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AuVISED EDITION 1886.

PRICE 25^

A LADY'S BOOK

ON

ARC+emBROIDGRY

IN SILK,

■<*ENGRKVED PHTTERNS.K-

Compiled by C. C. PERKINS.

JUL 30 i

PUBLISHED BY

M. HEMmWAY & SONS SILK 00.

JIANUFACTURKES OF

SUPERIORJ^SILK FOR DECORATIVE NEEDLE WORK.

1886.

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Entered .-vccordin^ to Act ,>( Congress, In ttiu year :sS6,by Gkorgk C. Perkins, m the uHice of the Librarian, at Wnshinjton, D. C.

INTRODUCTORY.

iUR last publication on "Art Embroidery" having met with such universal favor by ladies interested in fancy work, wc have felt prompted to con- tinue our efforts in making a general revision of the book by adding many illustrations of new articles and designs that have more recently come before our notice.

No substitute can ever be found to take the place of the Kensington and single and double outline stitches, for they are used in most every piece of work and will ever continue popular. The appearance may be changed by using different sizes in silks and flosses.

Within the past year a very important discovery has been made by us (and is confined to us), in producing the Japan Wash Embroidery Silk and Japan Floss.

So much silk is used on wash material it is quite necessary the dye should not run into the material when washed, and until now we never could posi- tively warrant bright colors fast.

We have great faith in our Japan silks and take pleasure in recommending them to the public for trial. We do not retail our silks. They will be found on sale hy leading dealers in all the principal cities of the United States and Canada. If yon cannot procure what j'ou want we will cheerfully recommend you to parties who keep extensive assortments of our productions and every- thing re(|uisitG for fancj' work.

Persons who lack a natural taste for shading flowers will be aided in select- ing colors by referring to page 76.

A small hand hoop is most convenient for a small piece of work, and for large pieces there are several patented frames, which are sold at all Art

4 A lady's book on ARf EMBROIDERY IN SiLg.

Needlework stores. We recommend either, the Common Sense, Green's, Ludwig's, or the Ideal. If an article gets out of shape in working, attach it right side up securely to a board covered with a damp cloth, and let it remain until dry.

If by an oversight of ours, or mistake of the printer, there shouM be diffi- culty in understanding our explanations and illustrations we would thank our readers to consult us personally, or by letter; also, if any lady has sugges- tions to make, treating on Art P]nibroidery, we would be glad to know theni and give her due credit for the same. New designs are being constantly brought out and we should not be at all surprised if our book No. 4 would shortly follow this.

Our books can be procured of dealers in embroidery materials, or will be mailed to any address on receipt of 25 cents in stamps.

M. HEMINWAY & SONS SILK CO.,

78 Reade & 99 Church Sts., Now York. 116 Arch St., Philadelphia. Watertown, Conn.

EMBROIDERY AS AK AR*.

Embroidery means literally " to border " — to decorate the border. It probably originated with stitching, or the sewing together with some kind of thread and needle, and is said to be of very ancient origin.

The history of this art needs no rehearsal ; it seems to be a fcminir.c instinct in every nation, each one having its own peculiarity and taste. Turkish embroidery has its own scale of color, its own special designs.

In spite of the ridicule cast upon this style of decoration in olden times, in spite of the delicate nature of the work, embroidery has com- manded the serious attention of women everywhere. It is not a " fancy work," it may be the expression of a pure and artistic fancy. It is not alone the art of bordering in stitches, it is the fine art of stitchery, it is a mode of expression.

What does it matter if a lady uses a needle instead of a pen, crayon, or brush ? What concern if her figures are more true to a thread than a key-board ? Embroidery is a mode of expression, and it demands and wins respect.

Of recent years the art of embroidery has in this country made won- derful progress and is still on the increase. It has commanded the at- tention of artists and won the respect and admiration of the most culti- vated people. It has'created a demand for new fabrics, and given an impetus to the manufacture of textile materials that cannot fail to be of the greatest benefit to the country. Moreover, the art has greatly widened its scope and materially changed its methods. It has even at- tempted to be pictorial. How far it can go in this direction is still under experiment. There may be limitations to pictorial eml)roidery (luickly reached, and beyond which it can never go. Much of the new em- broidery is imitative — an experimental feeling after a new and fresher mode of expression. It will find its bearings in due time. Meanwhile, It is of the greatest interest to watch the progress of the new art, to learn what it can do, and to leave to just criticism to eventually define its ar- tistic limits.

