Glass. Book.
COPYRIGHT DEPOSIT
Rose Sofa Pillow. Needlework.
Sofa Pillow— California Poppy. Needlework.
FANCY WORK
FOR
Pleasure and Profit
BY
Addie E* Heron
Editor of ** Home Art/*^ a. Journal De'voted to Interior Decoration, and
cAuthor of *' Decorati've Arts/' ** Practical Lessons on Shading,*' *' Needle<work Sowvenir/'
^^ Series on Art Embroidery/* *' Ho^w I Furnished My Parlor/* &c*, &c,
J^ J^ J^
Embodymgf and Containing; Instructions for Transferring; Desigfns> Embroidery Stitches, Shadingf, Flat Embroidery, Church and Bullion Embroidery, Raised Embroidery, All Sorts and Desig:ns of Dainty Trifles, Drawn Work, Knitting; and Cro- cheting;, with Sug;g;estions as to Applying; all These Various Arts to Profitable Advantag;e. Also Containing; an Elaborate Treat- ise on Hardang;er Embroidery, Silk Beaded Purses and Chatelaine Bagfs, and Pyrog;raphy or the Art of Burning; Wood*
f^^ t^** t^*'
ELABORATEL Y ILLUSTRATED
•^ ^ >
THOMPSON & TH02ULAS
CHICAGO
1905
T T50
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LIBRARY of- 'JONGftESS |
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fwu OoDies (iweiveu |
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im 6 1905 |
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COPYRIGHT 1894 |
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BY |
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DEANKS & CO. |
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COPYRIGHT 1905 |
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BY |
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THOMPSON :c THOMAS |
TO
MRS. POTTER PALMER,
PRESIDENT BOARD OF LADY MANAGERS
OF THE
''world's COLUMBIAN EXPOSITION"
THIS BOOK IS RESPECTFULLY DEDICATED BY SPECIAL PERMISSION.
PREFACE.
The publishers of '' Dainty Work for Pleasure and Profit," in issuing a work of such importance to women have considered it only just that the book should be dedicated to the most representative American woman of the day. That woman is unquestionably the one who held the position of President of the Board of Lady Managers at the World's Columbian Exposition, Mrs. Potter Palmer — a woman of the highest social distinction, possessed of all the gracious attributes of true womanhood, honored by the nation and beloved by all who know her. The dedication is made by special permission.
TABLE OF CONTENTS.
CHAPTER I.
Introduction — Harmony of Interior Decorations — Beautiful Surround- ings— Economy in Decorating — Dainty Linen — Appropriate Ornamenta- tion—Use of Homely Materials in Decorative Work 6
CHAPTER II.
Materials for Decorative Purposes — Linen Crash — Bleached Linens — Domestic Linen — Bolton Sheeting — Colored Art Linen — Huck-a-buck — Art Satin — Butcher's Linen — Scrim — Morris Cloth — Frieze — Concordia Canvas — Egyptian Cloth — Turkish Crepe — Satin Damask — Gobelin Cloth — Hollywood Drapery — Russian Crash — Devonshire Art Cloth — Bargarren Art Cloth — Bolting Silk — Silks — Velvets and Plushes — Felt — Satin — Banner Silk — Sateen — Russian Tapestry — Mail Cloth — India Silk — Double Faced Sateen 9
CHAPTER III.
Implements and Embroidery Threads — Embroidery Frames — Embroidery Hoops — Needles — Scissors — Stilletto — Embroidery Apron — Preparing Material for Embroidery — Placing Material in Hoops or Frames — Crewels — Tapestry Wool — Arrasene — Chenilles — Smyrnasene — Ribbo- sene — Featherasene — Embroidery Silk — Embroidery Linen 12
CHAPTER IV
Transferring and Stamping Designs — Tracing Paper — How to use — Perforated Stamping Pattern — How to make — How to use — Care of Patterns — How to Clean — Stamping Liquids — How to make — How to use — Panta- graph for Enlarging or Reducing Designs — Conventional Designs 21
CHAPTER V.
Embroidery Stitches — Stem or Outline Stitches — Kensington Stitch — Short and Long Stitch — Satin Stitch — Buttonhole Stitch — Spot Stitch — Antique Stitch— Persian Stitch — French Knot — Couching Stitches — Hem- stitching— Spanish Laid Work — Plush Stitch — Filling Stitches— Honey- comb Stitch — Brick Stitch — Novelty Stitches — Daisy — Star — Darning — Crowsfeet — Group — Janina — Double Basket — Single Basket — Close Basket — D'Alencon Bar — Spider Wheel — Point d'Reprise — Rosette 27
TABLE OF CONTENTS.
CHAPTER VI.
Application of Stitches — Darning Stitch for Background — Dado or Frieze — Conventional Design Worked with Filling Stitch — Couching and Satin Stitch Combined — Infant's Trosseaux — French Embroidery — Ken- sington and Darning Combined — Combination of Spot and Single Daisy Loop — Leaf Border — Grape Vine Border — Application of Kensington Stitch — Short and Long Stitch — Shading Conventional Designs 49
CHAPTER VII.
Shading — System of Shading — Selecting Shades of Embroidery Threads — Table of Colors— How to Purchase — How to Use — Proper Method Shading Specifically Applied — Natural Shading — Conventional Shading — Shading of Stalks, Leaves, Stems and Petals — Where to Put High Lights — Where to Place Shadows — How to Blend Different Shades.
59
CHAPTER Vin.
Art or Flat Embroidery — Classification of Embroideries — Roman Embroidery — Applique Embroidery — Outline — Wash Fabrics Embroi- dered— Table Cloths — Lunch Sets — Side Board Scarfs — Doyleys — Carving Cloths — Vegetable Mats — Tray Cloths — Pillow Shams — Scarfs — Bed- spreads— Bureau and Commode Scarfs — Splashers — Tidies — Toilet Sets — Stitches to be Used^ — Materials to be Employed — Suitable Designs — Arti- cles for Use in Sleeping Room — Pansy Lunch Set — Scroll Border for Cen- ter Cloth — Round Cushion — Table Cover — Curtains and Portieres— Screens — Embroideries for Ladies Dresses, Sacques, Collars, Handkerchiefs, Fans, Parasols, Ruffles, Etc. — Embroideries for Children's Wardrobe 67
CHAPTER IX.
Church and Bullion Embroideries — Materials for — Stitches Used in Ecclesiastical Embroideries — Couching Stitches — Diamond Drapery — Plain Shell — Spider — Vandyke — Wheel — Wavy — Manner of Working — Colors to be used in Ecclesiastical Embroideries — Designs for Gold and Silver Work — Cardboard Foundations 115
CHAPTER X.
Berlin Embroidery — Uses of Stitches for — Materials for Berlin Work — Designs — Colors — Blending of Shades — Combination of Stitches 139
CHAPTER XI.
Raised Embroidery — Ribbon Work — Louis XVI Designs — Smgle Rib- bon Roses — Double Ribbon Roses — Calla Lily — Tiger and Japan Lilies —
TABLE OF CONTENTS.
Water Lilies — Golden Rod — Cattail — Coxcomb — Sumac — Thistles — Snow Balls — Pansies — Raised Fruit — Cherries — Oranges — Strawberries — Grapes — Cotton Plant — Designs and Instructions 149
CHAPTER XIL
Dainty Trifles — How to Make — What to Use— Economic Decoration — Articles for Church Fairs and Bazaar Sales — Memorandum Case — Bouquet Holder — Writing Board for Invalids — Foot Stool — Paper Stand — Shoe Box Sunflower Cushion — Work Basket — Hair Pin Holder — Toilet Cushion — Chair Back and Seat — Lamp Shade — Wall Pocket — Bolster and Pillow — Handkerchief Holder — Photograph Case — Calendar — Night Dress Sachet — Pansy Sachet — Puff Cushion for Head Rest — Decorated Egg Shell — Mend- ing Bag — Holders — Paper Holder — Handkerchief Sachet — Fancy Table — Penwipe — Sofa Cushion — Fancy Work Basket — Foot Rest — Ottoman Cushion — Shaving Paper Case — Laundry Bag — Pumpkin Cushion — Photo- graph Frame — Photograph Envelope — Pin Trays — Glass Handkerchief Box Eiffel Tower Scrap Bag — Star Quilt — Handy Bag — Toilet Cushion — Emery Cushion — Butterflies— Music Stand — Scissors Case — Crawling Rugs — For the Drawing Room — Doyleys — Mats — Center Cloths — Table Runners — Shoe Box — Burnt Match Holder — Toilet Cushion — Footstool — Child's Chair — Catch-all — Head Rest — Hanging Pin Cushion — Fancy Pin Cushions — Infant's Crib Coverlet — Table Cover in Cross Stitch — Chicken Penwipe — Branch of Fruit — Dust Cap — Sachet Bags — Tobacco Pouches — Leaf Pen- wipes — Traveling Case — Child's Chair — Mat for Water Pitcher — Needle Case — Cover for Cushion — Nasturtiums — Cushion — Infant's Toilet Case — Importance of a Scrap Bag 175
CHAPTER XIII.
Drawn Work — Materials for — Stitches for — Frames for — Uses of — Designs for — Corners — Borders — Set Patterns — Wheels — Scrolls — Squares — Preparing the Work — Foundation Stitches — Drawing Threads — Basket Insertion — Lunch Cloth — Center Cloth with Border — Antique Corner and Border — Combination of Drawn Work and Embroidery 241
CHAPTER XIV.
Brush and Palette — Designs for Painting — Painting in Oils on Fabrics — Materials for Painting — To Make Blues — To Make Browns, Buffs and Yellows — To Make Greys — To Paint Daisies, Honeysuckle, Apple, Peach Blossoms, Tea Roses, Feathery Clematis, Violets, White and Purple Lilacs, Pansies, etc. — Palettes for — Morning Glories — Sky Effects — Back Grounds — Special Palettes — Strawberry Spray — Butterflies — Grapes on Black Velvet
^ TABLE OF CONTENTS.
— Pansies — Purple Thistles — Pond Lilies — Purple Clematis — Oxhart Cher- ries— Leaves and Berries of Virginia Creeper — Peacocks — Golden Rod — Asters — Panel of Hollyhocks — Washable Painting — Medium — How to Use — Water Color Painting — Roses — White Flowers — The Primrose — Blue Flowers — The Convolvulus— Figures in Water Colors — Fabric Tinting — Paris Tinting — Painting on Celluloid or Ivorine — Lilacs in Oil on Celluloid —Lilacs in Water Colors on Celluloid— Luster Painting — Materials for— Brushes for — Medium for — Colors for — Method of Using — Kensington Painting — Parrots — Crayon Painting — Portraits — Painting on Birch Bark — Scorch Painting— Tapestry Painting — Canvas for — Dyes — Brushes — Mixing Colors — Flesh Colors — Flesh Painting — Palette for Sky— Colors for Drap- eries— Hair and Drapery — Decorative Painting for Profit 257
CHAPTER XV.
Point Lace — Honiton Lace — Novelty Lace — Point Lace Braid — Lace Thread — Lace Stitches — Tracing Cloth — Foundation Cloth — or Leather — Designs for Lace Work — Outlining Design with Braid — Method Working — Laying Braid — Stitches — Proper or Point — Finishing Edge — Connecting Bars — Wheels — Rosettes — Ground Stitches — Brussels Point — Venice Point — Little Venice Point — Spanish Point — Grecian Point — Valenciennes Stitch — Point d'Alencon — Turkish Point — Net Groundwork Stitch — Mechlin Lace Stitch — Venetian Bars — Dotted Venice Point— Raleigh Bars — Point Lace — Handkerchief — Fischu — Border — Cushion — Cover — Handkerchief Centers and Borders 309
CHAPTER XVL
Knitting and Crocheting — Terms Used in Crocheting — Explanation of Abbreviations Used — Child's Dress — Purse — Infant's Sacque — Baby's Shirt — Lady's Vest — Ladies' Basket Pattern Vest — Baby's Hood — Fancy Bag Fringe — Pine Apple Edge — Insertion — Border Crochet — Trimming Crochet — Design for Bed Spread — Wheels forToiletSet — Edging — Diamond Edge — Fern Edge — Crochet Trimming — Narrow Edging — Broad Edging — Coral Edging— Reticella Crochet — Table Cover — Child's Petticoat — Cro chet Towel — Daisy Crochet Lace — Crocheted Guimpure Lace — Crocheted Table Cover — Skirt Edge, Crochet and Braid — Infant's Knitted Jacket — Moss Edge — Fern Edge — French Edge — Serpentine Edge — Crochet and Fancy Braid — Shell Edge — Palm Edge — Knitted Hood for Child — Cro- cheted Hood for Child — Crocheted Pillow Shams — Table Mats — Border to Mat — Crocheted Doll — Torchon Lace — Comfort for Lounge — Porcupine
TABLE OF CONTENTS.
Stitch— Wheels— Petticoat For Child— Border and Corners for Table Cover— Crocheted Skirt— Infant's Vest— Crocheted Mop Duster— Cro- cheted Novelties 325
CHAPTER XVII.
Dainty Work for Profit — Work for the Stay-at-homes — The First Start — Commenced Samples — Cost of — Materials for — Designs for Order Work — How to Solicit — Orders for Embroidery — The first Days' Work — Teaching Embroidery — What to Charge — How to Collect — How to Open an Art Bazaar or Fancy Goods Store — How to Conduct — Selection of Location— Store Fittings — How to divide Store — The Work Room — The Show Window— How to Dress — What Stock to Carry — How to Buy — Art Fabrics — Sample and Display Work — List of Desirable Samples — Materials for Made-up Samples — Cost of Commenced Samples— Window Display — Stock — Cost of — Quantity Necessary — How to Buy and Sell Novelties — Description of Articles for Stock — Toilet Set — Glasseine Handkerchief Sachet — Glass Panel Screen — Tobacco Pouch — Glasseine Toilet Set — Parasol Catch-all — Traveling Roll — Duster Case — Calendar 400
CHAPTER XVIII.
Description of Full Page Illustrations — Cushions — Head Rests- -Roman Embroidery — Star Quilt — Drapes — Doyleys — Carafe Mat — Table Covers — Easel Drapes — Portieres — Mantel Drapes — Window Drape — Magnolia Doyley — Maple Leaf Doyley — Dresden Plate Doyley — Draped Beds — Colored Plates — Fleur de lis — Poppies — Oranges — Oak Leaves — Sumac — Golden Rod 426
CHAPTER XIX.
Doyley Designs — Five o'clock Tea Cloths — Screens — Butterfly Center Cloth — Louis XIV Design — Violet Center Cloth — Bed Spreads — Rose Center Cloths — Flower Doyleys — Violet Basket Center Cloth — Sponge Bags — Traveling Cases — Picture Frames — Handkerchief Bag — Glove and Veil Case — Infant's Flannel Robe — Hammock Cushion — Ideal Honiton Lace Work— Dresden Crib Cover and Pillow, 435-458
CHAPTER XX. Hardanger Embroidery, how to Start, What to Avoid — Used for Gowns and Decoration — Details of White Centerpiece — Centerpiece in Colors 459
TABLE OF CONTENTS.
CHAPTER XXL
Crocheted Purses and Bags — What to Avoid — Rules for Round End Purses — Seven-Point Star Pattern — The Stitch — Details by Rounds — Eight-Point Star Pattern — Stringing The Beads — Crocheted Silk Chate- laine Bag — Purse — Card Case — Beaded Silk Purse — Circular Beaded Silk Coin Purse — Turkish Tobacco Pouch 469
CHAPTER XXn.
Pyrography for the Beginner — Practical Lessons — The Outfit — How the Point is Made and Heated — How the Blaze Works — First Lessons — The Japanese Effect — The Kind of Wood to Use — Work on Leather, Plush and Cardboard — Burning on Glass 491
ILLUSTRATIONS.
fc'lG. PP.
Devonshire cloth. . 1-12
Embroidery frame 2-15
" 3-16
Embroidery hoop 4-17
Embroidery scissors 5-18
Work apron 6-18
Pantagraph 7-23
Stem stitch 8-28
Three outline stitches 9-28
Fancy chain 10- 20
Loop outline 11- 29
Kensington stitch, detail 12- 30
Kensington stitch 13- 30
Short and long stitch 14- 31
Satin stitch, detail 15- 32
Satin stitch 16-32
Satin stitch 17- 32
Buttonhole stitch 18-33
Buttonhole edge 19-33
Buttonhole and spot stitch 20- 33
Antique embroidery 21- 34
Persian embroidery. 22- 34
French knot 23-34
Couching outline 24- 35
Couching groups 25- 35
Hem stitching 26-36
Spanish laid ^ork 27-37
Diamond couching 28- 38
Fancy couching 29- 38
Fancy couching 30- 38
Brick stitch. . , . 31-40
Honey comb stitch 32- 40
Honey comb applied 33- 40
Simple star 34- 41
Daisy star 35- 41
Crows' feet 36-41
Grouped star stitch 37- 41
Grouped star stitch No. 2 38-41
Darning stitch 39-42
Cushion 40- 42
Janina stitch 41- 42
Janina stitch close 42- 43
Single basket stitch 43- 44
Double and close basket stitch 44- 44
D'Alencon bars 45- 45
Spider wheel 46-46
FIG. PB.
Grape vine applique ... 51- 58
Design in Kensington stitch 52- 54
Flower head rest 53- 55
Branch of cherries, filling stitches 54- 56
Poppy correctly shaded No. 1 55- 63
Poppy correctly shaded No. 2 56- 63
Poppy correctly shaded No. 3 57- 64
Roman embroidery design 58- 6i)
detail 59- 69
Lunch cloth 61-74
Napkin 62- 75
Doyley 63-75
Carving cloth 64- 75
Tray cloth 65-76
Daisy center cloth 66- 77
Geranium center cloth 67- 78
doyley 68- 78
Cruel mat, leaf shape 69- 79
Set vegetable mats 70- 79
Coffee cozy 71-80
Caraffe mat 72-80
Sideboard scarf 73-81
Dresser scarf, Roman emb. design 74- 83
Toilet bottle 75-84
" 76-84
Toilet cushions 77- 84
Poppy for pillow sham 78- 85
" 79- 85
Leaf for pillow shams 80- 86
Splashers 81-87
Leaf -bordered lunch cloth 82- 88
Dresser scarfs 83- 89
" 84- 90
Clover doyley 85-91
Snowdrop doyley 86- 92
Dresden doyleys 87- 94
Grape vine center cloth 88- 96
Cherry center cloth 89-96
Scroll border 90-98
Floral center cloth 91-99
Dresden book cover 92-100
Conventional book cover 93-100
Round cushion 94-101
Cross stitch design 95-102
Tablecover 96-103
Stand cover 97-104
JIQ. PP.
FQintdepriv 47-46
Rosettestitch 48-47
Spot and daisy loop 49- 61
Combination leaf border 60- 62
Handkerchief corner 102-109
Butterfly design 103-109
Edge for collar and cuffs 104-110
Scallop edge 105-111
Corner of scallop 106-111
Daisy design 107-111
Scallop corner 108-112
Deep scallop 109-112
Flannel scallop 110-112
Infant's shawl 111-113
Cross for altar front 112-116
Jeweled border 113-118
Raised basket couching 114-119
Raised basket couching 115-119
Wavy couching 116-120
Battlemented couching 117-12o
Brick flat couching 118-120
Plain brick couching 119-121
Broad couching 120-121
Diamond couching 121-121
Plain flat couching .122-121
Plain flat couching 123-122
Bullion knot 124-122
Detail of couched design 125-123
Detail of couched design 126-124
Detail of long stitch design 127-125
Conventional fleur de lis 128-126
Design for chausable 129-127
Ecclesiastical design .130-128
Triangle for ecclesiastical work 131-130
Circles for ecclesiastical work 132-130
Latin cross and anchor work 133-131
Greek cross 134-131
Bullion monograms 135-132
Letters 136-132
Banner 137-133
Border, jeweled 138-133
Easter banner 139-134
Easter banner 140-135
Bleeding heart. The 141-136
Passion flowers 142-137
Dragon border 143-140
Easy chair 144-141
Cross stitch design 145-142
Cross stitch design 146-143
Long cross stitch 147-143
Persian cross 148-144
German stitch 149-144
Tapestry stitch 150-144
Double Leviathan stitch ^ M-145
Darnhig stitch 98-104
Darned background 99-106
Screens , . . 100-106
Applique on net 101-108
Trent stitch 162-146
Satin stitch 153-147
Cross and long stitch , 154-147
Raised Calla lily 155-159
Raised Japan lily 156-160
Raised coxcomb and sumac 157-164
Raised thistles and golden rod 158-166
Flat thistles for cover 159-166
Raised snow balls 160-167
Raised cotton plant 161-171
Pattern for cotton plant 162-172
Memorandum card case 163-176
Bouquet holder 164-177
Invalid's writing board 165-178
Foot stool 166-178
Paper stand 167-179
Pattern for decoration of shoe box 168-180
Covered shoe box 169-180
Sunflower pin cushion 170-181
Foldmg work basket .171-182
Hair-phi holder 172-18r.
