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 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN 
 
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Digitized by the Internet Archive 
 in 2017 with funding from 
 
 University of Illinois Urbana-Champaign Alternates 
 
 https://archive.org/details/kensingtonembroiOOunse 
 
KENSINGTON 
 
 EMBROIDERY 
 
 AND THE 
 
 Colors of Flowers. 
 
 PRICE, 35 CENTS. 
 
OF THE ^ 
 
 FIOEENGE EMBEOILEEY SILK 
 
 jL.nsriD iPLOss. 
 
 Since publishing the first edition of this Book we have 
 had a number of calls for these SHADE CARDS. They 
 show 
 
 OVER 160 SHADES 
 
 oI the FLORENCE EMBROIDERY SILK AND 
 
 FLrOSS. We send these SHADE CARDS by mail for 
 
 15 CENTS, or 8 TWO-CENT STAMPS. 
 
 You will find them a great help in selecting your shades 
 and colors. You can select shades of the EMBROID- 
 ERY SILK, FLOSS, CHENILLE, ARACINE and 
 CREWEL from these Shade Cards. The silk called 
 FILOSELLE and FILLING SILK is the same silk 
 that we call FLOSS. We furnish all of these materi- 
 als. For prices, please read price list of FANCY 
 WORK MATERIALS on third page of this cover. 
 
 Please take notice that we send you these 
 SHADE CARDS by mail, postage paid, for 15 
 cents, or 8 two-cent stamps. 
 
 Address all orders to 
 
 J. F. INGALLS, 
 
KENSINGTON 
 
 EMBROIDERY 
 
 AND 
 
 The Colors of Flowers. 
 
 i com GDioE 10 m imoi 
 
 Containing a Description of the Proper Stitches and 
 THE Correct Colors and Shades to be used in 
 Embroidering the Leaves, Stems, Petals, 
 
 ETC., OF the various Flowers repre- 
 sented in Art Embroidery. 
 
 uNive^nv or 
 
 ILLINOIS LIBRARY 
 
 URBANA^CHAI^PAIGN 
 
Copyrighted 18S4, by 
 
 J. F. INGALLS. 
 
 ALL RIGHTS RESERVED. 
 
TITCHES 
 
 t 
 
 '1 4-t. 
 
 I N the following description of stitches we shall mention only 
 those used in the art embroidery of the day, and describe 
 them in as few words as possible, so that they may be easily 
 understood. The stitch is not, however, in itself, of so much 
 importance, as any and every form of using the material, which is 
 effective, is allowable. 
 
 The Kensington Outline Stitch. 
 
 This is the fundamental stitch of Kensington needlework, which 
 is most used in the embroidery of the day. It is used for working 
 
 designs in outline, either flowers, 
 figures or pictures. This latter is 
 sometimes called Sketch Embroid- 
 ery. Very handsome effects can be 
 produced by outlining different flow- 
 ers in their appropriate colors. The 
 Kensington stitch has been described 
 as a long stitch forward on the face 
 of the material and a very short 
 stitch back on the under side. All 
 embroidery done with this stitch is 
 done upon the surface of the cloth, 
 so that a piece of work neatly and correctly done will show no 
 loose ends upon the back side. In taking the stitch, the needle is 
 held with the point almost directly toward you, the thread being 
 drawn from you. It is nearly the opposite of the ordinary back 
 stitch, which can be used in outlining, if preferred, the object 
 being simply |;o poyer all the lines of the pattern, as stamped on 
 
♦ 
 
 4 
 
 the fabric. A glance at the accompanying cut will perhaps con- 
 vey a better idea of the manner of taking the stitch than can be 
 obtained from any description. 
 
 Split Outline Stitch. 
 
 This stitch is used for outlining very fine designs. It is simply 
 the same as the above, except that the needle is brought up 
 through instead of at one side of the thread of the preceding 
 stitch, thus making the outline more even and finer. 
 
 Kensington Filling-in Stitch. 
 
 In filling in the leaves or petals of flowers, one or two rows of 
 outline stitches are taken around the outside. The needle is then 
 brought up near the lower leaf or petal on 
 the outside of the outline, and the first 
 stitch taken about three-eighths of an inch 
 below toward the centre ; the next stitch is 
 taken back at the outside of the outline. 
 Several stitches may be taken like these 
 two, but of irregular length ; then take a 
 stitch in the direction of the first one 
 taken, but considerably longer, over which 
 shorter stitches may be taken back to the 
 NO. 2. outline, as shown in the accompanying 
 
 cut. Repeat these irregular-length stitches till a row has been 
 worked all around, care being taken to point all the stitches toward 
 the centre if a petal, or the centre stem if a 
 leaf. The second row of stitches is worked 
 in the same manner, wdth a darker or 
 lighter shade, pains being taken to bring 
 the stitches up between the stitches of the 
 first row, in order to blend the shades, as 
 shown in Cut No. 3. If a long leaf, like 
 grass or the leaf of a cat tail, is to be 
 worked, the stitches should not be slanted 
 toward the centre of the leaf, but should follow the direction of 
 the leaf itself. 
 
Stem Stitch. 
 
 The stem stitch, as used with the Kensington embroidery, is the 
 same as the outline stitch, except that the short stitch is taken 
 further back, the needle being brought out a little below the centre 
 of the forward stitch. Large stems, which cannot be covered by 
 this single stitch, are filled in in the same manner as grass, the 
 stitch running in the same direction as the stem itself. 
 
 Laid Embroidery. 
 
 This is the stitch used in embroidering flannel skirts, infants’ 
 goods, etc. It is also used a great de’al in art embroidery for 
 
 small flowers like the Forget- 
 me-not and for small leaves. 
 It is sometimes called the sat- 
 in stitch. It is very simple, 
 although it requires great care 
 in laying the stitches evenly. 
 It requires almost no descrip- 
 tion, Cut No. 4 showing ex- 
 actly how it is done. The 
 pattern is generally first filled 
 with silk or worsted, as is 
 shown in Cut No. 5, to give 
 it fullness, the appearance 
 being much improved there- 
 by. After the filling is put 
 in the stitches are 
 laid evenly side by 
 side, either straight 
 across or diagon- 
 ally from the cen- 
 tre stem of the leaf, 
 till the pattern is 
 covered. Beauti- 
 ful effects can be 
 produced by working the leaves and petals in different directions, 
 
 NO. 5 
 
G 
 
 SO that the silks will catch the light at different angles, and thus 
 give a very natural appearance to the work. 
 
 Laid Stem Stitch. 
 
 This style of working stems is 
 used when the flowers are worked 
 in laid work. It needs no descrip- 
 tion, the cut showing so clearly how 
 it is done. 
 
 NO. 6 
 
 Wound or Bullion Stitch. 
 
 This stitch is very nicely adapted for work- 
 ing the heads of grass, wheat, etc. It is 
 very simple, the only care needed being to 
 place the thumb of the left hand on the coil to 
 hold it in place while drawing the thread 
 through. A glance at the cut will show what 
 is meant. 
 
 NO. 7 
 
 Seed Stitch. 
 
 This stitch is used in connection with laid work, mostly to rep- 
 resent the shading in turned or twisted leaves, one-half of the leaf 
 being generally worked in laid work and the other half entirely 
 
7 
 
 filled in with seed stitches. This branch of embroidery consists 
 simply of very shorty straight stitches^ placed either regularly or 
 irregularly just near enough to each other to show a little of the 
 ground material between the stitches. 
 
 The French Knot. 
 
 Art needle work can hardly be done without the use of the 
 French knot. It is the best stitch that can be found to represent 
 the center of such flowers as daisies, roses, 
 etc., and the pollen or anthers of many 
 others. To make the knot, bring the 
 needle up through the material at the 
 spot where the 
 knot is to be 
 made, draw the 
 thread tight, and 
 hold it ov^er one 
 finger of the left hand ; then twist the 
 needle — so to speak — once or twice 
 around the thread, tlien pass the needle 
 down part way through the cloth, at, or no. 9 
 
 very near, the point where it was 
 brought up, and draw the knot tight 
 around the needle, as seen in the cut, 
 holding it with the left thumb ; then 
 draw the thread through. This stitch 
 may require some little practice, but 
 after the ‘‘knack” is once caught it 
 will be found easy. 
 
 Arrasene and Chenille. 
 
 The above materials are worked the same as floss or crewel 
 with the Kensington stitch, except that the stitches are taken 
 longer and not too close together, as the material is coarser and 
 covers the work very rapidly. In the large leaves the shading 
 
8 
 
 may be done the same as described for the Kensington stitch, but 
 in the smaller leaves the better effect is produced by taking the 
 stitches as described for laid embroidery. After the leaf or petal 
 is worked the veins or outlines may be worked with fine embroid- 
 ery chenille or with gold or tinsel cord, which will add greatly to 
 the effect. Fine embroidery chenille is worked and shaded with 
 the Kensington stitch, the same as described for silk. In working 
 with the coarser or No. 2 chenille it may be worked in laid em- 
 broidery. The effect is full better than the Kensington, except 
 for very large coarse leaves or flowers. Arrasene embroidery 
 produces a very artistic and pleasing effect, and is growing rapidly 
 in favor. 
 
 Plush or Tufted Stitch. 
 