With the Wonderful Advance of Embroidery

In this country has grown an equal interest in tapestry, and in considering the new embroidery the new tapestry must first be examined. This work uses the needle as a means of expression. It employs, like embroid-

A LAt»Y's BOOK

cry, a fabric for a background or basis, but, unlilie embroidery, it employs only one stitch. A piece of the new embroidery may employ many lei lids of fabrics and every variety of needle-work. A piece of tapestry has only one fabric as a backing, and the work is a whole, one complete fabric with a uniform surface. The art is practically the stitching into a woven fabric of new threads that pass under the warp and over the filling. The new thread, if of a different color, appears as a line of mirmte dots upon the cloth, and forming an integral part of the fabric. Having thus tlic use of a line of color, it is easy to so compose these lines that the}' shall produce a pictorial effect. In this manner a simple run- ning stitch becomes the basis of the most striking and beautiful artistic effects. To distinguish such work from a more mechanical work it is called hand-wrought tapestry. Such work as now employed is clearly .superior to any work done before. It lends itself to the most refined and delicate art, and more nearly resembles painting than any form of needle-work.

The Art of Embroidery

As now carried out in this country is practically the art of stitchery. It is not a thing apart from common sewing, but includes all needle-work. Whatever can be done with the needle is usefid, in greater or less degree, in embroidery. At the same time, mere ornamental stitching in colors may not be embroidery at all. It is the art, the design, the drawing, the color, that makes embroidery a success. All else is waste of time and labor. Do anything, but get your effect and produce nature in needle-work.

The Bejiiiiner in Embroidery

Will naturally take up first the decoration of toilet and table linen. For this work the patterns are best in outline in one color. Choose simple things, natural objects, sprays of foliage, or outline of flowers, ferns or mosses. A step farther may lead to insects, colored shells, etc. Copy always, as far as possible, from nature. To see how easily natural forms and colors can be reproduced, notice the little Japanese pictures so common everywhere. A mere dash or two of the brush serves t.> indicate a whole flower. Simplicity is the chief thing in embroidery till we advance to the very highest art, and cop}' nature directly in some splendid curtain, rich with portraits of a hundred different roses.

C. B.

ON ART EMKROIDERY IN SILK.

SINGLE OUTLINE STITCH.

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The above illustration explains itself better than any written formula can. The stitch is used most commonly for making stamens and veins gf leaves, but never for filling in or shading.

A lady's book

DOUBLE OUTLINE OR SKELETON STITCH.

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This is done ia the regular enibroideiy stitch, maliiug every second or thirJ stitch longer than the others, after which the veins of the leaves are traced in the single outline stitch.

FRENCH ItNOT.

This stitch is used for the centre of flowers and for making a raised foundation for such flowers as the golden rod and snowball.

It is made by taking a back stitch, passing the silk tv,]ce around the needle and drawing the latter thr-^ugh, at the sanip tiwc holding the coj) down in place.

ON ART EMBROIDERY IN SIlK.

CHAIN STITCH.

This stitch is particularly useful for tacking clown the edges of ap- plique work on any article. "We have seen it used for outlining, but it makes too coarse a line. The illustratioa explains how the stitch is made.

Tracing Stitch

Is useful in applique embroidery, and is worked by laying down a line of filoselle or embroidery silk. Secure it with a thread of another color by bringing it up from the back of the material on one side of the embroidery silk and carry it back on the other.

The stitches which secure the silk should be perfectly equal in their distances from each other. Gold cords can be fastened down in the same way, using fine sewing silk to fasten them. When the outline is finished, a small hole should be pierced and the cord cut off and passed through to the other side where it is fastened.

10

A lady's book

ILLUSTRATIONS OF I>ARNING.

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This simple stitcli can be used in many ways. A design can be out- lined and the interior darned, or the interior can be left blank and tlie background darned. The effect can be changed by using filoselle (split), embroidery silk or etching silk; each will give a different appear- ance to the work. We have seen this stitch used for making apples, cherries and oranges, and they show to good advantage.

I

ON ART EMBROIDERY IN SILK.

11

WEAVING OR QUEEN ANNE STITCH.

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The above illustrations explain themselves perhaps better than a written formula.