Puff toilet cushion 173-183
Round toilet cushion 174-183
Chair seat 175-184
Chair back 176-184
Lamp shade 177-185
Wall pocket 178-185
Bolster, covered 179-186
Infant's pillow 180-186
Detail of handkerchief case 181-187
Handkerchief case 182-187
Double photograph case. 183-188
Single photograph case 184-188
Night-dress sachet 185-189
Pansy sachet 186-189
Puff head rest 187-190
Decorated egg shell 188-190
Pansy sachet 189-191
Mending bag 190-191
Ornamental holders 191-192
Paper holders 192-193
Handkerchief sachets 193-194
Fancy table 194-194
Sunflower pen-wipe 195-195
Sofa cushion 196-195
Linen covered cushion 197-196
Forget-me-not toilet cushion 198-196
Fancy work basket 199-197
Spanish foot-rest 200-197
Ottoman cushion 201-198
ILLUSrilATIONSo
FIG. PP.
\moman cushion. . . 202-198
Owl shaving case 203-199
Laundry bag 204-200
Pumpkin toilet cushion 205-201
Photograph frame 206-202
Photograph envelope 207-203
Pin trays 208-203
Glass handkerchief box 209-204
Eiffel Tower scrap bag 210-205
Handy bag 211-207
Square toilet cushion 212-210
Emery cushion 213-211
Artificial butterfles 214-212
Music stand 215-213
Scissors case 216-214
Crawling rug 217-215
Rose doyley .218-216
Magnolia doyley 219-217
Center mat 220-218
Centerpiece 221-219
Fruit plate doyley .222-220
Shoe box 223-221
Burnt match holder 224-222
Pilgrim toilet cushion 225-222
New England footstool 226-223
Child's chair 227-224
Catch-all 228-224
Head rest 229-225
Hanging pin cushion 230-226
Fruit pin cushion 231-226
Fruit pin cushion 232-227
Infant's crib coverlet 233-228
Cross stitch table cover 234-228
Detail cross stitch 235-229
Chicken pen-wipe 236-280
Branch of fruit 237-231
Ladies' dust cap 238-231
Sachet bags— crepe paper 239-232
Tobacco pouch 240-232
Tobacco pouch 241-233
Leaf pen-wipes 242-233
Traveling case 243-234
Child'schair 244-234
Water lily caraffe mat 245-285
Needle case 246-235
Needle case, closed 247-236
Pocket needle case 248-236
Kensington cushion cover 249-237
Nasturtium cushion 250-238
Infant's toilet case 251-239
2
i<iO. fP
Drawn work in frame . . .252-241
Prepared corner 253-242
Prepared corner 254-242
Four corners prepared . . .255-243
Henistitching 256-243
Duck's tail stitch 257-244
Hemstitching, No. 2 258-244
Hemstitching, No. 3 259-244
Block insertion 260-248
Detail a. b. of 260-248
Insertion of border 201-249
Detail a. b. c. d. e. f. of 261, 250-251
Cross border 262-250
Basket insertion 263-247
Lunch cloth with corner and border 264-246
Details of 204— a. b. c. d. e. 246-247
Block border ... 265-252
Cut-in corner 266-253
Pattern to fill cut-in corner 267-246
All-over design for drawn work 268-253
Detail of 268-253
Brussels point filling 269-25^
Antique border and corner 270-255
Toilet set, cushion and bottles 271-261
Details of a. and b of 271-261
Handkerchief sachet, glasseine 272-263
Glass panel screen 273-273
Chamois tobacco pouch 274-287
Glasseine toilet set . . 275-290
Details of a. and b. of 275-290
Parchment parasol catch 276-293
Traveling bag 277-307
Duster case 278-307
Calendar 279-808
Plate 1, lace braid 810
Plate 2, lace stitches 312
Plate 3, lace stitches 814
Plate 4, lace stitches 316
Handkerchief center 313
Handkerchief square 313
Lace collar 310
Lace insertion 3^*0
Detail of crocheted dress for child 280-328
Detail of crocheted dress f(ir child 281-328
Detail of crocheted dress for child 282-329
Crocheied dress for child 282-4-330
Knitted purse 285-330
Baby's sacque 286-331
Lady's vest. 287-334
Baby's crocheted hood 288-338
ILLUSTKATIO.N S.
FIG. PP.
Fancy spool bag ,.,.. 289-339
Fringe. 290-340
Pine apple edge. . 291-341
Insertion, crocliet 292-342
Border, crochet 293-343
Trimming crochet ..294-344
Square for counterpane 298-345
Wheels, crochet 296-347
Toilet mat 297-348
Edging, crochet 298-349
Diamond edging. 299-351
Fern edging. 300-353
Crochet trlmiiLing 301-354
Narrow edging, crochet 302-355
Broad edging 303-356
Narrow coral edging 304-357
Table cover crocheted insertion. 305-860
Reticule crochet 306-358
Crocheted petticoat, for child 307-361
Crocheted petticoat, for child 308-361
Crocheted petticoat, for child detail 309-362
Crochet tassels detail 310-363
Daisy crochet lace 311-365
Guipure crocheted lace .312-366
Detail crocheted table cover 313-368
Edge for table cover 314-369
Crocheted table cover 315-370
Ladie'sskirt „ , 316-372
Crochet braid trimming , 317-373
Infant's knitted jacket 318-375
Moss edging 319-376
Fern edging .o ... .o .... . .320-376
French edging 321-376
Serpentine braid edge » 322-376
Fancy crotchet edge, No. 1 325-377
Edging, No. 2 .,<.... 324-377
Shell trimming. , .325-377
Palm trimming , = 328-378
Knitted hood.. , 327-379
Knitted hood, detail of , . . 328-380
Knitted hood detail of 329-381
Knitted hood Cor child 330-881
Knitted liood, detail of 331-382
Pillow sham, crocheted 332-383
Crocheted table mats 333-385
Crocheted wheels 334-390
Child's petticoat. .... 335-392
Crocheted border 336-393
Ladies crocheted skirt 337-394
Infant's knitted bodice 338-896
Crocheted dust mop ..339-397
Group of head rests 58
Roman embroidery 70
Corner mantel.
Table doyley and drape. -.
Picture and easel drape
Bedspreads and pillow shams
Louis XIV design
Cover for library table
Calla lily working design
Caraffe mat.
Point lace braids, plate 1
Point lace stitches, plate 2
Point lace stitches, plate 3
Point lace stitches, plate 4
Drawn work
Drawn work
Window drapery
Portierres
Mantel drapery
Easel drape ,
Maple leaf doyley c
Magnolia doyley
Dresden doyley
Fancy cup board
Four doyley desigUB. .,„
Five-o'clock tea cloth
Three-panel screen, ,
Butterfly center cloth-
Louis XIV. center cloth desigfXL.o
Violet center cloth
Bed spreads
Bed spreads
Rose center cloth
Buttercup, daisy, violet, and forget- me-not doyleys
Violet basket center cloth
Sponge bags.
Traveling case
Picture Frames »
Handkerchief bag
Glove and veil case
Infant's flannel robe
Hammock cushion
Ideal Honiton center cloth
Plate doyley
Cup doyley and center cloth
Crib pillow
Crib cover
Infant's Dresden pillow.....*..,
PIG. PP
114 188 141 148 150 154 158 174 210 212 214 216 246 247 294 298 302 306 322 324 430 439 435 430 487
439 440 441 442 443
444 445 446 447 448 449 450 451 453 453 494 459 456 457 458
Birds and Butterflies.
Needlework.
DAiyNTg WOKK
CHAPTER I.
INTRODUCTION.
E HAVE tried in the following pages to inculcate a love for home beautifying; to show how every home in this broad land can be rendered beautiful, accord- ing to surrounding circumstances and the financial ability of the owners; to teach economy, appropri- ateness and harmony in interior decorations; how to make use of the homely, every-day articles, trans- forming them from unsightly objects into things beautiful to behold. In a word, we have tried to give instructions in all things pertaining to the home beautiful so clear and simple that no household, however humble, need be without the refining influ- ences of dainty environments.
We have always recognized that the first requi- site of a true home is order and cleanliness, for without these there can be no beauty, no true refinement, even though mother and daughters be able to paint like a Raphael and embroider like a Queen Matilda; without the first, the last accomplishment is worse than useless as a means of home decoration. It is better to be a good cook than a poor painter, better to be a deft and handy garment-maker than an indifferent embroideress, better to have order and system than a small knowledge of china painting, but given the former, the latter are beau- tiful and useful accomplishments for wife, mother, sisters and daughters.
6 DAINTY WORK FOR PLEASURE AND PROFIT.
It is certainly the first duty of a wife and mother to make home the pleasantest and happiest spot on earth for the members of her family, and to do this requires more than order, system, immaculate cleanliness, more than the purchase of expensive carpets and pieces of heavy furniture. It requires the home-making, home-beautifying talent. It needs the exercise of an ingenious mind and nimble fingers in fashioning dainty accessories in the shape of mantel drapes, screens, v^all-pockets, toilet sets, dainty table linen, cushions, photograph holders, and all the numberless odds and ends that go to make up the pretty home comfort of a room.
Taste, more than money, is needed in the decorating of American homes; oftentimes the simplest and least expensive efforts are those vi^hich give the most homelike, pleasing and restful effects. And now, dear reader, right here let me say a few words directly and individually to j/ou. Do not wait to build a fine residence before you begin to make a home, in the only sense in which the word should ever be used. Do not let your children grow up amid uncouth and unlovely surroundings, while you are waiting for the dollars to grow. Remember, the young will seek for beauty elsewhere, if it is denied them at home. The old house maybe too square or too long, too low or too high, too old fashioned, aye, even *' tumble-down" may be the only word to fully express its appearance, yet it can be made a lovely home, if only the spirit of home beautifying abides in the heart of its mistress. Now, do not say you cannot afford it; you can afford it, because it is one of the necessities and not a luxury of life. With the facilities offered in these pages for learning the different kinds of needle-work, and the making up of an almost innumerable amount of fancy and pretty articles, and the present low prices of materials, there is no excuse for bare, cheerless looking rooms in any part of our country. And beside, decorative effort of some kind is a necessary part of home culture. We say effort advisedly, as the result is not so much the thing to be considered as that the spirit, wish or desire to make our homes not only orderly places of abode, but beautiful as well, should exist. And we repeat, this effort at home decoration may be costly or simple, according to individual means; but there is no home so poor that some attempt at beautifying cannot be made. An attempt with crudest results is better than none at all. If one lives in few rooms, and curtains and carpets have so far been unattainable, the first effort at
INTRODUCTION. 7
decoration will naturally be to drape the curtainless windows and cover the bare floors. The curtains may be of cheese cloth, and covering the floors may mean to simply stain them, and, later on, to lay rugs of home manu- facture; but what a change this effort to beautify will have made. Having begun the work of beautifying, how simple it seems to go a step further, and add a few pots of healthy plants to the curtained windows. Expen- sively embroidered cushions, table spreads, lambrequins, etc., would here be out of place, and so far from adding to the effect would be inharmonious. The embroidered spread would laugh at the homemade rugs, and the expensive cushion turn up its nose at the homely lounge.
We hear some dissenting voice cry out: "You would have the mistress of this primitive home cease her efforts at home beautifying ere she has fairly begun?" By no means ! We simply wish to say that articles of mere luxury should give way to those of necessity, and that the decorations should be harmonious with the general surroundings. If the household means will allow it, we would have the mistress thereof purchase a good supply of nice firm table linen, a good supply of bedding and towels, and embroider the family initial or monogram on each piece. The constant use of dainty linen, the constant sight of a well-appointed table, are factors in the home education of every child; we hold, therefore, that embroidered house- hold linen is a decorative necessity and within the reach of the very poor. The trouble with those who exclaim most loudly at the expense attached to fancy work, lies in the fact that articles of mere ornament are begun with only the vaguest idea on the part of the worker as to the ultimate cost; hence, discredit is brought upon the very name of fancy work. All this might be obviated if as much thought were given to the subject and the same rules governed the purchase of art materials as is given to the ordi- nary purchases of the household.
When women cease to make ^15 to ;^20 lambrequins for a room whose It entire furnishings did not cost three times that amount, and $\o table
spreads when the income would not warrant an outlay of more than one- third as much; when they learn that a few dollars' worth of embroidery silks disposed over several articles in keeping with all the surroundings is far more effective than one elaborate piece whose very richness renders shabby what before was passable, then will "Home Decoration" occupy its rightful
8
DAINTY WORK FOR PLEASURE AND PROFIT.
position as a necessary and useful art. And now a last word before we enter upon the subject of this work. If anything must be dispensed with in your furnishings let it be the carpet. You can do quite well in procuring a pretty effect with a few home-made rugs and an oiled floor. Ingenuity, taste and skill are to you worth dollars. If you cannot afford silk bolting at ^3.50 per yard for your doyleys and dressing case covers, use scrim at 15 cents per yard. If you cannot afford a Persian rug, or even a very good imitation of one, buy a Ross rug hook, take a piece of coffee sacking, ravel pieces of old carpet for the necessary yarn, and make one; it will cost about $1.50, and perhaps less; if neatly done, it will look almost as well as one that sells at ^15 to ^25. And remember, first, last and all the time, that "Refined ornamentation in every room in the house, especially those of the boys and the help, and a union of effort in this kind of work, partic ularly in the parlor and all other family apartments, will have a wonderful effect in developing character and preserving harmony in the household."
CHAPTER II.
MATERIALS.
^N THIS day of progressive ideas almost every kind of textile fabric is used as a background for decorative neeedle-work, from the coarse, unbleached linen crash to the finest silks and velvets, and each and every kind is appropriate, according to the use for which it is designed. We will here give the names and a brief description of the different fabrics more generally used for decorative purposes.
Linen Crash, such as is used for kitchen towels, is a fabric that offers a particularly pleasing ground for embroidery done in crewels, tapestry wools or linen embroidery threads, and can be purchased in various widths, from sixteen to thirty inches, and for lO to 25 cents per yard.
Bleached Linen, of a fineness suitable for shirt fronts, is suited for doyleys, center cloths, pillow shams, toilet sets, sideboard sets and guest towels, when something very nice is desired. This kind of linen can be had in widths from twenty-four to thirty-six inches, and for various prices, according to quality, from 60 cents to $1.00 per yard being the usual price. Domestic Linen is a firm fabric with a very light twill, and is made in widths from sixteen to eighty inches. Domestic linen is used for all the purposes for which the finer qualities are employed, and is especially suited for bedspreads, pillow shams, dresser scarfs and toilet sets that are to be embroidered with either silk or linen threads. Price per yard, from 20 cents to Si. 50.
Bolton Sheeting" is a coarse, heavily twilled cotton fabric, two yards wide. It derives its name from the English town where it was first manufactured. It is sometimes called workhouse sheeting, from the fact that it is used for sheets and pillow slips in English workhouses. It is very
10 DAINTY WORK FOR PLEASURE AND PROFIT.
effective when embroidered in colors with either silk or linen threads, and is much used for fancy bedspreads and dresser sets, beside portieres and sofa covers. It is cheap, costing but 50 cents a yard for the best quality, and it is full two yards wide.
Colored Art Linen. This fabric is a recent weave, and from the beauty and durability of the colors is destined to enter largely into the field of decorative work. Art linen is fifty inches wide, and is made in all the beautiful art shades, such as dead-leaf brown, old rose, gray blue, golden brown, leaf green, ecru, nasturtium, orange and gray. It is used for covering furniture, portieres, curtains, cushion covers and table spreads, and lends itself to the lights and shades of embroidery silks with beautiful effect. Price per yard, $1.50.
Huck-a-buck, commonly called huck toweling, is a linen material in pure white and cream white, having threads slightly raised on the surface forming a honeycomb mesh. The mesh is large or small, close together or far apart, according to the fine or coarse quality of the huck. This fabric is usually decorated with outline in stem stitch, and background darned with silk or linen threads. The widths vary from sixteen to forty inches, and the price from 25 cents to ;^i.25 per yard.
Linen Bolton Siieeting is a heavy linen fabric woven in imita- tion of the cotton article of that name. It is nearly as heavy as duck or canvas, which it closely resembles. It is used for the same articles as the cotton bolton; it is, of course, more expensive, costing about ^1.30 per yard. It is two yards wide.
Art Satin is a cotton fabric, in white only, having a satin finished surface. It is very pretty made into table squares, tidies, center pieces, dresser scarfs and toilet sets, as the soft finish makes a good background for silk embroidery. It is forty inches wide, and can be had for 75 cents per yard.
Butchers' Linen is a very coarse linen, partly bleached, full bleached or unbleached. It is made in various widths, though the forty- inch weave is the one more commonly employed, as it cuts to better advantage in making up articles. It can be used for decorative needle- work, though it is not so nice as the domestic linen. The forty-inch width usually sells for 30 cents per yard.
MATERIALS. ii
Scrim is a very useful and pretty material with which to furnish a bedroom; spread, pillow scarf, dresser drape, curtains, tidies, etc., should be en suite, decorated throughout in a harmonious design. This material takes outline effectively. It is made in various widths, and costs from 15 cents to $1.00 per yard.
Morris Cloth is a beautiful, soft diagonal twill goods, two yards wide. It comes in all the art tones, among which may be mentioned silver green, sage green, apple green and apple red. It can be trimmed with bands of harmonizing or contrasting shades of the same, and decorated with embroidered designs in couching and rope silks. This fabric is sold for ;^3.00 per yard.
Frieze is a beautiful English-looking material, very rough as to surface and thick as to texture; it is used for floor cloths, table cloths, some kinds of upholstering and rugs. It should be decorated with large, bold design worked out with linen threads in rope, couching and art cord sizes, and if the piece is small, or expense is no object, silk can be introduced with beautiful effect. Price per yard, ^2.50.
Concordia Canvas is a thick and heavy cotton material in cream white, with a honeycombed surface; it can be purchased in lengths for chair backs and is designed for darning; the pattern being darned in under the honeycomb with rope silk, the effect is that of filmy lace thrown over the colored design. Price per yard, 50 cents.
Egyptian Clotil is a white, wash cotton goods, quite fine and sheer, somewhat resembling cheese cloth, but very much handsomer. It is used for summer drapery, bedroom sets and sash curtains. It is a lovely material for outlining or painting. Price per yard, 50 cents.
Turkish Crepe, a white, wash goods, particularly suitable for picture and easel drapes, curtains and bed draperies. It is soft and creamy, with a fine crepe effect, which is retained after washing. Price per yardt 50 cents.
Satin Damask is a beautiful heavy linen, with smooth, satin- finished surface. It is made in pure white, in various widths, from sixteen to seventy-two inches, and costs from 60 cents to ^^3.00 per yard. It is used for nice table linen, lunch sets, fruit sets, doyleys napkins, center cloth, tray cloth and table mats.
12 DAINTY WORK FOR PLEASURE AND PROFIT.
Gobelin Cloth is a pure white cotton fabric, eighteen inches wide. It has a decided twill, amounting almost to a rib, crosswise of the material. Price per yard, 50 cents. This is a popular fabric for toilet sets, cushion covers, table mats and centers for table covers.
Russian Crash is a fine woven linen fabric, about eighteen inches wide, in natural linen color — a pure gray. It is a beautiful background for outlined embroidery or Roman cut work. Price per yard, 50 cents.
Hollywood Drapery is a cotton fabric, made in cream, white and colors. Cream, white and some colors are made two yards wide, while a few colors come only fifty-four inches wide. The price varies from ;^i.25 to $1.7$ per yard, according to width and color. The weave is very close and firm, and the surface presents an almost invisible basket effect. It is a very desirable material for table covers, plain spreads, portieres, bed spreads, toilet sets and cushion covers. It is beautiful embroidered with linen thread in conventional style, and as it needs no lining is an econom. ical material for portieres especially.
Devonshire Art Cloth is a beautiful linen fabric made of the natural flax, that is, not dyed, but comes in the beautiful flax color. It is made in squares or checks of different sizes, one of which we show here. It is a firm, closely woven fabric, and will be found very artistic for centers to cushions, table covers, wall panels, DEVONSHIRE CLOTH. FIG. I. chair covcrs or sideboard scarfs. It is two yards wide and costs ;^3.oo per yard.
Bargarren Art Cloth is a fabric designed especially for "Darned" embroidery. It is made in four styles, each one having a mesh of different size and shape. The surface is honeycombed by means of the thread which is raised to form the mesh. This thread is very heavy and the weave firm, so that the largest sized embroidery linen threads can easily be darned under it. The fabric is made in pure white, cream white and colors, and is first woven eighty-eight inches wide and then shrunken to seventy-two inches, so there is no trouble with shrinkage after an article is made up. For bed- spreads, dresser scarfs, toilet sets, portieres and table covers there is no
MATERIALS. 13
material that offers such possibilities for economical embroideries, as large surfaces can be covered with darned and outline work at little expense. The price varies from ;Si.25 to $1.60 per yard.
Bolting" Silk is a fine, transparent, gauze-like material, made of finest white silk and very strong. Millers use it for bolting a certain brand of flour, hence its name. It is made in different widths, from eighteen to forty inches wide, and is a popular fabric for dainty articles for the toilet table, for doyleys, drapes, shams, curtains, and tea cloths lined with silk. It can be washed, and is beautiful embroidered in either pure white or colors. Prices range from 75 cents to $3.00 per yard.