 This is simply couching filloselle on the material instead of 
 working it through, and although claimed by some to be a new 
 stitch and to have been discovered by themselves, is really as old 
 as the hills. To embroider with this stitch, first fill the petal 
 with rather coarse French knots, using the proper colors ; then 
 take a single or double strand of filloselle, according to the size 
 of the flower, bring the needle up half way through between the 
 French knots; lay the floss at about one-quarter of an inch from 
 the end, against the needle, holding it in position with the thumb, 
 then draw the needle through and pass it down on the opposite 
 side of the floss, at nearly the same place it was brought up ; draw 
 the stitch down tightly and clip the floss evenly with the scissors 
 and it will stand up straight and velvety. Repeat these stitches, 
 placing them quite near together, until the design is completed. 
 This stitch is especially adapted for working such flowers as cox- 
 comb, princess’ feather, golden rod, love-lies-bleeding, etc. The 
 effect is very striking, and with practice and a little knack the 
 imitation of the flowers can be made very perfect. 
 
 Bird^s-Eye Stitch. 
 
 This stitch is frequently used in working daisies or other flow- 
 
9 
 
 ers with small narrow petals, or for stars in finishing tidies, scarfs, 
 etc. It is a sort of a chain stitch worked from 
 one centre point. Bring the needle up through 
 the centre of the flower, draw the thread out to 
 the end, then pass the needle back through 
 the centre and out 
 near the end of the 
 petal ; throw the loop 
 NO. 11 of the thread over the 
 
 needle and draw through ; then pass the 
 needle down on the outside of the loop, 
 bringing it out again at the centre. This 
 forms one petal of the flower, and must 
 be repeated for the other petals. A glance at the cuts will enable 
 one to understand the description. 
 
 Ribbon Embroidery. 
 
 Or Rococo work, when neatly done is exceedingly pretty, and has 
 already become very popular. It is the least expensive of all art 
 embroidery, and can be done very rapidly. Combinations of 
 ribbon flowers and arrasene leaves can be made superbly artistic. 
 The flowers which can be worked in this way are, however, 
 somewhat limited, and must be such that each petal can be made 
 with a single piece of ribbon. The best flowers are the wild rose, 
 forget-me-not, wild clematis, daisy, Russian snow flower, etc. 
 The method of working is as follows: For a rose take three or 
 five shades of rose pink grosgrain ribbon No. 9, or Surah silk, 
 cut the same width ; cut five pieces (one of each shade) two 
 inches long ; commence with the darkest shade ; make two small 
 plaits in one end and tack it on the outer end of the petal with a 
 few strong stitches ; then bring the other end of the ribbon over 
 and pass it down through a slit made in the centre of the rose, 
 being careful to draw the selvages a little tighter than the centre, 
 in order to make the petal stand out soft and puffy ; make the 
 other petals in the same manner, then fill the centre with French 
 knots of maize embroidery silk, also make the stamens by carry- 
 
10 
 
 ing stitches of silk up onto the ribbon, with a French knot at the 
 end, to represent pollen. Other flowers, with large petals, 
 requiring wide ribbon, are made in the same manner ; but for the 
 finer flowers, like forget-me-nots, the ribbon may be threaded into 
 a large-sized worsted needle and worked through and through, 
 taking a single stitch for each petal. 
 
 Couching Stitch. 
 
 These stitches are used in finishing embroidered tidies, table 
 covers, etc., and in covering and joining seams, etc. etc. The 
 stitch is simply catching down a thread, cord, or strand or strands 
 of any material by a single stitch taken straight across the thread 
 or threads, as shown in the cut. It can be used in a great variety 
 of ways, as the fancy may suggest. 
 
The Colors of Flowers 
 
 I N giving the following description of flowers we have taken as 
 a standard the names of the colors, as given on the color card 
 of the Florence Embroidery Silk and Filling Floss, this 
 being the silk that is probably the best known throughout the 
 country. The names of the colors will generally be the same 
 in other makes, but when exactness is desired it is best to match 
 the shades by the above make of silk. The numbers in the de- 
 scription indicate the exact color, and whenever it is found difficult 
 to obtain exactly the shades wanted they may be procured from 
 the publisher of this book, who will send by mail anything in the 
 line of fancy work materials on receipt of price. Each flower 
 has been carefully matched in all its parts from nature^ and the 
 colors, as given within, may be relied upon as correct. 
 
12 
 
 Wild Rose. 
 
 The leaves and petals of this flower should be worked in the 
 Kensington stitch, the stems in stem stitch, the centre of the 
 flower and pollen with French knots, and 
 the stamens with straight stitches. The 
 materials with which the best effect is 
 procured is Kensington ffoss, although 
 very beautiful effects can be obtained by 
 combining ffoss with English crewels. 
 
 The rose is also one 
 of the most popular 
 ffowers to represent 
 in Rococo or ribbon 
 embroidery, as each 
 petal can be made 
 with one piece of 
 silk. The different 
 shades of rose pink 
 
 Surah silk make the best rose petals. In working roses in this 
 way the leaves should be worked with arrasene, which will give 
 a very beautiful and artistic effect. 
 
13 
 
 The proper colors are as follows : 
 
 Petals. — Pale pink shaded down through rose pink to 
 
 rose using four shades in all. 
 
 Stamens. — Light golden olive green with French knots 
 of medium maize and to represent the anthers or pollen. 
 
 Sepals and Young Leaves. — Three shades of bright olive 
 green to 
 
 Older Leaves. — Three or four shades of bronze olive green 
 584 i-Q 587 ^ veined with darker shades. 
 
 Stems. — Bright olive green, slightly shaded with light pome- 
 granate 
 
 Sweet Brier Rose. 
 
 This is worked the same as the above, except that the petals 
 are a more vivid or darker pink. 
 
 Yellow Rose. 
 
 The calyx, leaves and stems of this rose are worked the same as 
 the wild rose. The colors of the petals are two or three shades 
 of lemon with French knots of canary for the 
 
 pollen and stamens. A few stitches of light golden olive 
 should be worked around the centre underneath the stamens, so 
 as to show a little of the color through. 
 
 Yellow Daisy. 
 
 This flower should be worked wholly in the Kensington stitch, 
 except the centre of the flower, which is done in French knots. 
 Yellow daisies in ribbon work are also very effective. The best 
 materials for needlework are silk for the petals, chenille for the 
 centre, and arrasene or crewel for the leaves and stems. 
 
 The colors are : 
 
 Petals. — Canary to 
 
 Centre of the Flower. — Seal brown ^3^, with outside ring 
 of olive brown to represent the pollen. 
 
 Sepals, Leaves and Stems. — Three or four shades of olive 
 green to 
 
14 
 
 White Daisy. 
 
 This is one of the most popular of flowers to represent in art 
 needlework. It is generally worked in the Kensington stitch, 
 
 although it is often worked in laid 
 embroidery or satin stitch. The 
 leaves and petals being narrow are 
 well adapted for this kind of em- 
 broidery. It is also a choice flower 
 for ribbon work. The best mate- 
 rial for needlework daisies is silk 
 floss for the petals, leaves and 
 stems, and fine chenille for the 
 centre of the flower ; crewels may 
 also be used for the leaves and 
 stems. 
 
 The proper colors are : 
 
 Petals. — Dead white, shaded 
 with silver drab ; centre, French 
 knots of canary with a ring of golden olive green around 
 
 the edge. 
 
 Sepals, Leaves and Stems. — Three or four shades of rather 
 dull olive green to 
 
 Lilac. 
 
 The best effect is produced by working both flower and leaves 
 in the Kensington stitch with silk, as both petals and leaves are 
 smooth and glossy. The buds may be nicely represented with 
 double French knots of whole filloselle. 
 
 The colors are : 
 
 Flower. — Two shades of light lilac 
 
 Under side of Petals. — Light raisin 
 
 Buds. — Medium raisin ^'^3, 
 
 Leaves and Stems. — Bright olive green to 
 
15 
 
 Clover. 
 
 The flower of the clover is represented very nicely by taking 
 short stitches with the whole thread of floss. The stitches should 
 all be taken the same length, but laid irregularly, letting the upper 
 
 end of one lie against the lower end of another till the whole 
 flower is covered. The leaves and the stems should be worked 
 in the Kensington and stem stitches. The best material is silk. 
 The proper colors are : 
 
 Flower. — T wo shades of pink^^”^, shaded with two shades 
 of raisin to 
 
 Young Leaves near the Flower. — Bright olive green 
 
 685 ^ 
 
 Older Leaves and Stems. — Two or three shades of duller 
 olive green ^^6 698^ 
 
 Centre of Leaves. — Light lily green 
 
 Stems. — Slightly shaded with traces of light pomegranate®”^^. 
 
16 
 
 Poppy. 
 
 '^There are numerous varieties as to color in this popular flower, 
 and we give the colors of several of the more common and best 
 adapted to embroidery. They 
 are all represented best in the 
 Kensington stitch with silk. 
 
 Arrasene is often used, and is 
 very effective ; but if it is de- 
 sired to get the most realistic 
 effect, silk is the best, as the 
 leaves and petals are smooth and 
 shiny. 
 
 The colors are : 
 
 First Variety, 
 
 Petals. — Three shades of dark scarlet 
 to with spots of very dark maroon 
 at the lower joint of the petal. 
 
 Stamens. — Dark reddish brown 
 with French knots of dark olive brown 
 to represent the pollen. 
 
 Top of the Seed Vessel. — Light pom- 
 egranate crossed with light dull olive 
 green 
 
 Stems and Leaves. — Four shades of lily green to ; 
 leaves veined with lighter shade. 
 
 Second Variety, 
 
 Petals. — Three shades of dark cherry to 
 
 Stamens. — Old gold with French knots of dark bronze 
 green 
 
 Seed Vessel. — Dark pomegranate crossed with dark 
 
 tan 6^1. 
 
