preferred, in brilliant colors, the correct sizes of embroi- the designs may be painted to resemble Ken- 282 NeeDLe-CRApr. sington embroidery, with good elTect. The the contrasting material. This portion forms ribbons usually match the outside in color, the front of the bag, and is embroidered or and may have a fancy or a plain edge. hand-painted in sonic pretty design, the initial Ladies' Hand-Bag. letters or monogram of the owner being em- Fi(;uRE No. II. — This jjretty bag is broidered just above the design, at one side, shaped from pasteboard. Two sections of The parts are joined together by a puff of the (T^ '^C^ Figure No. ii. — Ladies' Haxd-B.ag. FiGintr, No. 12. — Si'kav ok Daisies I'OR Embroidery. the shape of the larger portions are cut and are covered on the outside with velvet, plush or whatever material may be chosen, and on the inside with silk, satin or some contrasting fabric. Upon the lower part of one portion is arranged a piece of pasteboard curved at the top, as pictured, and covered smoothly with contrasting material, and the seaming of the puff and also the top of the bag are decorated with a row of silk cord arranged in clusters of loops in the upper corners. The suspending ties or handle are of wide ribbon bowed artis- tically, but may be of cord, if it be preferred. The e.xact size of each of the daisy sprays is NeeDLe-CRAPT. 283 pictured at Figure No. 12. Two of the sprays size for decorating the hand-bag shown at arranged with their lower ends crossing form Figure No. 11. It may also be used to oina- the design used in this in:itance, but the dis- nient any article of fancy work, with o-ood posal may be made in any way preferred. effect. Figure No. 13, — F.\ncv Bag. FldURE No. 14. — Suol'lMNG-liAG. Spray of Daisies for Embroidery. Fancy Bag. Figure No. 12. — This graceful spray of Figure No. 13. — To hang over a chair, golden-hearted daisies may be worked in sofa, etc., this is a handsome and dainty bag. cither the Kensington or satin stitch, the cen- The materials are pale gold China-silk and ters of the daisies being usually done in knot crnnson velvet, the velvet being set in in stitch. The design is shown in the proper diamond shape at the bottom, thus forming a 284 NeeDLG-CRAFT. triangle on each side. A row of fancy rib- and drawn in wit 1 crimson ribbons inserted bon is applied with fanc}' stitches in vari-col- in the hem. Of course, other colors and ored flosses along the sides of the velvet other materials may be chosen to please the Figure No. i ;. — Wi.ikk-H.\g. FlCURF. No. 16. rc-sr':5K:-; FiouKE Nu. 17. Figure Xo. :S. Figures Nos. 16, 17 and iS. — Fancy Stitches for Work-Bag. piece, the ribbons being crossed at the center taste ; and the decoration may be as elab- of tiie bag and finished in pretty points, and orate as desired, but the efTeCt of the present the applique stitches being continued about combination is dainty and elegant, and will the points. The top of the bag is hemmed often be duplicated. NeeBLs-d^AFT. 285 Shopping-Bag. mounted over a properly shaped section of Figure No. 14. — This stylish shopping- pasteboard. Black velvet, sewed on flatly, FiC.UKE No. 19. — \VORK-B.^G. pai W'' I'F II ■ ' %^ Figure No. 20. — 1!.\g iuk rLAViNG-C.\KD3. bag is made of pieces of jalush and silk of conceals the seams of the pieces, and is em- contrasting colors, joined together and broidered in a narrow vine pattern with 286 NeeDLe-cHApr. brighl-coloreil silks. The monogram is deftly worked on one of the silk pieces, and appro- priate embroidered designs are on the other sections. The upper portion of the bag is formed of silk of the same color as the darker plush. Drawing-strings close it at the top, and cords of twisted silk, attached near the corners, afford a handle. Scarlet and olive, dark-blue and gold, brown and oranj^e, acajou and cardinal would be particularly pretty coni- minglings for such a bag. Work-Bag. Fi(;uRE No. 15. — The foundation of this beautiful bag is a fancy basket, which may be oval or round and of any preferred size. Ribbons of ditTerent widths in two colors are joined by line over-and-over stitches, and arranged so that a wide row comes on top and the narrowest widih at the bottom. The narrowest ribbon is velvet ; it is sewed plainly to the basket inside the edge. Along the joinings of the ribbons are made fancy stitches, which are clearly pictured at Figures No;. 16, 17 and 18. A narrow ribbon is sewed underneath to the top row at the center to form a casing, in which draw-ribbons are in- serted, the ribbon standing in a pretty frill above the casing. A Roman effect mav he produced with the ribbons, as each row may be of a different color, or only two colors or two different kinds of ribbon may be used. Fancy Stitches for Work-Bag. "Figures Ncks. 16, 17, and 18. — These stitches are used to decorate the work-bag pictured at F'igure No. 15, and mav be done in different colors, several shades combining well in each. Of course the stitches will also be found useful for other articles of decoration and utilitv. Work-Bag. Fic.URE No. 19. — This pretty bag is made of strips of wide satin ribbon in two strongly contrasting shades. The strips are sewed to- gether with over-and-over stitches, and deco- rated at each side of the seams with feather, herringbone or cat stitching done with flosses of pretty colors. One end is furnished with drawing cords, which are tipped with large worsted balls, so that the bag may be opened and closed conveniently. The other end is permanently closed ; and each corner is deco- rated with prettily knotted cord, also tipped with balls. The cords may be replaced by ribbons, if desired. The rings may be of bone, horn or metal, and may be p\a.