Silks, plain and ribbed, are used as a background for decorative needlework, and for articles that are not exposed to much usage and conse- quently that will not need frequent cleaning. They will be found both serviceable and elegant. Width, from eighteen to thirty-two inches. Price, from 75 cents to ^1.75.
Velvets and Plushes are both much used for handsome pieces of embroidery, and cost, according to quality, from 75 cents to ^2.25 per yard. Width, eighteen to thirty-two inches.
Felt is a heavy cloth without any weave, and with a perfectly smooth surface, alike on both sides. It is full two yards wide, and comes in all colors. Price per yard, $1.00.
Satin offers a beautiful background for all kinds of silk embroidery. Price per yard, from 60 cents to ;^i.25, according to quality. Width, eighteen to twenty-seven inches.
Banner Silk is a twilled silk, made in two widths, namely, forty- four and seventy-two inches. It is designed especially for society banners, but is also used for door and window draperies when expense is no object. Price per yard, $8.00 and ;^io.oo.
Upholsterers' Plush and Satin. These materials closely resemble the ordinary fabrics of the same name, but are usually a heavier quality. Widths, fifty-four and seventy-two inches. Price, ;^io.oo, $12.00 and $15.00 per yard, for best qualities.
Sateen is a satin-faced material with a wool back. It comes fifty-four inches wide and costs $2.50 per yard. It is used for table scarfs and covers, portieres and panels.
14 DAINTY WORK FOR PLEASURE AND PROFIT.
Russian Tapestry is a very heavy, all-silk material, woven with a broken twill crosswise of the fabric, and presents a crepy effect which lights up wonderfully, showing several different shades of its own color. It is woven fifty inches wide, and is very beautiful for portieres, cushions, table and bed covers and piano covers. Price per yard, ^^5.50.
Basket Silk is a silk-faced material, fifty inches wide. It comes in white, ecru, old rose and gray. It is woven with basket effect on the right surface; the mesh is about as pronounced as that on medium coarse huck toweling. Basket silk is fifty inches wide, and can be had for ^3.00 per yard.
Mail Cloth is a very heavy silk-faced fabric, fifty inches wide. It has a small bird's-eye weave on the right surface and requires no lining. It comes in all the art shades, such as Indian red, maize yellow, sage green,, dead-leaf brown, old blue, ecru and cream. It is a beautiful background for heavy embroidery with rope silk, couching silk and art cord. Price per yard, $3.00.
India Silk is a thin, plain woven silk, much used for draperies, puffs, linings and trimmings for fancy articles. It is from twenty-seven to thirty- six inches wide, and can be had for from 60 to 75 cents per yard. It is very dainty embroidered in outline stitch only.
Double=faced Sateen is a very heavy goods, plain satin surface on both sides. As its name indicates, it is reversible; thus, one side will be a deep old blue, while the reverse side will be a pale old blue overcast with a silvery sheen, but both blues will be of the same line of color. Where handsome portieres or table covers are desired there could be no more beautiful fabric. No linings are ever used with this sateen. It is fifty inches wide, and can be had for ;S3.50 per yard.
The above list contains most of the fabrics commonly used for embroi- dery work, but it is by no means a complete list, as there are the canvases used in cross-stitch, the lawns, muslins, merinos and flannel used for articles of wearing apparel, the serges, velours and brocaded silks of infinite variety that are used for furniture covers, that need no description here as they are familiar to all.
CHAPTER III.
IMPLEMENTS AND EMBROIDERY THREADS.
lowered or raised tipped to any angle desired by the worker; but these frames are expensive and would hardly be purchased by the lady who does embroidery only semi -occasion- ally, and so we show, in figure 3, the frame we have used in all our own work during the last ten years. It will cost fifty cents if a carpenter makes it, and nothing at all if one is fortunate enough to possess a husband or a big brother who can be pressed into
HIS IS a subject of vital importance to the needle- worker, and deserves a chapter to itself. No good work can be accomplished without the proper imple- ments to do it with, hence we will discuss them in the order of their importance. First, then, the embroi- derer who expects to do a variety of work must have a frame and a pair of hoops. Now, there are embroi- dery frames in the market by the score, and at prices ranging from ^^2.50 to ^7.50 each. We give here an illustration of one of the popular frames on a standard. It is very convenient for large pieces of work, and allows the worker the free use of both hands. This style of frame has adjustable screws and can be at will, and
EMBROIDERY FRAME. FIG. 2.
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DAINTY WORK FOR PLEASURE AND PROFIT.
EMBROIDERY FRAME
service. It is simple in the extreme, consisting of four pieces and as many wooden pins; holes, large enough to hold the pins, are made at regular distances apart on the two side pieces, and one hole in each end of the two end pieces, after the fashion of quilt frames. This allows the work to be
rolled out of the way as fast as finished. The end pieces of the frame need not be more than i8 inches long, and those for the sides 20 or 24 inches long, for convenience in handling. The top and bottom pieces of the frame should have fastened to them a double piece of bed-ticking, about two inches wide. This can be fastened to the frame by means of tacks driven quite close to- gether in order to hold the ticking firmly in place. In putting work in the frame, sew to the ends of material a strong piece of cotton factory or tape, which is then sewn with strong thread to the ticking on the frame. It should be as tight and firm as possible, the strain being increased gradu- ally, the sides of the material to be embroidered should then be braced to the side pieces of the frame by means of a heavy twine threaded in a coarse needle. Begin at the upper right corner by drawing the thread through the tape or cotton, and securely tie the end; the twine must then be sewn over the side piece of frame and into the side of material until the lower corner is reached, then knotted securely and cut off. The other side must be done in same manner. When the material is larger than the frame, it must be sewn on to the bars and rolled round one of them, putting tissue paper and wadding between to prevent the fabric from becoming creased. When the part in the frame is finished, it is then rolled around the opposite bar, and so on until the work is completed.
In embroidering in a frame both hands should be employed. The right hand should be used to put the needle down and the left hand to return it to the surface again. This is slow work at first, but if persevered in will amply repay the time spent in the increased speed acquired.
There are certain fabrics and kinds of embroidery that can be done ovef
IMPLEMENTS AND EMBROIDERY THREADS. i;
hoops Figure 4 shows a pair of these hoops. The work is placed smoothly
over the smaller hoop> and the larger is then drawn over the whole. If
tlie hoops do not hold the work firmly and
smoothly, wind the upper hoop evenly with
clean cotton cut into strips about an inch
wide. It is convenient to have about three
pairs of hoops of different sizes; one about
four inches in diameter, for working initials,
hat crowns, doyleys and other small articles;
another, about six inches in diameter, for embroidery hoops, fig. ^
larger work, and still another size, eight inches in diameter, for still large\
work, which is also a good size for doing drawn work.
The hoops and frames secured, the next item to claim attention is the matter of needles, and be sure this is a very important item in the embroi- derer's outfit, as upon the use of proper needles depends much of the beauty of the work. A needle too coarse or too fine will be sure to prove a source of constant annoyance. There should be at hand a supply of needles of various sizes, both round eyed and long eyed. The kind of needle known as arrasene needles are best for carrying chenille, arrasene, ribbosene, rope silk, art silk, Bargarren linen and rope linen. They can De had in packages containing assorted sizes. The needle for working with Bargarren linen should be two sizes larger than that for carrying rope linen, and the needle for carrying wool arrasene should have a larger eye than the one employed in carrying silk arrasene or rope silk. It is better :o have a needle too large than too small for such threads as Bargarren arrasene and chenilleo For embroidering with etching silk, filo floss, wash iwist, linen floss and embroidery cotton a round-eyed needle should be used — Millward's No. 9 for filo floss and linen floss, and No. 8 for the other threads mentioned. A long, slender needle with sharp point is better than a short, blunt needle.
A piercer and stilletto should be found in every work basket. The stilletto is used to make the holes through which the cord edging has to be caken in embroidering a pattern and for eyelet holes.
The piercer is invaluable for laying the threads in gold and silver embroi- dery, and in raising the work in either crewel or silk embroidery. In church
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DAINTY WORK FOR PLEASURE AND PROFIT.
embroidery it is used for working silk over cardboard. This little instru ment is made of steel, which is round and pointed at one end, resembling a
stilletto, and flat at the other.
A pair of sharp-pointed scissors is an abso- lute necessity. Do not depend upon the family scissors or shears, if it is possible to have a pair exclusively for embroidery. The slender, sharp-pointed kind are the only ones EMBROIDERY SCISSORS. FIG. 5. suited to cuttiug out in Roman embroidery
and applique work and for cutting ends of threads.
A pair of white sleeves to draw on over the dress sleeves and a linen apron
to cover the skirt are necessary adjuncts to the
toilet of the embroideress when at work, as
without them the dust that naturally adheres
to the dress will soil the work. For those
ladies who are troubled with rough hands, a
piece of fine sandpaper or pumice stone should
be kept in the work basket and the fingers
rubbed with it occasionally. If the hands be- come troublesome through perspiration, bathe
them in strong alum water. We show here a
model for a convenient work apron. The apron
should be long enough to nearly, if not quite,
cover the skirt, and the hem should be turned
up on the right side to a depth of twelve
inches and caught down at regular intervals
from the ends, to form pockets for threads,
small embroidery hoops, piercer, stilletto, and
the smaller articles one uses most frequently
in embroidering. The apron can be made as ornamental as one chooses or
as plain, but it is better to make it of linen, as dust will not adhere to it so
readily.
So much for the implements used in embroidering. We will now con- sider the materials with which to embroider, and they are almost as varied
as the materials to be embroidered upon. The following are in use:
WORK APRON. FIG. 6.
IMPLEMENTS AND EMBROIDERY THREADS. ^9
Crewels. The crewel is a strong twisted woolen yarn, not at all like zephyr, but finer and firmer. The English crewels come in lovely soft shades, which blend beautifully.
Zephyr is a soft twisted woolen yarn used on canvas worked in cross- stitch. ■
Tapestry Wool is an English thread, larger than the crewel, but with the same firm twist; it is used on heavy linens, tapestry cloths and friezes. It comes in dull art tones, and is much affected by the Art Societies.
Arrasenes, both silk and wool, have been very popular and are still employed in some kinds of embroidery. It resembles a very narrow piece of silk which has been ravelled out on both sides, having one thread left in the center.
Chenille is a velvety-looking round thread, made in two sizes, large and small.
Smyrnasene is a coarse, round thread, resembling chenille, but having a rough, fuzzy surface; used sometimes to work thistle leaves and begonia foliage,
Ribbosene is a narrow, crinkled ribbon, used in the needle in the same manner as arrasene. No blending of shades is possible with this mate rial. We will speak further of the method of using ribbosene under the heading of ribbon work.
Feathersene is a thread much resembling arrasene, except tnat the silk has been ravelled only on one edge, and the remaining threads have been left on the opposite edge instead of in the center. It is designed to sew around the outline of designs, and is not used in the needle. It is very perishable, and should not be employed upon articles that are for use rather than ornament.
Embroidery Cotton is used for French embroidery upon linens and cottons, and for initials. It comes in various colors, but red and white are the only ones recommended.
Embroidery Wash Silks, made in four sizes, as follows: Etch ing Silk, very fine, with a firm twist. Wash Twist, larger than etching silk, but with the same twist Filo Floss, a soft, untwisted, fine silk. Royal Floss, a soft silk resembling filo floss, but about twice as large. Rope Silk, the largest size of silk to be used in the needle, has a slight twist.
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DAINTY WORK FOR PLEASURE AND PROFIT.
Couching Silk is a large, cord-like silk, but with a soft, loose twist; it is used for couching around outlines, etc.
Art Cord is a small silk cord; can be used for fancy filling stitches of certain kinds, for lacing, etc.
Real Scotch Linen Threads, made in four sizes, as follows: Bargarren Linen, the largest size made. Rope Linen, corresponding to rope silk, and the size next smaller than the Bargarren linen. Flourishing Thread No. 4, which is finer than the rope, comes next. Flourishing Thread No. 8, which is the finest of all, and corresponds to filo floss in silk, comes last.
Tyrol Cord is a twisted linen, and to be used in the same manner as couching silk.
German Cord, not art cord, is a white linen cord used for button* holing over in Roman embroidery.
CHAPTER IV.
TRANSFERRING AND STAMPING DESIGNS.
O THE woman who cannot draw, the question of securing designs for embroidery is often a serious one; indeed, to some, proving an insurmountable barrier to the doing of decorative needlework.
A good design is of the utmost importance, for if the pattern be inartistic and clumsy, no amount of excellent needlework can cover the defect, and the whole will be spoiled. Perforated stamping patterns here come to our aid, and so important and remuner- ative has this industry become that the best artists are employed to furnish designs for both painting and embroidery. These designs are now furnished so cheap that the expense of patterns for embroidery has come to be a secondary consideration, and it is much better, where possible to do so, to purchase the design wanted perforated ready for stamping. However, it often happens that one wishes to use a design from a book or magazine, or even wall paper, and then it will be necessary to transfer the design to the fabric, which is done as follows:
Place over the design a sheet of tracing paper, and trace over the lines very carefully. After the design is transferred to the tracing paper, place on the table a sheet of bond paper, over this place a sheet of transfer paper, either blue or black, and over this again place the tracing paper on which you have previously traced the design, as before directed. Now, with an ivory style or a piece of wood pointed bluntly for the purpose, go over every line of the design, bearing on the lines gently and firmly. Remove the tracing and transfer papers and the design will be found transferred to the bond paper. You will now proceed to make a perforated pattern of it
22 DAINTY WORK FOR PLEASURE AND PROFIT.
by simply pricking holes along all the lines, very close together, with a fine cambric needle. Ladies possessing a sewing machine can make this part of the process less tedious by setting into the machine the finest needle and sewing, without thread, through all the outlines of design; when finished, the result will be a perforated pattern as good as could have been purchased from a regular pattern house.
The material required for transferring is: A sheet of tracing paper, costing either five or ten cents, according to size; one sheet of transfer paper, fifteen cents; these can be obtained from any art store. The transfer paper can be used any number of times until torn, when, of course, it is useless. New tracing and bond paper will be needed for each new design.
After obtaining the perforated pattern, the next thing is to stamp it upon the material to be embroidered. And here is the rock upon which many a promising attempt has been wrecked; for if the pattern has been blurred, or unevenly joined, in case of a repeating design, then the embroi- deress will have need of patience, a correct eye for form and distance, and some knowledge of drawing, to enable her to remedy the defect of the stamping. Remember that a good pattern, cleanly and clearly stamped, is half the battle.
The foregoing instruction in stamping is all the knowledge at command of any dealer in fancy art supplies who advertises to do stamping; she knows no more than is here told, because there is no more to tell. Some dealers, in fact we might almost say all dealers, in art supplies make a great mystery about stamping, refusing to do it before a customer, and keeping as a profound secret the material used. This is a short-sighted policy at best, for the more women know about art embroidery, and the easier it is made for them, the more they will do, and as a natural consequence the more supplies in that line will be sold, and instead of a dealer having less trade she will probably have a hundred per cent more.
The amateur cannot expect, however, at the first or second trial to succeed in getting as good results from her efforts at stamping as a person who has made a business of it for years. There must be a certain amount of practice to make perfect.
Many beautiful designs are frequently given in miniature, in books and magazines, that one wishes to use; but as they are too small to be practical
TRANSFERRING AND STAMPING DESIGNS. 23
we are obliged to pass them by. There is a small instrument called a pan- tagraph, which costs from $1.00 to ;^4.00, according to quality, by means of which any design can be reduced or enlarged to any given size. It is very simple, and not at all difficult to operate. We show here a very good
PANTAGRAPH. FIG. 7.
illustration of one set ready for working. If the design to be copied is 2x5 inches, and it is desired to make it 8x20, the pantagraph will be set to that size. In copying any design, the pattern to be copied will be placed at a given point under one pencil and a clean piece of paper under the other pencil of the pantagraph. Then, with the right hand, the pencil over the design will be moved firmly around its outlines. The corresponding pencil over the clean paper will move in unison, only on a larger or smaller scale, according as the instrument has been set. Full directions for setting and using accompany each pantagraph. These convenient aids to drawing can be purchased at any store where artists' supplies are kept. After the design has been enlarged, as directed above, the perforated pattern can be made according to instructions previously given. In the pages of this book we shall frequently give designs for different purposes, and as space forbids having them produced full working size, a pantagraph will be useful in enlarging them. Generally speaking, the designs so given will require to be enlarged five times to bring them up to working size.
MATERIALS FOR STAMPING.
The materials used for stamping are many and varied, but we have never found anything more satisfactory for general use than artists' oil paints put up in tubes — white for colored fabrics, and white with a little burnt umber mixed for white materials. There are several liquids on the market designed for the same purpose, but the great objection to them is
24 DAINTY WORK FOR PLEASURE AND PROFIT.
their cost. The manufacture of stamping liquids is considered a trade secret, hence they cannot be made at home; and as liquids cannot be sent by mail, the cost of expressage, added to the original price, has put their use out of question with the majority of women. Liquids are more espe> cially designed for use in stamping on white cotton or linen fabrics, and, as they dry instantly, there is no waiting for several hours before the work of embroidering can be commenced. Another advantage they possess over paint is the fact that the patterns need no after cleaning. Powders for stamping are now seldom used, as they will rub off before the work is half finished; yet for stamping on silk bolting, where the design is to be painted in water colors, there is nothing else that will take their place. For large designs that are to be stamped on satin, powder is best, as the oil in the paint and liquids is apt to separate and spread beyond the outlines, though in the case of paint this danger can be obviated by first placing the paint on blotting paper to absorb the oil. In case the powder is used, the design should be lightly traced over with a fine-pointed lead pencil. A good powder is made by mixing ivory black, gum demar, gum copal and gum sandarac in equal parts; pulverize fine and keep in a cool place.
A good liquid suitable for any white fabric is made by placing a tea- spoonful of black or blue printer's ink in a four ounce bottle and filling the bottle with kerosene. Be careful to wipe off both sides of the pattern after each impression when using the liquid. This liquid is cheap, as any printer will cheerfully give the small amount of ink needed, and kerosene is pretty sure to be at hand, and it does beautiful stamping. A pounce for either powder or liquid is made by tying a piece of felt or flannel over a small ball of cotton wool.
DIRECTIONS FOR STAMPING.
Place the article to be stamped smoothly on the table. Next lay the design, smooth side up, on the material, being careful to adjust it exactly in the desired position before you attempt to apply the paint. Now secure the two upper corners firmly by weights — flat-irons will do nicely. Squeeze out some of the paint on a piece of glass. You are now ready to apply the paint to the pattern, which you do by means of a knife blade. Take a small amount of paint on the blade and begin at the top; rub the paint on the pattern smoothly and gently, always remembering to rub toward you and
TRANSFERRING AND STAMPING DESIGNS. 25
from the weights; always move the knife in the same direction, never rub it back and forth, as that is liable to move the pattern and cause the stamp- ing to look blurred. Never raise the pattern entirely from the material to see how n looks, but carefully raise one corner clear from the table and look under; let fall into place again and proceed with the stamping until every detail of the pattern is transferred to the material. When all is finished, remove the pattern; have ready an old paper, place the design upon it, and pour a small quantity of benzine on a rag and rub the pattern thoroughly, then wipe with a dry cloth. Repeat the operation on the other side, and then hold the pattern to the light and observe if the perforations are all open and free from paint. If any should be still closed, add more benzine and rub until perfectly clean. Never allow a pattern to get dry before cleaning, as that would ruin it. Clean at once. With proper care a pattern ought to be capable of fifty impressions. Be sure it pays to take care of your designs. These directions are to be followed when using liquid, except that the pattern will not need cleaning. To stamp with powder, place the pattern on the material, rough side up, dip the pounce into the powder, shaking off the loose particles that may adhere, and rub the pounce lightly over the perforations. When the design is perfectly transferred, remove the pattern and on the stamping place a piece of tissue paper; over this press lightly a medium hot iron; this sets the powder and to a great degree prevents its rubbing off. Do not rub the iron back and forth, but lift it when removing to another part of the design. Rubbing is apt to cause the powder to run and blur.
CONVENTIONAL DESIGNS.
The words "conventional design" will frequently be used throughout the different chapters of this work, and so it will perhaps be better to explain their meaning here. To conventionalize a flower or plant means to draw the geometrical or general form of the leaf with the main details and accider.cal markings omitted, thus converting the natural form into a form suitable for ornament only. The designer of ornamental work is not bound to be faithful to the minute particulars of botanic life, because he md his work are superior to the mere imitation of plant forms.
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DAINTY WORK FOR PLEASURE AND PROFIT.
Beautiful conventional designs can be obtained from artistic wall paper, and designs thus obtained will possess the advantage of not having become common by much use. As a general thing the designs on paper bordering lend themselves to embroidery better than those on the wall paper proper, though beautiful patterns can be obtained here, also. The border pattern should be used on curtains or other large articles, where the treatment is intended to be bold and broad. Many of these designs are also suitable for smaller articles when reduced by means of the pantagraph. To pro- cure the design it will be necessary to purchase so much of the paper as will show a complete section of the design, which must be perforated and then repeated as many times in the stamping as will be necessary to fill the space to be decorated. Many magazines and old prints will also furnish suitable designs, as previously stated.