 Third Variety, 
 
 Petals. — Three shades of light pink to 
 
17 
 
 Stamens. —Medium lily green with French knots of dark 
 bronze green 
 
 Seed Vessel. — Golden olive green crossed with bright 
 olive green 
 
 Fourth Variety. 
 
 Petals. — Three shades of flame color to 
 
 Stamens. — Dark garnet with French knots of dull olive 
 
 green 
 
 Seed Vessel. — Medium olive green crossed with dark 
 garnet 
 
 Fifth Variety. 
 
 Petals. — Cream white, shaded with light pink 
 
 Stamens. — Medium pomegranate with French knots 
 
 of dark olive brown 
 
 Seed Vessel. — Medium bright olive green crossed with 
 light pomegranate 
 
 Other varieties can be worked by variegating the colors in the 
 petals with any of the above shades, arranging the colors to suit 
 the fancy of the worker. 
 
 Forget-me-not. 
 
 This ever popular little flower is worked best in laid embroid- 
 ery, with silk. It is also a perfect little gem of a flower to repre- 
 sent with ribbon. The leaves should be 
 worked in laid embroidery, if small, or 
 in Kensington stitch, if large. 
 
 The proper colors are : 
 
 If it is desired to work the colors true 
 to nature it should be worked with two 
 shades of light old blue "37^ with 
 French knot of orange for the centre. 
 It is, however, more often worked with 
 bright light blues to with French 
 knot of canary in the centre. Light 
 pale pink is also used. The leaves 
 and stems are three shades pf dull olive green to 
 
18 
 
 Bachelor’s Button. 
 
 There are several varieties of this flower as to color, all equally 
 well adapted for needlework. They are generally worked wholly 
 in the Kensington stitch, and are most effectively done with silk. 
 The colors are : 
 
 .First Variety, 
 
 Petals. — Three shades of raisin to 
 
 Stamens. — Light blue purple 
 
 Calyx. —Dull olive green with little points of lily green 
 Stems and Leaves. — Three shades of rather dull olive green 
 686 688 ^ 
 
 Anot/ier Variety. 
 
 Petals. — Cream white, shaded with light buff 
 Stamens. — Light raisin or ^73^ 
 
 Calyx, Leaves and Stem. — The same as in the first variety. 
 A Third Variety. 
 
 Petals. — Three shades of pomegranate to 
 Stamens. — Raisin 
 
 Calyx, etc. — The same as first variety. 
 
 A Fourth Variety. 
 
 Petals. — Three shades of old blue ™ to '^39, 
 
 Stamens. — Light lilac 
 
 Other varieties can be made by working them conventionally in 
 bright blues, pinks, etc. 
 
 Sorrel, 
 
 This is a very pretty little flower, or weed, to work with other 
 flowers. It is very easy to represent, the flower being made en- 
 tirely with French knots of embroidery silks in dark scarlets, old 
 golds and golden olives, arran ^ed promiscuously to give a varie- 
 gated appearance, some k • , ing of one color, others of two 
 colors together. The colors for the leaves and stems are bright 
 olive green ^^3, 
 
19 
 
 ¥iolet« 
 
 This flower is worked best in the Kensington stitch with silk, 
 or the petals and small leaves may be worked in laid embroidery. 
 
 The proper colors are : 
 
 Petals. — Lavender with veins of dark purple run- 
 
 ning through them. 
 
 Centre of the Flower. — French knot of ecru 
 Sepals, Leaves and Stems. — Three shades of medium 
 bright olive green to 6®®. 
 
 Sun Flower. 
 
 This flower should be worked in the Kensington stitch. It is 
 adapted for working with either silk, crewel, chenille or arrasene. 
 A very handsome piece can be made with silk for the petals, 
 crewels for the leaves and French knots of chenille for the centre 
 of the flower. The whole flower is also especially adapted for 
 arrasene, the leaves and stems being large, rough and coarse. 
 The effect when worked with this material is very artistic. 
 
 The proper colors are : 
 
 Petals. — Three shades of canary 506 
 
 Centre of the Flower. — French knots of chenille or arra- 
 sene in seal brown with traces of dark maize to represent 
 the pollen. ' 
 
 Sepals, Leaves and Stems. — Three or four shades of dark 
 ^)live green to leaves veined with lighter shade. 
 
20 
 
 Pansy. 
 
 This is worked most effectively in the Kensington stitch, with 
 fin^ embroidery chenille for the petals and silk for the leaves, etc. 
 Some beautiful effects may be produced by working tlie petals 
 with both chenille and silk, using the silk for the brightest parts. 
 
 The colors are so varied and the flower is so common that a mis- 
 take can hardly be made. The most prevalent colors for the 
 petals are lilac and red purples, often running down to a dark 
 dahlia almost a black, canary and orange, dark reds, garnets and 
 maroons and old gold. The leaves and stems are worked with 
 three or four shades of dull olive green to 
 
n 
 
 Lily of the Valley. 
 
 This delicate little flower is done best in laid embroid- 
 ery ; the leaves may be worked in either laid or Kensing- 
 ton stitch, with silk. The colors are : 
 
 Flower. — White shaded with very 
 light lily green 
 
 Leaves and Stems. — Three shades of 
 bright olive green 
 
 Sumac. 
 
 This is very popular in art needlework, and can be made 
 exceedly effective by working the leaves in the beautiful autumn 
 colors which are seen in New England. The berries are repre- 
 sented with French 
 knots of No. 3 che- 
 nille, each knot rep- 
 resenting one berry. 
 The leaves should 
 be worked in the 
 Kensington stitch 
 with silk or crewel, 
 or with the two com- 
 bined. 
 
 The proper colors 
 for the berries are 
 three shades of dark 
 scarlet to No 
 explicit directions 
 can be given for the 
 leaves, but the fol- 
 lowing colors are 
 generally used : Scarlets and cardinals, geld, golden olive greei^j 
 bright and dull olive greens, tan browns, pomegranates, etc. 
 These may be worked in to suit the taste of the worker, and made 
 to represent very closely the autumn foliage. The stems or veins 
 of the leaves are dull red or reddish brown. 
 
22 
 
 Woodbine. 
 
 dlework, and like the sumac leaves 
 can be worked very brilliantly as 
 autumn leaves. They should be 
 worked in the Kensington stitch 
 with silk, or with silk and crewel 
 combined. The colors are the 
 same as for sumac leaves. The 
 berry should be worked in laid 
 embroidery, the color being dark 
 reddish blue The colors of 
 
 the stems are browns 
 
 Trailing Arbutus. 
 
 This is one of the most exquisite of New England May flowers, 
 
 and can be per- 
 fectly repre- 
 sented w i t,h 
 the needle. It 
 should be 
 worked in the 
 Kensington 
 
 stitch with silk. 
 
 The proper colors are : 
 
 Petals. — Milk white shading into light pink ^^3^ 572^ with 
 French knots of light maize in the centre. 
 
 Leaves. — Three shades of bright olive green 585^ with 
 spots of wood brown 
 
23 
 
 Golden Rod. 
 
 This is the most popular and effective of all the flowers repre- 
 sented in art needlework. The flower should be worked in French 
 
 knots and the leaves and stems 
 in the Kensington stitch or in 
 laid embroidery. The best 
 effect is obtained with fine 
 embroidery chenille, or arra- 
 sene for the flower and silk 
 for the leaves and stems. 
 The flower can, however, be 
 wor]:ed with a single thread 
 of silk floss, but it is more 
 work, and the effect is no 
 better. 
 
 The proper colors are : 
 Flower. — Yellow and canary to 
 
 Leaves and Stems. — Three shades of 
 ive green to 
 
 Thistle. 
 
 The most effective manner of working this flower is with the 
 plush stitch, or it can be worked with 
 arrasene. The calyx, leaves and| 
 stems should be worked in the Ken- ' 
 sington stitch with silk. 
 
 The proper colors are : 
 
 Flower. — Very pale pink 
 two shades of rose pink and 
 
 two shades of light lilac 
 These shades blended and shaded 
 together will give a very natural 
 effect. 
 
 Calyx, Stems and Leaves. — Three shades of dull olive 
 green to 
 
 Thorns. — Light lily green 
 
24 
 
 Apple Blossoms. 
 
 This beautiful flower is one of the best adapted to the Kensing- 
 ton stitch. The brilliant pink and white in the petals and the 
 vivid greens in the young leaves make it one of the most effective 
 for art needlework. It should be worked wholly with silks. 
 
 The proper colors are : 
 
 Petals. — Three shades of light rose pink 572^ 573^ The 
 half-open buds should show a brighter pink 
 
 Stamens. — Bright olive green with French knots to rep- 
 resent the pollen. 
 
 Sepals and Young Leaves. — Two or three shades of bright 
 olive green to 
 
 Old Leaves. — Dull olive green to 
 
 Stems. — Three shades of reddish drab to 
 
25 
 
 Barberry. 
 
 These should be worked in the Kensington stitch with silk. In 
 working the berry the stitches 
 should be taken in the direc- 
 tion of the length of the berry 
 and not across it. 
 
 The proper colors are : 
 
 Berries. — Two or three 
 shades of dark scarlet to 
 with one stitch at the lower 
 end of each berry of black or 
 dark brown. 
 
 Stems of the Berries. — 
 
 Medium pomegranate 
 
 Blossoms. — Light gold 
 with French knot of dark ca- 
 nary in the centre. 
 
 Leaves. — Three shades of 
 dull olive green to with lighter shade for the back or turned 
 edge. 
 
 Stems. — Dark gold and olive brown to 
 
 Innocence. 
 
 This delicate little flower can be best represented in laid em- 
 broidery with silk. 
 
