LIBRARY OF CONGRESS, j Shelf ' ' UNITED STATES OF AMERICA. ffi Xt?\^ m ' TltTOI5»^P(EEDLMafO%^ERIEi^. f(o. S.'B^CTiltor^Co. DESIGNS IN OUTLINE FOR ART-NEEDLEWORK. FIRST SERIES. SECOND SERIES. THIRD SERIES. FOURTH SERIES FIFTH SERIES. 1. DwAKF AiiCTOTls Mantelpiece Border ... 9 inches wide 2. White-Mountain Daffouill . Chair-Back 14 x 19 inches. 3. Dahlia Banner-Screen 11 x 15 " 4. Clematis Chair 8x21 " 5. Peach-Blossom Tea-Cloth 5 inches wide. 6. Chekry Tea-Cosey 9x16 inches. This series sent by mail on receipt of price, 75 cents. ' 7. Black-Spotted Nemophylla . Blotting-Book S x i& inches. I 8. CiSTUS Carriage-Blanket ... 14 x 18 " ' 9. Cornflower Chair-Back 13 x 19 '• 10. Morning-Glory, Impo.mcea . . Cushion 12 x 15 " 11. Roses ( ^ , 1 x-. • ,^ ■ o << L 12 Roses ( Double Design Curtain o x 30 This series sent by mail on receipt of price, 75 cents. 13. Flax Lawn-Tennis Costume . . 1 inch wide. 14. ToBACCO-P" lower Smoking-Coat " " 15 Myrtle and Maidenhair . . . Parasol " " 16. Cowslip and Primrose .... Table-Cloth 6 inches" 17. Pomegranate Border 7 " " 18. Poppies and Corn Evening Dress i inch •' This series sent by mail on receipt of price, 75 cents. Hops and Ox-Eyed Daisies . . Panel 12 x 20 inches. . Crown Imperial Chair-Seat 13 x 13 22 Violets I ^°"'^'^ Pattern . . . L;nvn-Tennis Apron . . Cyclamen I'oilet-Cover, &c. . . . 6 x n " lies Panel 13 x " " This series sijiit by mail on receipt of price, 75 cents. 25. Peacock's Feather 8 x i . 26. Stork and Cat-Tails 13 x 20 27. Hokse-Shoe AND Border Pansies 4iiichesw.i.. . 28. Oranges and Blossoms 7 x 20 inches. 29. Japanese Design for Four Corners of 'I'ea-Cloth . . 12 x 20 " 30. Japanese Design for D'Oylrys 12 x 20 " This series sent by mail on receipt of price, 75 cents. ^TH j i; (22. Vl 23. Cy 24. Li Instructions in Drawing, Tracing, and Transferring Patterns, Coloring, with directions lor Stitch, &c., accompany each series. Any of the above designs may be had separately, colored by hand, fjr a working pattern. Price, 30 cents each. S. W TILTON & CO., Publishers, Boston. For sale at our Office, 333 Washington Street, up one flight; or sent by mail to any address on receipt of price. ■fS. ^ IN PREPARATION: -. '•'' \ yi Sc-ries cf Designs for Church Emhroiderv. li'i K v/— N principally to strengthen the > /^''li—S*- -^=S^Z ^3^tGi'i3-^ that makes the pattern, "*^T^^^Pr^^T^^^^STrsr and to enrich it. A stitch called point Russe,^ a long back-stitch something like herring - bone DiAOKAM 7.-FREHCH KNOT, X. ^^j^^j^^ j^ somctimcs convcuient for light grasses or stalks, by way of contrast to the heavier work in grouping. The French knot is used in most kinds of embroidery ; and, as it requires some skill, we recom- mend our readers to practise it first with common materials. * Descriptions of these stitches are given in part II. Art Needlework. * This will be found described, with illustration, in part II. Art Needlework. 44 ART-NEEDLEWORK. It is worked thus : Take about four threads of the material on the needle (or more in coarser work), draw the needle half out ; wind the thread (crewel or silk) twice round the point of the needle, hold it tight with the thumb, draw the needle out carefully, and insert it in the place where the stitch was begun, and draw it out at the place where the next stitch is to be worked. (See diagram 7.) In working without a frame, you vary a little in the manner of placing the needle in completing the stitch. Before drawing the crewel or silk out of the material, DIAGRAM 8.-FKENCH KNOT, .. ^Old it tight with thC Icft thUmb ; leave the needle in the same position, wind the thread twice round it ; turn the needle from left to right so (follow the direction of the arrow) that its point arrives where the cotton was drawn out (marked by a cross in illustration) ; insert the needle there, and draw it out at the place of the next stitch. In one case, to complete the stitch, after winding the thread round, you put the needle in where the stitch was begun : in the other, you put it in where the thread was drawn out. French knots are used for filling up the centres of flowers or wherever raised work is needed. Edging cords and gold are fastened down by fine sewing- silk taken over them. When the outline is finished, a hole must be made in the stuff with a stiletto, the cord cut off, and the end threaded on a large round-eyed needle, taken through the stiletto-hole, and fastened off securely at the back. IV. APPLIQUE WORK. " Appliqii^'' is a French word, which, as it has now no equivalent in the English language, we are forced to use. METHOD. 45 "Application" and "applied work" come nearest to the true signification, but are rather awkward to use. Applique work consists of a pattern cut out in one color or stuff, and laid on or applied to another. Applique work may be executed in almost every material and for almost every purpose. It is probably the oldest kind of decorative needlework : it certainly is the most simple. Neatness and some degree of mechanical skill are all that are required in the manipulation of the mate- rials. In this kind of ornamental work, even more than in the others, design and color are of higher importance than mere stitchery. Cloth is one of the most satisfactory materials for ap- plique work. It is easy to cut, and at the same time is very solid. It can be had in a great many different shades and colors. The pattern should be traced on it in the manner that has already been described, and cut out with a sharp pair of scissors, and gummed or pasted on to the stuff it is to ornament. When quite dry, it must be se- cured with fine sewing-silk of the same color, and after- wards worked over with purse or embroidery silk in button- hole stitch in another shade or color. If an edging of cord is used, the button-hole stitch is not required. The cord is sewn down with fine sewing-silk of the same color. When the design is complicated, or in many colors, or it is to be executed in more precious stuff, a tracing should be made on the material it is laid upon, and the parts care- fully numbered : they should fit together like a dissected map. In working with velvet, satin, or silk, holland should be stretched in a frame, the design drawn upon it, and the velvet, &c., pasted on the other side, and when dry cut as above directed. When several colors are used, pieces the size of the parts they are required for may be 46 ART-NEEDLEWORK. pasted on the foundation. Cotton-velvet does not require this backing, as it is little liable to fray : gum or starch or paste spread over the back is enough to keep it firm for cutting. Paper is often used for the purpose of back- ing : tough paper is the best for this. In cutting out, economize your stuff as much as possible, and make use of the smallest morsels. A great deal of waste may be avoided by a very slight attention to this recommendation. You must remember that in piled fabrics and cloth you get a different shade of color if the stuff does not meet the light in the same direction. So be careful in cutting out and laying down, that the pile always goes the same way. It is well, before pasting down, to lay the pieces flat in the position they are to occupy, and look at them from different points, when any inac- curacy of placing will then be discovered. For very delicate materials isinglass is sometimes used instead of paste. Applique work is often ornamented afterwards with patterns in different stitches, chain-stitch, coral-stitch, button-hole stitch, &c. ; but its chief use is in cases where flat masses of color are required. VII. A FEW USEFUL GENERAL HINTS. When you are working on any costly or delicate mate- rials, it is well to place a fold or two of soft old damask tablecloth over the lower part of the frame, so that any friction arising from contact with your body may be avoid- ed. Tissue-paper or soft old tablecloth should also be placed over the part on which you are working, so that your hand shall not touch the work. Always cover up your work when you leave it, even if it be only for half an hour. METHOD. 47 In working without a frame, your work may, if it be in rather narrow strips, be pinned to your knee or to a leaded pincushion. Very thin strips may sometimes be pinned to the top webbing of a frame, and the lower part left loose, allowing the left hand to pass under it. In working with a frame, you should learn to use both hands at once, — one to thrust the needle downwards, and the other to thrust it up. A delicate sense of touch is re- quired to do this dexterously, and your progress will be slow at first ; but, when you get accustomed to this mode of work, you will be quite repaid for the trouble you have taken in acquiring it. Of course it will be necessary for you to use two thimbles, for right and left middle fingers. One very good reason for working with both hands is, that you may always so sit that the light may never cast the shadow of your hand on your work, as you can use the hand under the frame that would otherwise cast a shadow. Another advantage is, that by changing the position of the body, and bringing different muscles into play, you can work longer without being fatigued. It is very false economy to go on working with a thread that shows signs of being worn, soiled, or distressed in any way. It is not wasteful to cut it off, and throw it away ; for it would spoil the appearance of your work, which should look, as the popular phrase has it, " as if hands had not touched it." You must never pick out whQn you are working on silk or velvet. Crash or coarse linen will not be any the worse for unpicking. You must insert the sharp point of your scissors under the stitches, and cut through them in all directions, then pull out from the back of the stuff. Even after you have picked as cleanly as possible, there will still 48 ART-NEEDLEWORK. remain a film of color caused by the slender filaments re- 1 maining in the web. This you may get rid of by brush- ing once or twice with a clean, small clothes-brush. When it is necessary to secure the fastenings-off and the ends of the threads, a coating of thick paste or gum should be passed over the back of the work. When your design is all filled in, your work, unless you are a very skilful hand, cannot be considered finished. You must go carefully over it, filling up the bare spots and thin places, here drawing a stitch tighter, there making one looser. The surfaces should have the smooth, rich, even effect of velvet ; and the trouble taken to secure this end is as little thrown away as are the " finishing touches " a painter gives his picture. Any one who really loves her work will take a peculiar