\u or fancy, to meet the taste. Purple and gold, garnet and blue or pink, dark-green and pale- blue or pink, scarlet and blacl;, dark blue and canary, are all pretty combinations for such bags. Bag for Playing-Cards. Fici'RE No. 20. — The engraving illustrates a pretty receptacle for playing-cards. It is formed of two strips of wide ribbon — plain and watered — joined together at their long edges and sewed to form a bag. The top is turned under for a hem in which are run ribbons to draw it together. The cards are cut from white flannel, carefully gummed on and decorated with spades or diamonds of black or scarlet flannel, also gummed on. The other lines are done in outline stitch or with a pen or brush. The ribbons may be scarlet and black or scarlet and white or of any other shades preferred. Fancy Bag, and Stitches Used in Its Decoration. Figures Nos. 21, 22 and 23. — Ribbon is so pretty for making fancy bags and its use simplifies the work of making so greatly that NeeDLG-CI^ilFT. 287 it is not strange it is usually selected. Ribbon in three widths was chosen for this dainty bag. The widest was used for the bag proper,' and the side edges are seamed together in the usual fashion, the top being turned in and finished to form a casing in which are run narrow ribbons that draw in opposite direc- this ribbon and the bolting-cloth are held in place by fancy stitches, which are accurately illustrated at Figures Nos. 22 and 23. Figure No. 22 shows the arrangement of the stitches upon the narrow ribbon at the top of the boiling cloth, and Figure No 23 illustrates an equally pretty variety of stitches which fol- ^T>, c,^. b^<^>^c:5^( XX t.VJ F-^t; XX 1 X'X -Hl- XX ^-■, t XX XX r^N 1 X'X F-tp-; ^;>< ■^■x )(X XX XX _-<-; 3) ?IIin(low Cnrtairjs. A ROOM in which the walls and ceiling are very light or somewhat crude in tint, is soft- ened and improved by dark window curtains, but lace, Madras, scrim or muslin curtains are usually preferred for apartments which do not require toning down, the choice of materials being regulated by the style and the uses of the room and the taste of the fur- nisher. With any of these curtains, shades of some agreeable tint may be used, those of cream color being universally liked because they harmonize with any other hue and admit plenty of light. Cream-white lace curtains are usually most satisfactory in all except very expensive grades. To the latter class the pure white tint often adds a charm not attainable when the slightest variation from it is visible. India silk, both plain and fig- ured, is used for curtaining vestibules and halls which have glass lights. All shades of gold and ecru and some shades of red are among those usually preferred. Blue, ex- cept as a figure upon gold or ecru has not nianv admirers. ^-ZEi '.¥: NeeDLe-CRflFT. 291 r+t)*^ rifi.r)f^ r+t,)*' .+5.1+^ j lit- iiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^ r*!)*- .*!,)+- r*tl+- r^K^r*-- 1 CHAPTER XXXIX. Fancy and Usefol flrlides Soilable for Gifis to Centlemen. 'Hli question what are suitable illustrate a handy receptacle for correspond- gifts for a lady to present to a ' ence, postage stamps, cards, etc., made of gentleman, receives several pleasing plush and satin. Figure No. 2 shows the answers in this chapter. All the book closed, and Figure No. i shows it open, articles illustrated are useful and or- with the correct arrangement of pockets, namental, and are easily made by deft The outside is formed of a piece of plush fingers moving to the music of happy thoughts, measuring seven inches and a-quarter across |"|"\l""« I'll' I 1 " ■ Mi\ * ' Figure No. 1. — Gentlemen's Pocket Letter-Buok — open. Gentlemen's Pocket Letter-Book. the top and bottom and six inches at the ends. Figures Nos. i and 2. — These engravings It is lined with satin, and to one end is joined 292 NeeDLe-ci^fiFr. a piece of satin, of the depth of the end and about lliree inches wide, for a pocket. Between the ends of this pocket and the out- side are inserted gore-like pieces, that are folded in plaits to give a desirable width to the pocket. To the opposite side is joined a section of the same depth and about two inches wide, that is cut out in fancy outline at position. The outside of the book is embel- lished with embroidered storks done in Souih- Kensington stitch. The exact size of liie design is pictured at Figure No. 3. Any other ornamentation may take the place of that represented, and the material may be of any color or colors and of any variety pre- ferred. Figure No. 2. — Gentlemen's PociCEr Letter-Book — C losed. Figure No. 3.