CHAPTER V.
EMBROIDERY STITCHES.
SUBJECT that occupies the attention of the beginner ^ in embroidery, almost to the exclusion of every other idea in connection with the work, is that of stitches. This should not be the case. Supplied with the req- uisite materials, the first idea should be, not how to make this or that stitch, but how to combine this or that shade with some other, to produce certain artistic effects, which are clearly enough defined in the inner consciousness of the worker. So long as we are hampered with the idea of stitches, just so long will our work appear stiff and awkward. A piece of embroidery should grow and grow, without mental effort, until it has reached its final state of complete finish. The work should be but the expression of an artistic idea or conception. However, one must begin somewhere in learning needle- work as well as in learning to read; and as with the latter we begin with the alphabet, learning first the letters then the combination of letters, so with the former we begin with certain fundamental stitches, which are to embroi- dery what the letters of the alphabet are to the reader. We use them, but we never think of them as a thing apart from the work complete, any more than we think of the letters which compose a word.
STEM OR OUTLINE STITCH.
Outline, or stem stitch, is the simplest and oldest of all the embroidery stitches, and it is also one of the most important. It is this stitch which was used on the old Bayeaux tapestry, and hundreds of years ago, in the days of the Pharoahs, it was employed in Egyptian embroidery. There is ^ardly any limit to the usefulness of this simple stitch, and by its use beau- tiful effects are easily obtained, at little expense of time and material.
There are several varieties of stem or outline stitch, and we will men- tion them here, as this seems the proper order in which to classify thena.
3
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DAINTY WORK FOR PLEASURE AND PROFIT.
STEM STITCH. FIG. 8.
First, then, in the list is simple outline stitch, shown in figure 8, then in
figure 9 we have cording outline, close outline and twisted outline. Fig. lO
shows fancy chain outline, and figure 1 1 double chain outline. In working outline stitch, if an even line is required, insert the needle in a straight line with the preceding stitch. See center illustration in figure 9. For the outline of leaves, where a sloping effect is desired, insert the needle at a slight angle with the preceding stitch. [See figure 8.] If a close outline, resembling a heavy cord, is desired, work the stitch over a thread; take each stitch at a slight angle, and insert needle so that its point will come to the surface about midway down the preceding stitch and close to it. The first illustration in figure 9 will make this idea plain enough to be
easily followed. Twisted outline is made by taking the first stitch so that
the thread lies to the right of the needle; in the next stitch the needle is
inserted from the opposite direction. This is repeated, alternating each
time a stitch is taken; the third illustration in figure 9 shows method of
working twisted outline.
Chain outline is often used to finish
outlines of applique work, and for stems of
foliage and stalks of flowers. Sometimes two
rows are used in stalks, one a light and the
other a darker shade of the same color. Single
chain is made by forming a loop upon the right
surface of material, through which the needle
is passed upward, securing the loop. The
needle is then passed down very near where it
is drawn up, the left thumb holding the thread
so that it cannot be drawn wholly back.
Another stitch is then taken towards you,
■ * inserting point of needle in preceding looped stitch; and each time a
stitch is made leave loop of thread around the needle, as in taking a
button hole stitch; this forms a link in the chain stitch. Double
FIG. 9.
EMBROIDERY STITCHES.
29
Fig. II.
chain stitch is made in the same manner as single chain only the thread is twisted by the needle being inserted in a slanting direction.
Variations of single and double chain stitches are shown in figures 9 and II. The loops that form the chain in figure 11 are not made in a direct Pr~J^7~T^ line, but slant, first to the right and then to the left. Figure 10 shows a chain stitch in the center, with loops to the right and left. The center of this stitch is made according to directions given for chain outline, and the side loops are taken from right to left. These varieties are used to finish hems, join borders and as fancy joining stitches for rugs and crazy quilts.
In beginning the stalk of a flower, when the work is to be solid outline stitch, begin at the lower end of stalk and work upward and away from you, — see figure 8 — until the junction of a leaf or some other interrupting point is met; then take the needle under to the other line and work back, continuing in this way until the stem is solid. Always work the stalk of a plant or flower lengthwise. Reaching a leaf you make use of the same stitch to work around the right side to the top, tak- ing care that the needle is to the left of the thread as you draw it out. When the point of the leaf is gained reverse the operation by working down the left side toward the stalk again, keeping the needle to the right of the thread instead of to the left, as in going up. This method supplies the necessary serration to the edge.
KENSINGTON STITCH.
The next stitch to be considered here is the "Kensing- ton,'' the proper name for which is "feather stitch;" but as Fig. 10. the public have chosen to christen it " Kensington," from the fact that it was taught and used in the Royal Art Schools of Kensington, England, we think it better in these pages to do the same, for as ** Kensington" the stitch is familiar to thousands, "while as "feather" very few would recognize it. Figure 12 shows section of leaf begun in Kensington stitch. In work- ing, care must be taken to keep the outside edge of design smooth and
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DAINTY WORK FOR PLEASURE AND PROFIT.
even. Do not have all ot the stitches of regular lengths, but have
some of them long, and some short, with odd
lengths to fill unexpected spaces. Figure 13
shows portion of flower worked; the direction of
stitches and mode of blending shades are here
clearly indicated. Kensington effects are intro- duced in most of the conventional art needle- work, though less solid embroidery in natural
shadings in the above stitch is now done than at
any time since it first became popular.
Floral designs of natural shape and size look
better when worked in either solid Kensington or
long and short stitch, which is
but a modification of the former. All flowers having large petals and leaves are especially effective wrought in solid Kensington stitch. In a design having a number of small leaves satin stitch can be happily combined with the Kensing- ton. In this case the small leaves only would be worked in the satin stitch. Solid Kensington is not so well adapted ^^' ^^* for working out large conventional scrolls,
but should rather be confined to natural floral designs in which natural
shading is desired, as indicated above.
Fig. 12.
SHORT AND LONG STITCH.
Short and long stitch is another mode of working that is largely used, and consists of the same stitch taken three times side by side, but in dif- ferent lengths, keeping the outline firm and even. It is a modification of Kensington, and called by some the half-Kensington stitch. There is this difference, however, it is taken through the material, like a satin stitch, leaving as much silk on the wrong side as is shown on the right. The
EMBROIDERY STITCHES.
31
length of the longest stitch depends upon the size of leaf or petal you are working; if a wild rose petal is in process of con- struction the entire petal should not be worked with stitches longer than one- quarter of its entire depth. Begin in center of top edge of petal, take a regular over stitch to the depth desired, take another back to top edge, but a little shorter than the first; the third is shorter still; then the three stitches are repeated, and so on. Work from center top edge of petal to the right, then go back to center and work short and long stitch, fig. 14.
to the left. This gives a better effect than where the work is begun at one s'de of petal and carried to the opposite side. The irregularity of the stitches must be made at inner part of petal or leaf; the outside edge must be kept even and smooth.
The above stitch is specially suited to thin fabrics and where a light and dainty effect is to be secured, but it is used on both light and heavy mate- rials with good effect. With the outline stitches and the Kensington and half-Kensington stitches thoroughly mastered an almost unlimited amount and variety of decorative needlework is within your reach. In fact, the greater amount of embroidery shown at the rooms of Decorative Art Soci- eties in this country and England is wrought with the above-mentioned stitches alone.
SATIN STITCH.
Satin stitch is that used in all the old French embroidery on silk and flannel. It is also sometimes effectively combined with the Kensington
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DAINTY WORK FOR PLEASURE AND PROFIT.
stitch, especially in the case of small leaves and flowers. It is also used alone and in combination with outline and dotted stitch for initials. Satin stitch is made by passing a thread from one outline of design to the other, back and forth, as shown in Figure i$, leaving as much material on the wrong as on the right side of the work. The pattern should be first run with filling stitches, to give the work, when finished, a slightly raised and rounded effect. In working a leaf that has a strongly veined center, work from one outside
FIG. 15.
FIG. 16.
pact and even appearance. Figures
edge of leaf to center of leaf at an angle, then from the opposite outside edge to the center again. This method makes the veining sufficiently plain. Figure 15 is designed to show the manner of taking the stitch rather than how it is to look when finished. The surface of the satin stitch should present a smooth, com- :6 and 17 give a
better idea of satin stitch when finished.
FIG. 17.
BUTTONHOLE STITCH.
This stitch is used in working scallops in French embroidery on silk, flannel and cotton fabrics, and also to finish outlines on Roman and applique embroidery.
In using buttonhole stitch to work scalloped edges, the point or seal, lop must first be carefully stamped or traced upon the material, after which
EMBROIDERY STITCHES.
33
two rows of stitches should be lun in to define both upper and under edge
of scallop. It is well to then fill in be- tween these two rows of stitches with another row or rows, according to depth of scallop, of long loose stitches of cotton. This will give the scallop a heavy, rich ^^^' ^^' and raised effect, besides adding to the
durability of the edge. Figure i8 will show method of defining edge of
scallop, also method of filling in between.
Figure 19 shows method of working button- ^,^
hole stitch as a simple outline. It will be seen that ^" 7 ^^J^ '.i
the needle should pass through the material just at I
the edge of the top thread, coming out under the -
lower line, while the thread is held by the left I
k thumb, a little to the right of where the needle is fig. 19.
to come through, so that as the needle is drawn up a loop is formed which
fastens itself. In working buttonhole outline for Roman embroidery the
stitch is usually worked over a German cord; and in articles where the
material is to be cut away from the edge the buttonhole short and long
stitch is effectively used. This has the same effect as the short and long
stitch previously shown, except that the edge is buttonhole stitch. Figure
19 shows this stitch and method of working.
SPOT STITCH.
Spot stitch, like buttonhole and satin stitch, is used in French embroi- dery, and is made by v/orking over and over, with regular satin stitch,
the stamped circle or spot. It is better to begin in the middle of one edge of spot, and work one-half the circle, then return to the center and work the remaining por- tion of the circle. If the spot is to be
-r— — - - ^ slightly raised it will be necessary to work
FIG. 20. it over twice, in reverse directions. The
unfinished spot in figure 20 will give the correct idea for working
M
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DAINTY WORK FOR PLEASURE AND PROFIT.
ANTIQUE EMBROIDERY. This illustration gives a stitch used in heavy embroidery and, unlike
1 satin stitch, the veins of the leaves are outlined while working the stitch. The cut shows very clearly the manner of forming the stitch, which is worked upon an outline of stem stitches, the vein also being defined in the same way. This . .o. ^x. work is much used in borders of a con-
ventional design, where a figure or scroll-work is to be made more promi- nent than the rest of the pattern, and an outline of some fancy stitch, like couching or chain, is often placed around the figure.
PERSIAN EMBROIDERY.
Persian embroidery is a showy stitch, much resembling braiding. The material used may be either a strand of tapestry wool or three strands of rope silk threaded in the needle. It is a great addition to designs in applique, the section here shown representing a small portion of a palm leaf. This work is in- troduced in mantel lambrequins, portieres, table covers, scarf-tidies, and in decora- tions of this work small gilt beads, span-
gles and gold thread are very appropriate additions, be made with this stitch.
FIG. 22.
A heavy cording can
FRENCH KNOT.
This stitch has the merit of great antiquity, appearing in early eccle- siastical embroideries to represent the hair of "men and angels," as well as
in elaborate landscape specimens of the time of James I, when it came into play for the foliage of trees and shrubs; also, in some ancient Chinese embroidery executed entirely in knots skillfully disposed. De- scribing certain examples of the latter, a recent writer observes that the design appears to have been printed in flat, low colors on a cotton fabric, and that
FIG. 23.
EMBROIDERY STITCHES.
35
over the ground thus diversified are worked knots of silk, which have the effect, at a short distance, of a stippled drawing on a large scale. The flesh in the figures and some other portions of the design are worked entirely in close knot. To-day French knot is of greatest importance in fine work; it is almost always used in combination, seldom alone. As it is such an important member of our family of stitches it should be thoroughly and carefully practiced. Our illustration shows how it should look when finished rather than the mode of working it. The following will be readily understood: Bring the needle to the surface of the material from the wrong side; bring it up in the exact spot where the knot is to be when finished. Take the needle in the right hand, hold the thread firmly in the left in a straight line from you, then twist the thread around the needle three times, now put the needle down exactly through the place where it was brought up, still keeping hold of the thread in left hand until all the slack thread has been drawn through, then release the thread and pull through with the right hand simultaneously. This completes the knot, which should present a compact and smooth appearance. This stitch is used for filling center of flowers, for underlaying raised work, for golden rod, thistles and cat-tails, on wash goods and also in initials.
COUCHING STITCHES. Couching stitch is very simple, but its uses are many and varied, and it is quite as important in our alphabet of embroidery as the letter "a" in |TE| the alphabet of our language, and must be learned. While very simple, it is yet one of the stitches that require our utmost care in the making, as all its beauty de- pends upon the neatness with which it is wrought. The simplest use to which this stitch is put is to couch, or fasten down, Tyrol cord, art cord or couching silk, to form outline of design — see figure 24; also, to couch down gold thread on church work, fig. 24. and to form patterns by means of laying straight lines of silk and couching over them at intervals with silk or shade. The couching can be done straight
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FIG. 25.
another color 4
36
DAINTY WORK FOR PLEASURE AND PROFIT.
over the laid threads; that is, the needle will be brought up on one side of the thread to be fastened down, and put down exactly opposite on the other side of thread. By this means the thread is secured to surface of material; but the fastening or couching stitch must be placed straight over the thread to be so fastened, as a little slant to one side or the other would ruin the effect. Figure 25 shows the idea we wish to convey. Another method of fastening the couching silk, now so popular, is to use etching silk or wash twist a shade lighter, and with it form couching stitches diagonally across the couching silk, taking care to place a stitch into every twist of the silk you are couching down. The effect is beautiful.
HEMSTITCHING.
Hemstitching is at once the most elegant and useful accomplishment of the needle worker. The ends of towels, sheets and pillow slips, as well as articles of mere ornament are, or should be, finished with a row of hem stitching. This is not one of the things that can be left to personal choice, for custom has decreed that the refined housekeeper shall at least have the hems of her best table and bed linen hemstitched, even if they are guilt- less of every other form of art needle- work. There are many methods of hem- stitching, but of the many we find the following gives most satisfactory results: Measure the depth you wish the hem, and then at the point where the edge of hem will come when turned and basted, pull two or three threads; turn the hem, and FIG. 26. beginning at the left edge of work pass
the needle around two or three of the threads, having the point of the needle to the left, then reverse the needle so that it will point to the right, and catch the edge of hem; repeat this until the hem is completed. If both edges of the drawn threads are to be hemstitched, repeat the operation on the opposite edge. Figure 26 shows method of working, and as it is VQxy sim.plp can be easily foUowed.
EMBROIDERY STITCHES
SPANISH LAID WORK.
This style of work is very beautiful for working borders to center cloth for stand, for soarf ends and for cushion covers, and is an application of couching stitches. Figure 27 shows the manner of working border in Spanish laid work. For this purpose either a plain border or large scallop
SPANISH LAID WORK. FIG. 27
is used. For our purpose we have selected the scalloped edge. The scal- lop is first filled with eithe' jilk or linen threads, laid straight across from one outline to the outline jpposite, being careful to carry them across in a perfectly straight line; place the threads so close together that the surface of material does not show, yet be careful not to crowd them, one upoa
38
DAINTY WORK FOR PLEASURE AND PROFIT.
another. If the work is being done upon a white linen or cotton wash fabric, then for the straight lines use white Bargarren art linen. Thread an arrasene needle with a strand of the Bargarren art thread, bring the needle
up to the surface at the right side of scallop, clos to the point. Carry across and put the needle down through the opposite outline; bring needle up on same side, about one-thirty-second of an inch from where it was passed down, and carry it across to the right outline and put down; repeat this until the surface is filled; this will leave all the threads on the right side, and none on the wrong, except the tiny stitch made on the outlines by putting the needle up and down.
After all the lines are evenly and perfectly round-eyed needle with
FIG. 28.
FIG. 29.
laid over the surface of pattern, thread a No.
etching silk; begin at the point of scallop and
couch one stitch over the first laid line, exactly
in the center; then over the next laid line
couch two stitches. Be careful to observe that
no two couching stitches come exactly opposite
each other, but come in alternate spaces. The
couching thread may be either white or any
color preferred. If fancy couching stitches
should be preferred to those shown in figure 27 figures 28, 29 and 30 will offer a pleasing variety. The threads that are to be couched over should in all cases be larger than that used for the couching. The outline of scallop should then be fin- ished with a buttonhole stitch worked over a German cord; and the diamond and oval spaces FIG. 30. should be filled with either wheel stitch or spider
web; both these stitches being also used in drawn work they will be
found fully described in the chapter devoted to that subject. The material
should be cut away from back of the wheel or spider web.
EMBROIDERY STITCHES. 39
PLUSH STITCH.
Plush stitch is used for raising portions of certain designs above the surface of material and is employed principally in working raised cat-tail sumac, goldenrod, coxcomb and flowers of a similar nature. A foundation is first made for the plush stitch by means of French knots made of zephyr or yarn, which are worked over the portion of flower to be raised; they should be placed quite close together, and yet should not be crowded; of course in placing the knots care must be taken to follow and preserve the outline of design perfectly. For making the plush stitch, rope silk or filo floss should be used. Cut the skeins of silk into equal lengths, according to the height you desire to raise the flower; after the silk is cut, place between each French knot two of the strands, crossed like an X, sew them firmly down to foundation and proceed to fill in each space between the knots. If the flower requires to be very thick and velvety, instead of crossing two lengths of the cut skein, double the lengths, using four instead of two pieces between each French knot. After the flower is completed whisk the silk out with a brush broom and clip off evenly. Plush stitch is used in raised embroidery only.
FILLING STITCHES.
Filling stitches, so called because they are used to fill in the surface of flower petals and foliage and the surface of conventional designs, which have their outlines worked with short and long stitch, outline, or button- hole short and long stitch. This method of embroid>"ry belongs to the old Saxon days, and in fact used to be called Saxon embroidery. The stitches used for filling are numerous and v\'e will give a slight description of those most commonly employed, with a few illustrations which will be of assistance in copying them.
Honey-comb and Brick Stitches.
First on the list of filling stitches in point of general utility is the honey-comb, and while this stitch cannot be called strictly a filling stitch, from the fact that it is often used to cover backgrounds on which a design is worked in relief, yet it is more commonly used as a filling for petals and leaves and for circles and wide scrolls in conventional designs, and is
40
DAINTY WORK FOR PLEASURE AND PROFIT.
therefore entitled to a place in this classification. Honey-comb stitch is
shown in detail in figure 32, while figure 33 shows
the stitch applied to filling pansy petal, after the
edge has first been outlined with the button- hole stitch, each petal being treated in the same manner. The method of working this «5fitch will be seen from figure fig. 31.
J I. It is first, a row of buttonhole stitches placed it regular intervals apart; the second row is taken into the bottom of the first row, and so on. Pulling e. ich stitch down in the center as it is made, is what gives the honey- comb effect. It is very effective when used for filling surface of large leaves. FIG. 32. Brick stitch is made in the same manner as
the honey-comb, except that the threads are not pulled down in the
center as the stitch is completed, but the thread is allowed to
remain straight, showing a ver- tical line over a horizontal.
Figure 31 will show at once
how the stitch should look
when finished and in process
of construction. Brick stitch
can be employed for any of
the purposes for which the
honey-comb is suitable.
Brick and honey-comb
stitches are also frequently
used to cover the design in
Roman embroidery and add
much to the richness of the
work. For this purpose the
filo floss or Royal floss silk can honey-comb stitch, fig. 33.
be employed, especially if a light, soft effect is sought, though where it
is desired to have the work stand out in relief etching silk should be used.
EMBROIDERY STITCHES."
41
Simple Star, Daisy Star, and Crowsfeet.
The three stitches named above are used for filling purposes, and as they are easily made and require but a small amount of material, are much used where large surfaces are to be covered.
Figures 34, 35 and 36 will show clearly the mode of working. The simple star, figure 34, is made by starting from a center and carrying out
\%^^^
:a^
SIMPLE STAR. FIG. 34. DAISY STAR. FIG. 35. CROWSFEET. FIG. 36.
from it six or seven radiating lines, bringing the point of needle back to center each time a stitch is taken. The daisy star, figure 35, is made by form- ing four daisy loops-as shown in illustration and then throwing out between each of these loops a single stitch, shorter than the looped stitch. A daisy stitch is simply a buttonhole stitch taken with a long narrow loop and fastened at the loop end. In making the crowsfeet, figure 36, the cen- ter line is made first and then a shorter one on each side at a slight angle.
Grouped Star Stitciies.
The two group stitches here shown are modifications of star stitches, and as the illustration shows the manner of placing them we will simply say
here that the two figures, 37 and
38 can be effectively used to fill space
between outlines of scrolls and for
small surfaces; also for stems and
stalks of conventionalized foliage,
where the space between the two outlines is so great as to require something more than the outline stitch.