pleasure in thus completing it, and making every portion as perfect as it is possible for it to be. Do not forget the directions on p. 33 for the careful use of paste in applique work. The outline should be already drawn on the foundation ; so that the figure cut out can be placed in exactly the right position, and it should be done with £;reat care and neatness. CHAPTER V. COLOR AND DESIGN IN ORNAMENTAL NEEDLEWORK. " We see in needlework and embroiderie, that it is more pleasing to have a lively work upon a sad and solemn ground, than to have a dark and melan- choly work'upon a lightsome ground." — Bacon. I. COLOR. IT has been asserted, we do not presume to say with how much of justice, that the English school of paint- ing is remarkable for fine color. A cynic might be dis- posed to say that it is a pity a national characteristic so valuable should be displayed only on canvases, be shut up in studios and galleries, be revealed only to a few, whilst in daily life, in our dwellings and in our dresses, it is con- spicuous chiefly by its absence. And we are disposed to agree with the cynic. We are not, however, inclined to think that this deficiency arises from a natural depravity of taste inherent in the Anglo-Saxon race, but rather from sheer stupidity, laziness, carelessness, and indifference. It is supposed that every woman is fond of dress, and it is charged upon us that women are extravagantly fond of it. Yet but few women know how to dress be- comingly. Many a woman is aware of this defect, and strives to gain instruction how she may correct it. She believes what she is told, and, above all, what she sees in print. For instance, a girl with a sallow skin, pale eyes, and neutral-tinted hair, reads in a book that blue is becom- 49 50 ART-NEEDLEWORK. ing to fair complexions. It is, indeed, a tradition, an ac- cepted canon of good taste, that blues and blondes are justly formed to meet by nature. So straightway she goes and clothes herself in blue, generally with the most disas- trous result. She does not observe that the blue reflected tones intensify the leaden grays in the shadows of the carnations, and neutralize their rosy tints ; and she wears the hideous garment with the placid contentment of igno ranee. It is impossible to lay down rules and laws for every color in embroidery : the shades and tones of color are so numerous and so varied that description is of little use, and prescription of none at all. In painting, the artist can produce or alter colors to an unlimited extent by mixing his pigments or glazing one over another ; but the embroiderer's colors are fixed, and the only way in which he can subdue and change them is by juxtaposition and proportion. We can no more define a color in words than we can define a curve or the timbre of a musical sound. Nor can we precisely order color, and scientifically distribute its proportions. Study, by all means, whatever works on color you can obtain ; but in practice you must be guided chiefly by your eye and your good taste. If your eye, however, be deficient, no theories nor science in the world will help you. You may, of course, improve your taste by the study of fine color ; but if you have not a normal eye, — if, for instance, cool crimson looks to you much the same as hot orange, — you can scarcely be expected to turn out a piece of work agreeable to the majority of your fellow- creatures. Unfortunately few people are aware of their deficiences in this respect : a scheme of color looks rich and harmonious to them, and they cannot understand why to others it should appear bad. COLOR AND DESIGN. 5 I A great authority on color says, that, to be harmonious, primaries of equal intensity must exist in the proportions of three yellow, five red, and eight blue — integrally six- teen ; the secondaries in the proportions of eight orange, thirteen purple, eleven green — integrally thirty-two ; the tertiaries, citrine (compound of orange and green) nine- teen, russet (orange and purple) twenty-one, olive (green and purple) twenty-four — integrally sixty-four. It follows, therefore, that each secondary, being a compound of two primaries, is neutralized by the remaining primary in the same proportions, — thus eight of orange by eight of blue, eleven of green by five of red, thirteen of purple by three of yellow. The tertiaries are neutralized by the second- aries in the same proportion. Of course the above propo- sitions suppose the colors to be used in their prismatic intensities ; but as hundreds, we may rather say thou- sands, of shades and tones are in daily use in dress and decoration, we must, after all, fall back upon ourselves, our individual tastes, and our experience. Experience tells us that blue is a cold, hard, disagreeable color, and when used in combination it should be employed in a very small proportion. The great artists teach us this both by precept and example. Sir Joshua Reynolds says a great mass of pure blue in a picture is destruction to its har- mony. Gainsborough set himself to work to refute this theory in the famous portrait known as the "Blue Boy," but he only confirmed it. His blues are so broken and changed by reflections and shadows, and so surrounded by the yellows and browns of the background, that it is evi- dent that he has only evaded the difficulty, not overcome it.^ The late Mr. Owen Jones, a scientific colorist and a * The book on Greek Ornament, published by Tilton & Co., gives admirable hints of color. 5 2 ART-NEEDLE WORK. true artist, tells us, that, in the great Exhibition of 185 1, he used the primitive colors, in the proportions stated above, for the decoration of the girders of the roof, and with the happiest result so long as the light was tempered by the canvas covering. When, however, this was re- moved, the strong daylight completely extinguished the red and yellow, and the third primary alone could be seen. The aerial effect was entirely lost ; and, as it became im- possible to distinguish one girder from another, the nave appeared to be shortened by one or two hundred feet. It is tolerably clear, therefore, that if in a piece of em- broidery, considered only with reference to itself, we use blue in the large proportion indicated in the foregoing proposition, we shall not do well. Color in embroidery, however, depends upon so many conditions, that the most general advice only can be given. We may tell the worker that crewel used on "crash " may be used in much more vivid tints than upon fine white linen. The neutral color of "crash," and the broken grays induced by the roughness of its surface, tend to harmonize what may be placed upon it. Mixed and broken tints will look better on the white. A piece of embroidery for an anti-macassar that is intended to light up a dark corner, may consist of bright colors and strong contrasts, while one that is full in the light should be more neutral-tinted. A piece of embroidery may be used for the purpose of gathering up, as it were, of focussing, the color of the sur- rounding decorations, by repeating them in fainter and brighter, or darker and brighter, tones. For instance, in a room of which the prevailing color is deep crimson, a chair or table-cover or anti-macassar may be placed en evidence worked in pale crimson, and the effect heightened by a little pink of the same tone. COLOR AND DESIGN. 53 To return, however, to our primaries and secondaries. Yellow is the color the most akin to light, and red stands about midway between yellow and blue in this respect. Where you want warmth and light, there it is well to make your-prevailing. color yellow.' Each primary, as is well known, has a complementary color, composed of the other two primaries : thus green is the complementary of red, purple of yellow, and orange of blue. A primary and its complementary form a full and harmonious contrast. The primaries, indeed, reflect their complementaries in a certain proportion ; as, in acoustics, when a fundamental note is sounded, its har- monics sound also. The primaries, however well propor- tioned in quantity and intensity, do not produce an har- monious effect : yet if the contrasts are multiplied by being repeated in small quantities, the relative proportions being observed, black and white being added, and distance and light helping to blend the component colors, a very agree- able result may be produced. The Egyptians, in the deco- ration of their temples, made use of this system of color. Brilliancy does not by any means depend on the primi- tive colors, which, if not well proportioned, will appear dull and heavy, as well as gaudy and discordant, while the dull and heavy tertiaries may, on the other hand, if well arranged, produce an effect almost brilliant. Always remember that when a primary is tinged with another primary, and contrasted with a secondary, the sec- ondary must have a tinge of the third primary. For in- stance : simple red may be used with pure green ; but scarlet, which is red tinged with yellow, must have a blue ' Ruskin is of opinion that the first approach to viciousness of color in any master is indi- cated by a prevalence of purple and an absence of yellow; that yellow in Nature is more gen- erally contrasted with black than purple, and that this contrast has been employed with success by Turner and Rubens. 54 ART-NEEDLEWORK. green ; and crimson, or red tinged with blue, must have a yellow green. Always remember, too, that colors on a light ground appear darker, and, on a dark ground lighter. Colors placed in juxtaposition re-act upon one another, and acquire each a tinge of the other. Neutral colors reflect the complementaries of colors on which they are placed. Neutral gray, for example, on an orange ground, acquires a tinge of blue, of which orange is the comple- mentary color. On a green ground, the gray becomes red- dish ; on yellow ground, violet ; on a blue ground, orange ; while a neutral ground has a very subduing and harmoniz- ing effect on the colors placed on it. If you are in doubt as to any colors harmonizing, it is a good plan to make a rough sketch on paper in the same colors as the material you wish to use. If this sketch does not satisfy you, try some other scheme of color. It is difificult to copy colored designs in worsted or silk, as you often cannot get shades to match : it is therefore better to work from uncolored designs, and experiment in color in the way we recommend. Light and shade should never appear in embroidery, ex- cept in pieces that are to be looked at as pictures, which is not the legitimate use of embroidery. In dress and deco- ration, textile fabrics necessarily change position and light ; so that sometimes, if light and shade were used, the real light would fall on the part represented in shadow, and the high lights of the work would fall into the shade, and the relation of one to the other be falsified. Study specimens of embroidery whenever you can, and endeavor to ascer- tain the principle upon which they have been executed. It may not be amiss to describe here one or two, although, as we have observed above, we can never convey an exact COLOR AND DESIGN. 