 The colors are : 
 
 Petals. — Two shades of lavender the outside of the 
 
 petal being the darkest. 
 
 Centre of the Flower. — Single French knot of dark 
 canary 
 
 Sepals, Leaves and Stems. — Bright olive green 685 ^ 
 
26 
 
 Peach Blossom, 
 
 This should be worked in the Kensington stitch with silk. 
 
 The colors are : 
 
 Petals. — Three shades of light rose pink 
 
 Centre of the Flower and Stamens. — Light lily green 
 with French knots of light tan to represent the pollen. 
 
 Sepals. — Two shades of medium pomegranate shading 
 
 to light lily green 
 
 Stems. — Two shades of reddish brown 
 
 Young Leaves. — Two shades of bright olive green 
 
 Dandelion. 
 
 This flower should be worked in the plush stitch, or it may be 
 worked with silk arrasene. The leaves should be worked in the « 
 Kensington stitch with silk. 
 
 The proper colors are : 
 
 Flower. — Two shades of canary and 
 
 Sepals, Leaves and Stems. — Three shades of dull olive 
 green to leaves slightly veined with light pomegranate 
 
 After the flower has gone to seed it is i*epresented with light 
 silver drab the seeds with light olive brown 
 
27 
 
 Pond Lily. 
 
 This is an exquisite flower when nicely worked. It can be 
 worked most naturally in the Kensington stitch with silk, but a 
 
 very artistic effect can be produced by working it with arrasene. 
 The proper colors are : 
 
 Petals. — Dead white shaded with light silver drab with 
 traces of light pomegranate in the centre of the outer petals. 
 
 Stamens. — Light old gold and golden orange 
 Sepals. — Two shades of medium olive green shaded 
 
 with two shades of pomegranate 
 
 Leaves. — Three shades of dull olive green 
 Under side of Leaves. — Two shades of medium pomegran- 
 ate ^7^, shaded slightly with dull olive green 
 
Pine Cones. 
 
 When nicely and carefully worked this can be made exceed- 
 ingly effective. It is done mostly in the Kensington stitch, except 
 the outside points of the cone, which is done in laid work. Silk 
 is the best material to use. 
 
 The proper colors are : 
 
 Outside Points of Cone. — Two shades of fawn brown 
 621 ^ 
 
 Inside or Protected Parts of the Conp:. — Two shades of 
 tan brown ^^3, 
 
 Needles. — Medium dull olive green 
 Dry Needles. — Light wood brown 
 
 Stems. — Two shades wood brown shaded with tan 
 
29 
 
 Tulip. 
 
 This is one of the most beautiful of flowers, and can be per- 
 fectly represented in the Kensington stitch, with silks for both 
 leaves and flower. The flowers are found in a great variety of 
 colors, and also are variegated with several colors in each flower, 
 so that they may be worked according to the fancy of the worker. 
 The colors mostly found in the petals are three or four shades of 
 
 dark scarlet to ; two or three shades of dark cherry to 
 to ; three or four shades of yellow and canary to ; light 
 old gold to ; apricot yellow to and white They 
 
 may be worked with any set of these colors, or they may all be 
 used in the same flower, which are so varied in hue that a mis- 
 take can hardly be made. The colors for leaves are three or four 
 shades of lily gr^en to ; stems dull olive to 
 
30 
 
 Heliotrope. 
 
 Both the flower and leaves of this can be represented with arra- 
 sene, or it may be wholly worked in the Kensington stitch with 
 silk. 
 
 The colors are : 
 
 Petals. — Two shades of lilac 
 
 Centre of the Flower. — White, with single knot of dark 
 pome'^ranate 
 
 S'* F^Ls AXD Leaves. — Three or four shades of dull olive green 
 
 695 695^ 
 
 Strawberry. 
 
 This can be very perfectly represented 
 in the Kensington stitch, with silk for 
 the berries and arrasene for the leaves. 
 
 The colors are : 
 
 Ripe Berry. — Three shades of dark 
 red 540^ 543 . partly ripe portions can 
 
 be represented by shading in 
 light pinkish white with 
 the shades of red ; the seeds 
 are two or three shades of 
 maize to and wood 
 
 browns 
 
 Sepals, Leaves and 
 Stems. — Medium olive 
 green to 
 
 PussiE Willows. 
 
 This, when nicely worked, can be made really artistic. The 
 buds, or pussies,” should be worked full and rounded, and are 
 best done in the plush stitch with silk. The colors are three 
 shades of sage drab to or light silver drab may be used for 
 the lightest shade. Stems, two or three shades of light reddish 
 brown ^^8, 530 ^ with little buds slightly lighter, or tan 
 
<0 
 
 31 
 
 Wild Columbine* 
 
 This is a very handsome and effective flower when nicely 
 worked. It should be done in Kensington stitch and in laid 
 work with silk. 
 
 The colors are : 
 
 Petals. — Three shades of dark cherry to shaded 
 slightly with gold at the top. 
 
 Stamens. — Dark gold 
 
 Pistil. — Bright olive green 
 
 Stems, Leaves, etc. — Two or three shades of bright olive 
 green to 
 
 Wild Geranium. 
 
 This should be worked wholly in the 
 Kensington stitch with silk. 
 
 The colors are : 
 
 Petals. — Lilac 
 
 Stamens. — Silver with French 
 knots of pinkish drab to represent the 
 pollen. 
 
 Sepals, Leaves and Stems. — 
 
 Three shades of bright olive green 
 
 684 688 
 
 5 
 
 Dutchman’s Breeches. 
 
 This little flower is worked best in the Kensington stitch with 
 silk. 
 
 The colours are : 
 
 Flowi:r. — Dead white, shading into light apricot yellow at 
 the points of the spurs. 
 
 Pistil. — Light dull olive green tipped with French knot 
 of yellow • 
 
 Stems and Leaves. — Three shades of bright olive green 
 to 
 
32 
 
 Blackberry Vine. 
 
 This can be worked very effectively in the Kensington stitch, 
 the leaves in arrasene, the flower in silk. The berries may be 
 represented with black glass beads, or they may be worked in 
 laid work with silk. 
 
 The colors are : 
 
 Berries. — Very dark garnet and black. 
 
 Flower. — White slightly shaded with light lily or the 
 shading may be left out. 
 
 Stamens. — Light tan 
 
 Leaves and Stems. — Three shades of medium olive 
 
 Buttercup. 
 
 This flower should be worked wholly in the Kensington stitch 
 with silk. 
 
 The proper colors are : 
 
 Petals. — Yellow and canary 
 
 Centre of the Flower or Seed Vessels. — Golden olive 
 green 
 
 Stamens. — Canary with French knots to represent the 
 pollen. 
 
 Leaves. — Three shades of dull olive green to 
 
 Stems. — Bright olive green 
 
33 
 
 Cat Tails. 
 
 These are so common and have 
 been so popular as almost to need 
 no description. The leaves should 
 be worked in the Kensington stitch 
 with silk, letting the stitches run 
 in the direction of the length 
 of the leaf. The head should 
 be worked in fine embroidery che- 
 nille. 
 
 The proper colors are : 
 
 Head. — Two or three shades of 
 seal brown 
 
 Leaves. — Three shades of olive 
 green 688 i“2^ 
 
 Golden Coreopsis. 
 
 The petals and leaves of this 
 flower should be in the Kensington 
 stitch with silk or chenille. The 
 centre of the flower may be best 
 represented with the plush stitch, 
 or a small plush ball may be caught 
 on with one or two strong stitches 
 and made very effective. 
 
 The colors are : 
 
 Petals . — Light gold ^ 559 ^ 
 canary and dark maroon 
 
 544^ 546 (worked with chenille) . 
 
 Centre of the Flower. — Dark maroon (plush stitch). 
 Leaves, Stems^ etc, ^ Dull olive green ^^ 4 ^ 696 ^ 
 
34 
 
 Iris. 
 
 This surpassingly beauti- 
 ful flower can be very per- 
 fectly represented with the 
 needle in the Kensington 
 stitch with silks, and when 
 nicely worked it is one of 
 the most effective. 
 
 The proper colors are : 
 
 Petals. — Three shades 
 of light blue purple 
 shading into white or very 
 pale lily green at the lower 
 centre. Single threads of 
 dark purple should vein 
 the petal lengthwise. 
 
 Pistil. — Two shades of 
 light reddish purple 
 
 Calyx, Leaves and 
 Stems. — Three or four 
 shades of medium bright 
 olive green to 
 
 Coleus Leaves. 
 
 The leaves of this plant being large, coarse and high colored, 
 are admirably adapted for arrasene work. They come in such a 
 variety of hues that a description of the colors seems hardly neces- 
 sary. The most common colors are very dark bronze olive green 
 712^ 714^ veined with dark pomegranate ; dark maroon 
 
 edged with bronze olive "^^3, variegated with dark coxcomb 
 red to '^2^, golden olive, medium and dark gold and bright 
 olive green. 
 
35 
 
 Wheat. 
 
 Wheat should be worked in the Ken- 
 sington stitch, except the head, which 
 may be done in wound stitch. The color 
 of unripe wheat is bright olive green 
 
 Ripe wheat is best represented by 
 light maize or straw color. 
 
 Oats are worked like wheat, the colors 
 being dull olive green ^9^, and dark lily 
 green 
 
 Grasses. 
 
 There is a great variety of grasses, all 
 of which should be worked in the Ken- 
 sington stitch with silk. The blades of 
 all kinds should be worked in the different 
 shades of olive green, according to taste ; 
 but the stems and blossoms of such grasses 
 as red top, lawn grass, etc., may be 
 worked very effectively in such colors as 
 light brown, light tan, pomegranate, light 
 terra cotta and raisin. 
 