Darning Stitches.
Darning applied to decorative needlework produces beautiful results, and as the work is simple, quickly accomplished and little trying to the eye-
FIG. 37.
FIG. 38.
42 DAINTY WORK FOR PLEASURE AND PROFIT.
sight, it is a popular method of embroidering. Darning stitches are used as a means of producing a decorative background for embroidery done in outline or short and long stitch; they are also used to fill the petals and foliage of designs. In figure 39 we show a leaf filled in with darning; the outline of leaf being treated with outline stitch, which throws the darned work into relief. The ordinary darning or running stitch is here used, care being observed to take just as little of the FIG "^qT*^ material on the needle as possible and to keep the
stitches even in length. Be sure to alternate the stitches; that is, bring a stitch showing the silk or linen thread opposite a stitch formed of the mate- rial that was taken up on the needle in running or darning in the preceding row. In darning, follow the general curve of leaf or petal; when the petal forms a smaller point at the base, where it joins the calyx, the effect of shading is secured by the rows of darning coming closer together. This stitch is also used to darn back- ground of cushions and other articles made of huck-a-buck, Concordia canvas and Bargar- ren art cloth. See figure 40. The length of the stitch can be- suited to the worker's fancy and the nature of the material. fig. 40.
Where the entire background is darned, the design is first worked in either short and long stitch or outline.
The effect of darning leaves, stems and flowers with one strand of filo floss on bolting silk, and the whole design outlined with the same silk, must be seen to be appreciated; anything more dainty and fairy-like can- not be conceived. For this style of work two shades of each color used will be needed, one for the darning and one for the outline stitch that is used to outline all petals, leaves and stems. Use the darker of the two shades for outlining.
EMBROIDERY STITCHES. 43
Janina Stitches.
Different effects can be obtained with this stitch, as will be seen by
referring to figures 41 and 42. Figure 41 shows the stitch taken across
the space to be filled from edge to edge; while figure-
42 shows the stitch taken from each outline to the
center of space; this p sents a lighter and more
open effect. Janina stitcL is suitably used on sheer
material like bolting silk, muslin and lawn. As will
be seen, this stitch is worked entirely on the sur- face, except where the short back stitch occurs
along the outline. To work: begin at top of leaf
and pull up the needle from the wrong side, exactly
in the center of the point; carry the thread to the
right side of leaf nearly opposite to where it came
up, and in the exact outline take a tiny backstitch,
cross the thread to the left outline and in an exact ' fig. 41.
line with the first stitch, take another backstitch, cross to the right
edge again and repeat, taking care to pull the thread up through the hole
made in making the preceding stitch on that side of leaf; repeat this crossing from right to left, until the base of the leaf is reached when the thread must be fastened invisibly at the FIG. 42. side. To work figure 42 the same method is
employed except that each stitch is carried from the side to the center.
Single and Double Basket Stitcii.
To work double basket stitch, see figure 44, lay straight lines across the surface of material, from one outline to the one opposite, at regular dis- tances apart; with silk a shade lighter, but of the same color, begin at the top of leaf and over the first straight line work two basket stitches at an equal distance apart as follows: put the needle up through the material at the bot- tom of the first line, carry the thread across the second line and put the needle down close to the cross line; repeat this three times, placing the threads close together, this constitutes one basket stitch. Now, between the two
44
DAINTY WORK FOR PLEASURE AND PROFIT.
%m
basket stitches, worked over the first and second lines, carry another over the second and third, then over the third and fourth, and so on until space is
filled. The outline of leaf may be finished with heavy outline stitch, and the leaf be also vein' i down the center, but thi^ IS a matter of fancy. Figure 43 shows a convention- alized lily worked over in single basket stitch, which is wrought in the same manner as above described except that instead of carrying over the FIG. 43. lines three threads close to-
gether a single thread is used, and the outline is finished by a row of art cord sewed down with invisible stitches.
Close Basket Stitch. This stitch is rich and effective when applied to large unbroken spaces
m
if
CLOSE BASKET STITCH. FIG. 44. DOUBLE BASKET STITCH.
namely: ovals, broad or long pointed leaves without many serations, and I^rtions of conventionalized designs that need accentuation by a heavy
EMBROIDERY STITCHES. 45
massed effect of color. The materials for working close basket stitch depend upon the background; if that be of heavy fabric, then rope silk and art cord will be most suitable; if, however, it is desired to ornament portions of design on linen or light satin or silk, then wash twist will answer the purpose better. At all events the silk used should have a slight twist. To work: first lay the darker of the two shades of rope silk evenly and close together from one edge of outline to the other, back and forth; be sure that the threads lie evenly, side by side. With the next lighter shade of silk weave over and under, in basket darning, crossing four strands of silk each time. The weaving is done with four strands of silk, one at a time. Figure 44 shows double basket and close basket stitch applied to a scroll design. The leaf to the left shows close basket, the leaf to the right shows double basket. In this design the outlines are finished with art cord and the center of leaves are finished with outline stitches or art cord sewed down with invisible stitches. Figure 44 shows both methods.
D'Alencon Bars. The above-named stitch is one much used for filling in leaves and petals which are long and pointed, and for star-shaped flowers it is espe- cially suitable. The method of working is as follows: Along the two sides cf petal or leaf work a row of loose buttonhole stitches; as the beauty of the work will depend upon the regularity of these stitches, great care should be exer- cised in this part of the work. The D'Alen- con bars are now worked into the button- hole stitches by passing the thread four times over and under each buttonhole stitch. ^^^ .-
FIG. 45*
The length of the bars is regulated by the space between the two opposite edges. When the thread has been passed over and under for the fourth time, making four bars, it is completed by making a tight buttonhole stitch, and the thread is then passed through to the next loose buttonhole stitch. Figure 45 shows D'Alencon bars applied to a leaf.
SPIDER WHEEL.
For filling portion of design in Roman embroidery the spider wheel here shown is beautiful, and can be quickly accomplished. In working.
46
DAINTY WORK FOR PLEASURE AND PROFIT.
cross the threads six times from the edge of space to be filled, and at equal distances apart. These form the spokes to the wheel. When the six threads are in, the needle will be in margin of design. To reach the center
twist the needle on one of the threads forming the spokes. To work pass the needle under one spoke, and then pass around again loosely in the reverse direction; pass the needle over the second spoke and pass around in a reverse direction loosely; then pass needle under the third FIG. 46. spoke, and repeat the operation until
the six threads or spokes have been worked, and then repeat as many rows as is desired. The cloth back of this wheel should be cut out, and for this reason the edge should be first worked with buttonhole stitch. Figure 46 shows method of working.
Point de Reprise.
This stitch is admirably suited for filling large leaves and portions of conventional designs. A background for this stitch is first prepared by filling the space to be worked with threads placed parallel and crosswise from one outline of design to the other, to form triangular spaces. Thread the needle with rather a long thread, and on each triangle formed by the laced threads weave over and under, from one side of the triangle to the other, until the base of triangle is reached, then pass the thread on the wrong side to the next triangle, and repeat. Figure 47 gives an excellent fig. 47.
idea of the mode of working, as well as the result when completed. This stitch, as well as the rosette and spider wheel, look best on heavy material and done with art cord.
EMBROIDERY STITCHES.
47
Rosette Stitch.
The above stitch is the most effective filling stitch we have, and suit- able for all the purposes for which point de reprise is used. This stitch also looks best done in art cord. Rosette stitch is made as follows:
Mark off the background to be filled into square spaces, a little less than an inch apart, by carrying the silk from one outline of the design to the opposite outline and crossing these threads, at equal distances, from the opposite outlines. Fasten the lines to the foundation at the point of intersection by couching down with a fine thread over both lines; this will give firmness to the work when it is finished. Thread the needle with the same cord or silk as has been used in laying the lines; bring the needle up from the back of the material, and on the left of one of the intersecting lines, close to the couching stitch. Pass the needle under the line, throw the thread over to form a loop, and pass the needle under the same line again and from the same side as at first, and through the loop fig. 48.
formed in throwing the thread over; this forms a buttonhole stitch over the line, which must be drawn tight and close to the couching stitch that fastens the lines, at their point of intersection, to the material. Pass the needle under the next line and on to the third, where the same operation is to be repeated. The rosette has now a buttonhole stitch worked over two of the opposite intersecting lines; the two remaining lines must be treated in the same manner. This finished, the rosette has been worked once around; to complete the stitch it must be worked twice around, forming two raised or buttonhole stitches on each of the intersecting lines. When the stitch is finished, pass the needle through the stitch to the under side of the material, and on to the next intersecting lines. Work all the lines that cross each other in the same manner, and finish the design by outlining with art cord or rope silk.
48
DAINTY WORK FOR PLEASURE AND PROFIT.
The toregoing pages on "Stitches" contain all that is necessary for the most advanced worker. None of the embroidery stitches are difficult in "^he execution, but all require extreme care and neatness in working, and a certain perception of the fitness of things on the part of the needlewoman, so that each stitch used shall express the worker's thought and meaning in the best and clearest manner possible. A knowledge of the relation of different stitches to different forms of work may be had from a careful studv of the following chapter, viz.: ''Application of Stitches."
There are many different lace stitches which can be adapted for em- broidery, with excellent effect — especially for filling stitches; but as a rule they are too intricate in detail to suit the patience or lack of patience of the modern worker.
In closing the subject of stitches we will make one more plea for the outline stitch. From time immemorial the most artistic work has been wrought by its use alone, and indeed all the wonderful and beautiful Egyptian embroideries were outlined or etched. There is scarcely a limit to the number of artistic effects that can be obtained by its use. Then, too, its simplicity is so in its favor, and indeed forms one of its chief claims to the needleworker's consideration. Outline stitches, then, should be practised diligently, until they can be made to express every variety of feeling. The least bit of carelessness will be fatal to the beauty and har- mony of the design, and awful havoc can be wrought on an angel's face by a stitch too short or too long in forming nose or lips.
CHAPTER VI.
APPLICATION OF STITCHES.
AVING given descriptions and illustrations of all the essential stitches used in embroidery the first question we are sure to be asked is:
"How shall we know when and where to use the different stitches on different designs?"
This is a far-reaching question, and one that would require pages of illustrated matter to answer in detail. The best we can do is to give, in general terms, the places where certain stitches can be most appropriately used. In embroidery one must have ideas of one's own, else the work will be, more or less, copies of oftentimes poor originals. In Kensington embroidery, satin stitch is often employed in certain portions of designs, notably in the case of long, pointed leaves and in the tiny petals of the forget- me-not, and other flowers of the same description; again, in working cat-tails, thistles and golden rod, the flowers will usually be worked in plush stitch, while the leaves may be wrought in Kensington stitch.
The most daring combinations of stitches are allowable, provided the result justifies the means employed, and a harmonious ensemble of form, light and shade is secured.
The stem or outline stitch enters into almost all forms of embroidery, either in the formation of stems or outline of leaves. The short and long stitch is used in conjunction with stem and darning stitch, and so on through the catalogue of stitches.
Filling stitches are used most appropriately on wash materials and for filling conventionalized designs used on table cloths, doyleys, table runners,
50 DAINTY WORK FOR PLEASURE AND PROFIT.
tray and carving cloths, fancy towels, pillow shams, dresser scarfs, toilet articles and for filling portions of designs in Roman embroidery. For these purposes the filling stitches are usually made with either etching silk or Real Scotch linen floss, No. 4, though for some stitches, notably janina, and for darning on fine sheer fabric, filo floss or Royal floss is preferable, while for French knots, where used in prominent portion of design, rope silk or rope linen can be appropriately used. Darning stitch can be used to form a background to throw design into relief; for darning a dado or frieze for curtain or portiere. Any conventional design wrought out with any suit- able filling stitch, or with short and long, outline, or buttonhole short and long stitches can be used in connection. A combination of filling stitches is perfectly proper and very effective on the same piece of work. Thus in figures 49 and 51 we have a combination of several filling stitches.
Couching is frequently combined with satin stitch, and in fact enters largely into all forms of flat embroidery, especially in ecclesiastical work, and the combination is not limited to any one stitch, as it is used with but- tonhole, short and long and darning stitches, and on monograms and initials.
For embroidering underclothing, infants' trosseaux, cotton, flannel and cashmere, French embroidery is almost exclusively used. By French embroidery we mean that class of work done with a combination of satin, couching, buttonhole, spot, eyelet, dot or seed stitches and hem stitches. Many ladies embroider their initial on handkerchiefs, napkins, pillow slips, sheets, etc., and finish every hem with hemstitching in pure white embroidery cotton. It is a dainty fancy, and will give an air of refinement to the most commonplace surroundings. For this purpose spot, seed, satin and outline stitches are more commonly used. For embroidery on silk, satin, velvet or cloth the filling stitches are not so appropriately used. Short and long stitches, darning stitches, couching, applique, solid Kensington and outline are here in better taste. Sometimes one sees beautiful specimens of French embroidery on these fabrics, which of course is always in good taste, but the amount of work required to complete a design done in satin stitch, every thread of which must be laid "on honor," is a task not often undertaken in these days of hurry and scramble, where, if the need of a piano cover is discovered on Monday morning, Saturday
APPLICATION OF STITCHES.
51
night finds the cover supplied, decorated with needlework. In the days o£ Edward the Confessor a fair dame thought nothing of applying herself dil- igently and patiently to a single piece of embroidery through the months of an entire year. But such work is preserved as priceless heirlooms in private families and public museums, while we are obliged to confess that very little of our modern embroidery is wrought with such perfection of detail.
In the matter of filling stitches the utmost latitude is allowed as to choice, and we show here a few designs filled in with stitches which have been described in the previous chapter. Our arrangement is not at all arbitrary but merely given as suggestive for pretty and artistic com- binations.
COMBINATION OF SPOT, AND SINGLE DAISY LOOP.
Figure 49 shows section of conventional design filled with single daisy loop, cross stitch, spot stitch, diamond couching with French knot in
FIG. 49.
center and outlined edges. This method of applying these filling stitches will be found quite simple, and as they require but little time and material will be found economical as well as effective.
52 DAINTY WORK FOR PLEASURE AND PROFIT.
LEAF BORDER SHOWING COMBINATION OF STITCHES.
The design shown here is a section of border of leaves for lunch cloth. The edges of leaves are finished with buttonhole stitch over German cord, which can be clearly seen. The surface of upper leaf is then filled with star
LEAF BORDER SHOWING COMBINATION OF BUTTONHOLE, HONEY-COMB, DAISY STAR AND
CROWSFEET STITCHES. FIG. 50.
stitch. The leaf at the right of corner leaf is filled with crowsfeet stitch, while the leaf at left of corner is filled with honey-comb stitch. This method of filling can be repeated throughout the entire design of which our illustra- tion shows but a section, and other filling stitches not shown here can be
'. ^^ ^t' ^
m
^
Simukted Battenburg a
idery Centerpiece.
APPLICATION OF STITCHES. 53
used in connection, but the ones here shown are the simplest and most popular of the filling stitches, and are used on all conventional designs where solid work is not intended — indeed, they may be used on a design having solid embroidery on some of its parts.
FILLING STITCH FOR APPLIQUE.
Figure 51 is especially suited for applique work. The leaf and vine is first stamped on velvet which is then mucilaged to a foundation of silk or cloth, after which the outlines of pattern are finely run to a founda tion with a silk thread. The vel- vet is then cut away close to the stamped lines, and the edges are fin- ished with a heavy silk cord couched down; the center of the leaves are then worked with coral stitch in ara- sene or chenille. Any other of the filling stitches could have been used here with equally good ef- fect, providing silk thread had been used in place of ^^^* ^^*
arrasene or chenille, as these two last-named materials do not lend them- selves to filling stitches with good effect.
The design here given is, of course, only a portion of complete vine, but sufficient is shown to clearly explain mode of working. As to colors,
54
DAINTY WORK FOR PLEASURE AND PROFIT.
one must use a little judgment and taste in the selection. If the leaves are of dark green velvet the silk used should be of a much lighter shade of the same, while if the leaves and vine be cut from ecru or cream colored velvet the couching and rope silk used may be in all the various tints of autumnal foliage, yellow, brown, green, olives, terra cotta, and so on through the list. There is no limit to the changes that can be rung on such a pattern.
In the matter of fancy filling stitches the utmost latitude is allowed as to choice.
APPLICATION OF KENSINGTON STITCH.
Kensington stitch may be appropriately used for working out any floi il design, no matter where the finished work is to be used. It is also
sometimes used for working ani- mals, human figures, and land- scape details, such as rocks or hills, where a massed effect of light and shade is desired. For ornamenting articles of dress, such as dresses, wrappers, jack- ets, etc., it is especially beautiful, and ladies who can embroider in either Kensington or satin stitch, can indulge in many a beautifully ornamented garment that would be beyond the reach of their more wealthily endowed sisters who are without this accomplish- ment. Figure 52 shows design suitable for Kensington stitch FIG. 52. stretched in the hoops ready for
embroidering. When embroidering dress collars, vest fronts, etc., with this stitch, the material should be first stiffened by backing it with crinoline.
APPLICATION OF SHORT AND LONG STITCH.
Figure 53 shows a very appropriate application of short and long stitch and is only one of hundreds of similar instances where this stitch can be
APPLICATION OF STITCHES.
55
effectively applied. In general, short and long stitcti can be used where- ever Kensington stitch would be appropriate, and also in many instances where the latter stitch would be too heavy, notably, in portions of con- ventional designs where something a little more elaborate than simple out- line stitch is desired. Fig- ure 53 shows a chair cush- ion, flower-shaped, made of white lawn. The sur- face of the lawn is first tinted a pale rose color with water colors or Paris tints, afterwhich the edges of the outer petals are worked to the depth of an inch with buttonhole short and long stitch; the inner petals are worked in the same manner but with the simple short and long
stitch. A pale rose-pink fig. 53.
rope silk should be used for this part of the work. The center of the flower may be worked with pale green filo floss in satin stitch. To make up the cushion, after the flower-shaped center has been finished: Cut a circle out of cotton wool, using a breakfast plate as a guide to cut the circle by. The wool circle should be at least two inches thick. Place this circle in the center of a square of deep olive green surah silk, fold over the corners of the silk to the center of the circle, and fasten in tiny plaits to the wool, and close enough to the edge of the circle to form a generous pufifing around it; the cushion is now ready for the flower-shaped cover which must be fastened in the center of the circle and on the side where the silk is folded over. Suspend the cushion to a chair by means of a pink satin ribbon fastened on with invisible stitches, just under the edge of the cover. The shapes for the center cover of these pretty head-rests for chairs
56
DAINTY WORK FOR PLEASURE AND PROFIT.
may be cut from a variety of designs — large single peonies, sunflowers and single roses, slightly conventionalized -can all be made effective. In adapt- ing a sunflower, the embroidery will look best done with some one of the shades of yellow.
SHADING CONVENTIONAL DESIGNS. In strictly conventional designs there is, properly speaking, no such thing as shading — a combination of colors that are effectively contrasting
or harmonious is the aim of the worker. The pop- ular fad in coloring for the past few years has been what is known to the trade as one line coloring; that is, suppose the ma- terial being em- ^*i broidered to be a medium lightterra cotta, two or three shades of rope silk ^ of the same color, but a shade or two darker, would be used in the embroi- dery.
The effect is certainly quiet and FIG. 54. artistic to a de-
gree, and if portions of design are outlined with gold thread the effect is heightened. Again, certain colors or combinations are effective as green and white, blue and white, brown, red, ecru, etc., care being taken to use the high colors, as red, to heighten the effect of the whole, depending on the quieter colors for the body of the work.
APPLICATION OF STITCHES. 57
Figure 54 shows a conventional design in filled outline, and we suggest the following treatment, which if carried out neatly will produce a beau- tiful result:
This design of fruit, with foliage, is suited for table linen, either scat- tered over a large surface, as a table cloth, or used in corners of mats oi: napkins. The outlines are all first treated in stem stitch with etching silk, and the spaces afterwards filled in with the fancy stitches, as shewn, in the same silk. These stitches have been previously described, so we will confine our remarks to the colors to be used. On table linen ladies incline to pure white or the lightest, daintiest tints of a color. We suggest several combinations, any one of which would be beautiful and correct.
First combination, pure white for stems, leaves and outlines, and for filling stitches a pale silvery gray.
Second combination, outline entire design with white and fill in with a pale blue.
Third combination, outline in stem and short and long stitch with pale green, and fill in with cream white.
Fourth combination, outline stems and leaves with pale gold; outline and fill in first cherry in the cluster with a shade of gold one degree deeper than that used for stems and leaves; outline and fill in the next cherry with a still deeper shade of gold, and for the third use a shade deeper yet.
This will give a scheme of color in yellow gold, ranging from the faintest tint to a medium deep yellow. This method of coloring gives the effect of elaborate shading, and is beautiful.
The foregoing illustrations and suggestions will give the reader a gea- eral idea of the proper use and combination of embroidery stitches, and will serve as a stimulus to the inventive worker, who will not be satisfied to blindly follow our models, but will seek to mark out new lines of work for herself.