— Design in South-Kensington Stitch, Fop Gentlemen's Pocket Letter-Book. the top. A section, three inches wide and five inches and a-half deep, is inserted be- tween the outside portion and this section, to which latter it is stitched to form two com- partments, one for postage stamps and the other for visiting cards, the inner pocket being utilized for miscellaneous cards, etc. The pockets are all finished with a row of nar- row ribbon seamed to the edge and then turned over and machine-stitched flatly to Design in South-Kensington Stitch, for Gentle- men's Pocket Letter-Book. Figure No. 3. — This design is of the exact size suitable for embellishing the letter-book pictured at Figures Nos. i and 2. The colors may be in accordance with the plumage of the bird, or of any variety preferred. Cigar-Case. Figures Nos. 4 and 5. — The outside of this case is of figured Ottoman and the inside NSeDLG-CRilFr. 293 of plain Ottoman, and the edges are all bound decorated with fancy stitches in vari-colored with kid, machine-stitched on.' embroidery silks and stitched to the case at Figure No. 4 shows the case closed, and intervals to form pockets, each large enough on it are fastened three silver initials. to hold a cigar without slipping. 'J'he outside Figure No. 4. — Cigar-Case, Closed. Figure Mo. 5. — Cigar-C.xse, Open. Figure No. 5 shows the case open and the of such cases may be of kid, leather, silk, arrangement of the pockets for the cigars, velvet, plush, reps, etc., and the inside will The pockets are formed of a strip of silk usually be of silk. The binding may be rib- bound at the upper and lower edges with kid, bon, silk braid, etc., as preferred. Sometimes 294 NeeDLe-CRflFT. the pockets will be formed of a strip of strong for holding the variety of cards just at present ribbon. Of course, a monogram may be used in fashion. With a cliange in the size, the instead of the initials, if preferred. case may be duplicated to correspond. It is Figure No. 6. — Centlemen's Card-C.»se, Closed. p " "■^r?"-=«fci:'.rsjr.iS'.*».i' Fk-.uke No. 7. — Ge.ntle.men's C.-^rd-Case, Open. Gentlemen's Card-Case. made of kid, and is lined with satin after Figures Nos. 6 and 7. — These two en- the designs have been embroidered upon it gravings illustrate a card-case of a proper size in South-Kensington stitch. The smaller NeeDLG-CRAFT. 295 engraving shows the case closed and with the Gentlemen's Shaving-Book, Embroidery and Ini- design side uppermost. The otiier side may '•'^'• be jjlain or may have the initials or a mono- Figures Nos. 8, 9 and 10. — These en- gram upon It. The larger engraving shows gravings illustrate a shaving-book formed * * * jB^ • • • • ^^^ v^ " ' t o • o o • • Figure No. S.— Gentlemen's Shaving-Book. Figure No. 10. — Style of Initial. the interior of the case. Two sections are lined, embroidered and added as illustrated to form pockets, the hollowing spaces being left so as to withdraw the cards with ease. Brown, black and drab kid, with linings of blue, red or lavender, are usually selected. The de- signs may be done in any preferred color. of perforated cardboard, tissue paper of various colors, silk floss and gros-grain ribbon. Six or eight inches square is about the proper size for a book of this kind, and Figure No. 9 illustrates the full size of the embroidery and also shows the number and manner of making the stitches, as well as . 296 NeeDLG-CI^AFT. the nietliod of turning the corner of the em- broidery, and also the proporiionate widtii of the binding. The latter, however, should not be applied till the initial represented by Fig- ure No. 10, or any other letter desired, has been added, and the under side of the cover has been lined to conceal the wrong side of bow, and at one corner a long ribbon .s fastened under a bow, and, after its ends are tied in another bow, the loop thus formed is used to suspend the book at one side of the mirror. Other ribbons are fastened to the front edges of the book, and may be left loosely hanging, as illustrated, or tied in a Figure No. 11 — Shavint.-I'ai'ek Case. Figure No. 12. — Design on .Shaving-Paper Ca.se. the embroidery. After tw-o covers have been made and bound, a number of sheets of tissue paper of mi.\ed shades and colors are cut a trifle smaller than the covers and inserted be- tween them ; the covers are then secured to the paper and each other, bv ribbon passed through slits cut at each back corner of the paper, and tacked to the binding at the inside of the cover. Each ribbon is tied into a nattv bow to close the book. Any bright color may be selected for this book, and if preferred the embroidery may be of shaded floss, the bind- ing and ril)bons matching the darkest or the medium tint as desired. Worsted may be used instead of silk floss, and is chosen by inanv in preference, as it always makes the embroidery appear more massive. Plain while perforated-board is illustrated, but sil- NeeDLG-CRAFr. 