 Ferns. 
 
 Ferns are of great variety, and are com- 
 monly worked in the Kensington stitch 
 with silk. They can be worked according to taste in any of 
 the olive greens. The bright, vivid olive greens and the light 
 lily greens for the silver ferns, and the golds, light wood and 
 fawn browns, and si]ye?r drabs for bleached ferns, are the shades 
 most used, 
 
36 
 
 Mountain Ash. 
 
 The berries of the Mountain Ash are very brilliant and effective 
 in embroidery. They should be worked in either laid work or 
 Kensington stitch. The berries can be best represented by shad- 
 
 ing together bright orange with one or two shades of bright 
 flame ^ 07 , 708 . 
 
 The other colors are : 
 
 Leaves. — Three shades of dull olive green 
 Stems. — Dark tan brown 
 
 Smxlax Leaves. 
 
 These may be worked in either laid work or the Kensington 
 stitch, using silk in either case. The colors are light bright olive 
 greens 
 
37 
 
 Nasturtium. 
 
 This is a very handsome flower to represent in needlework. It 
 is worked with the highest eflect in fine embroidery chenille. 
 Silk 
 The 
 
 proper stitch to use. 
 
 The flowers come in vari- 
 ous shades, the most common 
 of which is flame color to 
 veined with dark garnet. 
 
 Sepals should be worked the 
 same color but of a lighter 
 
 shade. The petals may also be worked in dark reds, shaded with 
 deep orange or very dark gold maize 
 
 The other colors are : 
 
 Stems. — Dark tan brown 
 
 Front side of Leaf. — Dull olive green veined with a 
 
 lighter shade. 
 
 Back side of Leaf. — Light lily green veined with 
 
 lighter shades. 
 
 Hardhack. 
 
 This can be very perfectly represented with the plush stitch for 
 the flower and arrasene for the leaves. The colors for the flowers 
 are five or six shades of pomegranate ; leaves and stems, dull 
 olive green 
 
38 
 
 Azalia. 
 
 This is a beautiful pink and white flower, nicely adapted for 
 embroidery. It should be worked in the Kensington stitch with 
 silk. 
 
 The proper colors are : 
 
 Petals. — Very pale pink ^^ 3 ^ shaded with two shades of pale 
 rose pink They may also be worked quite dark, with the 
 
 deep rose pinks to 
 
 Stamens. — Medium cherfy, two or three shades darker than 
 the petals, with French knots of gold brown at the ends to 
 represent the anthers. 
 
 Sepals and Leaves. — Three shades of bright olive green 
 to 
 
 Stems. — Brown drab, shaded with light fawn 620^ 658 ^ 
 
 659 , 
 
 Flowering Almond. 
 
 This is a good flower to represent in arrasene work. The 
 leaves and stems, however, should be worked with silk in the 
 Kensington stitch. 
 
 The colors are : ' 
 
 Flower. — Three shades of light rose pink the buds 
 
 being a little brighter. 
 
 Stems. — Dark brownish drab 
 
 Leaves. — Bright olive green 
 
Morning Glory. 
 
 This is a very effective flower to represent in needlework, the 
 colors are so brilliant and varied. They should 
 be worked in the Kensington stitch with silk. 
 
 The colors of the petals are quite varied, the 
 principal colors being the bluish purples to 
 ^1^, reds, dark cherry to blues to 
 The petals may be worked wholly with any of 
 these colors, or they may be worked variegated. 
 
 The outer parts of the petals should be worked the darkest. 
 Leaves and Stems. — Bright olive green to 
 
 Geranium. 
 
 The petals of this flower should be worked in the Kensington 
 stitch with silk ; but the leaves are just adapted 
 for arrasene, being rough and uneven in ap- 
 pearance. The colors are so varied that they 
 may be worked in almost any of the bright 
 colors, the bright pinks, scarlets and rose pink 
 being the most commom. 
 
 The other colors are : 
 
 Leaves. — Three shades of bright olive 
 
 Stems. — Olive green, shaded with medium tan 
 
 690 691 
 
40 
 
 Russian Snow Flower. 
 
 This is a very beautiful flower, especially adapted for arrasene 
 embroidery. The flower can be made very artistic by taking a 
 
 single loop of white tinsel cord for each petal, with long stitches 
 and French knots of gold thread or yellow silk to represent the 
 stamens. The leaves should be worked in bright olive greens. 
 
 Love-in-the-Mist. 
 
 This is such a tiny little flower it is impossible to represent in 
 any other than a conventional manner. The flower may be 
 worked by simply crossing two short stitches of embroidery silk. 
 The leaves may be worked in laid embroidery in bright, vivid 
 greens. The color of the flower is a pale old blue, but it may 
 be worked in any other of color. 
 
41 
 
 Calla Lily. 
 
 The most natural effect is ob- 
 tained by working in the Ken- 
 sington stitch with silk, except 
 the pistil, which should be 
 worked with fine embroidery 
 chenille. 
 
 The proper colors are : 
 
 Flower. — Dead white 
 shading toward the stem into 
 light lily green 
 
 Pistil. — Very light maize or 
 ecru 
 
 Leaves and Stems. — Three 
 or four shades of bright olive 
 green to 
 
 Coxcomb. 
 
 This is one of the most effective 
 flowers used in embroidery, and is 
 very easy to be worked. By far the 
 best effect is obtained by using the 
 plush stitch for the flower. The 
 leaves and stems may be worked in 
 the Kensington stitch with silk for 
 both. 
 
 The colors are : 
 
 Flower. — Three or four shades 
 of coxcomb red to 
 Leaves and Stems. — Dull olive green to ^^7^ with touches 
 of red on the stems. 
 
4 ^ 
 
 Crocus. 
 
 This flower should he worked in the Kensington stitch with 
 silk. The colors of the petals are varied from white and lavender 
 to a medium purple The leaves should be worked in 
 
 three shades of dull olive green 
 
 Love-lies-Bleeding. 
 
 This is especially adapted to arrasene embroidery, and is ex- 
 ceedingly effective. 
 
 The proper colors are : 
 
 Flower. — Three or four shades of red to 
 Leaves. — Dull olive green to 
 
 Cactus Flower. 
 
 This is almost always worked as a conventional piece, and can 
 therefore be worked with any material and in any colors, accoid- 
 ing to the taste of the worker. For the flower the dark reds are 
 most generally used, with pale green for the stamens ; the pollen 
 being represented with straw color. 
 
4 ^ 
 
 Fuschia. 
 
 This is a beautiful and a very popular flower for Kensington 
 embroidery. It is generally worked in the Kensington stitch, 
 although conventionalized it is very common for laid embroidery. 
 It should be worked wholly in silk, as both the petals and leaves 
 are smooth. 
 
 The proper colors are : 
 
 Sepals. — Pale carmine pink to ^3®, shaded darkest at the 
 points and shading to the calyx bright olive green to 
 
 Petals. — Liglit to medium cherry to ^3^. 
 
 Stamens. — Light cherry ^^6^ 
 
 Anthers and End of Pistil. — Medium pomegranate 6*^^, 
 
 Leavp:s. — Dull, dark olive to 
 
 The flower may also be worked in darker shades of pinx and 
 reds. 
 
 Salvia. 
 
 This beautiful autumn flower 
 is well adapted for embroidery 
 with either silk or arrasene, and 
 should be worked in the Ken- 
 sington stitch. 
 
 The proper colors are : 
 Flower. — Three or four 
 shades of cardinal to 
 
 Leaves. — Dull olive green 
 
 694 |;q 698^ 
 
 Wild C;>rdinal Flower. 
 
 This can be worked with either silk or arrasene. The colors 
 are the same as for Salvia. 
 
44 
 
 Marygold. 
 
 This is a beautiful flower for embroidery, and may be worked 
 either tn the Kensington stitch, the plush stitch, or with arrasene. 
 The proper colors are : 
 
 Petals. — Bright orange shading to light canary at the 
 centre, leaving the outside of the flower the darkest. 
 
 Centre of Flower. — Light bright olive green 
 Leaves and Stems. — Dull olive green to 
 
 Carnation Pink, 
 
 This one of the delicate flowers in 
 favor with artistic embroiderers, when 
 nicely done, is exceeding beautiful. It 
 may be worked in the Kensington 
 stitch with silk, or with arrasene for 
 the flower and silk for the leaves. 
 
 The colors are : 
 
 Flower. — Varied from light car- 
 mine pink to dark cherry and garnet. 
 
 Sepals, Leaves and Stems. — 
 Sage green to 
 
 Cherries. 
 
 This is a very common piece, and is usually worked with silk 
 in the Kensington stitch. 
 
 The proper colors are : 
 
 Cherries. — Two or three shades of cherry to ^^9. 
 
 Flower. — White, with knots of maize to represent the stam- 
 ens. 
 
 Leaves. — Bright olive green to 
 
45 
 
 Bitter Sweet f or, Roxbury Wax Work. 
 
 This is one of the most beau- 
 tiful of all the popular embroid- 
 ery pieces, and one of the 
 choicest of the New England 
 plants. It should be worked 
 wholly in the Kensington stitch 
 with silk. 
 
 The colors are : 
 
 Berry. — Dark flame 
 
 Inside of Sepals. — Straw 
 color 567^ 568. 
 
 Outside of vSepals. — Dark 
 maize gold shaded with dark 
 flame 709. 
 
 Leaves and Stems. — 
 
 Bronze olive green 726 to 729. 
 
 Algerian Star Flower. 
 
 This flower is used mostly as a conventional design. It is very 
 beautiful when nicely worked. The flower is done in silk and 
 the leaves in arrasene. 
 