55 idea of color in words. Some old Spanish embroidered decorations of a room were sold in London a short time ago. They were of red satin, and the pattern was of yellow satin applique on the red. This sounds gaudy enough in words : in fact, however, the relative quantities were nicely proportioned, and the two colors of shades that met agreeably were harmonized by a white cord that bordered the yellow satin applique. This cord was sewn on principally with white sewing-silk : here and there, how- ever, pea-green silk was introduced, and blue in a very minute proportion. The whole effect was rich and pleasant. A fragment of embroidery, date about 1750, gives an admirable subject for study. It is the edge of a petticoat, about eight inches deep, and is of white satin. The mate- rial is ravelled out in a fringe at the bottom ; then comes a line, about an eighth of an inch wide, in dark red floss, then a row of disks shaded in a dark and a light green ; above these, and touching one another, are two broader lines of red, one the same color as the first, the other paler ; then we have a representation of moss worked in chenille of three shades of green, and from this mossy ground spring roses, carnations, forget-me-nots, and leafy sprays. This part is treated quite decoratively ; and no attempt is made to preserve the natural proportions of the flowers in relation to each other, or to their stems and leaves. In the sprays one or two leaves are of peach- blossom color. Above this row of flowers are branches in festoons, of which the stems are olive-brown, the leaves shaded, or rather, we should say, party-colored, with peach- blossom inclining to pink, olive-brown, and two or three shades of green. It will be seen that nature is no more strictly adhered to in color than in form. Above these branches is a pattern in two shades of peach-blossom, $6 ART-NEEDLEWORK. accompanied with a very little blue. Except the moss, the embroidery is all done in floss silk split very fine. Seen by candle-light this beautiful piece of work has the bril- liance of cut and polished gems, while the general effect of color is extremely rich and sweet, and would harmonize with almost any surroundings. A pair of mittens of a few years later are of tasteful workmanship : they are of soft open-woven white silk, and are worked principally in floss silk split. There is a scroll of dark green, within and around which are worked roses and green leaves. The roses are worked in embroidery-silk, and are considerably raised : there are four altogether, two red, one pink, and one yellow. Springing from the scroll are ornaments in blue, orange, and violet, all these colors, however, in very small proportion : the stalks and veins are of fine gold- thread, which also forms an outline round the scrolls and two sprays of round red berries that spring from the top of the scroll. The color is really beautiful, and is further harmonized by the gray tint produced by shadows in the open-work of the foundation. When working in crewels we would advise the worker to calculate carefully how much of each color she will require, and to get it all at once, for the dyes seldom re- peat themselves in exactly the same intensity, and thus matching becomes difficult. In crewels, the only color that can be depended upon with absolute certainty is the military scarlet. The number of shades and tones in crewels to be found in England is enormous, one house of business alone keeping one hundred and thirty-three shades of green in stock ; other houses keep, perhaps, as many ; and, being served by different dyers, the colors are by no means the same. It is to be hoped, that, as the art of embroidery is more generally cultivated here, that one COLOR AND DESIGN. 57 can more easily obtain these varieties of shades. It is a good plan, when copying a flower, to take a blossom to the crewel-shop, and match its color as nearly as possible : often this may be done exactly. The shades of crimson, ranging from nearly black to nearly white, are sweeter and cooler in crewels than in any other material ; the scarlets, which are almost as numerous, are brighter and purer ; while the deliciousness of certain blue greens cannot be surpassed. The reader is implored to avoid the harsh magenta reds, and the cold, hard violets and mauves, of the aniline dyes, so common a few years ago. In the best warehouses, however, these vicious tints are not to be found. II, DESIGN. In a book on needlework written about fifty years ago, it is asserted that embroidery on stuffs in long-stitch should not be attempted except by persons who are well practised in drawing, the less accomplished women being recommended to keep to canvas-work and Berlin wool. It would seem that very few draughtswomen existed in those days ; for, while minute instructions are given for wool-work, embroidery is quite passed over. We cannot, however, agree with the writer, that if people cannot draw neither shall they embroider, though certainly a knowledge of the principles of design, and some skill in drawing, are of immense advantage. We recommend, therefore, that the practice of di awing and of needlework should go hand in hand. Ornamental designs and outlines of natural flowers may be copied, and at the same time the worker should endeavor to make drawings from natural leaves and flowers. The leaves of the azalea afford an easy and simple outline. The worker may soon attempt a design 58 ART-NEEDLEWORK. for a kettle-holder or a mat from a sprig of this plant. She must not represent the leaves foreshortened or in perspective, but place them flatly on her paper, and en- deavor to keep the curves graceful and the masses as well balanced as possible. This balance of masses and lines is what is technically called "composition," and is the most important element of design. There are some works on free-hand, that the embroideress would find useful in her endeavors to improve herself in design drawing. The South-Kensington handbooks, and Plant Forms by F. E. Hulme, and Dresser's Principles of Decorative Design, are within the reach of any student in our public libraries, and would be of help in suggestions of form and color. As every embroideress will occasionally require to adapt designs and patterns, we may here give a few hints as to how to do so ; observing, however, that it by no means comes within the scope of our present intention to give instructions in drawing. You have, we will say, a draw- ing of a branch of orange-tree which you wish to utilize for an anti-macassar, but you cannot tell whether it will compose well in the space you have at command. Take a piece of paper the size of the portion of stuff you wish to cover, and divide it by lines into four equal parts. Sketch roughly in charcoal the branch of orange ; it is probably copied from nature, and you find that the masses of form only fill up two squares, while one is barely touched and the other empty. Alter the inclination of the stalk, add more fruit or leaves or twigs on the one hand, and take them away on the other ; when you have done your very best, faint off the charcoal with a handkerchief, and go over the outline with chalk or pencil. If a square obstinately remain empty, you may touch in a butterfly or a bird. Very small objects, if discreetly placed, will fill COLOR AND DESIGN. 59 up large spaces. A careful observation of the common Japanese screens will be very useful in this direction. The artful way in which the Japanese will cover a large surface with the fewest possible touches is surprismg, and we cannot do better than take lessons from them. Econ- omy in design is not our strong point : we are sadly given to overloading, or else we fall into the opposite extreme of meagreness, which is perhaps even a worse fault. Designs may be enlarged or reduced by means of a proportional compass. It is, however, not very safe to alter the size of a design, as what looks well enough in a large pattern is not always suitable for a small one, and vice versa. Do not mix the style of one epoch or nationality with another. It may be seen both in specimens of ancient embroideries and in representations of it in paintings, that the patterns used in needlework were, allowing for the technical differences of the art, similar to those used for glass and wall painting, and manuscript illumination. We have no distinctive nineteenth-century style, and too often we make an unmeaning jumble ; but we should as far as possible assimilate our needlework to the style of the room we wish to decorate. In conclusion, we should like to warn our readers against the extremes into which fashion loves to lead us. Just now there is a mania for what is called «r/-needlework, of which some of the manifestations are any thing but artistic. In illustration of the danger into which the em- broiderer may fall, we give the description of two arti- cles which we have lately been distressed by seeing. One of these was an anti-macassar worked on crash, and pre- sented at its lower end three dandelions all in a row, — pre-Raphaelite dandelions, stiff and bolt upright, all exactly 6o ART-NEEDLEWORK. alike and all hideous. The other piece of work, intended for a mantlepiece valance, was also on crash, — a poincettia was depicted springing out of nothing, and sticking out its leaves stiffly enough. There were no sweet and flowing curves : all was angularity and jerkiness. This frightful plant was repeated_^'z;^ times without any variation. These two hideous specimens were bought and sold under the name of art-embroidery ! CHAPTER VL DESCRIPTION OF PATTERNS. — ARTICLES THAT MAY BE EMBROIDERED. WE enclose a few designs that will serve for use or suggestion. Any workwoman with any artistic skill will be glad to make her own designs ; but, until she has some practice in the stitch, she will be very glad to help herself to some simple patterns. These could be used for something small, or could be repeated often for a fire- place lambrequin, or for curtains, or a tablecloth border, or scattered over a tidy. Plate i. Orange Pattern. — This pattern is very effective. Work an outline round the orange, and the leaves