297 ver, gilt or tinted card-board makes very handsome books, when the colors are care- fully selected. A quiet but charming contrast would result from the use of aife-au-lait card- board embroidered, lined and bound with the darkest shade of the same tint, or of drab card-board with the deepest gray trimmings. Blue or cardinal-red would make very showy trimmings. Shaving-Paper Case. Figure Nri. n. — Outside the paper that is pended. Colored papers may be used if de- sired, but white ones are always in good taste. Design on Shaving-Paper Case. Figure No. 12. — The design on the shav- ing-paper case is here given, and as it is only outlined, etching or painting may be the method used. Tobacco-Pouch. Figure No. 13.— This article will be a most acceptable and graceful Christmas gift to Figure No. \x. — Tobacco-Pouch. Figure No. 14, — .SpRmo L.\1'-Roiie. to be used is a sheet of parchment-like paper upon which is written in indelible ink and large letters that which the owner is supposed to desire, " a clean shave." Above this is a smaller cover of ^cru silk folded over and laced down each side with an olive green cord, which is tied at the termination in loops and ends, the latter being tipped with pom- pons. Similar pompons are across the edge in front, and upon this portion are cleverly outlined the shaving utensils. A ribbon is drawn through the shaving paper and the eye- lets of the case holding the paper, making a loop by which the pretty holder may be sus- falher or brother or to a man friend who is a lover of the weed. Four sections of chamois are comprised in the main portion of the pouch, two sections forming the sides and the other two the front and back. A cording of silk provides a decorative finish for the seams, and a bunch of narrow ribbon loops is caught to the bottom of the pouch at the center. The pouch is deepened by a straight section of silk sewed to its top, and is also lined with silk. A little above the seaming of the silk section to the pouch the lining and outside are sewed together to form a casing, in which are run ribbons that are pulled through open- 298 NeeDLG-cp^flFT. ings made in the outside portion at tiie sides, to draw the poucli up closely. The pouch may be hung by the draw ribbons to the smoker's table, which it will ornament hand- somely, and the initials of the recipient may be embroidered solidly or outlined on the pouch, or metal letters may be fastened on, as preferred. Three pipes, crossed and worked in outline stitch, decorate the front. Spring Lap-Robe. Figure No. 14. — This pretty lap-robe is of light-brown felt, lined with dark cardinal flan- nel. The two materials are of the same size and the edges are turned in and then stitched together. A short distance from the edge a band of deep cardinal fell is applied with yel- low crewel, and on the border is embroidered with crewels in outline stitch a floral pattern. If desired, the initial of the owner or his favo- rite horse's name may be embroidered in the center of the robe. If one lacks time, the band may be applied to the robe unorna- mented. Many are seen done in this way, and the effect is still pleasing. Sliells of tl^e Oceai?. It was a happy thought that directed their use, for they were extremely delicate, some of them being transparent and of a pale golden tint, suffused with a roseate hue, while others showed a pearly lining, and were beau- tifully crenellated about their edges. None of them were larger than a silver quarter of a dollar, and from this size they decreased to the dimensions of one's linger nail. They had been gathered from various sources, — some from the Florida coast, a few had been picked out of the debris strewn by the tide upon the sands around Plymouth ; others had been brought back by travellers beyond seas, and a few had been purchased because of their special beauty, and their affinity witii those already in possession. They had lain a long time in a box out of sight, though not out of mind, when the occasion for utilizing them arose, because, though they might have been made up into stifT-looking counterfeits of blossoms and foliage, the owner's sense of the fitness of things rebelled against such a disposal. But when she had a little portfolio containing etchings of marine views to place where it would be accessible to inspection, she saw her opportunity and improved it. For a much smaller sum than she would have had to expend for material, had she fallen into the "marine bouquet" folly, she purchased a pretty brass easel, well made and securely mounted, though very airy looking. A piece of pale gold India silk cost but a trifle more, and this she made into a scarf and fringed it with her sea-shells, stringing them on strong silk, graduating them so that the largest shells of each strand came first, and regulat- ing the arrangement to bring a tiny shell at the extremity. One end of the scarf was allowed to fall over a corner of the easel, tlie other to droop from the little stand