 The colors are : 
 
 Leaves and Stems. — -Lily green to leaves veined with 
 dark olive green 
 
 Petals. — Pale yellow or straw color 
 
 The star of the flower should be first worked with pale yellow 
 worsted, the stitches should be taken lengthwise, from point to 
 point. This should be covered with stitches in the same direction 
 with floss of a little darker shade than the petals, 
 
46 
 
 Rosea Weigelia. 
 
 This is not a common flower in embroidery, but may be very 
 prettily worked. 
 
 The colors are : 
 
 Petals. — Rose pink to 
 
 Outside of Petals. — Pomegranate 
 
 Buds. — Light lily green, shading into light pomegranate 
 
 Stamens, Anthers and Pistil. — Ecru 
 
 Sepals. Leaves and Stems. — Bright olive green to 688^ 
 
 Japonica. 
 
 This is a waxy-like flower, which, with care, may be very 
 nicely done with silk in the Kensington stitch. 
 
 The colors are : 
 
 Petals. — Dark cherry to 
 Stamens. — Light yellow 
 Sepals. — Dark garnet 
 Leaves. — Dull olive green 
 Stems. — Light pale olive 
 
 Wild Laurel. 
 
 This should be worked with the plush stitch for the flower, or 
 with arrasene. The leaves should be done in silk. 
 
 The colors are : 
 
 Petals. — Light solferino pink to ^^9, 
 
 Calyx. — Light bright olive 
 Anthers. — Lilac, 
 
 Stamens. — White. 
 
 Leaves and Stems. — Bright olive green ®®^to 
 
47 
 
 Chicory. 
 
 This is a very handsome flower, very often taken for purple 
 asters. They are very easily worked with silk in the Kensington 
 stitch. 
 
 The colors are : 
 
 Petals. — Lavender and blue purple to 
 Centre. — Dark orange 
 
 Leaves and Stems. — Bronze olive green to 
 
48 
 
 TABLE SCARF, 
 
 WITH 
 
 BAND OF CRAZY PATCHWORK. 
 

 In the following pages we give a few illustrations of finished 
 pieces of fancy work, in order to give an idea of the different 
 
 methods of finishing. Much 
 depends on work being fin- 
 ished off tastefully, the artis- 
 tic effect of many a really 
 good piece of fancy work 
 being often spoiled by the 
 cheap look of the trimming. 
 It is not, however, at all nec- 
 essary that the trimmings of 
 fancy work should be expen- 
 sive, the more simple devices being generally the most elegant. 
 Dealers in decorative art goods always display a variety of tassels, 
 cords, fringes, etc., which 
 can be bought for very mod- 
 erate sums. 
 
 The most popular materi- 
 als on which to embroider 
 are, at present, felting, which 
 comes in a great variety of 
 shades, billiard cloth, uphols- 
 terers’ satin, ladies’ cloth, 
 plush, etc., which may be had in all the principal shades. The 
 above are the materials mostly used, but any firm material through 
 which the needle will pass easily may be used. 
 
50 
 
 Handsome table covers may be very simply made, on any of 
 the above materials, by working sprays or bouquets in the corners, 
 
 care being taken to choose such flowers as will contrast well with 
 
 what is more elegant, satin or 
 
 the color of the material. Covers 
 of this sort may be finished very 
 simply and tastefully by leaving 
 the edges entirely plain, or by 
 having them pinked or cut in small 
 points ; or the edges may be cut 
 straight and trimmed with plush 
 balls, either all one color or differ- 
 ent colors alternating, care being 
 taken not to have the balls too near 
 together. 
 
 Should a more elaborate cover 
 be desired it may be made of felt- 
 ing, with an embroidered band of 
 a contrasting shade of felting, or, 
 plush, set three or four inches from 
 
the edge and caught on with little point-russe stitches of bright 
 
 silks. The edges on this cover should be 
 Another style of cov 
 may be made with 
 on the foundation 
 abroad band of plush 
 The joining seam 
 couching over it 
 filling floss, or with 
 directions will apply 
 pieces of fancy work, 
 tidies or chair backs, 
 lambrequins, screens 
 are generally finish 
 the sides being left 
 or a pinked edge, 
 finishing tidies is 
 at top and bottom, 
 ery is done on any light material, such 
 
 cut straight and left plain, 
 er, similar to this, 
 the embroidery done 
 and trimmed with 
 or velvet on the edge, 
 may be covered by 
 double strands of 
 fancy stitches. These 
 equally well to other 
 such as table scarfs, 
 bannerrettes, mantle 
 etc. Table scarfs 
 ed across each end, 
 with a plain straight 
 A popular way of 
 with a band of plush 
 When the embroid- 
 as cream satin, beautiful 
 
52 
 
 tidies may be made by trimming with lace, which may be more 
 
 or less expensive, as desired. A bow of bright satin ribbon on 
 
 one corner also adds greatly to the 
 effect. Contrasting shades of satin 
 ribbon with embroidered vines of 
 flowers may be made up very taste- 
 fully in this way into chair backs, 
 lamp screens, banners, etc. Toilet 
 sets and sofa cushions may also receive 
 trimmings of lace, the effect being 
 lieiped by the addition of bows of 
 ribbon. Toilet sets and toilet bottles 
 may also be trimmed with quilled 
 
53 
 
 satin ribbon, which can be procured ready for use at any decora- 
 tive art store. Sofa cushions are also tastefully trimmed with 
 fancy silk cords, with bows of cord witli tassel ends at each 
 corner, or with bows of ribbon. 
 
 Ribbon is, in fact, indispensable in finishing very many pieces 
 of fancy work. Bows of blending or contrasting shades, on the 
 corners of tidies, screens, banners, toilet sets, toilet bottles, dress- 
 ing cases, broom-brush holders, and very many other articles, 
 always add a richness to the effect. A large bow made of three 
 or four colors of satin ribbon on one corner of a sofa cushion gives 
 
54 
 
 a very finished appearance, even if there is very little embroidery. 
 The same style of bow may be attached to one side of a mantle 
 
 lambrequin, or embroidered lambrequins may be looped up at the 
 centre and ends, and caught with bows of bright ribbon. Catch- 
 alls and waste baskets may be made very beautiful with an em- 
 broidered band of plush around the top, caught up at the corners 
 with bows of ribbon. 
 
 Fancy pongee silk aprons, for fancy work, may be made very 
 handsome with appropriate embroidered mottoes, such as 
 “ How doth the little busy bee 
 Improve each shining hour.” 
 
55 
 
 “ I do n’t care what the daisies say, 
 
 I know I ’ll be married some fine day.” 
 
 “ It ’s never too late to mend.” 
 
 “ When daylight is flitting 
 We take up our knitting.” 
 
 cat’s head in south KENSINGTON STITCH. 
 
 These aprons look entirely unfinished without bows of bright 
 ribbon. 
 
56 
 
 One or two single or double plush balls may be attached to a 
 bow of ribbon and add to the effect. Acorns may be treated 
 the same way. They may be either plain or bronzed with bright- 
 colored bronze varnish. 
 
 Embroidered plush frames, for mirrors, with a spray of wood- 
 bine or clematis dropping gracefully across, are very rich and 
 artistic, or appropriate mottoes may be embroidered in quaint old 
 Roman letters. A good motto is 
 
 “ Be to my virtues ever kind ; 
 
 Be to my faults a little blind.” 
 
57 
 
 Their beauty is in any case heightened by a bow of ribbon in on^ 
 corner. In fact, ribbon may be used in a hundred ways, which 
 will suggest themselves to the good taste of the worker. 
 
 Tho most of the illustrations here given show clearly how they 
 are made and trimmed, so that it will be unnecessary to give a 
 definite description of each. Our aim has been to describe styles 
 
 of trimming which can be adapted to various kinds of work and 
 not to any set pieces. We will, however, give a description of a 
 few of the designs illustrated. 
 
58 
 
 The Broom Brush Holder represented is made over a long- 
 handled Japanese fan, Avhich is covered with satin. A duplicate 
 piece of satin the shape of the fan is then cut and embroidered 
 with any tasty spray of flowers. This piece is hollowed out a lit- 
 tle at the to23 and lined with some stiff material like wigan, after 
 
 EMBROIDERED TOWELS AND TOWEL RACK. 
 
 which it is fastened on the fan at the edges with an opening left 
 at the bottom through which the brush can pass. It may then be 
 trimmed around the edges with cord or quilled satin ribbon, with 
 bows of ribbon or cord, as represented in the cut. The color of 
 which this may be made is a matter of taste — cardinal with blue 
 flowers, blue with pink flowers, or olive with a bouquet of vari- 
 ous colors ; or any other combination will be right. The cord 
 may be easily made of worsted or silk. 
 
59 
 
 The Toilet Bottle and Sofa Pillow, representing two 
 colors, are made by blending shades of plush and satin with the 
 diagonal seams joined, and sprays worked over the seam showing 
 embroidery on both the satin and plush. 
 
 SCRAP BAG. 
 
60 
 
 The Cat’s Head, done in Kensington stitch, is given simply 
 to show the appearance of the embroidery done in this stitch. 
 
 The Lamp Shade shows clearly how it is made. It is com- 
 posed of two shades of satin, the centre band embroidered and a 
 
 band of plush across the top. It is attached to the brass rod by 
 small stitches of silk hidden by the bows of ribbon. The rods 
 may be bought at any fancy work store. The design for the em- 
 broidery may be as elaborate as desired. The colors may be 
 
SILK AND NEEDLE CASE 
 
62 
 
 varied according to taste. Two shades of peacock blue satin, 
 with a dark, rich garnet plush, make a very nice combination. 
 