58
DAINTY WORK FOR PLEASURE AND PROFIT.
CUSHIONS AND HEAD RESTS.
CHAPTER VII.
SHADING.
FTER stitches, shading is the subject that naturally claims atten- tion, and to the amateur embroideress it is usually a stumbling block of pretty large dimensions; however, there is no reason why this part of the work should present more difficulties than the formation of the stitches. We have for several years taught a system of shading which we propose to present here, and as it is designed for the benefit of amateurs, the expert needleworker will pardon us if we are a little prolix on the subject. The woman who has an artist's eye for color needs no instruction in shading; but, unfortunately, she is sadly in the minority, and our efforts in this chapter must be devoted to her less fortunate sisters.
Reduced to a system, shading is shorn of half its difficulties. In the first place, there is a proper way to purchase embroidery threads, which, when followed, gives satisfactory and certain results.
Embroidery threads are dyed in several different shades of each color, and as each manufacturer has his own method of putting up and number- ing his silks, it will be necessary for us to select one brand of silk and refer to it exclusively throughout the different lessons given in these pages. For convenience we will select the shade card* and numbers of Belding Brothers & Co. There are other manufacturers of embroidery threads whose outputs possess equal merit in regard to quality, fast dyes and artistic shades, and in selecting one brand of silk from which to illustrate our lessons, we do not wish to be understood as discriminating against others. Arrasenes, chenilles and linen threads are made and numbered in the same manner as the silks, so that the rule for selecting and using one will do for all.
6o DAINTY WORK FOR PLEASURE AND PROFIT.
SELECTING SHADES.
To begin, we will explain a little about the colors and shades of silk to be purchased for embroidery purposes from our shade card. Each color is made in several different shades, but the number of shades any given color is made in varies. For convenience in reference, we will give here a small table of the colors, together with the number of shades in each color.
TABLE OF COLORS.*
The numbers of the colors are given inclusive, thus 1201 to 1204 means that both numbers are to be included.
White, three shades, 1200 to 1202; Cardinal Red, ten shades, 1204 to 121 3; Flame Red, seven shades, 1340 to 1346; Cherry Red, six shades, 1288 to 1293; Old Pink, five shades, 1220 to 1224; Rose Pink, five shades, 1335 to 1339; Bronze Green, six shades, 1214 to 1219; Olive Green, six shades, 1248 to 1253; Apple Green, four shades, 1240 to 1243; Grass Green, five shades, I320to 1324; Sage Green, four shades, 1280 to 1283. Lily Green, five shades, 1375 to 1379; Silver Green, five shades, 1330 to 1334; Peacock Green, five shades 1272 to 1276; Old Blue, five shades, 1225 to 1229; Gray Blue, five shades, 1235 to 1239; Blue, nine shades, 131 1 to 1319; Baby Blue, six shades, 1354 to 1359; Peacock Blue, five shades, 1365 to 1369; Yellows, from pale canary to deep orange, twelve shades, 1260 to 1271; Wood Brown, six shades, 1294 to 1299; Red Brown, three shades, 1277 to 1279; Bronze Brown, six shades, 1305 to 1310; Golden Brown, seven shades, 1347 to 1353; Old Rose, five shades, 1335 to 1339; Dark Terra Cotta, five shades, 1230 to I234- Light Terra Cotta, six shades, 1254 to 1259; Silver Gray, four shades, 1244 to 1247; Lavender, four shades, 1284 to 1287; Heliotrope, five shades, 1300 to 1304; Fawn Brown, five shades, 1360 to 1364.
The above group of colors includes all the shades manufactured by any silk house, and from them miisth^ selected the colors needed for any given piece of work. Thus, blue flowers must be selected from the different lines blue; all red flowers from the lines of red; all pink flowers from the lines of pink; and all purple flowers from the lines of purple
From the list o^ colors given, it will be seen that there are different varieties of the same color; thus, there are blues ajid blues, green <27?^/ greens; now, the different l-ner. of the same color are rarely combined in the same
*NoTi:.— See foot note on preceding page.
SHADING. 6i
leaf or petal, and such combination should never be attempted by any woman less than an artist. It is safest to confine yourself to one line of a given color; in that line you have a number of shades from light to dark, any one of which will combine with any other shade of the line.
As we have before hinted, any rule for shading is half mastered when the worker knows how to purchase or select materials. It may seem a simple thing to go into a shop and select silks for a rose spray, a poppy, or so simple a flower as a buttercup, but not one lady in twenty can accom- plish the feat with any comfort to the clerk or satisfaction to herself.
In shading there are three points to be considered. First, the color of the flower to be worked. Second, is it light, medium or dark in tone. Third, what kind of silk to work it in. These points are best decided in the quiet seclusion of home. A heterogeneous mass of silk in hopeless confu- sion, an anxious clerk, and a crowd of ladies clamorous for an opportunity to pull and haul the same box of silk into still worse disorder — in the vain endeavor to match silk purchased, perhaps, months before — is not condu. cive to the mental equipoise necessary for the work in hand; therefore, we repeat, do as much of the selecting at home as possible.
After you have fully decided upon the materials needed, the next difficulty to be encountered is the procuring proper shading in small stores in country towns. You are almost certain to be obliged to select from a ragged, broken and incomplete assortment, difficult for even an experienced worker to select from, and quite impossible for the amateur. When at all possible, go to a store where a large and complete line of silk is carried. If you have several colors to select, make up your mind what particular line of each color you wish to use; if green, decide whether it shall be olive green or grass green; if pink, whether it shall be old pink or rose pink, and having decided this point, ask the clerk to show you one line of color at a time. Insist on having the entire line of shades in that color placed before you. By referring to the list of colors and shades given at the beginning of this chapter, you will at once know if all the shades are before you, and if any are missing, which ones. Place them in order on the counter before you, beginning with the lightest shade first, then the next deeper, and so on, until the last shade is reached. Now, from the colors before you select as many shades as your pattern will require; thus, if you are shading wild
62 DAINTY WORK FOR PLEASURE AND PROFIT.
roses, you will call for the line of rose pinks, in which there are five shades; you will at once see that you do not require the entire line, but only the first three shades. If you are shading morning glories of a reddish pink, you will call for the line of cherry red, which has six shades to select from, and you will require all or part, according to the size of the design. In a pattern having five or six flowers the entire line of this shade can be used effectively, while if there are but two or three flowers the first three shades of the line would be sufficient.
In working red poppies the line of flame reds should be used. This line has seven shades, and if the pattern shows several poppies the entire line can be brought into requisition, but not necessarily all in one flower. The lighter shades of the line will be used for the high lights and the outer edge of petals, then two shades next deeper will be blended in to work the body of flower, and for the markings at base of petals the deepest shade of the line should be used. Some varieties of red poppies show purplish markings at the base of petals, but these should not be attempted in embroidery. There are limitations in art needlework, and this is one of them. What would present a beautiful effect of light and shade done with either oil or water colors, would be but a patchy affair if attempted with the needle and the colors at our command in embroidery threads.
But to return to our purchasing. Having selected your first line of colors, require the clerk to put away all the silks you have been selecting from, and proceed to the next color; repeat this until you have completed your purchases. This will save the clerk a great deal of time and trouble, and spare yourself annoyance and uncertainty, and when you are through with your shopping you can return home with the consciousness that you have purchased just the right thing. This method of selecting embroidery threads leaves nothing to accident or whim, and thus will be avoided inhar- monious and ignorant shading.
PROPER METHOD OF SHADING.
Having selected our embroidery silks, the next thing in order will be to use them correctly. In shading flowers and foliage Nature is not to be fol- lowed in her entirety, for we cannot successfully copy lights and shades and eccentric markings; we must depend rather upon a continuity of sur-
SHADING.
63
FIG.
face that is shaded from light to dark in the same color and with gradual blending. We must, of course, consider the position of the flower or foli- age; thus, in shading most flowers presenting afull frontview — see figure 55 — the rule is to begin at the tip of the highest petal, and with the lightest shade of silk used work toward the center, blending with it, gradually, two or three deeper shades of the same color, using the deepest in the very center of petal. Morning glories, nas-> turtiums, trumpetflower, orchids, in fact, most bell-shaped flowers, offer an exception to this rule, as the heart or cup of the flower is often of the lightest tint; in some varieties of morning glories the throat or cup will be pure white, while the outer edges of petals will be the most vivid pink or purple. In figure 55 the numbers
I, 2, and 3 indicate the position of the different shades of silk used, i indicates the lightest shade, 2 the next deeper and 3 the third deepest shade used, v/hile the portion of flower heavily shaded, but with- out numbers, indicate silk one and two shades deeper yet than is indicated by the numbers i, 2 and 3.
In a flower presenting a drooping side view — see figure 56 — the lightest shade of the color used will be disposed on that por- tion of the flower where the light would naturally strike first, which, in case of the flower in question, would be on the upper F^G. 56. petals, shading gradually darker toward the
base of flower from right to left. The figures i, 2, 3 indicate the relative positions of shades as given in figure 55, and the heavily shaded lower petals indicate the deepest shade of the color used in the entire flower. In work'
64 DAINTY WORK FOR PLEASURE AND PROFIT.
ing, begin at the point where the lightest shade is to be used and gradually blend in the deeper shades, working always toward that point of the petals where the shadows lie, which in this case will be on the edges of those petals drooping lowest and nearest the worker.
In a flower presenting a full side view, the lightest shade will, of course, be used on the outer edges of the petals, which will be shaded deeper, gradually, toward that point where the flower joins the stalk, and the shading will be deeper on that side where the shadow falls; this tends to give the flower that rounded effect, that appearance of standing out and
away from the material. See figure 57. In this flower the figures I, 2, 3 indi- cating the lightest shades are placed at the top edge of petals and also the deep- est of these three shades is indicated at the base of flower.
In shading foliage no cut and dried rule can be applied. The general rule of working with the lightest shade that portion of leaf or stalk which the light strikes first, must, of course, be ^^^' ^7' followed, but the combination of
shades to produce a mass of foliage must depend upon the arrangement of design, the nature of the foliage and the color of the background. The upper portion of foliage, the tips of leaves, the young leaves, and the wrong side of turned leaves should be wrought out with the lighter shades of the colors used, while that portion of the leaf joining the stalk, and leaves that are overshadowed by other parts of the foliage should be shaded gradually deeper until the deepest tone used in the design has been reached. We have a great variety of greens to draw upon for shading foliage, and thus natural shading can usually be obtained. In shading the foliage of poppies, carnations, geraniums, thistles, and some varieties of the lily family, the silver greens should be employed, while for the foliage of water, tiger and Easter lilies, nasturtiums, morning glories, and plants of the same coloring, the lily greens will produce natural shading; for chrysanthemums, some
SHADING. 65
varieties of geraniums, fuschias and a few varieties of rose leaves the sage greens should be used.
In shading autumn leaves and foliage — such as oak, maple, mountain ash, Virginia creeper, begonia, sumac, etc., we have at our command all the greens, browns, olives, bronzes, flame reds and orange yellows, and with these can be wrought out a very dream of autumnal glory.
For shading grasses and ferns, apple and grass greens are usually employed, and where the background will permit, a little bronze green and olive brown may be added to represent ripened grass and ferns. For rose foliage all or any of the greens may be used; and for any foliage mentioned above, where the background will not permit the use of natural shading, the olive and bronze greens may be substituted.
The stalks of plants are better represented with either wood or red brown, though in case of young and tender stalks the lightest shade of green used in the foliage may be employed.
Having discussed natural shading, which may also be called popular shading as well, we come to art or conventional shading, which is quite another thing. Here we may work a rose in blue, or any other color our fancy may dictate, provided the design has been slightly conventionalized. This style of shading is used in the societies of decorative art, and among people whose taste has been cultivated in this direction. The amateur embroideress will find it hard to reconcile her ideas of the eternal fitness of things with a flower wrought out in colors never dreamed of by Nature, in connection with that particular plant, at least. However, time and contact with artistic work will modify this taste for flowers au natural^ both as to form and color, and gradually will she incline to subdued tints and shades for her art needlework. There is a distinct tendency to so conventionalize our old familiar friends of the flower garden that we find it hard to recog- nize them in their new dress and colorings; but one must admit that a frieze of slightly conventionalized oak leaves and acorns across the bottom of an ivory colored portiere, wrought in an applique of golden browns, through several shades and tones of that color, would present a far richer effect than a frieze of flowers embroidered in natural form and coloring.
Again, with this conventional shading we can have our decorative work in distinct harmony with the furnishings of the room in which it is to be
66 DAINTY WORK FOR PLEASURE AND PROFIT.
displayed; and the most important point in its favor is the fact tha embroi- deries wrought in dull art tones are less tiring to the eye, richer in effect and more refining in influence than those done with the natural shading, which in garden and field may be a delight, but which when transferred to the sitting-room, and given a setting never dreamed of in the economy of nature, becomes garrish, loud and incongruous. For those who love color, and cling to a rose that is red, or a tulip that is yellow, in all places and under all conditions, there is a modified conventional shading, which, while lying close to the natural is yet brought into subjection to surrounding objects; for instance, if a curtain is to be decorated with yellow tulips, instead of selecting for a model a tulip of bright yellow, work out the design in dull yellows, with a hint of brown in them — the golden brown of our shade card used throughout the entire flower will give the desired effect. If a red, red rose is desired, instead of using the bright and glaring reds, go down to the bottom of the line of reds and select the three darkest shades. The effect of this shading is rich in the extreme, and does not offend the taste of those people who cannot become reconciled to a blue rose.
In conventional shading there may be no attempt at shading from dark to light, or the reverse; the entire design may appropriately be wrought with one color; or with equal propriety all the different shades in one color may be employed — and foliage, stalks, flowers, may all be worked with the same shade.
In the pages of this book, when indicating the coloring and shading for specific articles we shall refer to the silks by their numbers and names as given in the table of colors at the beginning of this subject.
While it is absolutely impossible to teach all the subtle gradations of artistic shading in any written article, yet the rules and suggestions here given are so clearly marked, the limitations of our colors so well defined, that the merest novice ought not to go astray; and, given an eye for the harmony of colors, she should be able to obtain all the artistic results of which the materials are capable. Without this eye for harmony she may yet obtain beautiful and correct results, but in less variety, by simply fol- lowing out our suggestions in either natural or conventional coloring.
CHAPTER VIII.
ART OR FLAT EMBROIDERY.
LL EMBROIDERIES are divided into two classes, namely, art or flat embroidery and raised novelty embroidery. The former includes all decorative needlework that is applied directly to the fabric that is to serve as a background, with either crewel, tapestry wool, silk, linen, cotton, or gold threads. Those embroideries wrought out with arrasene, chenille, smyrnasene, ribbosene and featherasene have been relegated to the ranks of raised novelty embroidery.
Art and raised embroidery have each a place in our decorative economy, and will be considered separately; yet, at the start, it is well to bear in mind that art or flat embroidery is to decorative art work what bread and butter is to our diet, and bears the same relation to raised embroidery that our dinner does to the dessert; so in decorative efforts let us have a good supply of the bread and butter of embroidery and a moderate amount of dessert in the shape of raised work, otherwise the effect will be bizarre and monotonous. That there can be too much of a good thing is an old saying, and nowhere is it truer than here. So do not let us go to the extreme of raised double and single roses, snowballs and thistles to the exclusion of higher forms of art work.
We confess that raised embroidery has a fascination hard to resist; it grows under our hands so rapidly; the effect is so striking; it fills up so quickly, with such a small comparative outlay of labor; it is so pretty! Granted, but still we must not have too much of it; like every other good thing it has its drawbacks — fashion is fickle, dust clings lovingly to its lux- urious folds and obstinately refuses to "move on," and last, but by.no
means least, it is more expensive than its legitimate sister, flat or art em- 6
68 DAINTY WORK FOR PLEASURE AND PROFIT.
broidery, and will not wear so well — in short, will not be "a thing- of beauty and a joy forever."
Under the head of art embroidery will be considered Roman embroi- dery, applique, outline, solid Kensington, and those embroideries wrought out with combination of filling stitches applied to articles of use or ornament.
The groundwork of all embroidery has been thoroughly laid in chapters V, VI and VII, which teach the method of making and applying the stitches and the proper shading of designs. The province of this chapter will be to make practical application of those lessons given in previous chapters, and also to give more complete detail of subjects treated therein whenever necessary.
Art embroidery is suitable for decorating all and every article that one may wish to embellish with needlework; the same, however, cannot be said of raised embroidery, whose field of usefulness is indeed limited; but more of this in its proper order.
ROMAN EMBROIDERY.
Roman embroidery is used upon articles of ornament or use, either alone or in combination with other styles of decorative needlework. As we wish to refer to it in future pages, we will here describe the method of working.
This form of embroidery is very ancient and never goes out of style; when nicely done, a piece of Roman embroidery is worthy to be handed down as an heirloom from one generation to another. It is most generally applied to table linen, articles of bedroom linen, curtains and cushion covers on white wash fabrics; but it is also applied to colored materials, either silks, velvets or cloths, and is known to some people as cut work; however, as Roman Embroidery is the name by which it is most popularly known, we will refer to it by that name.
To illustrate our lesson on Roman embroidery we will make use of a design suitable for tablespread border, the full working size being 28x29 inches. See figure 58, on next page.
After stamping the design on the material, according to instructions previously given, begin the work by putting in the lines that connect the different portions of design; they are called lace lines. For this part of the
ART OR FLAT EMBROIDERY.
69
work etching silk or wash twist should be used, unless linen threads are pre- ferred, in which
case Scotch linen floss. No. 8, will be required. In putting in the lace lines, begin at one edge and carry the thread across to the opposite edge of design,
and then twist the thread back upon the line just carried across; this will give firmness to the threads and prevent the work from pull- ing out of shape when the material back of the lace lines is cut away. Having brought the needle back to-its starting point, take a few running stitches along the edge of design until the starting point of the next lace line is reached, when the same operation of car- rying across and twisting back must be repeated.
FIG. 58.
Figure 59 shows section of design with the lace lines in. Now,
around all the outlines of design, where the lines begin and end, work a button- hole stitch over German cord, No. l. This not only adds to the beauty of the design, but is necessary, as otherwise the cutting away of the material back of the connecting or lace lines would
/'SID^m WKIWSLWSL^^^^ allow the work to pull apart. Figure ^fr ^w ySf ilrla \W Ir I ^° shows section of the design enlarged ■^ .A. .A. .A. .A. .A. ^^ working size and having outlines
finished with buttonhole stitch. After the lace lines are in and the edge buttonholed, the next step is to cut away the material back of the lines. This must be done with great
FIG. 59.
70 DAINTY WORK FOR PLEASURE AND PROFIT.
DETAIL FOR ROMAN EMBROIDERY -SEE PAGE 68,
ART OR FLAT EMBROIDERY. ^I
care, so as not to cut either the buttonhole edge or one of the connecting lines.
This completes the Roman embroidery proper, but, in later days, some embellishments have been added to the design. They consist of fancy fill- ing stitches on certain parts of the material that is not cut away. Figure 6o shows a honey-comb stitch applied to a portion of the design, and the spaces marked i and 2 on figure 58 can be similarly treated; also the scroll portion of design, marked 3 on figure 60, can be filled with some other stitch, thus giving variety to the design.
There is a style of Roman embroidery much used where the edges are finished with a buttonhole short and long stitch worked on the material without the strengthening aid of the German cord. For some purposes this form of the work is very pretty, but it is not in the least durable and should not be used on articles that are to receive much wear or that are to be frequently laundered.
' To summarize: In making Roman embroidery —
First. Stamp design and put in the lace lines, being careful to twist back on each thread carried across. This twisting is done by simply wind- ing the needle around the lace lines until the opposite margin is reached.
Second. Work all outlines of design with buttonhole stitch over Ger- man cord.
Third. Fill spaces of design with such filling stitches as are preferred
Fourth. Cut away material back of the lace lines, cutting close to the edge of the buttonhole stitch, taking care not to cut the buttonhole edge or one of the lace lines. The above instructions contain all there is of mys tery in the Tnodiis operandi of working Roman embroidery.
The expense of making Roman embroidery is, comparatively speaking, light. It can be done in white or colored threads, but in any case very little material suffices to work out quite an elaborate design.
Many ladies combine floral embroidery with the Roman. Thus the ends of towels, scarfs, center cloths, etc., will be finished with a Roman embroidered border, and the surface of material above the border will be embroidered solidly or with filling stitches, the combination of the two styles of work being beautiful.
72 DAINTY WORK FOR PLEASURE AND PROFIT.
PRACTICAL EMBROIDERIES.
Embroideries done on wash fabrics with washable embroidery threads will at once commend themselves to the wise and economical housekeeper, and dining and bedroom iinens offer a field for decorative effort in which the home-loving woman never tires of working.
Table cloths, lunch sets, sideboard scarfs, doyleys, carving cloths, veg- etable mats, tray cloths, pillow shams, scarfs, bedspreads, bureau and com- mode scarfs, splashers, tidies, toilet sets for dressing table, all should be made with a view to cleanliness, and this cannot be accomplished unless the articles are made from and embroidered with materials that will bear repeated laundering.