which sup- ported it, and on the lower shelf of the stand were placed some bits of coral and curious submarine growths. Who could fail to appre- ciate the harmony of the entire arrange- ment ? ^"^ ♦ ■■ V*' V 6 '^ " •"• NeeDLe-CF^flFr. 299 CHAPTER XL. METH0D 0F MAKING A HAMM0GK 0R TENNIS-NET. ^HE pleasant, not tcr say luxurious, feeling one enjoys while swaying to f 'Q^ li'' ^P^** ''"*^ ^^° '" ^ well-made V^/iftyMKa hammock swung under the " shady roof " of some friendly tree, or within some bower where " quiet reigns supreme," is one of the strongest arguments in favor of this unpretentious-look- ing yet most delightful medium of pleasing repose. Persons accustomed to travel, and those who seek rest and enjoyment at: rural and sea-side resorts, usually carry their own hammocks with them, and find they are almost indispensable articles of comfort when tired Nature asserts herself and demands attention. The majority of hammocks purchased are very weighty, and this fault proves very often a reason for not carrying them with the travelling paraphernalia. Light ones may also be purchased ; but they are, as a rule, more expensive than the general purse can afford. Light, pretty ones can, however, be made at home, with but slight expense, and we have endeavored to assist our patrons in making one of the simplest, lightest and prettiest articles of this kind. Hammock. Figure No. i. — This en;\.:<' X« * ■» »X. ■ -X. -Xt * . 'X* . > V; '>, ]>^EEDLE A.ND ^PJUStl : XJSEFUL AND J)EC0R^TIVE. THE FORTHCOMIXG VOLUME 7X TIIF IS K.VTITLKIi illiNilliiiiii[iiinii»[iil(niiiiiii[iiiiiiiniiiii!i{iiiliiiiiiiiiiii!i{iiiiii(ii:iii:iiiii'i ^ Drawn-Work. N this chapter three illustrations of drawn-work are given, two of them being somewiiat elaborate in effect, ■^^■^ while the other is extremely simple- and exemplifies a method often followed for finishing the hems of handkerchiefs, pillow cases and other articles requiring an ornamen- tal, but not elaborate completion. Hem-Stitching. Figure No. i. — The simplest style of drawn-work is illustrated at this figure, and the method of execution is as follows : As many threads are drawn out of the article to be finished as will provide a ravelled space of the width desired for the drawn-work, the distance from the edge being calculated so as to leave whatever width is desired for a hem. The threads remaining in the frayed portions are divided by the following process into groups containing eight, ten, twelve or four- teen threads : A needle threaded with fine cotton is passed to the under side, back of the first group and brought to the upper side in //on/ of this group, which is drawn tightly at its center by passing the thread over the needle, as for a button-hole stitch. The needle is passed iac^ of the second group to the under side, brought to the upper side again, and the button-hole stitch repeated as before. This process is repeated until the groups have all been divided and securely fastened by the button-hole stitching. The hem is then turned, and the first stitch in it is made by bringing the needle, from under- neath, through the middle of the first group and passing it through the turned-under edge. For the next stitch the needle is passed under the remaining threads in this group and brought through the hem between the groups. The third stitch is made half way of the next group, the same as the first, and so on until the hem is completed. Eight threads are as many as will usually be grouped when the article to be hem-stitched is a handkerchief, a tie, etc., and if the num- ber be increased, as it often will be for towels, and larger articles, it must be by adding enough to always keep the number even, as nine, eleven, thirteen, etc., would not permit of dividing each group evenly along the hemmed edge. Fancy Drawn-Work. Figure No. 2. — This engraving shows a very effective, but not difficult specimen of drawn-work. When it is to be executed upon linen of medium fineness, the width illus- 310 NeeDLe-CRflFT. tiated may be achieved by drawing out lliirty- five threads for eacli of the wide rows and twenty for each of the narrower ones, leaving a space equal to ten threads for each solid strip between the drawn portions. The needle is then threaded and brought from under- neath through the first solid space, passed back of the first group of six threads in the again, and passed through baik of the tliinl cluster of six threads in the ravelled porticjn below the solid strip. This process forms a sort of herring-bone stitching, over and under every jvw;/(/ group of six threads above and below the solid strip, and after one row has been worked all the way across a second row IS made, beginning with the frst group of li^i^Htt^^^ FiGUKK Xo. I. — Hem-Stitcming. w^A Figure N'o. 2. — Fancy Urawn-Wurk. ravelled portion above and brought out again \w front of this group : it is then cairied down- ward across the solid strip and passed back of the second group of six threads in the rav- elled portion hclow, brought out in front of this group, carried upward across the solid strip and passed back of the third cluster of six threads in the upper row. It is then car- ried downward diagonally over the solid strip \hreads omitted above the solid strip and in- cluding <7vv-_v alternatiiii^ group not taken up by the first row. The execution of^the seconil row develops a double herring-bone effect. Upon the second solid strip the process is repeated with a slight variation. The needle is brought up from underneath and passed back of the first group of tu^eh-e threads, carried diagonally downward across NeeDLG-CRAFT. 