 Ladies’ Work-bag. This work-bag is easily made, and is a 
 treasure when completed. Its foundation is three pieces of paste- 
 board, straight across their upper edges and oval at the bottom. 
 Two of them, which are first smoothly covered with satin, form 
 the bag, being joined together at their rounding edges by a full 
 puffing of satin, which is sloped off so as to be considerably nar- 
 rower at the corners than at the bottom. Upon the outside of one 
 of the pieces of pasteboard are sewed three pinked leaves of flan- 
 nel in dift'erent colors for a needlebook, and one side of the re- 
 maining piece of board is plainly covered with satin, and has a 
 strip of silk arranged diagonally upon it and stitched crosswise 
 several times, just enough fulness being allowed between every 
 two rows of stitches to form pockets for skeins of floss, etc. This 
 third section of pasteboard is now covered in bag style on the 
 opposite side with satin, and sewed to the side of the real bag, 
 having the needlebook attached with the thread-pockets on the 
 inside. A little double ruffle of silk is sewed inside the edges ot 
 the bag opening, and ribbon strings are fastened at the corners to 
 hold it, and their ends are tied in a bow. A bow is also fastened 
 at the top of the simulated bag. The effect is very rich when 
 plush is used for covering the sides and silk for the puffing. 
 Cashmere in pretty colors may, however, be used with very 
 pleasing results. 
 
 Thread-and-needle Case. This useful little case is made of 
 ecru linen, cut in the desired shape and bound with bright red 
 braid. A small, straight piece, bound in the same way, is stitched 
 on with red silk, allowing sufficient fullness in each section for the 
 skeins to pass under. Several leaves of red flannel, prettily 
 pinked, are at one end to hold the needles. The case rolls up and 
 is tied with strings of ribbon or braid. 
 
 The Towel-rack Frames may be bought at any furniture 
 store or at the decorative art stores. The embroidery may be done 
 according to taste, on satin plush or any other material. The 
 towels may be bought embroidered or done by hand. A popular 
 
63 
 
 style is to work a handsome initial just above the border of a hand- 
 some damask towel for a sham towel, or a band of flowers may 
 be done in laid work with French working cottons in colors which 
 are washable. 
 
 Contrasting Colors. 
 
 In choosing colors which will “look well together’’ for the 
 foundation and trimming of fancy work no advice need be given 
 to those who possess “ an eye for colors,” as bad combinations 
 will be instantly recognized ; but to those who lack this important 
 gift a few directions may be of use, although it is very difficult to 
 give strict rules. 
 
 A little study of the colors and shades to be used will generally 
 insure a correct decision. A great deal has been said and written 
 on the subject of color, as the voluminous scientific works attest, 
 so that we cannot undertake to give a complete description of the 
 methods of arriving at the desired information, but a few hints 
 may help somewhat. All colors are composed of difl'erent com- 
 binations of the three primary colors — red, blue and yellow. 
 The colors which will contrast best with one of these colors will 
 be composed of the other two, the complimentary color of red 
 being green, composed of blue and yellow ; that of blue is orange, 
 composed of red and yellow ; that of yellow is purple, made by 
 combining blue and red. An illustration of this is the golden rod 
 and asters, which are always associated together. 
 
 Colors composed of two colors, but more of one than of the 
 other, must have for a contrast a color composed mostly of the 
 third color, as scarlet (which is red tinged with yellow) requires 
 a bluish green. Crimson (which is red tinged with blue) must 
 have a yellow green ; and so on. As a general rule, the lighter 
 shades of one color must be placed in contrast with the lighter 
 shades of another color, the darker with the darker, etc. There 
 are some colors which should never be placed together ; scarlet 
 and yellow is an instance. Yellow green and yellow, blue green 
 and blue. It would be impossible to give a perfect list, so that 
 perhaps a better rule than all the above is to take the colors de- 
 
64 
 
 Sired to be used and place them together. If the effect is pleasing 
 to the eye, they will be right. If not, try other combinations. A 
 little time spent in this way will always be found profitable. 
 
 How TO Press and Line the Work. 
 
 Ordinary flat embroidery may be pressed with a hot iron on the 
 wrong side, laying the piece on a damp cloth ; but as this treat- 
 ment would ruin raised work, like ribbon embroidery, arrasene 
 work, etc., a better way is to lay a wet towel on the table or the 
 carpet ; over this spread the piece of work right side up, and tack 
 it tightly to the floor, taking care to draw it tight enough to re- 
 move all the wrinkles ; let it dry in this position. Some draw 
 their work into shape by holding it over boiling water and steam- 
 ing it, and then tack out on the carpet as described. 
 
 How TO Wash Silk. 
 
 Washable goods, embroidered with silks, should be soaked a 
 few hours in good luke-warm suds made of white castile or olive 
 oil soap ; then add hot water in which the hand may be held, and 
 wash by squeezing the water through the goods. Rinse in clear 
 warm water without aj^id. Colors should be dried in the shade. 
 When dry, stretch into shape as described above ; then, to bring 
 up the luster, place a dry cloth over the work, with a moist one 
 over it, and iron with an iron only sissing hot ; then take off the 
 damp cloth and pass the iron quickly over the dry cloth. Another 
 method is to put bran {no soap or soda) in a basin with water and 
 leave the work to soak a few hours ; then wash as described above, 
 by squeezing, but never by rubbing. A little ox-gall is sometimes 
 used to prevent the colors from running. 
 
PERFORATED PARCHMENT 
 
 tampiR 
 
 
 We can furnish any of the Stamping Patterns illustrated in this 
 hook. We give on the following pages a list of the Stamping 
 Patterns, telling on what pages they are illustrated, also the 
 number, size and price of each of the patterns. 
 
 Please order the patterns by the numbers. 
 
 Our new Sample Bqiok contains over 1.^700 illustrations of 
 new and choice patterns for all kinds of embroidery. The price 
 of the Sample Book is 15 cei^ts. All persons reading this notice, 
 and wanting a copy of the Sample Book to select patterns from, 
 can have a copy sent them by mail by sending us four two-cent 
 stamps (8 eents). 
 
 If you have never done any stamping you should first secure 
 one of our Stamping Outfits. These Outfits contain a col- 
 lection of nice patterns. Alphabet for Hat Bands, etc. ; also box 
 of Stamping Powder, Distributing Pad, Book of Instructions for 
 Stamping, and a copy of our New Sample Book, mentioned 
 above. For full particulars about the Stamping Outfits please 
 read the advertisement on the last page of the cover. 
 
 We also furnish the material, Florence Embroidery Silk, 
 Embroidery Eloss, Chen,ille, Arrasene, Crewel, Felt, 
 etc., for working ^hese patterns. For prices, please read the 
 jiotices on the second and third pages ojf the coyer. 
 
?eriay Pardmt ^taping Patas, 
 
 We give below a list of the Stamping Patterns illustrated in 
 this book. Please notice that we give the Names of the Flowers, 
 the page on which they are illustrated, also the 7 iumher^ size and 
 price of each pattern. Where more than one number is given 
 
 for 
 
 a flower the first one 
 
 is the one illustrated 
 
 in this book. 
 
 We 
 
 send these patterns by mail, postage paid, for prices given. 
 
 
 Page. Pattern. 
 
 No. 
 
 Size. 
 
 Price. 
 
 12 
 
 Wild Roses . 
 
 637 
 
 14x18 $ 
 
 •35 
 
 13 
 
 Sweet Brier Roses 
 
 mo 
 
 5x12 
 
 .20 
 
 13 
 
 Yellow Roses 
 
 507 
 
 I IXI2 
 
 ■35 
 
 13 
 
 Yellow Daisy 
 
 514 
 
 9x10 
 
 •25 
 
 14 
 
 White Daisy . 
 
 710 
 
 6x1 1 
 
 •25 
 
 I? 
 
 Clover . 
 
 1 559 
 
 I IXI7 
 
 •50 
 
 J 
 
 
 ( 9281 
 
 6x 7 
 
 •15 
 
 
 
 ( 211 
 
 10x15 
 
 •35 
 
 
 
 722 
 
 7x12 
 
 .15 
 
 16 
 
 Poppies 
 
 . ^ 
 
 1 740 
 
 9^15 
 
 ■30 
 
 
 
 [ 526 
 
 I ixi 5 
 
 ■35 
 
 17 
 
 Forget- rue-nots 
 
 759 
 
 6x1 1 
 
 •25 
 
 18 
 
 Bachelor’s Button . 
 
 1 9228 
 
 i^x 4 
 
 •05 
 
 
 
 ^9135 
 
 3'x 5 
 
 .10 
 
 19 
 
 Violets . 
 
 
 4^ in. high. 
 
 •25 
 
 
 
 ( 9232 
 
 2x 4 
 
 •05 
 
 19 
 
 Sun Flowers . 
 
 71 2 
 
 5x 8 
 
 ■15 
 
67 
 
 Page, Pattern. 
 
 20 Pansies . 
 
 21 Lilies of the Valley 
 
 21 Sumac . 
 
 22 Woodbine 
 
 22 Trailing Arbutus . 
 
 23. Golden Rod . 
 
 23 Thistles 
 
 24 Apple Blossoms 
 
 25 Barberries 
 
 26 Peach Blossoms 
 
 27 Pond Lilies . 
 
 28 Pine Cones . 
 
 29 Tulips . 
 
 30 Strawberries . 
 
 31 Wild Geranium 
 
 32 Blackberry Vine 
 
 32 Buttercups 
 
 33 Cat Tails 
 
 34 Iris 
 
 35 Wheat . 
 
 35 Grasses . 
 
 35 Ferns . 
 
 36 Mountain Ash 
 
 37 Nasturtiums . 
 
 38 Azalia . 
 
 39 Morning Glories 
 
 39 Geraniums 
 
 40 Russian Snow Flower 
 
 40 Love-in-the-Mist . 
 
 41 Calla Lilies . 
 
 41 Coxcomb 
 
 No. 
 