The articles mentioned above should all be decorated with art embroi- dery, and whether the design selected be conventional or natural, any of the stitches, except plush stitch, shown in Chapter V, can be employed in working. The embroidery threads to be used are a matter of taste, to a certain extent; for very fine linen or sheer fabrics, filo floss or Royal floss will be found to give good results, while for buttonhole stitch, outline stitch and some of the filling stitches, etching silk will be found better adapted. In case one wishes to use Scotch linen embroidery threads instead of silks, Scotch linen floss. No. 8 or No. 4, will be required. Gold thread is sometimes effectively employed on white wash goods, couched down as an outline, but it should never be employed on articles that are to be com- monly used, and therefore frequently laundered.
Wash twist, rope silk, rope linen and Bargarren linen are all used appropriately on articles of heavy cotton and linen fabrics„ whether for dining or bedrooms, though the threads first mentioned are more com- monly employed upon table linen and toilet sets.
USE SIMPLE DESIGNS AND STITCHES.
Where time and expense are to be considered in decorating articles of use, the different varieties of outline stitch will be found effective and beau- tiful, and we say, at the risk of repeating, it is better to have several articles simply decorated with needlework than to possess one piece of marvelous and intricate workmanship, which from its very elegance is "too nice for use," and which is kept from the light of day, securely wrapped in a sheet
fl
ART OR FLAT EMBROIDERY.
73
or towel, and brought out only on rare occasions to be displayed with pride, and then rewrapped and retired to seclusion until, on some other occasion, it is again brought forth to delight the gaze of a favored friend — but used ! perish the thought !
A bedspread, a pair of pillow shams, a toilet set, a splasher, a bureau and commode scarf, a stand cover made of good domestic linen, and em- broidered with wash silk or linen threads in simple outline stitch, and all immaculately clean, are certainly within the reach of the poor and busy; and what an air of dainty home comfort they will lend to the poorest bed- chamber. Who would stop to notice that the bedstead and bureau were of commonest pine — in a word, that the room was poorly and plainly fur- nished. All that would appeal to the senses would be the air of sweet cleanliness, the dainty womanly touches that can make the poorest spot on earth breathe of home, rest and comfort.
If a little womanly care will do so much for the sleeping apartment, what may not be expected from an equal amount of care expended upon the dining-room, ever the true keynote of the whole home life.
Quiet elegance can be imparted to the plainest appointed table by clean and shining glass and china, which may be but common delf, and proper, though cheap, table linen in cleanly order.
Every dining-room should possess a sufficient amount of table napery to last from one wash day to the next, and an extra set for emergencies. In the days of our great-grandmothers plain dinner napkins and damask linen table cloths alone were understood when dining-room linen was men- tioned. Now the number of pieces of linen are seemingly limited only by the number of dishes on the table.
In purchasing table linen, where essentials must first be considered, one will naturally select first the everyday table cloths, which, for economy's sake, should be of good firm texture. Next, one fine damask cloth for "best." After these, napkins, and of these there should be a plentiful sup- ply. Having secured the necessary linen, one can let her fancy have free range through the list of modern table linen, including lunch cloths, center pieces and table runners, tray and carving cloths, vegetable mats, fruit and finger bowl doyleys, mats for oil and vinegar cruets, mats for water service, doyleys for fish, corn, baked potatoes and hot rolls; butter and cheese-
74
DAINTY WORK FOR PLEASURE AND PROFIT.
plate mats; lunch sets, consisting of center piece, cup doyleys and plate
doyleys, with individual doyleys for the different dishes, such as sal- ;
ads, cold meats, etc. These lunch sets are generally used without a table i
cloth, in which case the dining table should have a handsome polish. |
LIST OF TABLE LINEN.
For the benefit of such of our readers as are unfamiliar with the names
and uses of the different pieces of table linen, we will here append a small descriptive list, which we trust will be of practical help.
Table Cloth.— A cloth for covering the ta- ble before the dishes are placed for the meal.
Lunch Cloth.— A cloth especially designed for luncheons, either fam- ily luncheons or those given to a number of friends. The lunch cloths are usually not as large as the ordinary table cloth, and are decorated with needlework in the corners or around the borders. Where an evening entertainment, such as a card party, is given, refreshments are generally served on small tables, at which not more than four people are seated; in such cases the lunch cloths are smaller, being not over a yard square, and the needlework is so placed as to appear upon the top of the table. Our illustration shows section of a lunch cloth made of plain satin damask and embroidered with conventional design. The ribbon portion of the pattern is one and a half inches wide, worked with simple darning stitch. See figure 6i. The edges of ribbon are then outlined. The flowers are worked in solid Kensington stitch, in
LUNCH CLOTH. FIG. 6l.
ART OR FLAT EMBROIDERY.
75
pure white, with a tiny French knot of pale yellow in the center of each. The ribbon is worked with pale lily green. Royal floss is used to work this design, which is repeated on each of the four corners.
Napkin. — A square of linen cloth used at table for wiping the mouth and fingers. The sizes of napkins vary, dinner napkins generally being larger than those used for breakfast or tea. The decoration on napkins usually consists of the initial or monogram of the owner, worked with white embroidery cotton or linen in the corner or center. These initials are generally worked with satin stitch, though open spaces can be most effectively filled with dot stitch or open eylet-holes.
Doyley.
NAPKIN. FIG. 62.
A small napkin used with fruit and wine and also for placing under cups, and wherever a small napkin would be required. Doyleys of a larger size are also made for placing under cheese, hot potatoes, hot rolls, corn on the ear, fish and butter. These doyleys should be made of good damask linen, with the edge fringed or hemstitched. A suitable design is usually embroidered in the corner, around the border or scattered over the entire surface.
Carving" Cloth. — A piece of linen to be placed under meat, fish and game platters in or- der to protect the table cloth when carving. The size depends upon the size of platters, and as many carving cloths will.be needed as different sizes of platters are used. The cloth should come out beyond the edge of the plat- ter at least three or four inches. The edge can be hemstitched or fringed,
FIG. 64.
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DAINTY WORK FOR PLEASURE AND PROFIT.
as described for tray cloth. The design may be floral or conventional. We here show, in figure 64, a very pretty pattern for the end of a fish cloth. It can be enlarged to correct working size by means of the pantagraph. The design should be five times its present size. The water lines should be worked with old blue etching silk, using two shades, a light and a dark; the fish net should be worked with a light tan; the star and jelly fish v/ith pale old rose, and the fish and dragon in the net with a combination of all the shades here given. Simple outline stitch will be all that is necessary for working the entire design.
Table Runner. — A long scarf of linen, satin damask, silk or bolting silk, having ends or sides decorated with needlework. This runner is to be placed down the exact center of the table, and should reach within ten inches of either end. the width of the runner depends upon the width of table, but from twenty to twenty-seven inches is the usual size. A table runner is used for the same purpose as is a center cloth. The relishes, flowers, fruit and such ornamental dishes as are to remain upon the table throughout the meal are to be placed upon it.
Tray Cloth. — A piece of linen usually 18x27 inches, according to
the size of table, to be placed beneath the tea service. The edges are either finished with hemstitching or fringe, made by raveling out the material to the re- quired depth. The dec- oration should consist of a simple design placed across the ends ^'^'^S' _see figure 65— or in
the four corners and outlined or worked with short and long stitch. Years ago it was considered the proper thing to spread a common hand towel on the tea tray or beneath the tea service placed upon the table, but now the dainty tray cloths, decorated appropriately for the purpose super- cedes the old style.
ART OR FLAT EMBROIDERY.
17
Center Cloth. — A square or oblong piece of linen, silk or bolt- ing silk, used in center of dinner table, on which is generally placed the fruit and flower piece and those dishes that are merely ornamental. These center cloths can be very elaborately ornamented, as they are in most fam- ilies used on occasions of ceremony only. The needlework may be solid, or outlined with silk or linen embroidery thread. The designs most used are floral, with natural shading; sometimes the entire cloth is covered with an all-over design of flowers, worked solidly; sometimes with a floral scroll around the borders in short and long stitches. Our illustration, figure 66^ shows a center cloth of satin dam- ask, 27 inches square, with a con- ventional floral design, suitable for either solid Kensington or short and long stitches. The colors used for working our model were, cream white for the outer edges of leaves and petals; into this was blended, with short and long stitches, the two lightest shades of golden brown. The effect of blending one row of stitches into another is almost equal to solid Kensington stitch and not nearly as much work. The outside row ^^^' ""'
of stitches may be finished with the buttonhole edge when it is desired to cut away the material from the edges.
Lunch Sets. — A certain number of cup and plate doyleys, napkins and center cloth, designed and worked en suite. These sets are to be used on a polished table and without a table cloth. The center cloth is made after the directions given for that article above. The cup doyleys are made from a portion of the design used in the center cloth, v/hile the plate doyleys have a design similar to but smaller than that used on the center cloth. These lunch sets, as their name indicates, are used for formal luncheons, and consist of as many cup and plate doyleys as there are per-
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DAINTY WORK FOR PLEASURE AND PROFIT.
sons to be served, a center cloth and mats or doyleys for salad dishes, etc. The favorite fabric for making these sets is satin damask, and they may be em- broidered with either silk or linen threads. Figures 6/ and 68 show center piece and cup doyley of a geranium lunch set. The plate doyley is a circle having a row of small geranium leaves arranged around it in the form of a wreath. The center piece of this partic- ular set is but i8 inches across, and the cup doyley but nine inches. It will be seen from the illustrations that the set is worked with short and long stitches with buttonhole edge, the veins being worked with outline stitch. The three lightest shades of lily green will be required for this purpose; use the lightest shade on outside edge of leaves, and blend into it the next deeper shade, using the deepest of the three shades selected for the veins. The material is cut away from the edge of all the pieces. These lunch sets are made in differ- ent styles. A very appropriate design for lunch set where oysters are served is a row of oyster shells arranged around a circle, like a wreath. We shall give in another chapter other designs for lunch sets.
Cruet Mats. — Pieces of linen or other material for placing under oil and vine- gar cruets, generally made in the form of a ^^^' "°* leaf or flower; good domestic linen will do nicely for this purpose. The edges should be buttonholed over a German cord with silk or linen threads, and inside this a row of short and long stitches will give a rich effect. The
FIG. 67.
ART OR FLAT EMBROIDERY.
I:f
veins in the centers can be worked in feather or outline stitch. Fi^ui j 69 shows, a very good illustration of our meaning. A set of mats of the sam-e design, only in varying sizes, is convenient, as the larger ones can be used for water pitcher, pickle and salad dishes, and the smaller ones for oil and vinegar cruets.
Vegetable Mats are used to place under vegetable dishes. They should be large enough to extend a little beyond the edge of the dishes used, and may be square, oblong or round in shape. Bargarren art cloth or linen canvas may be used in pj^ ^
their construction. Vegetable mats should not be very elaborately decorated, a little ornamental work on the edges being all that is necessary. If Bar- garren art cloth is used a pretty border can be darned in the meshes of the fab- ric with Bargarren linen thread and the edge furtherfinished by fringing the ma- terial to a suitable FIG. 70. depth; two inches
will be deep enough. Figure 70 shows a set of these mats.
Tea or Coffee Cozy. — A covering to put over the tea or coffee pot to keep its contents warm and prevent the aroma from escaping. Fig- ure 71 shows a very handsome cozy designed for the Chicago Society of Decorative Art. The model was made of fine v/hite linen, embroidered solidly with white Scotch linen floss No. 4, and laced with white silk art cord over a puffing of deep golden yellow China silk. By this arrangement the covering of the cozy can be unlaced and removed for cleaning when soiled. The cozy should be made to fit the tea or coffee pot, and a good way to get the dimensions is to measure the height and width of the tea or coffee pot and allow an extra two inches each way. Then out of stiff paper cut a piece the right size and round off the upper corners, making a half-
1
80 DAINTY WORK FOR PLEASURE AND PROFIT.
circle, or nearly so. Now cut an inner lining of sateen and an outer lining of China silk and an interlining of wadding. Place the wadding between
the two linings and baste into place. Duplicate this and join the two half circles to- gether on the sides and upper edges, leaving a space open at the bottom, like a pocket; this is to allow the covering to be slipped over the coffee pot. The outside covering should be cut out of white linen, two sizes smaller than the foundation. The edges should be scalloped and worked with buttonhole COFFEE COZY. FIG. 71. stitch, and any design pre-
ferred worked over the two pieces. Lace these embroidered pieces over the foundation by means of eyelet holes worked into each scallop, through which art cord is laced back and forth. We think that with the help afforded by the illustration no difficulty will be encountered in duplicating. The material and colors are matters to be decided by per- sonal preference.
Mat for Water Service.— A mat to place on tray or table, for the water pitcher and glasses to rest on. It should be made of thick material or a heavy lining should be added. Bargarren art cloth or huckabuck an- swers excellently for this purpose. The mats are usually cut in the form of a large leaf, hav- ing the edges finished with buttonhole stitch fig. 72. taken over German cord. The surface of the mat is then darned with Bar* garren art thread through each mesh of the fabric. Any color that will harmonize with the other decorations can be used. Figure 72 shows a mat
ART OR FLAT EMBROIDERY.
8i
made after this idea. Other styles of decoration can be used, as it is a matter of individual fancy.
Sideboard Scarf .—A scarf of linen just long enough to reach across the sideboard, from one end to the other; or, if preferred, it can be cut long enough to allow the ends to hang over nine or ten inches, and wide enough to just cover the shelf. This scarf may be embroidered on the ends and over the front edge. Outline, short and long or solid Kensington stitch can be used with equal effect, employ- ing any of the wash silks or linen threads preferred. Figure 73 shows a scarf having the ends ornamented with Roman embroidery. The sides and ends should be finished with hemstitch.
The illustrations given in this list of table linen are intended to illustrate the fig. 73.
definitions only, and must not be considered as covering the field. The subject will be treated more fully in other pages of this work.
EMBROIDERED BED-ROOM FURNISHINGS.
In furnishing the sleeping apartments for members of the family a supply of articles, made ornamental by more or less needlework, should be included in the list of necessary articles.
At least two sets of bureau and commode scarfs, toilet mats, cushion covers, pillow shams, bedspreads and stand covers should be prepared for each room. The guest room should also have two sets, a little more orna- mental than those used everyday. There are some people who advocate abolishing the "best" in every department of the household, but humilia- tion of spirit is sure to be the fate of the luckless wight who listens to such ill-judged advice. The unexpected always happens to the unprepared, and the womin who has no company china, glass, table linen, bed linen and toilet articles laid away for emergencies, is seldom prepared for the advent of the unexpected or hastily announced guest.
82 DAINTY WORK FOR PLEASURE AND PROFIT.
The everyday articles should be of as good quality as can be afforded for common usage, but we may well spare a few extra dollars for a "best" with which to do honor to those to whom we extend our hospitality.
The woman who declares that what is good enough for her is good enough for anybody, is rarely an ideal hostess. She is quite likely to be wanting in that spirit of self-sacrifice that delights to confer honor and comfort upon the guest beneath her roof; that spirit of pleasure in giving up the "best" to dear ones which is the loveliest attribute of the true "home mother."
In selecting reserve supplies it is not necessary to go to extreme expense, for there should not be a too marked disparity between the "best" and the everyday supplies, but those reserved for occasional use may well be of as fine quality as the income will warrant. They should be kept in perfect order, and those articles that are to be ornamented with needlework should be more elaborately embroidered than those used commonly.
There are many little articles of bed-room furnishing that depend, for their beauty, upon the good taste that presides over their ornamentation, rather than upon expensive materials. Following, will be found an illus- trated list of articles that can be made at home for sleeping rooms that will suggest to the ingenious woman work for many an otherwise idle hour.
ARTICLES FOR USE IN SLEEPING ROOMS.
Bed Spread. — A cover to spread over the bed during the day. Bed spreads are made of many different fabrics, but those made of white wash materials are always in the best taste. Bargarren art cloth, holly- wood drapery, linen bolton sheeting and bolting silk are much used for the purpose, and any one of these fabrics forms an excellent background for embroidery done with either silk or linen threads. The size and shape of bed spreads vary. Some are made long enough to come up over the pil- lows, in place of pillow shams; some are made just the size of the top of the bed; others come from the bottom of the bed to the lower edgre of the pillows, and fall over the side board of the bedstead. The shams used with this latter style of spread are made in one piece, and reach across the top of bed, over the pillows. The full page illustration of draped beds shows a sham of this kind. The decoration may be an all-over design, or a cor-
ART OR FLAT EMBROIDERY.
83
ner piece with a handsome center, or a border around the sides and across the ends.
Pillow Shams. — Pieces of cotton, linen or other wash fabrics, usually from 27 X 27 to 36 X 36 inches square. These shams are placed at the head of the bed, over the pillows. They can be made as ornamental as desired, or as simple. The hems are generally finished with hemstitching, and the center ornamented with design; sometimes a monogram or initial is added.
Pillow Scarf. — A long scarf, preferably of fine linen or bolting silk, though other materials can be used. This scarf should be from one and a hall to three yards long and 27 to 36 inches wide. The ends can be fringed out, or hemmed and a row of drawn work added above the hem. Above this should be embroidered a design of flowers, done solidly in fine silk or linen threads. The sides should also be hemmed. Tie the scarf in the middle with a large bow of ribbon and suspend on a hook placed in the top of head board; the ends of the scarf fall over the pillows, making a very graceful bed trimming.
Commode and Dresser Scarfs. — A strip of linen or other white wash fabric, just as wide as the top of dresser or commode and long enough to fall easily over the ends. The designs and style of work may be done to suit the worker's fancy. The ends may be hemmed, fringed or trimmed with lace. Figure 74 shows a white linen scarf hav- ing the ends finished in Roman embroidery with white etching silk.
Splashers. — A piece of linen or other material used to protect the wall back of the commode when the v/ash bowl and pitcher are used on it. The edges are stronger if finished with a hem, though some ladies pre- fer a short fringe, made by raveling out the material. The splasher should be embroidered in outline, as more elaborate work would here seem out
FIG. 74.
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DAINTY WORK FOR PLEASURE AND PROFIT.
FIG. 76.
of place. The material for outlining splashers may be linen floss, No. 8, etching silk, wash twist or embroidery cotton, and some ladies who wish to be sure of a color that will stand boiling, ravel out the blue stripes in bed ticking and use the thread thus obtained.
Toilet Sets — Usually consist of one mat for cushion to rest on, one
large and small cushion and a
pair of covered bottles. These
articles can be made as orna- mental as one chooses. Figures
75, "j^ and ']'] show large cushion
and pair of bottles covered with
white bolting silk, worked in
Roman embroidery designs with
white etching silk. The cushion FIG. 75. and bottles are first covered with
pale blue silk, over which the bolting silk cover is stretched.
Other models than those here shown can be used for toilet sets, and, the coverings may be made of plain lawn, bolting silk, or even fine shirt linen and decorated with embroidered designs done in outline or solid Kensing- ton stitches. _ same material Oftentimes the .^^J^^^^^^^^^^^^^^fe^ "^^^ designs are dressing case is /^^^^^^^^^^^^^^^^^^^i. carried through- small and fanci- ^l^^^^^^^^^^^^&^''''''^'^^''^'^^^>, more satisfac-
^""^ - ^ ^ ^ p ^ "^ ■MiiiiiiiiM '""'^ *° p"'''^''^^^
cushions, beside ^^pi"^' ""^i the cushions
the larger one. stuffed ready
In this case the fig. "]-]. for the covering,
and as the charge for even good sized cushions is very moderate it hardly pays to bother with this part of the work. Where it is desired to make the cushion at home a few hints may be helpful. First, bran makes the best possible filling, and the cushion should be stuffed with it until no more can be packed in. A blunt piece of iron or wood is a great help in pushing the bran into the corners.
ART OR FLAT EMBROIDERY.
85
OUTLINE AND COMBINATION EMBROIDERIES.
So much effective work can be accomplished by means of outline stitches, used alone and in combination with simple short and long stitch and buttonhole outline, that we feel the subject cannot be too fully dis- cussed.
There are so many of our sisterhood who have neither time, eyesight nor means to indulge in intricate and elaborate needlework, and who, not having the least conception of the beauty and easy accomplishment of out- line embroideries, settle the matter by ignoring the subject of decorative needlework i7i toto, that we feel we shall have failed in accomplishing the purpose of this book, as set forth in the introduction, did we not fully and clearly set before the readers all the possibilities of the simpler forms of decorative needlework.
PILLOW SHAMS.
As an illustration of what can be accomplished in this direction with little time and money we will give an example of outline, and outline com- bined with other stitches, applied to articles of household use.
A pair of pillow shams of bleached cotton factory are quite good enough for everyday service, and will cost, ready stamped, with real Scotch linen floss No. 8 for working in outline, 40 cents. If the design selected be pretty and graceful and the work neatly done, the result will delight the heart of the most fastidious house- keeper. The model we have in mind as we write consisted of a wide scroll through the center of sham, on which were the words, "Sweet Dreams." Springing from top and bottom of the scroll was a graceful arrange- ment of eight full-blown poppies, two buds, eight leaves, and stems. Thus it will be seen the design was quite elaborate. Figure 78 shows fig. 78.
one poppy done in simple outline, and the whole design was so worked.