also, of very dark green, almost black. Begin the orange with the outline, and work inward in concentric circles. The leaves should be of a dark shade ; and the little tips of the buds that appear are to be done in white. Plate 2, Fig. i. Primroses. — These two designs are not to be worked together, but will answer for many purposes. The primroses. Fig. i, should be done in pale yellow, the calyx of the flowers in a yellow green scarcely darker than the flower, and the leaves of a yellowish green. These little bunches should be put not too far from each other, and would be very pretty on crash across the end of a chair-back, or for the border of a table-cloth on cloth or serge. This pattern and the other could easily be enlarged. Plate 2, Fig. 2, Daisies. — These could be placed upon a round footstool, the pattern repeated six times ; or it would make a pretty border, with perhaps a sheaf 61 62 ART-NEEDLEWORK. of green leaves between each bunch. The tips of the buds should be worked in pink, the flowers white, leaves soft olive-green. Plate 3, Fig. i. — The partridge berries and leaves are very pretty for a narrow border. Or this pattern would answer for a D'oyley. The berries should be done with the stitch going round and round from the outline. A pretty effect is produced by taking some of the deepest red shade used in the berries for the upper outline of the flowers. Plate 3, Fig. 2. — The small flower can be used in the same way, or could be made to alternate with Fig. i to cover a chair-back. To be done in outline, in blue on gray linen crash, or in deep yellow for a yellowish ground, or "powdered ; '' that is, scattered over any ground. Fig. 3. — The butterfly is useful to fill a vacant place, and add liveliness to a piece of work ; and admits of almost any coloring that is needed to set off the rest of the work. Plate 4 presents a conventional design that is favorable for outline work in two shades, if desired. It can be used either in repetition for a border, or separately. In the latter case the trefoils should be left out, as well as the upper scroll-work. Plate 5 is pretty either for outline work, or to be filled in. It would form the corners and border of a chair-back, alternating with the smaller branch, Fig. 2, plate 3, scat- tered over the ground ; or it could be often repeated, brought together close enough to be connected for a bor- der for a table-cloth. The number of objects for which embroidery may be used as a decoration is enormous. From the handsome frieze round the walls of a lordly reception-room, to the humble kettle-holder hanging by the squeezed-up fireplace DESCRIPTION OF PATTERNS. 6^ in a poor old woman's attic, is a wide range enough ; and it may not, perhaps, be out of place if we mention some of these articles. We begin, of course, with anti-macassars, which are the first things that feminine minds and fingers are exercised upon. Let us be thankful that crewels and crash have banished (forever we will hope) those clinging and prick- ling horrors in white cotton crochet and knitting that have for so many years disfigured our sitting-rooms, and annoyed ourselves. They are now nearly always executed in crash or coarse towelling. Cushions follow next in order of numerousness ; then we have vide-poches, footstools, cur- tains, chairs, chimney-valances and curtains, and portieres. Portieres are sometimes embroidered all over, whereas curtains usually only have the border embroidered ; for the reason that a full light often falls on a portiere, whereas window-curtains are illuminated only at the edges. The open shelves of cabinets and etaghcs have sometimes little curtains hung over them : these must follow the general decoration of the room in color and style, but should be of richer materials and more elaborately worked ; they are curtains in miniature, and, like all miniatures, should be highly finished. Screens afford great scope to the artist in embroidery. Banner-screens may be executed in almost any material. Miniature banner-screens on gilt stands, and used to keep the light of a lamp from the eyes, should always be made of rich silk, and nicely lined and finished off. Standing screens in frames may more nearly approach to a picture in design and finish, though the worker should still keep within the limits of pure decoration. Many of our readers will remember a standing-screen in the Em- press's bed-room at Fontainebleau, — a beautiful specimen of Lyons embroidery, with storks thereon depicted; but in 64 ART-NEEDLEWORK. which nature, though faithfully followed, is yet subordinated to the rules of decorative art. For bedrooms, crash, linen, and cretonne appliqu6 are the most appropriate materials for decoration. Besides the ordinary articles of furniture, very pretty suites may be ■ made, consisting of toilet-covers, toilet-mats, night- dress cases, watch-pockets, and bed-covers. The small articles suitable for presents and fancy bazaars, which may be embroidered, are also numerous. In this list we have penwipers, sachets, scent-bags, smoking-caps,^ tobacco-pouches, letter and ticket cases, kettle-holders, tea- cosies, five-o'clock-tea cloths, d'oyleys, and dressing-cases. Purses have been to a great degree superseded by porte- monnaies. This is rather a pity, for embroidered purses were very pretty things, and a negative advantage attended their use : for, when you lose a purse, you lose only money ; but, when you lose a porte-monnaie, you lose, as well as coin, notes, checks, letters, stamps, and a host of other things which people are in the habit of cramming into its numerous little pockets. Fashion, however, seems inclined to give a turn to embroidered purses. These may be made in silk, satin, or velvet, and should be lined in all cases with a thin but solid silk, which can be renewed easily. They may be made long with rings and tassels, or short with clasps, or with bars and a ring. Money-bags for keep- ing coin in cash-boxes are also embroidered : they are shaped like the little square canvas bags used by bankers, and have a broad hem and running strings. The City Purse of London, which is used on certain state occasions, ^ Long before smoking became a habit, the smoking-cap was worn. It was, however, known by another name, and was called a " nightcap." Nightcaps were sometimes made of velvet richly embroidered, sometimes of cloth of gold or silver, and were certainly not used for sleeping in, though called nightcaps. Real sleeping nightcaps were of linen, ornamented with white embroidery and lace. Nightcaps of both kinds were commonly given as presents by ladies, who worked them with their own fair hands. DESCRIPTION OF PATTERNS. 6$ is of this kind, only considerably larger. It is of crimson velvet wrought with gold, and is drawn up with gold cords that terminate in tassels. It dates from the fifteenth cen- tury. Fashion, in decreeing that dress-skirts shall be made too tight to the figure to admit of pockets, has brought into use outside loose pockets, like those worn in the middle ages by both sexes, and called generally gipcieres. These articles, with suspending bands and girdles, afford great op- portunity for the display of taste and skill in embroidery ; and we have seen some very pretty ones. Very little in- vention, however, has been shown in their forms, which are nearly always the same. Sashes and scarfs, fichus and cra- vat-ends, invite decoration by embroidery. They may be of cashmere, of silk, of gauze, of crepe, and of tulle. Mit- tens formerly were often beautifully embroidered. It is to be wished that the fashion of wearing pretty mittens might come up again. Nowadays, if a lady wishes to keep her hands warm in the house, she wears either gloves which are inconvenient, or worsted knitted mittens which are ugly and out of place if she be prettily dressed. Aprons may be embroidered in almost every material, and may be elaborately worked. We have seen some working-aprons of white linen, made with a bib, and embroidered in crewels, which are as pretty and becom- ing as they are useful. Court-trains and petticoats, cuirasses, and ladies' waist- coats, are now much adorned with needlework. Gowns for every-day wear are better not embroidered. We have seen ladies wearing serge dresses embroidered with crewels, but the effect was not happy. They looked as if they had taken their curtains and table-covers, and made them up into a garment. In these cases, though, the embroidery ^ ART-NEEDLEWORK. was done on the gowns, and the stuff was pulled. If cuffs and collars and bands had been embroidered separately, and put on like trimming, the dresses would have looked much better. Little children's summer dresses in crash and twilled cotton may be embroidered in crewels, but only one color in one or two shades should be used. Carriage-wraps made of crash, embroidered with crewels, are handsome. The embroidery runs round the edges, which afterwards are bound together with the lining with strong braid of a color harmonizing with those of the embroidery. Ivy, hop, or vine leaves make a suitable design for this purpose, where brilliant color would be out of place. The crash should also be of rather a dark shade, to avoid the disagreeably dazzling effect of any thing ap- proaching to white in very sunny weather. These car- riage wraps are very cool and light, and especially suitable for pony-phaetons. There is one article of costume which we had nearly forgotten ; viz., little dogs' great-coats, which may be em- broidered with armorial bearings, monograms, and any fanciful device the owner can invent. Last winter we saw a little Italian greyhound almost as gorgeous as an Indian prince, in a sky-blue velvet coat embroidered all over with dragons in crimson and silver and gold ; but the extreme gracefulness and utter unconsciousness of the wearer en- abled him to look well even in this trying costume. After all this instruction, we must add that nothing can be attained without close observation, not only of patterns, but of nature ; and more especially can nothing satisfactory be reached without patient practice. And we would advise any one within reach of a school of embroidery to take lessons. It will not require much DESCRIPTION OF PATTERNS. 