311 ilie solid strip, passed under the second group of twelve at the lower edge of the strip, brought out in fi-o?it of this group and carried upward across the solid strip to the third group of twelve, passed through Imek of this group and brought out \v\ front of it, the pro- cess being repeated all the way across. This omits every alternating group of t^velve threads and these are taken up by the second row which begins with 'Cae. first one omitted by the first row. When the double herring-bone is perfected it differs only from the double row first worked by being more open. process is given in detail so as to be of the utmost possible help to those who are not acquainted with the detail of drawn-work ; and by studying it in connection with the engrav- ing, even a beginner will find it easier than it seems. Drawn-Work in Block Pattern. Figure No. 3. — This is the most delicate and cobwebby of the three styles of drawn- work illustrated, and e-xtremely careful hand- ling is requisite to its successful execution. Upon the material to be drawn squares o^ fif- teen threads are first marked with tiny dots. ^TTQfiniflfirT ■4^ BBiiJifi&i^: Figure No. 3. — Dr.wvn-Work in Block Pattern. On the third solid strip the double herring- bone is worked exactly as on xhtt first, and then the ravelled threads in each of the wide strips, which by the process described are divided into groups of six, are drawn over and under each other by running a needle (threaded) under the first six, bringing this group forward under the second, and slipping the needle and thread bet?aeen them so as to hold them in their reversed positions at their center in the manner illustrated by the en- graving. .■Mthough the description is quite wordy the and then every second square is cut out with sharp, short-bladed and pointed scissors. For the first row : pull out the crosswise threads from the first square, leaving the next square solid and repeat all the way across. For the second row : The first square being already cut out, leaves an opening beneath the first drawn square in the first row ; from the square nearest this opening pull out the lengthivise threads and repeat through all the solid squares in this row : For the third row proceed as for the first. For the fourth as for the second, and so on, through whatever nuin- 312 NeeDLe-CRAFT. her of rows are desired. For the net-work or lace stitches thread a needle witii tine cotton. Divide the first square from which the cross- 7aise threads were drawn in beginning the work into three clusters of five threads each. ThL-n pass the needle under the first cluster and bring it up between the first and the second clusters, passing the thread over the needle as for a button-hole stitch. Repeat tliis process for the second and third clusters and carry the thread across the open space to the ne-xt square from which the crossivise tiireads were drawn in the beginning, dividing the lengtlnvise threads in this square into clus- ters of five each and repeating the button-hole stitch as described for the first square. Re- peat this process until all the squares from which the crossiuise threads were first drawn have been divided and button-hole stitched. Then insert the needle at the first open space in the second row, and carry it diagonally to the opposite corner of the first solid square in the row below, securing it invisibly at this corner, and passing the needle diagonally under the solid square and also fastening the thread firmly at the opposite corner of this square ; repeat this diagonal arrangement across all the open spaces. Continue the net-work by inserting the needle at the lower outer corner oi the left hand open square in the last row and carry it diag- onally across this open space to the opposite corner of the solid square, fastening it securely and passing it beneath the solid square. Re- peat this process until all the openings are crossed diagonally upivard in the same man- ner as they were previously crossed diagonally downward. Insert the needle at the center of the out- side edge of the first open square and carry it to where the diagonal threads and also the straight thread (the one used in dividing the clusters), meet at the center of the squares, fastening all three threads together securely at their centers by a button-hole stitch. Now carry the needle to the middle of the adja- cent square from which the lengthwise threads were dr'awn at the beginning, dividing them in groups of five and fastening each group with a button-hole stitch in the same way previously described, and so on until the design is completed. From the knowledge gamed in the develop- ment of these three specimens many varia- tions in drawn-work may be thought out by anybody who is interested in this pretty pro- cess of elaborating the original warp ayd woof of a plain fabric. NGeDLG-CI^AFT. 313 .