If more elaborate work be desired the design can be wrought out with pointed buttonhole short and long stitch for the poppies, and simple
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DAINTY WORK FOR PLEASURE AND PROFIT.
short and long stitch for the leaves, with outline stitch for the stems. The aJ'-'-'icnal cost would be about 25 cents. Figure 79 shows the pointed short and long stitch, which is made by taking five stitches as follows: one short stitch, which for convenience we will call No. i; then a stitch a little
longer, which we will call No. 2, and another stitch still longer, which will be No. 3. Having worked these three stitches in the order named, side by side, and from left to right, repeat No. 2 on the right of No. 3, and No. i on the right of No. 2, thus forming a point of five stitches, the longest of which is in the middle. FIG. 79. Repeat the point around the outline
of design. In taking the short and long stitches hold the thread the same as for making a buttonhole; this forms the edge. The middle stitch being the longest determines the depth to which the leaf or petal will be worked, and the length of this stitch must be determined by the size of the design. Figure 80, as we have said, shows a leaf of poppy worked with simple short and long stitch, which has been fully described in the chapter on stitches.
The shams can also be effec- tively worked by using all three stitches in the same design; for instance, work some of the pop- pies with the pointed short and long stitch, as shown in figure 79, and others with the outline stitch, as shown in figure 78; while for
the leaves, work some in outline fig. 80.
only and others with the simple short and long stitch, as shown in figure 80, and of course work the stems in outline. One shade of silk or linen can be used for all the work. The letters on the scroll, as well as the outlines of the scroll itself, should be worked out with the outline stitch, or if a more elab- orate effect is desired satin stitch may be substituted.
ART OR FLAT EMBROIDERY.
8;
SPLASHERS.
The two designs shown in figure 8 1 are excellently adapted for splash- ers, and for either of them the simple outline stitch alone will be quite enough, for from the nature of the pattern the effect will be elaborate. However, if time and inclination permit, a few fancy filling stitches can be added to certain portions of the design on the right. For instance, the crescents can be filled with plain darning stitch, the petals of the star-shaped flower can be filled with honey-comb stitch and the triangle-shaped spaces with crowsfeet, while the outlines of these and the balance of design can be outlined. In case this plan of working is followed two shades can be effect- ively employed, as white and yellow, green and white or blue and white, or two shades of one color.
FIG. 8i.
For the design on the left — the flight of birds — outline stitch alone will be far more effective and appropriate. The birds can be outlined with three shades of fawn brown; that is, work one bird in one shade, the second bird in another shade, and the third bird in still a deeper shade of the same color. The water lines can be worked with an old blue, one shade; while for the lilies use cream white, and for the lily pads and flag stalks use two or three of the shades used in working the birds. Of course any other scheme of coloring can be followed out. We merely offer the above as a suggestion, for in fact the entire pattern could be correctly worked with only one shade if it were so desired. The amount of material necessary for these splashers will be two pieces of butcher's linen or brown crash, 27 x 36 inches. Hem the edge with hemstitching. For the design on the left will be required, of Scotch floss No. 8, one skein of each of the colors men-
88
DAINTY WORK FOR PLEASURE AND PROFIT.
tioned in this connection. For the design on the right, three skeins of the color used for the outline and one skein for the fancy stitches will be suffi- cient.
BORDER FOR LUNCH CLOTH. This border is equally suitable for lunch cloth or center cloth, and worked out as indicated in the design here shown will be at once beautiful and inexpensive. For the cloth a good quality domestic linen or satin
damask should be used. All the leaves and con- necting outlines should be worked with button- hole stitch over German cord, No. I, with either Scotch linen floss or etch- ing silk, and the surface of the leaves filled in with the combination of filling stitches, as shown in design, or with any one of them, as pre- ferred, though we think the effect is richer when the combination is used. The stitches here shown are honey-comb, single basket, daisy star, diamond couching, crowsfeet, cross stitch, star and darning, all of which will be found described in the chapter on stitches. The amount of rnaterial for making the cloth will depend upon the size of the cloth, from 27 to 54 inches square being the usual sizes. For the first-men- tioned size five skeins German cord. No. i, eighteen skeins wash twist, for working buttonhole stitch over the cord, and two dozen skeins etching silk for the filling stitches, will be required. For the last-mentioned size double the amount will be needed.
If this design is desired as a border for a large cloth cover for large table the leaves will look exceedingly well filled with point d'reprise,
FIG. 82.
ART OR FLAT EMBROIDERY.
89
rosette stitches and d'Alencon bars, worked with art cord and the outlines finished with rope silk in outline stitch.
The method of working the three stitches mentioned will be found in Chapter V.
SCARFS.
Figure 83 shows designs for three scarfs, suitable for either sideboard or dressing case. Butcher's linen, huckabuck, domestic linen or satin dam- ask can be used for the scarfs, though of course the last-named fabric is the most expensive. Two yards of 40 inch butcher's or domestic linen will make two scarfs, costing, according to the quality of linen, 80 cents or one
FIG. 83. dollar for the pair. The sides should be finished with a narrow hem hem- stitched down, and the ends with either a fringe formed by raveling out the linen to the depth of nine inches, or with torchon lace sewed on, or with a hemstitched hem, with a row or two of drawn work above. The designs on all three of these scarfs are purely conventional. The one on the scarf at the left is a very graceful scroll, which will look exceedingly well outlined, and having the surface of design filled in with open basket stitch. Another effective treatment would be to outline the stems, leaves and stamens, and fill all the. rest of design with short and long stitch. To work the design in the manner indicated last will require six skeins Real Scotch linen floss, or eighteen skeins Royal floss silk; while for the treatment first mentioned, about half the amount named would sufifice.
90
DAINTY WORK FOR PLEASURE AND PROFIT.
The center scarf is a beautiful design in Roman embroidery, and should be worked according to instructions given for that style of work at the beginning of this chapter. The design in question is very lacy and light, owing to the great number of lace or connecting lines. The material for working this scarf may be either silk or linen; if the former is used two dozen skeins wash twist, six skeins of German cord, No. I, and one dozen skeins etching silk will be required. Use the wash twist for the lace lines and for buttonholing over the German cord around all the outlines, and use
the etching silk for filling in all the star- shaped figures with fancy filling stitches — of which there may be a variety, or only one throughout entire design, as preferred. Hon- ey-comb, brick, star, crowsfeet and darning will all combine effectively. For the very center of each star figure crochet over a brass ring, large enough to cover the circle in the center, with the wash twist, sew firmly to the foundation, exactly over the stamped circle, with a thread of the silk used to cro- chet with, after which cut the cloth away from the back. In a design having so many lace lines care must be observed to twist all the threads forming those lines, according to directions given for that part of the work in FIG. 84. the lesson on Roman embroidery.
The scarf on the right, in figure 83, is a very pretty all-over pattern, and particularly appropriate for a sideboard. Work in outline stitch alone, and use not more than three colors or shades— and one only will be very beau- tiful. For this design two dozen skeins etching silk or one dozen skeins Scotch linen floss, No. 8, will be required.
Figure 84 shows a scarf finished around the edges with fancy stitches and having the surface from end to end covered with a daisy pattern. This scarf can be used as a cover for side board, runner for dinner table or as a dre.ssing case scarf; etching silk should be used for the stitches around the orhres and filo floss for the design over the surface; two shades of pink, blue Dr brown will be effective.
ART OR FLAT EMBROIDERY.
91
DOYLEYS.
There are many different methods of decorating doyleys, chief among which are the all-over and the Dresden designs. The former style is well represented by the two illustrations shown in figures 85 and S6. The two
DOYLEY. FIG. 85.
designs are given full working size and can be transferred to the material according to the directions given in Chapter IV. The edges of doyleys are usually finished with a very narrow hemstitched hem. To work figure 85 will require four skeins of filo floss, as follows: Shades Nos. 1202, 1240,
1242 and 1260; as will be seen from the table of shading, these colors
7
92
DAINTY WORK FOR PLEASURE AND PROFIT.
are pure white, pale green, dark green and pale yellow. Use the white for the clover heads, the pale yellow for outlining the circles, the dark green for the clover leaves and the pale green for working the dotted
DOYLEY. FIG. 86.
vines that connect the circles; or, a very good effect can be produced by using both shades of green in this portion of the design, outlining the vines with the deeper shade and working the dots with the lighter shade of green. The stitches necessary will be outline for vines, circles, clover heads and
ART OR FLAT EMBROIDERY. 93
leaves, and spot stitch for working the dots at the end of the vines. The four skeins of silk necessary to be purchased in order to secure the shades mentioned will not be used in working this design once, in fact but a few threads from each skein will be needed; but the same colors can be employed for working figure 86, using the white for the snowdrop and flower, the pale yellow for the center of flower, also to outline circle; use the two shades of green for working the foliage of snowdrop and the maiden hair ferns that connect the circles. As will be seen from the example given above a variety of designs can be wrought out with the same colors, and it is well, in selecting patterns, to bear this in mind, as it saves purchasing so many more skeins of silk or linen than are actually needed for the work in hand.
There are many new and beautiful designs for small fruit and finger bowl doyleys that are designed to be worked in solid Kensington stitch. As doyleys for the purposes named above are rarely over four to five inches square it follows that the designs for them must be of a light and dainty character, and where it is wished to use large sized flowers for this purpose, they must of necessity be drawn in miniature.
Figure 87 shows a set of six doyleys ornamented with flowers in minia- ture, designed for solid Kensington stitch. The designs for this set were drawn expressly for this book and are among the most artistic floral arrangements we have ever seen.
The materials for these doyleys may be bolting silk, linen lawn, or fine shirt linen. The edges may be hemstitched or fringed, but the former mode of finishing is the one most commonly employed.
No. I. Narcissus. The arrangement here shown is particularly light and graceful and will require four shades of filo floss for working in Ken- sington stitch. Pure white, No. 1200; green, two shades, Nos. 1240, 1241; yellow, 1460. Work all the narcissus petals and the throat of the flower with No. 1200. The cup in the center should be worked with the yellow, and the calyx with the lightest shade of green. The leaves should be worked with both shades of green, using the darkest shade in the shaded and lower portion of leaf.
No. 2. Morning Glories. For this design will be required of filo floss green, Nos. 1240, 1241, 1242; pink, Nos. 1288, 1289, 1290; by comparing xhese numbers wUh those indicated for the narcissus doyley, it will be seen
94
DAINTY WORK FOR PLEASURE AND PROFIT.
that but one additional shade of green is required, namely 1242. Use the last named shade for the veins, stems and shaded portion of leaves; for the tendrils and calyx use the lightest shade. The throat of the morning glory, inside and outside, should be worked with the palest shade of pink and be lightly streaked with the shade next deeper. The edge of the petal should be worked with the two deepest shades; for the buds use No. 1290.
No. 3. Peach Blossoms. For this design pale pink, white, pale yellow and a shade of brown filo floss will be required. Work the blossoms over in
FIG. 87.
solid Kensington stitch with the white filo floss, then with the pale pink. No. 1288, work over this lightly in the same stitch; fill the center with a French knot of pale yellow, No. 1260. For the leaves and the young stems use the pale green, No. 1240, and for the branch use the brown. No. 1296. For this design only one additional color will be needed, namely. No. 1296, All the others having been used in doyleys No. i and 2.
No. 4. Poppies. If it is decided to work the poppies in either pink or yellow only two additional shades will be necessary, Nos. 1261 and 1229, as those used in the preceding doyleys will give correct shading. For large
ART OR FLAT EMBROIDERY. 95
design of poppies, wrought out with elaborate detail, we should prefer the line of silver green for the foliage; but in this design there is so small a surface of green that those shades used for the narcissus and morning glories will answer very well. In working the foliage use the lightest shade of green for the turned leaf, and the darkest shade, or No. 1242, for the under side of the same leaf; for the stem and bottom portions of seed pod use the brown, shade No. 1296; for the top of seed pod use the lightest shade of green, No. 1260; if a red poppy is preferred then additional shades will be required, namely, Nos. 1340, 1341, 1342. For the disposition of the shades in the poppies see illustrations in the Chapter on Shading.
No. 5. Pansies. A design of pansies is sure to appeal to the heart of every lover of flowers, for of all flowers it seems to be the one that is universally held dear, either for the sake of its almost intelligent beauty or for the sake of old memories and associations. At all events it is certainly the flower of the rich and poor alike. In shading pansies it is more satis- factory to select a cluster and shade them as near like the original as the silk thread will permit. To give a rule for shading pansies would be like giving a cut and dried receipt for making human faces and we fancy the result would be almost the same in either case, an absolute failure; how- ever, as there are some ladies who insist on having a receipt or rule for everything they do, we will try to give a simple shading that can be easily followed. But, ah! if the reader loves the pansy, how tame and spiritless will seem the result. When embroidering this flower we always feel as though it has a sentient existence, and we are therefore in honor bound to do it justice; to give expression to its inmost thought and feeling — for who can look at the lovely and expressive face of a pansy and doubt for a moment that it docs think and feel.
For a deep purple pansy, four shades of purple filo floss, Nos. 1300, 1301, 1302 and 1304 will be required; for the eye or spot in the center, a pale yellow may be used, No. 1260 will answer, and for the stem and calyx Nos. 1241 and 1242. Begin at the outer edge of the top petal and with the lightest shade of purple work to the center, blending in gradually the deeper slxades. For the lower or under petals, the rule may be reversed, beginning at the edge with the deepest shade and blending in to the center with the lightest shades.
q6
DAINTY WORK FOR PLEASURE AND PROFIT.
FIG.
No. 6. Fuchsias. This design is a very graceful arrangement of that somewhat difficult flower — difficult both as to the setting of stitches and the
coloring. The best effects are obtained by commencing at the edge of lower petals and working upwards toward the calyx. Tha colorings of this flower are many and varied, from combinations of pink and white to red and purple. The natural flower is the best guide for shading, as we might here indicate colors which the reader has not chanced to see duplicated in the natural flower yet which has been taken by us direct from the hand of Dame Nature herself. In shading a purple and red fuchsia the under portion of the flower should be a deep red, best copied in shade No. 1209 or 1212, while for the upper portion, No. 1304 or 1374 will come as near the cor- rect coloring as our materials will allow. The sepals and stamens should be a purplish white; for the stems and foliage, shades Nos. 1 240 and 1243 may be used. Fuch- sias can also be worked in satin .-titch with good effect.
Doyleys are frequently worked with a combination of ?atin, spot and seed stitches and French knots. When these stitches are used the doyleys are
generally made of fine lawn or fig. 89.
shirt linen, worked with white embroidery cotton, linen floss or silk floss, Figure 88 shows a small square fruit doyley, with a leaf design suitable
ART OR FLAT EMBROIDER!. 97
for this kind of work. The stems are worked with heavy outline stitch, the lower half of each leaf is worked in satin stitch taken at an angle, of about 45 degrees as shown in figure 17, on page 32. The surface of that part of the leaf is first raised, by taking running stitches length- wise with two or three threads of linen floss threaded in a large-eyed needle; after this filling is in, work the satin stitch smoothly and firmly over it. The upper half of the leaf may be made very effective by working the edge to the depth of one half-inch with satin stitch, following the outline of the leaf, and filling in the balance of the surface with either French knots, spot or seed stitches; or, the upper portion of some of the leaves in the design may have spot stitch, some seed stitch, while others may be filled with French knots. Indeed, this combination is very effective where there are several leaves in the design. Figure 89 shows a style of decora- tion that is equally effective worked out with solid Kensington stitch or satin stitch, in pale lily green Royal floss; or, pure white may be used with equally artistic results. The two figures here presented may well form part of a set of six or twelve doyleys, each one of which may have a differ- ent pattern. If the designs shown in figures 88 and 89 are used they should be enlarged four times.
SCROLL BORDER FOR CENTER CLOTH.
The scroll border shown in Figure 90 should be enlarged ten times its present dimensions to give the correct working size. This pattern is susceptible of different modes of treatment, and we will indicate two, either of which will give satisfaction to the worker.
Treatment No. i. Stamp the design on a piece of white satin damask. To embroider: Use Royal floss and work the outlines of every portion of design with short and long stitches, with buttonhole edge, in cream white. Then, with a light shade of golden brown. No. 1347, blend into the first row of stitches another row of plain short and long stitch, and into this again another row, using a deeper shade of the brown, No. 1348. Work the leaves and petals with this blended short and long stitch into at least two-thirds their depth. For the leaves use a deep golden brown, shade No. 1351, and work the stems in solid Kensington stitch with shade' No. 1353. Fill the center of the flower with French knots, worked close
98 DAINTY WORK FOR PLEASURE AND PROFIT.
together, with No. 1351. After the embroidery has been finished cut away all the material from the edges, following the outlines of the pattern. Be careful not to cut the buttonhole edge. To blend one row of short and long stitches into another, work between the stitches in the first row, not crowding or working solidly as for Kensington, but fill in lightly, allowing the background to show through the stitches, or rather between them.
Treatment No. 2. Outline all the edges of design with German cord,
FIG. 90. No. I, worked over with buttonhole stitch in pale gold etching silk, No. 1260. Fill in the petals of the flowers with a matting of cream white file or Royal floss, using three or four strands in the needle, and working from one edge of petal to the opposite edge, after the manner of laying threads in Spanish laid work. When the matting or foundation has be<en laid solidly, allowing nothing of the fabric to be seen through, work over it a couching of gold thread, using the pattern shown in figure 30, on page 38.
ART OR FLAT EMBROIDERY.
99
Fill the leaves with honey-comb stitch, worked with the cream white etching silk and vein in outline stitch with the gold cord.
There are other combinations of stitches and colors that can be used with equally good effect and which will suggest themselves to the worker.
FLORAL CENTER CLOTH.
The center cloth shown in figure 91 is designed for Kensington effects, and will look best wrought out on satin damask or bolting silk, with filo or
FIG. 91. Royal floss. The colors may be nearly or quite true to natur* or they may be slightly conventionalized. Pale gold for the crescent, thr^e shades olive green and three shades pale pink for the floral design around the crescent, and a combination of blue and gold, pink and brown and green and orange harmoniously blended, for the butterflies, will produce an artistic effect. The orange should be used very sparingly, and may be omitted altogether if desired, though a very little of it judiciously used, gives character to the shading.
l.ofC.
lOO
DAINTY WORK FOR PLEASURE AND PROFIT.
BOOK COVERS.
For many centuries, ladies of rank and wealth have delighted to work with rare and dainty device covers for missals, prayer books and choice volumes. Many of these covers have been preserved as treasures of
3^ decorative art. In the Eighteenth cen- tury the art of decorating covers fell into disuse; but it has again been revived, not indeed on so elaborate a scale as formerly, as the covers embroidered in these degenerate days are intended for practical use rather than as specimens of elaborate workmanship, many of them pjQ^ g2, being used to cover paper-covered novels
and account books, and also books whose handsome and expensive bindings need protection. Figures 92 and 93 show two designs which are at once simple and pretty. Figure 92 is a Dresden design worked out with pink and white filo floss on white duck or canvas, while figure 93 shows a con- ventional design treated with brown rope linens on white canvas in outline stitch and French knots. There are many other designs that can be adapted for this purpose, floral or otherwise, but the two here given will serve as an in- dication of what may be accomplished p^Q g^^ in this direction. These book covers make cheap and always acceptable wedding or Christmas gifts. For putting covers on see Chapter on "Dainty Trifles."
ROUND CUSHIONS.
Cushions are or should be suggestive of restful comfort, and to that end should be stuffed loosely yet with sufficient filling to be soft, and the outer covering should be of a material meant for usage rather than orna- ment. Cretonne, gobelin cloth, figured silk, art linen and tapestry linen are all suitable fabrics as they can be laundered without injury; the decoration should be flat and done with thread that will stand both wear and cleansing.
■dki.
ART OR FLAT EMBROIDERY.
lOI
The shapes in which cushions have been, are, and ever will be made are many and varied. Some are large and some are small, while they may be round, square, oblong, high or flat as fancy suggests. In the different pages of this book will be found further suggestions and illustrations of this subject, but in this place we wish to show a model suited for art embroidery which in its turn, will suggest other suitable forms of ornamen- tation.
Our model, figure 94, shows a round cushion having a puff of wood brown India silk around its edges. This puff is applied to the cushion
FIG. 94.
proper and is not connected with the cover, which consists of two circular pieces of cream white gobelin cloth, about 18 inches in diameter. Only one of these circular pieces is to be ornamented, on it draw three small disks, using the top of a large-sized goblet for a pattern; then, with a pencil, draw in the connecting scrolls. Or the pattern here given can be enlarged by means of a pantagraph.
To work: Outline the disks with old blue couching silk No. 1227; couch this down with a single thread of etching silk two or three shades lighter, shade No. 1225 will answer very well. Over the surface of the disks lay rope silk, shade No. 1226, solidly from one outline to the outline opposite, and couch down with gold thread as shown in figure 25 on page
102
DAINTY WORK FOR PLEASURE AND PROFIT.
35. Work the scrolls with rope silk in heavy outline stitch