67 time or expense ; and the practice of the lessons, and ad- vice in the use of the several stitches, will give the ease of work which will help even the most original of artists. In all our principal cities these schools are being es- tablished, and an opportunity is given for acquiring the best instruction. Also those who need to find a sale for their work will often find at these schools a market too, and are in the way of receiving orders for work, which would be of great help to them. The modern workers do not have as much of one certain commodity that the Egyptians, Greeks, and the East-Indian and mediaeval workers, possessed ; that is, we all of us complain that we have no time ! But it will be a great blessing for our overworked American civilization, if we can recognize the charm of this sedative employment, which, while it calms the nerves, gives play to the imagi- nation. And we hope that our artistic workwomen will be able to found for us the American school of embroidery which shall be as much admired as it is original. The series of hand-books of which this volume forms the first number will be devoted to instruction in all forms of artistic handiwork. We hope that the love for this sort of work is increasing, and that it will be something higher and more elevating than the mere torturing of wool into fantastic forms over crochet and knitting needles. In the days of the middle ages, women, in the leisure of their convents and solitary castles, were able to carry out and complete wonderful works of taste and skill. We can take advantage of their hours of practice and study, and these volumes will bring forward many of the results of the painstaking work of this artistic period.^ The publish- ers propose to assist such work by issuing valuable designs on paper and on muslin. 1 A list will be sent to any address on application. a?ii_ia?onsr's Transparent Embroidery Patterns. These Transparent Patterns are, by an ingenious process, drawn directly upon a prepared muslin, and the advantages in using this new invention are many, and easy to be seen. The first and great advantage is that it does away with all tracing materials and impression paper, which soils both the hands and the material to be embroidered. These Patterns can be fastened by basting directly to the material and worked over; when the work is completed, the threads can be easily drawn out. Second : in using the patterns in this way, one is sure of absolute accuracy, while the steadiest hand may slip when using tracing or impression paper. Third : the muslin serves as a protection in work- ing any delicate material. Where the pattern is worked over, it will facilitate drawing the threads to make them as short as possible, which must be done by cutting around the pattern and removing all the superfluous material. HOW TO TRANSFER. As these patterns may be so easily obtained, it would seem a waste of time to make a transfer, but when it is desirable to preserve the patterns for fur- ther use, baste directly to the material to be worked upon, then go over the lines carefully with a fine pointed No. 3 lead pencil in the same manner one would make a tracing. The pattern being transparent, one may see just what she is doing, and they are much easier to adjust than the paper patterns and impression paper, and the work may be laid aside when partially traced, with- out any danger of deranging it. Upon removing the muslin the design will appear on the material. If it is desirable to bring the lines out more clearly, go over them a second time without the pattern. In transferring to black, or very dark material, use chalk or a colored pencil ; this will give a better transfer with very much less trouble than any other method, besides saving the hands and material from being soiled, as is the case when impression paper is used. In working out a transfer, lay the materials on some hard smooth surface ; a marble-top table is to be preferred. S. W. TILTON & CO., Publishers, Boston. PLATE I. Fig. I. I Fig. 2. PLATE II. Fig. I. Fig. 2. Fig. 3- PLATE III. PLATE IV. PLATE V. DESIGNS IN OUTLINE FOR ART- NEEDLEWORK. EDITED BY LUCRETIA P. HALE. ACCOMPANIED WITH INSTRUCTIONS IN DR'iWING, TRACING, AND TRANSFERRING PATTERNS, AND DIRECTIONS FOR STITCH, ETC. COP\T^IGHT. S. W. TILTON & CO., PUBLISHERS, BOSTON. 1879. TILTON'S NEEDLEWORK SERIES. No. I. ART-NEEDLEWORK FOR DECORATIVE EMBROI- DERY. A Guide to Embroidery in Crewels, Silks, Applique, &c., with illustrated instructions as to Stitches, Satin Stitch and South Kensington Stitch. Also several designs for Patterns. Edited by LUCRLTIA P. Hale. Price 50 cts. No. II. ART-NEEDLEWORK. — POINT- LACE. With illustrations of Stitches and Valuable Patterns. . By LUCRETIA P. Hale. Price 50 cts. No. III. ART NEEDLEWORK, MORE STITCHES FOR DECO- RATIVE EMBROIDERY. Containing Holbein, Punto, Tirato (drawn work), Vienna Cross Stitch, Double Piatt Stitch, and Cordonnet, and eighty illustrations and patterns. By LucRETiA P. PIalk. Price 50 cts. No. IV. PLAIN NEEDLEWORK, MENDING, KNITTING, AND DARNING FOR ALL, at Home and in Schools; giving in- struction in Plain Sewing, &c., the Management of Classes, with twenty illustrations. Compiled from the best English works on these subjects, with some additional suggestions by the American editor. Edited by LucRETiA P. Hale. Price 50 cts. , S. W. TiLTON & Co., Publishers, Boston. For Sale at our OfSce, 333 Washington Street, up one fiiglit; or sent by maa to ar.y address on receipt of price. OUTLINE DESIGNS FOR ART- NEEDLEWORK. In presenting the designs described in these pages, the publishers desire to state, that they propose to issue the most desirable and artistic patterns for art-needlework which can be produced, as it is a field in which the highest style of art may be developed. After the artist has selected her pattern, it is quite important that it should be correctly transferred to the material to be worked upon. This requires great care ; and, as there are several methods by which the transfer may be made, we will give those in common use. Firstly, by the use of impression or transfer paper. Lay the impression-paper over the material to which it is desired to transfer the pattern ; over this place a piece of tissue or thin paper, then the design to be transferred ; baste or fasten all of these securely together, so that the pattern shall not slip out of place ; then lay them on some hard smooth surface ; there is nothing better for this pur- pose than a marble-top table. Go over the lines of the design with a hard, fine point : the writer usually em- ploys a hard lead-pencil for this work, and renews the point as it becomes coarse ; a bodkin or stiletto carefully pointed is by some regarded as even better, and it will save the design from pencil-marks. Before removing the 3 4 OUTLINE DESIGNS FOR. ART-NEEDLEWORK. pattern and impression-paper entirely from the material, it will be well to examine and see if the transfer has been wholly made and is perfect. In order to do this, remove the fastenings from three sides, so that the design may be raised when the examination can be made; and, if it is necessary to retouch it in any part, the whole can be re- placed in its original position. The object in placing the tissue-paper between the material and design is to protect the design : as the transfer-paper will give an impression from each side ; and, unless protected, the pattern will re- ceive an impression of the design on its reverse side, which is not always to be desired. This method cannot be used to advantage on fine work, as it will soil the material; but for coarse work it may be used. Another method, which takes more time, is to prick holes with a pin through the outline of the pattern. Lay the pattern on the material to be used, and rub pounce over it ; or white chalk on woollen materials, or charcoal- powder on linen, can be used. The outline thus obtained must be marked out with Chinese white or indigo. As it is slow work to prick the holes, they can be con- veniently made by passing the outline of the pattern under the needle of a sewing-machine, — of course with- out thread. Third method is to trace the design on transparent paper, baste the paper on the work, and outline the pat- tern with long running-stitches, and then tear away the tracing-paper ; or the tracing-paper may be allowed to re- main, and the work itself done over the tracing-paper ; or in some cases, if there is no desire to preserve the pattern, it can be itself basted on the work, and its design outlined with basting-thread, as just suggested for tracing-paper, and the paper torn away ; or the design can be worked OUTLINE DESIGNS FOR ART-NEEDLEWORK. 5 over on the pattern. This would be possible only for cer- tain designs, to be worked only in outline. •These directions apply to the patterns that accompany this hand-book ; but, where a pattern is taken from a valu- able book or borrowed from a friend, it must be first traced upon tracing-paper, and the copy laid upon the impression- paper, as the direct marking upon it might injure the ori- ginal design, unless the previously described method is used. If carefully treated, indeed, the accompanying designs can be used over and over again in transferring. These methods, indeed, all require time, and are slow and tedious in their processes. The most simple method, therefore, is to make use of TILTON'S TRANSPARENT EMBROIDERY PATTERNS. These transparent patterns are, by an ingenious process, drawn directly upon a prepared muslin ; and the advan- tages in using thi-s new invention are many, and easy to be seen. The first and great advantage is, that it does away with all tracing-materials, and the impression-paper which soils both the hands and the material to be embroi- dered. These patterns can be fastened by basting directly to the material, and worked over : when the work is com- pleted, the threads can be easily drawn out. Secondly, in using the patterns in this way, one is sure of absolute accuracy, while the steadiest hand may slip when using tracing or impression paper. Thirdly, the muslin serves as a protection in working any delicate material. Where the pattern is worked over, it will facilitate drawing the threads to make them as short as possible; which must be done by cutting around the pattern, and removing all the superfluous material. 