■■ ^.^■■ig^-:l@ng).-'-^;3^-'-^^;^--^:3^^ CHAPTER XLIir. APPLIQUE W0RK PPLIQUE work is one of the most fashionable as well as fascinating varieties of fancy work, and it possesses the added advantage of be- ing well adapted to the decoration of articles to which it is desired to give an elaborate effect with a small oiitia)- of time and money. Of course care and attention to details are essential to a good effect in the development of any kind of needlework, and they cannot be ignored in this variety ; but after a little practice the worker finds herself able to progress rapidly. Very handsome effects are obtainable by using satin, or ribbed silk for a background to felt, billiard-cloth, chamois or velvet. Felt or cloth in two shades may also be arranged to produce a very attractive result. Cover, Decorated with Applique Work. Figure No. i. — This engraving illustrates a cover suitable for a table, or any piece of furniture upon which such an article is usually placed. It is made of felt in two shades, the darker shade being placed under- neath so as to show beyond the edge and tlirough the openings of the lighter shade. The detail of the applique work is fuUy illustrated at Diagram A on page 316 ; and a simple process of reproducing the outline is as follows : The lower or extreme outer lines are traced on thin paper and then cut out and this paper serves as a pattern which may be duplicated on stiff paper or card-board and the edges of the under portion shaped by them. The second unbroken line in the diagram indicates the edge of the upper or lighter felt portion, and this, as well as the outlines which indicate the open spaces, may be traced upon thin paper, cut out and then used as patterns for shaping stiff paper or card-board to cut the felt by. The felt should be laid smoothly upon a table or board, and the outlines of the patterns marked upon them with red ink, a colored pencil or any imple- ment which will leave a clear impression upon the fabric. With small, sharp-pointed scissors the outlines and openings are then cut, and the egg-shaped openings couched all around with filoselle. The upper and under portions of the cover are tacked together, invisibly between the curves of their outer edges and, if expedient, through the couching also. In cutting the oval corner openings the tiny space between the crossed portions must of course be delicalelv managed. As what 3'4 NeeDLG-cF^flFr. appears to be two sections really consists of however, to refrain from cutting more than only one and as the shape is easily reproduced it is probable can be finished within a short Figure No. i. — Cover, Decorated « i ih Ai'i'i.ini ]•. WUkk. Figure No. 2. — Cushion Dixorated with Apim.uji ic Wukk. by the method described, not the slightest diffi- time after cutting, because much handling culty need be feared. It is a wise precaution, is apt to fray or stretch the edges. NeeDLe-ci^iiFT'. 315 Filoselle is one of the best materials for couching. As many strands as are desired may be used and the stitches which hold them in place may be rendered invisible by proceeding in the following manner: Hold the strands in position with the left hand and with a needle threaded, with silk or a strand of filoselle make a stitch through half of the strands to hold them along the edge they are to finish. Then carry the needle along the under side of the goods for a short distance before bringing it to the outside again. Pass the next stitch over the strands that were left loose by the preceding stitch, taking care to keep all the strands smooth. The next stitch should cover the same half as was held down by the first stitch, and so on, until the edge is entirely couched. Contrasting colors or graduated shades may be introduced in couching, with good effect. The openings inside the edges may also be couched, or all the edges may be finished with button-hole stitching or any kind of fancy stitching in keeping with the mate'ial selected. Of course the under portion should be cut enough larger than the upper to allow for the projection of its edges. The colors chosen for this cover are &ru and seal, and the combination is very effective. Cushion Decorated with Appliqu^ Work. Figure No. 2. — This cushion is made of billiard-cloth and plush, the latter material consisting of pieces which are laid underneath the openings in the billiard-cloth. The exact shape and sizes of the openings are illustrated by Diagram B, on page 317. A few stitches are made along the edges of the openings to hold the plush in position and then all the edges are button-hole stitched with heavy Bargarran cotton. The diagram is one-fourth the size of the cushion, as