 Size. 
 
 Price 
 
 435 
 
 12x18 
 
 •35 
 
 787 
 
 7x 9 
 
 .20 
 
 9250 
 
 4x 6 
 
 .10 
 
 788 
 
 5 x 9 
 
 .20 
 
 9395 
 
 IX 4 
 
 •05 
 
 9334 
 
 2 X 4 
 
 •05 
 
 346 
 
 14x15 
 
 .40 
 
 306 
 
 12x18 
 
 •50 
 
 1 160 
 
 4 in. high. 
 
 •25 
 
 733 
 
 7x13 
 
 •30 
 
 741 
 
 8x10 
 
 •25 
 
 328 
 
 12x13 
 
 •50 
 
 761 
 
 8x12 
 
 •35 
 
 736 
 
 6x14 
 
 •25 
 
 554 
 
 12x19 
 
 •25 
 
 303 
 
 12x14 
 
 •50 
 
 329 
 
 13x13 
 
 •30 
 
 7204 
 
 7x12 
 
 •25 
 
 9262 
 
 6x 9 
 
 .10 
 
 1240 
 
 7 in. 
 
 •50 
 
 9348 
 
 4x 7 
 
 .10 
 
 1255 
 
 7x24 
 
 •30 
 
 575 
 
 9x18 
 
 •25 
 
 1107 
 
 5x20 
 
 •25 
 
 1268 
 
 5 in- 
 
 •25 
 
 316 
 
 ^5x15 
 
 .40 
 
 301 
 
 12x13 
 
 •30 
 
 503 
 
 9x15 
 
 •35 
 
 1201 
 
 6" in. 
 
 •25 
 
 532 
 
 6x20 
 
 •35 
 
 9207 
 
 4 x 5 
 
 .10 
 
 576 
 
 14x16 
 
 •25 
 
 I I7I 
 
 3 in. 
 
 •15 
 
 00 
 
 7x1 1 
 
 .20 
 
 790 
 
 7x10 
 
 •25 
 
68 
 
 Page. Pattern, 
 
 42 Crocus . 
 
 42 Love-lies-Bleeding 
 
 42 Cactus Flower 
 
 43 Fuschia 
 
 43 Salvia . 
 
 44 Carnation Pink 
 
 44 Cherries 
 
 45 Bitter Sweet . 
 
 45 Algerian Star Flower 
 47 Chicory 
 
 No, 
 
 Size. 
 
 Price. 
 
 1215 
 
 4^ in. 
 
 •25 
 
 552 
 
 7x16 
 
 -30 
 
 557 
 
 lOXI I 
 
 •25 
 
 9137 
 
 4x 6 
 
 .10 
 
 517 
 
 8x1 1 
 
 •25 
 
 755 
 
 5x13 
 
 •25 
 
 313 
 
 12x18 
 
 •35 
 
 732 
 
 7x12 
 
 •25 
 
 333 
 
 12x16 
 
 '30 
 
 721 
 
 8x14 
 
 •35 
 
 PLEASE REMEMBER. 
 
 That we can furnish the material for working these designs. 
 
 You should send 15 cents for the Shade Cards of the Flor^ 
 ENCE Embroidery Silk and Floss. They will be a great help 
 in selecting your Shades and Colors, 
 
 You can select the shades of Silk, Floss, Chenille, Arra- 
 SENE and Crew^el from these shade cards. Order by the Num-> 
 bers. 
 
 Please read the advertisement on the second page of cover. 
 
PaHQY ®ei6©pials 
 
 ET PRICES REDUCED. 
 
 Florence Embroidery Silk is put up in Skeins and on Spools, The Skeins con- 
 tain about 3 yards each. The Spools contain about 10 yards each. The Spool Embroidery 
 Silk is the very best. We furnish it in Skeins and on Spools. Price, 2 cts. per Skxzn, 25 
 Skeins for 35 cts., 50 Skeins for 00 cts. ; 0 cts. per Spool, 12 Spools for 00 cts. 
 
 Florence Embroidery Floss, 4 cts. per Skein, 12 Skeins for 44 cts. 
 
 Order by the Numbers mentioned in this book and on the Shade Cards. We pay Pos- 
 tage. 
 
 Florence Shade Cards, 15 cts, (See advertisement on second page of this Cover.) 
 
 Imported Chenille, 5 cts. per Skein, 12 Skeins for 50 cts. 
 
 Kensin^on Aracine, 4 cts. per Skein, 12 Skeins for 44 cts. 
 
 Bngrlish Crewels, 5 cts. per Skein, 12 Skeins for 50 cts. 
 
 Chenille for Workingf Sumac, 30 cts. per Bunch, 4 Bunches for $1.00 {Jlkree 
 shades of Red). 
 
 French Embroidery Cotton. For Outline Work, Red is used most. War- 
 ranted fast Colors. 3 cts. per Skein, 12 Skeins for 25 cts. 
 
 Florence Btchingr Silk, for Outline Work, 0 cts. per Spool, 12 Spools for 
 60 cts. All Colors. Black and Red are used most. 
 
 Florence Knittingr Silk, all Colors ^ 40 cts. per Ball, 3 Balls for $1.00. 
 
 Florence Knittingr Books, Nos. 4 and 5 . They contain patterns for Mittens^ 
 Babies' Socks^ Lace Edgings^ etc. Price, 0 cts. each. 
 
 Felt for Embroidery, great variety of Colors. Prices reduced. 1-2 yard wide, 
 40 cts. per yard; 1 yard wide, 75 cts, per yard; 1 1-2 yards wide, $1.10 per yard; 2 yards 
 wide, $1.35 per yard. Less than a yard, any width, at same rate. For example, 1-2 yard 
 ( 1-2 yard wide), would cost 20 cts. 
 
 Embroidery Linen for Splashers, Tidies, Doilies, etc., 18 inches wide, 
 35 cts. per yard; 3 yards for $ 1 , 00 . 
 
 Oakdale Twine, four-oz. balls, unbleached only ^ 25 cts. per Ball, 2 Balls for 40 cts. 
 
 Colored Oakdale Twine, two-oz. ball; Dark and light Red, dark and light Blue, 
 Drab, Yellow and Old Gold, 18 cts. per Ball, 2 Balls for 30 cts. We pay postage. 
 
 The ** Oakdale ” Twine is the best twine to use for making Twine Tidies. 
 
 Samples of our Fancy Work Materials. We will send you Samples of out 
 Felts, Embroidery Linen, Germantown Yarn, Oakdale Twine, and one skein eacl 
 of Imported Floss and Silk, Florence Embroidery Silk, Imported Chenille 
 Aracine, French Embroidery Cotton, and Imported Art Crewel, ail for twelve 
 two-cent stamps (24 cts.). We do not send Samples free. 
 
 Address all orders to 
 
 J. F. INGALLS. 
 
 X.-sriT3!T, 
 
■^nnrOTJiEe isss'r^r^ 
 
 NEW STAMPING OUTFIT 
 
 For Kensington, Outline and Ribbon Embroidery, Kensington and Lustro 
 Painting, Braiding, etc. 
 
 With this Outfit jou can do your own Stamping and Stamping for 
 others. 
 
 Please take notice that we have made a change in our $ I Stamping 
 Outfit, and now send 35 Stamping Patterns instead of 13 Patterns. 
 
 Our new 1885 Stamping Outfit contains a Compiete Al. habet (26 
 Letters) for Hat Bands, Napkins, etc., and 35 Stamping Patterns- 
 Designs of Daisies, Ferns, Wild Roses, Lilies of the Valley, Bouquets, 
 Outlines, Half Wreath of Roses for Pillow Shams, Strips for Flannel 
 Skirts, Scallops, Vines, Braiding Pattern, Cherries, Butterfiies, Grass- 
 hopper, Mouse, Kitten, Frog, Anchor, Star, etc. Price List of Floss, 
 Crewels, Silk, Chenille, etc. 
 
 BOOK OF INSTRUCTIONS for Stamping and Working, Box Stamp- 
 ing Powder, Distributing Pad, Instructions for Indelible Stamping, and 
 New Sample Pattern Book, containing over 1 ,700 illustrations of 
 New and Choice Patterns for all kinds of Embroidery. 
 
 49rWe send this Outfit by Mail for $1 .OO.-fit 
 
 EXTRA STAMPING PATTERNS. 
 
 Golden Rod and Asters, 15 cts. Cluster Strawberries, 10 cts. 
 
 Sheaf of Wheat, 15 cts. Cal la Lily, 15 cte. 
 
 Outline Design, 15 cts. Pond Lilies, 15 cts. 
 
 Morning Glories, 10 cts. Apple Blossoms, lO cts. 
 
 Sprig of Sumac, 15 cts. Forget-me-nots, 15 cts. 
 
 Woodbine, 15 cts. Popples, 15 cts. Pansies, 15 cts. 
 
 Address, 
 
 J. F. INGALLS, 
 
 SPECIAL OFFER, We send ALL these extra Stamping Patterns 
 and the Stamping Outfit for $2.00. 
 
' UNIVERSITY OF ILLINOIS-URBANA 
 
 746.44 IN4K C001 
 
 Kensington embroidery and the coiors of