6 OUTLINE DESIGNS FOR ART-NEEDLEWORK. HOW TO TRANSFER MUSLIN PATTERNS. As these patterns may be so easily obtained, it would seem a waste of time to make a transfer ; but, when it is desirable to preserve the patterns for further use, baste directly to the material to be worked upon, then go over the lines carefully with a fine-pointed No. 3 lead-pencil in the same manner as in making a tracing. The patterns being transparent, the worker may see just what she is doing. They are much easier to adjust than the paper patterns and impression-paper ; and the work may be laid aside when partially traced, without any danger of deran- ging it. Upon removing the muslin, the design will appear on the material. If it is desirable to bring the lines out more clearly, go over them a second time without the pattern. In transferring to black or very dark material, use chalk or a colored pencil : this will give a better trans- fer with very much less trouble than- any other method, besides saving the hands and material from being soiled, as is the case when impression-paper is used. In working out a transfer, lay the materials on some hard, smooth surface: a marble-top table is to be pre- ferred. OUTLINE DESIGNS FOR ART-NEEDLEWORK. / MATERIALS. WOOLLEN OR SILK. The thicker materials to work upon can now be found in greater variety here than the linen materials. In all the shops devoted to such purposes, and especially at the salesrooms of our Decorative-Art Societies, satin sheet- ings, diagonal cloths, serges, &c., can be found in suitable colors, and adapted to various purposes. The choice of these materials has to depend \\\)0\\ the purpose intended, £Uid great care should be taken to adapt the colors of the crewels or silks used to the tone of the material worked upon. For silk work, satin and plush are exceedingly handsome ; and velvet is perhaps the most beautiful of all for a foundation. Many of these require a soft lining to be worked upon. A coarse flannel is useful to tack at the back of serge. Tilton's No. I. of Needlework Series gives useful directions for working on these choicer materials. LINEN The advertisements of the English papers that treat of embroidery, present a most attractive list of the varieties of linen material that can be used to work upon. There is the Bolton sheeting, which is a soft, wide material, suit- able for curtains and portieres, and even for dresses, which can be found in various colors. There are also the oat- meal sheetings, that come in every variety of color, — sky-blue, rose, cream, dark claret, navy blue, &c. Linen crash also can be found in every color. Some of these materials can be bought here. Linen duck, oatmeal sheetings, and wide crash can be found in our shops ; and the soft Bolton sheeting and other varieties can be got at our Decorative-Art Society Rooms. Doubtless, as the demand increases, the supply will be found. 8 OUTLINE DESIGNS FOR ART-NEEDLEWORK. Meanwhile we have our own cotton flannels and un- bleached cottons, and there is the resource of the dye- house for special colors. Crash can be dyed in colors that are desired. We have seen very pretty use made of crash which had been dyed of a sky-blue. In choosing silks or crewels for work, beware of bright, vivid hues, especially of green. Sober tints of olive, sage, and dead-leaf color blend best together. In fact, all the old-fashioned shades will be found suitable, because their dye is not of the pure kind that makes the modern hues so harsh. The colors given in the directions should alway§ be modified to corresj^ond to the color of the material worked upon. CREWELS, EMBROIDERY, SILKS, FLOSSES, ETC. The variety of these materials is increasing in our shops, where the better crewels can usually be found. If not, they can be bought at the rooms of the Societies of Decorative Art in our larger cities. Where silks are mentioned in these directions, embroidery-silk or filoselle is intended. Arrasene is a new material, which has found its way into some of our shops. It is a combination of fibres of silk and worsted, resembling chenille, to be worked with a chenille-needle. Effective results are produced with it, but not so artistic as with crewels and silks. THE STITCH. It is worked the opposite way to stitching ; that is, you work lip the cloth instead of doivu. Make a small, length- way stitch ; draw your needle through the cloth about the centre of the stitch, on the left side of it. At first you will be obliged to turn the work round every time you OUTLINE DESIGNS FOR ART-NEEDLE IVORK. 9 begin another row ; but, as soon as you get into the way of working, this will not be necessary. Or carry back the thread in one stitch to the point from which you started. Work the leaves the same direction that the fibres take in a natural leaf. The usual plan of such leaves as bram- bles is to do one side of the leaf darker than the other ; vein down the centre with the same, when the leaf is finished.' The centre of flowers you must do in dots by winding the wool once or twice round the needle, and then drawing the wool up, or leaving a loop, twisting it by inserting the needle through it, and then drawing up. Another method is to bring the needleful of thread to the right side of the work, in the exact spot where the stitch is to be. Hold the needle in the right hand, and with the left take up the thread at an inch or two from the cloth. Twist the needle twice or three timss round the thread, insert it in the spot you have drawn it through, and with the right hand draw the needle to the under side, gradually tightening the thread with the left hand : this completes the knot. This is useful for black berries. FADED SH.\DES. There are certain peculiar shades which it is impossible to buy : among others, the pale pinkish mauve for prim- rose-stalks. The proper shades may sometimes be effected thus : Select the bright color which nearest approaches the required faded shade ; place it between two pieces of glass, and leave it in the sun until it is bleached to the right tone. ' A more detailed description of tlie stitch, illustrated, can be found in Art-Needlework, Part I., published by S. W. Tilton & Co., Boston, who will send a copy by mail to any address on receipt of price, 50 cents. 10 OUTLINE DESIGNS FOR ART-NEEDLEWORK. PRESSING THE WORK. Pour boiling water into a shallow bowl, and hold the wrong side of the work towards the steam, shifting it about to get every part impregnated. Stretch the work tightly in a wooden frame, and leave it thus for several days. Or wet the work slightly on the wrong side with water into which a little gall has been put, and then stretch it on a board, with the right side uppermost ; or pin it out on the carpeted floor with a clean cloth underneath it. Or iron the work with a wet cloth between the iron and the wrong side of the work. The first of these plans is the one recommended, unless great care can be used in the ironing. WASHING. So much depends upon the washer, that it is hardly safe to say in a general way that crewel-work washes well ; but it ought, if good wool and proper care be used. Put bran, no soap nor soda, in a basin, with warm water, and leave the work to soak. Press it every now and then, but do not rub it. When clean, hang it out to dry ; do not wring the water out, as that would crease the work. Stretch on a frame when nearly dry, or iron it. Get the thing out of hand quickly. A little ox-gall is sometimes used to prevent the colors from running. OUTLINE DESIGNS FOR ART-NEEDLEWORK. II THE DESIGNS. It is proposed to give these designs in color, done by hand, which will be of great assistance in working. Each design is given for some especial purpose ; but they can all be used for different ones quite suitably. The mantle-piece border of Arctotis, for instance, makes a handsome chair-back on sheeting, and the peach-blossom table-cloth pattern can be used for dress-trimming. No especial pattern is given for a chair-back among the following designs ; but nearly all can be effectively used for that purpose, especially such a conventional one as No. 5. Several others, such as the flax or the tobacco- flower border or the poppy border of No. 6, are handsome as follows : Draw the pattern lengthways all down the linen, then at an even distance do a stripe of open linen- work. Let there be a strip of crewel-work in the centre, one at each side, and divide by the linen insertion of drawn work. This work is fully described in No. III. of Tilton's Art-Needlework. Fringe out the top and bot- tom of your work for a depth of four inches, and knot it. Any of these patterns can be done in outline, or with fewer shades, — each flower in one shade, but the different flowers varying. Many of these patterns would answer for a counterpane, especially the poppies in No. 18. They would look well in the squares of a counterpane where there are alternate raised squares. Scatter the poppies in the plain squares, and work the border across the top. Many of th^se designs can be worked in square panels for the border of a curtain or the dado of a room, with special borders to each of black velvet ribbon attached with yellow filoselle in herring-bone stitch. The skill of the worker can adapt them to many uses. 12 OUTLINE DESIGNS FOR ART-NEEDLEWORK, FIRST SERIES. No. I. DWARF ARCTOTIS, Yellow flowers : the under part, dark reddish yellow j buds, the same ; middles, very dark brownish purple, with light-brown ring ; leaves, rather light. The tricolor arctotis can be worked from this pattern also : the flowers, white ; reverse side of petals, purple ; bud, purple ; any inside petals of th6 same which show, white ', yellow ring inside the purple centj-e. This pattern would be useful across the top of a curtain, making a border of the same across the lower part. Be careful that the colors, especially the purples, are not too vivid. No. 2. MOUNTAIN DAFFODIL. White flowers S'haded with gray ; the extreme lights, iri linen thread or raw siJk ; the sheath from which they grow, very pale brown, shading off into rather light green for stalks. Leaves, medium : these can be outlined with double wool. No. 3. DAHLIA. The lower half of banner-screen : Dahlias, red ; the lines down each petal, of a darker shade ; stalks, light reddish purple ; leaves, green. Butterfly, in fine brown silk. Na. 4, CLEMATIS; Clematis for the centre of chaise lojigne, or small draw- ing-room chair, gx frie-dieu chair : The flowers are white, shaded with greenish gray ; the tips of the petal, in white linen thread ; the leaves, in two shades o^ olive-green, or dark and light gray-green ; pale-yellow centre-spots. This pattern is very beautiful on dark-green serge. The pat- tern is divided into two parts, as there is not room on the sheet for it in height. ■ OUTLIXE DESIGNS FOR ART-NEEDLEWORK. 13 No. 5. PEACH-BLOSSOM. Peach-blossom border for five-o'clock tea-cloth : The centres are deeper pink than the outside of the petal ; the stamens, yellow ; the five narrow leaves round them are pale green ; medium-green leaves. If you use this pattern for a chair-back, add a border above and beneath ; or else cut a lengthw^ay slit about half an inch deep and one inch from the border, pull out the threads, button-hole the cut to prevent unravelling, and cross three threads of linen back over the preceding three \hreads.