much margin being allowable as is requisite to the dimensions desired. The edges may be couched, if de- sired, and the plush under-portion may be in one piece ; but as every lady who does fancv- work is apt to accumulate pieces that can be utilized for this purpose an opportunity to use them will not be overlooked. Tiie outlines for the openings in the billiard-cloth may be marked on thin paper and then cut out as described at Figure No. i ; or they may be traced upon tracing paper, which may be perforated to permit of reproducing the outline upon the material with powder or tracing ink, according to the preference of the worker. This method of applying the smooth material upon the plush is more satisfactory and more easily developed than the opposite one of applying plush on a smooth fabric. Any ma- terials suitable for applique work may be selected for a cushion of this style. Diagrams C and D. — These two engravings show the detail of two very attractive styles of applique work. Both are especially pretty as borders for mantel-boards or for finishing scarfs or covers. Each design permits of either of two methods in its development. The outlines illustrated may be reproduced in whatever contrasting material is chosen for the purpose and applied upon the material proper with button-hole or couching stitch, or with any other variety or combination of stitches preferred. The outer lines represent the edges of an underlying material in each instance, and the lines next to them the edges of the outer material. The enclosed oblong spaces which come next in each and the smaller circles in Diagram C, as well as the tiny circles and the petal .shaped sec- tions in Diagram D, may be cut out to permit the material luiderneath to show through ; or the outlines above the lower two rows may be duplicated in contrasting mate- rial and set upon the outside. The large circles in Diagram C and the very small ones DiAi-.RAM A.— Showing Df.tail of Cover Decoration NeeDLe-d^fipr. 317 (which are the only ones) in Diagram D may When Bolton sheeting is selected for border- be worked in a back-stitch with floss, filoselle ings, cushions or covers a beautiful effect is Diagram B. — Showing Detail of Appliqu^ Design for Cushion. or crewel instead of having the spaces they obtained by duplicating the outlines of any of enclose covered with appliqueed work, the various designs given in this chapter 3»8 NeeDLe-cr^AFT. and working over them with ]niilelte and material may be treated upon its reverse side button-hole stitching done in the manner with a sizing of gum-arabic or white glue and Diagram C. — Showing Dktaii. ok ISordkr for Appliqu^ Work. described on another page of this bool<. When the satin pasted smoothly upon it to dispense satin is used for the background the outer with sewing. NeeflLG-ci^iiFr. 319 Diagram T>. — Showing Detail of Border for Applique Work. 320 NeeDLe-CRflFT. A very artistic example of this class of work net-work of tinsel cord held in place with in- is a table-scarf of olivd cloth, having its ends \isible stitches. The tinsel is such as is cut out in an open pattern and underlaid with bought by the ball for a trifling sum, and the crimson satin. The latter is visible through a work is easily done and very attractive. SyiDg tt?e Curtains Back. What to use for tying back the curtains at doors and windows is often hard to decide, unless one be content to follow the lead of those who are satisfied to do as others do. Ribbon harmonizes with lace, but it is prefer- able to let lace curtains fall in unbroken lines, unless they are to remain permanently in the folds in which they are draped. If there are inner curtains of silk or any fancy fabric they may be draped back with good effect. Cord, ribbon, metal chains, strings of imitation antique coins, etc., are used for the purpose, and in addition there is a fancy for using scarfs of contrasting material. Those of thin Japanese or Chinese white cot- ton crape, enriched at their ends with silken and metallic embroidery, are especially ad- mired. They tie more softly than ribbon, and their beauty is very apparent in such a disposal. A portiere betw^een two rooms may be draped with these scarfs, or with those of pongee or India silk, decorated with metallic cord or lustra painting. Where the arrange- ment of the hanging suggests the use of wide bands, which shall support without too closely confining its folds, wide velvet ribbon may be used with rich effect. Black is the best color, because it permits of the development of an elaborate embroidery pattern in a variety of metallic hues. The metal cord may be pur- chased at a slight expense, and easily sewed to position. Common ticking, in the familiar blue and white stripe, may also be utilized to make curtain straps. Of course it serves only as a foundation, the white stripe being overwrought with fancy stitches in a variety of colors, and the blue ones with tinsel cord or braid. y-:?<.:;x\ /.- X. .X. .X. .x^jlJx-CJ'Ii. o l^^C, ^^€3^(y<': M: wTiS>^ mm mr^mm m 1 UkCvS^-^. &m M^ t irn-