^ No. 6. CHERRY. Tea-cosey r Red cherries and green leaves ; green stalks, some with a pink shade. This could be adapted for a chair-back. SECOND SERIES. No. 7. Black-Spotted nemophila for blottlng-book : Blue flow- ers ; the beginning of the petal, black; the stamens are yellow ; the anther (or little head), red ; stalks and leaves, green. Work in tapestry-wool or crewels : the former makes the flowers raised from the work, as it is about the thickness of single Berlin wool, No. 8. Carnage blanket or screen ; Oblong-leaved cistus. This flower is a rose-pink color, with rather dark-green leaves ; stamen, yellow ; stalks, brownish green ; leaves, green, 1 This is describsd in detail, with illusirations, itt Art-N^edlework No. III. 14 OUTLINE DESIGNS FOR ART-NEEDLEWORK. No. 9. Chair-back : Blue corn-flower. The flower has to be drawn in a conventional manner for the convenience of working. The color of the flower-leaves is too well known to need a description. This is also a good pattern for a perambulator-cover. One of these bunches would answer for a blotting-book ; or they might be scattered over a counterpane. No. 10. Cushion of blue morning-glory, or ipomcea. The bells of the flower are very pale yellow ; the petals, blue ; dark- green leaves. This is not to be treated as the convol- vulus. NOS, II AND 12. Roses shaded from white, through salmon-pink, to red, five shades; centres yellow, two shades. A bordereau be added as with No. i, if it is desirable to widen the pattern. The top of the roses is only copied once : after the first time, you repeat from the third rose. THIRD SERIES. No. 13. SIBERIAN FLAX. This is a very quick and easy pattern arranged for a lawn-tennis costume in blue and white flannel, made as follows : The blue skirt kilted, and let it be quite two inches from the ground, with a scarf across it of white, put on in folds ; edge the upper part with the border, or you can have a simple fish-wife tunic edged with the same. The body is v/hite, yoke-shaped, and is cut for a slight figure ; the cuffs can be cither plain blue flannel or white, trimmed with a piece of the border. It is almost prettier OUTLINE DESIGNS FOR ART-XEEDLEIVORK. 1 5 not to have a pocket for the balls made in the dress, but to have a separate bag or pouch with a band attached to fasten round the waist. The shoes can be kept in this bag. when not playing, and it is a nice way of carrying them to garden-parties. Only one side of the front of yoke body is given : the other must be precisely the same ; only reverse the pat- tern. Copy it by holding the given one up to the light, or trace it through by marking from the wrong instead of the right side. Though a very simple pattern, with little work in it, it is, nevertheless, very pretty for a fair girl, and can be used for any other dress quite as well as a tennis costume ; for instance, the dress-trimming in No. 6 is more suitable for dark ladies, making the skirt of red flannel ; and the flax is pretty for an evening dress on white satin, thus : Do the border as given ; then powder the rest with bunches of flax in the same style as the poppies. Be sure that the blue wool and the blue flannel are a good match. No shading is required for the small amount of leaf, and very little for the flowers. No. 14. TOBACCO-FLOWER. The leaves are deep green, the flowers pink, the sta- mens yellow, the surrounding ring light green, the tube light-green, the cup and stalk green. The tip of each flower-petal is edged with deeper pink. Work in filoselle or embroidery-silk upon" black satin. It is best to have the coat cut out by a tailor, and embroider it before it is made up, as even the best workers are apt to pucker satin a little. Slippers can be made to match. The pattern is useful for many purposes. 1 6 OUTLINE DESIGNS FOR ART-AEEDLEWORK. No. 15. MYRTLE AND MAIDENHAIR. The parasol must be black satin, and can be worked when already made up if preferred. IVIerely pick out the threads at the edge which join the lining, and cover to- gether. It must be owned that the work is somewhat cumbersome and inconvenient. The flowers are worked in white silk, and the stamens in brown and yellow; the stalk of fern in dark-brown sewing-silk, and the fern itself all one shade of green filoselle or embroidery ; the right- hand fern very dark, the left lighter ; the myrtle-leaves dark green. No. 16. COWSLIP AND PRIMROSE. , The centre of these leaves is darker than the edofes. They are very similar in every way, and the contrasting shades of the deep-yellow cowslip and the paler yellow primrose are very pleasant. The usual size of a table- cloth is two yards square; but, as these so-called high-art table-cloths are generally used for small tables, it is best to use the width of the stuff square. Moss or myrtle green serge is recommended. The border looks best with the line outlined in very dark-brown, and the primrose in pale silk. All the prim- rose-flowers must be done in silk, the cowslips also, but the lea\^es in wool. The small five-o'clock tea-cloth. No. 5 in First Series, is very pretty on serge for an occasional table: but treat the blossoms as pear; that is, all white, with dark-yellow and brown stamens. The v/hite blos- soms on green serge look especially well. The stalks of primroses have a pinkish-purple tint. No. 17. POMEGRANATE. This fruit, so much used in ornamental designs both in old and modern days, is not particularly adapted for color- OUTLINE DESIGNS FOR ART-NEEDLEIVORK. 17 ino;: therefore work in two or three shades of old srold upon either silk, sheeting, or white satin, and merely out- line the bars in the centre of each pomegranate, or the leaves may be done in dull green. It is a handsome pattern for working as a border to a portiere on dark-red velvet or cloth, in old gold, or for a serge table-cloth. No. 18. POPPIES. This design is meant for a scarf in white satin for an evening dress, arranged as a tablier, and the end falling straight down behind. Two yards and a half are suffi- cient. The width of the satin is deep enough for the scarf. Draw the design from the right-hand side, doing as much as will go round the hips ; then the end of the satin which has to fall straight down must have the em- broidery worked the other way, or else the flowers would be wrong side up. There will have to be loops or puffs at .the back where the beginning of the scarf is hidden, and these puffs hide the change in the formation" of the flow- ers. The border must be drawn along the edge of the satin which falls . behind ; that is, the border must be worked on the width of the satin, not down each side of it. The front part of the scarf, of course, has the border the other way. This may sound rather complicated in print, but will easily be understood if the satin scarf is folded round in its proper shape before beginning to draw upon it, and pins are put where the embroidery is to begin and end ; for you do not want any on parts which will be hidden in the folds. Use about four shades of red for your poppies ; the cen- tres, light green, and the stamens, black ; stalks, green ; buds, grayish green. 1 8 OUTLINE DESIGXS FOR ART-NEEDLEWORK. Or work each poppy of one shade only, varying the shades with the different flowers. The body can be embroidered with the powdering, and the sleeves too. But it is not necessary to have a satin body to the dress : the dress may equally well be a silk or net one. However, this is a matter of individual taste. It is as well to embroider the satin shoes with a bunch of poppies. This pattern is pretty enough for any use, especially for a counterpane as recommended on p. 1 1. FOURTH SERIES. No. 19. HOPS AND OX-EYED DAISIES. The hop itself is very light green : outline the shape in a darker color. The leaves are rather dark green. The daisies to be done in raw silk shaded with white and gray wool ; the centre, bright yellow. The old-fashioned marble-topped chiffonniere can be modernized by having panels on either serge or satin, and covering the marble top with the same, edging the border with a fringe, and working any flower upon the border : small bunches of daisies are pretty. Such panels are very pretty for screens or any piece of furniture. This design is for the doors instead of mirrors. No. 20. CROWN IMPERIAL. This conventional design is meant for a fancy chair of ebony wood. The flowers are yellow ; the leaves an ordi- nary green, but, as they often lie over each other, you must do the back ones in a brownish tint to give distinctness ; the stalk, brownish green. The flowers are also sometimes seen of a deep orange- color. OUTLINE DESIGNS FOR ART-NEEDLEWORK. 19 Nos. 21 AND 22. VIOLETS FOR TENNIS APRON. The violet is one of those flowers with which every worker is well acquainted, and consequently little verbal description is necessary ; but remember the centre is bright yellow, and the tiny leaves coming from it are white or blue. The apron must be worked upon crewel-linen of a strong kind. If an ecru-colored material be used, the violets look very well white. The front and back are gathered into a band fastening at the side, and the body fastens with hook and eye at the shoulder. The width of apron is from thirty-six to thirty-eight inches. The selvage of the stuff can be left, as most materials are about that width. The length is about one inch more than the breadth. Leave six and a half inches at the waist, between the back and front, for the arms. The two large pockets are sewn at even distances on the front of the apron. For a separate pocket, or pouch, to hold the balls, work one side, and have the other plain ; attach holland suspenders, and a band to fasten round the waist. A separate pocket is very convenient when playing. The border had to be divided, owing to limited space ; but, for the convenience of tracing, you can cut them off the page, and tack together. There is a good deal of work in this pattern ; but it is very pretty, and looks very well on a cashmere dress also. The border would be pretty for a table-cloth. No. 23. CYCLAMEN. The centre of the leaves is darker green than the sur- rounding part ; the flower itself is a delicate waxen pink, with a deeper shade in the centre ; the little round is a vivid crimson color. 20 OUTLINE DESIGNS FOR ART-NEEDLEWORK. Draw the pattern either along the front of the toilet- cover (which had better be made of white or slightly tinted linen), or along each side. If, however, you wish to work both front and sides, draw one group at the corners first ; then arrange the rest : as, if you leave the corner of any square thing until after the side is done, it generally hap- pens that the corner does not come even. This pattern is suitable for a table-cloth. The boot-bag, as shown above the cyclamen, is very useful, and easily made. A narrow lath of wood must be inserted at the upper part, with two brass rings for hang- ing to the wall. It can be made any size ; but either four or six compartments is the usual allowance. A back for wash-hand stand can be made to match ; the measurement fifty inches long, and twenty-two broad. Fringe out two inches at the lower edge ; hem the other edges. No. 24. LILIES. Flowers, white shaded with gray ; towards the stalk, blend gradually into light green ; stamens, light green ; anthers, bright yellow ; the pistil (or large centre column), light green ; the stigma (or head), the same. The leaves are not shaded ; bud, green ; branch, brownish green ; and the under leaves, yellow-green. No. 25. PEACOCK FEATHER. Useful for many purposes, screens, chair-backs, &c., &c. The fibres of what is called the shaft of the feather - should be done in shades of dark olive-green, varied with one shade in each ; a good effect is produced by intro- ducing a silk thread of metallic green in the needle with the olive-green, and working the two together. For fibres as large as in the pattern, two rows are required. To assist OUTLINE DESIGNS EOR ART~NEEDLE\VORK. 21 in varying these rows, it is a great help to have a real feather to study. For the closer head of the feather, what is called "the eye " should be worked as shown in the two central shades of the design, with dark blue and black silk, — either em- broidery-silk or filosselle, — spots of black and of blue, as are plainly seen in a real feather; the third shades from the centre in bright metallic-green silk. Outside of this, shades of brownish-oliva crewels, growing darker towards the edge. Outside of this, a row of deeper olive in silk, with a row of purple in silk; the spreading fibres to be done in varying shades of olive crewels, a little darker than those on the shaft, but varied in the same way. No. 26. STORK AND CAT-TAILS. Suitable for screen or large chair-back. The stork should be done in shaded white ; the shades put in with gray and black. Too much shading should be avoided, but can be made as the markings indicate in the design. The legs and bill should be done in red ; the top-knot black. For the cat-tails, the leaves should be olive-green in no great variety of shade, the darker shades used for the turnings of the leaves. The heads should be done in deep brown ; the tips, of olive-green, like the stem, lighter than the leaves, but of the same color. Outlines for the water and distance should be merely indicated in shades of gray, with straight lines for the water. No. 27. HORSESHOE AND PANSIES. Table-cloth. If the horseshoe is used for the centre, the pansies should be done mostly in yellow, with faint purple stripes. The upper, back petals could be done in 22 OUTLINE DESIGNS FOR ART-NEEDLEWORK. dark purple ; the leaves of a dull green. The horseshoe itself would look well put on in applique, of a dull gold, or gold-brown satin ; in which case the satin should be secured to the cloth with fine sewing-silk of the same color, and afterwards the edge worked over with button-hole stitch of the same color, or a very little darker shade of the color ; or an edging of cord of a darker shade could be used to secure it.^ Or the horseshoe can be worked all over with crewels or silks, of old gold or gold-brown. In either case, great care should be taken in choosing the yellows for the flowers. Only a certain tint of yellow can be used with the old gold in the horseshoe ; but, if care- fully chosen, the effect will be good. The flowers should be deep yellow; the centres dark brown, worked in T^rench knots ; the leaves of a dark' green. The ground of the table-cloth should be a light, dull olive-green. The horseshoe pattern can be used for other purposes. It could be worked on satin for a hand-screen, or the centre of a mantle-piece Lambrequin. The border could be worked for a table-cloth, without the centre, in shades of purple. Do not attempt in either case to shade tlie petals, but vary the shades in the differ- ent petals that touch each other, working, if necessary, the edges a little darker and the centre lighter. No. 28. ORANGE AND BLOSSOMS, — STRIPE FOR CHAIR. This would be very effective on any material, linen or woollen. The oranges should be done in concentric circles of close stitch in deep shades of orange ; the leaves, of a 1 Careful directions for applique work are given in No. I. Tilton's Needlework Series, pp, 45, 46. OUTLINE DESIGNS FOR ART-NEEDLEWORK. 23 dull green, without effort at shading, except that the under side of the leaves should be done of a lighter shade, and one leaf can differ from another ; the open blossoms to be done in white (white floss would be advisable), the under sides of a light grayas a shade of white; the stamens a soft yellow. The pattern can be continued, or ended at the collection of three leaves near the top. No. 29. JAPANESE DESIGNS. These larger designs are for the corners of a tea table- cloth, and should be done in shades of blue. They can be etched very finely with blue marking cotton or linen, or they can be done with the split threads of filoselle or with fine crewels, if used on woollen materials. No. 30. JAPANESE DESIGNS, For doyleys these are to be used singly, each for the centre of a doyley, or for the corner of a napkin. On fine linen these should be done with fine blue marking- thread. On coarse material, or crash, or Java canvas, shades of blue embroidery-cotton or filoselle, split, should be used. If a variety in color is desired, the fans on the tea-cloth and the doyleys could be done in deep red or brown ; but the shades of blue are usually considered more suitable. These little patterns, however, can be used for various purposes : the larger ones might be worked on any mate- rial desired for hand-screens ; the smaller ones could be worked on woollen cloth in bright colors for pen-wipers. In this case, after working cut out the cloth into shape, button-hole the edge, make chamois and black velvet leaves for the pen-wiper ; use a stiff paper for the under edge, and handles of card-board or straw tied together 24 OUTLINE DESIGNS FOR ART-NEEDLEWORK. with ribbon. The doyleys should be fringed, and a border of drawn work, puiito tirato, worked above the fringe. This is described in the directions for No. 5, also, with various patterns in No. III. of Tilton's Needlework Series. i_ii£5T o:f^ TRANSPARENT EMBROIDERY PATTERNS. Published by S. W. TILTON & CO., Boston. Price, 30 Cents each. Sent by mail to any address, in ordering from this list, state name as well as number of pattern desired. Each pattern is enclosed in an envelope with directions for use and colors. A suggestion is made for the use of each pattern, but they can be used for other purposes as well. 1. Dwarf Arctotis Mantelpiece Dorder 9 in. wide 2. White Mountain DaiFodlll Chair-Back 14 x 19 in 3. Dahlia Banner-Screen 11 x 15 in 4. Clematis Chair 8 x 21 in 5. Peach Blossom Tka-Cloth 5 in. wide 6. Cherry Tba-Cosey 9 x 16 in 7. Black-Spotied Nemophylla Blotting-Bocjk 8 x 10 in 8. Cistus Cakriage-Bi.anket 14 x 18 in 9. Cornflower Chair-Back 13 x 19 in 10. Morning Glory, Ipomcea Cushion 12 x 15 in 12' Roses j Double Design Curtain 8 x 30 in 13. Flax Lawn-Tennis Costume 14. Tobacco Flower Smoking Coat 15. Myrtle and Maidenhair Parasol 16. Cowslip and Primrose Table-Cloth 6 in. wide. 17. Pomegranate Border 7 in. wide. 18 Poppies and Corn Evening Dress . . ., 19. Hops and Ox-Eyed Daisies Panel 12 x 20 in. 20. Crown Imperial Chair Seat 13 x 13 in. 22' Violets I Double Design Lawn-Tennis Apron 23. Cyclamen Toilet-Cover, &c 6 x 13 in. 24. Lilies Panel 13 x 20 in. 25. Peacock's Feather 8 x 20 in 26. Stork and Cat-Tails 13 x 20 in. 27. Horse-Shoe and Border ofPansies 4 in. wide. 28. Oranges and Blossoms 7x20 in. 29. Japanese Design, Four Corners of Tea-Cloth 12 x 20 in. 30. Japanese Design for D'Oyleys. These Patterns are also for sale, printed on paper, in packages of six, at 75 cents each package, and are made up as follows ; — First Series, from No. i to No. 6, inclusive ; Second Series, from No. 7 to No. 12, inclusive, &c. Any of the above designs are for sale on paper colored by hand, for a working pattern. Price, 30 cents. S. W. TILTON & CO., Publishers, Boston. /'Tilton's Needlework Series. j. . ^*. , No:. I. ART-N,R^X.EWORK FOR DECORATIVE EMBROI- . ■ DE1<,Y^ a I Guide to Embroidery in Crewels, Silks. 'A^)p,lrqj|^ Jfec, witft illjLiStoted instructions as to Stitches, .Satin Stiteh aha ■ .'^'outh KensijitMon Stitch., Also several designs for Pa^t,erns. ■ Edited by EucRETiA 1'. H.^'le. , Price. . -, . . ^I"". . .... 50 ct-.. X... 11. ART-NEEDLEWORK.— POINT LACE With illustrations of Stitches and Valua:ble Patterns. .■''' By.'iLucRETlA: P. Hale. Price '..... . ' 50 cts. No. III. ART-NEEDLEWORK, MORE STITCHES FOR DECO- ,.j,, liATIVE EMBROIDERY. Containing Holbein, Punto, Tirato ... f (drawn work), "V^ienna Cross Stitch,, -JDouble .Platt Stitch, and' Cordonnet, and eighty illustrations and patterns. By Lu(iRETiA P. Hale. Price 50 cts. " . No. IV. • ' f't . ■ PLAIN NEEDLEWORK, MENDING, KNITTING, AND P)ARNING FOR ALL, at Home and iu Schools; giving in- struction ill Plain Sewing, &c., the Management of Classes, with twenty illustrations. Compiled from the best English works on these subtects, with some additional suggestions by the Ametican editor. Edited by Lucr'etia P. Hale. Price .i. 50 cts. r':^ Decorative Sit f)OOKS. Qreek OrN/VMENT. Illustrated with twelve -plates- printed in the oifiginal colors, edited by Win, R. Ware, Professor of Architeftutte in the Massachusetts Iiistifute of Techn ilogy . . . .'.^i.oo' Cj^ineseLand Japanese Decorative Ornament. In prep- aratiiiii. Flaxman's Outline Designs of the Human Fujurk; Illus- trating Greciai^ and'Roman-' Mythology. 1st series. 20 Designs in a ^ Portfolio, size 3 to 4 by 5 to 7 inches 1.00 . Greek Vases, t^eir Syst^i of Form and Decoration, with twelve plates, printed in ccflors . ..■*........■.;••••'■•••• 2.50 >:,jilNTS to|Chinaand TlLE Dg^ORAToRS. Llluslrated with forty of tTie' principal designs liied liy'-Wellgev^ood .' • • i fi^-, ... 50,; ,' Designs amd Instructions fo^J^coratin'g Botxjeky .... 50 The Art of Sketching" I;'Rp^5^I|^'^'^'' ^V Thp*as Rov, both3m_^ With :27 IHustrations ."'.'■. .'J,'\ ^^^J. .■ : . .\ .' . '. . .50 Art Recreations. A complete-guide to Ornamental Work . . . 2.06' Sent by mail, to any .address, on receipt of price. S. W. TILTON & CO., Boston, Publishers. LIBRARY OF CONGRESS Wm 014 145 691 A