First outline the flower either in Heminway's embroidery, etching or split filling silk. If the work is to be on a fine close woven material, Japan etching silk is best. If on oongee or coarse linen, embroidery silk shows to better advantage.

In weaving, cover each petal with parallel stitches extending from one outline to the other, leaving very small space between each. Cross these at right angles in the regular darning stitch.

The effect may be varied by altering the angle at which the silk crosses.

Embroiderers should have an eye for color, and know something of drawing, and at the same time they should have a love of tlowers imd cultivate the habit of observing them carefully.

They will then instinctively avoid those which are beyond the range of their art and content themselves with such forms and colors as can be pleasantly rendered in silk.

12

A lady's book

KENSINGTON STITCH.

This stitch derives its name from the celebrated art school at Soulli Kensington, England.

It is not, as is generally supposed, simply a stitch of itself, but is a plan of shading and blending in of colors, according to the principles of art, by using a combination of stitches to secure artistic effect. By this stitcii or plan only are we able to achieve success and satisfaction in embroidery in natural colors.

Observe in the illustratio] he position of the needle in taking the stitches in the stem, leaf and flower. Commence the work on the stem ( f Ihc design, using the oulline stitcli ; the stem made, commence on the li af at the centre line at the lower part, giving the needle the slant up- wards on the angle of the natural veins in the leaf (see illustration); the stitches mu^t be in length proportioned tt) the size of the leaf. If the leaf be a small, tiny one, one shade of the leaf color is sufficient, in wuich

ON ART EMBROIDERY IN SILK.

13

case take the stitch from outline to centre ; but in larger leaves, where two or more shades are required to fill the leaf, proportion the stitch according to the number of shades used (see illustration).

These stitches must be made of irregular lengths where they are to join and blend with the next shade, so as to more perfectly blend in the shades (see illustration).

In making the flower, commence on the outer edge of the petals, etching up from the centre or circle of flower (as shown in illustration), proportion the length of stitch as in the leaf, shading down towards the centre with darker shades of the flower color, according to the principles of art.

Thus it will be noticed that in this combination we use the outline stitch; the satin stitch, the appliqued stitch (this stitch being caught down at each end by a short blind stitch. - By this, nearly all the material is brought on the face of the work without the waste there is in satin stitch, which leaves as much on the back side as on the face of the work), and the French knot stitch, which is used to represent the seeds in the centre, and also, when required, on the ends of the stamens, as in the illustration.

We are indebted to Mrs. L. Maria Cheeny, of Detroit, Mich., for tlie above excellent representation of Keusington stitch.

COUCHING STITCH.

The couching stitch is very much used with three or more full threads of filling silk caught down at regular intervals. It is also used with Japanese gold and copper thread, which is used very extensively.

14.

A LADY S BOOK

SN^OW-BALL FLOWER.

Make the foundation in double French knot in double crewel, so as to bring it out in bold relief. Attach to this very narrow silk ribbon, cut in pieces three quarters of an inch long and pointed at the ends. These are crossed and fastened with gold silk.

It is advisable to put in Ihe small pieces of ribbon closely together and fray the ends. Tbe eifect produced is quite natural.

We are told by The Art Amateur that the feathery fronds of the wild clematis have undergone the same transformation.

This is much more easily accomplished. Instead of using silk ri])bon, arrasene is cut and fastened down by silk stitches, and imitates perfectly the fuzzy effect of the wild flower.

What is commonly known as the wild cucumber, a remarkably luxuri- ous vine with white feathery sprays, is imitated by couching down white arrasene and chenille, thus throwing the spray into marked relief.

ON ART EMBROIDERY IN SILK. 18

GOLD THREAD CROSSED WITH SILK.

First in order in ornamental stitches come those wliich are done by laying gold thread or plate in certain patterns, and fastening down the same with ornamental stitclies of silk. This work is generally used as filling for de- signs already outlined with thick gold thread or cord, or for portions of rich gold embroidery where it ia desired to have a variety of different stitches.

Fig. 49. When gold thread is used for this class of work, it should either be the thickest made, or, if finer thread is preferred, two lengths of it should be laid together. Fig. 49 shows the thread or plate laid down in diagonal lines, so as to form a diamond pattern. The lines sliould be accurately measured, and may be ruled on tlie material with tailors' chalk, which has a fine edge, and makes a clear line. It is safest to fasten the threads at the points of inter- section with fine silk or cotton first, miless the worker is sufficiently skillful to make the ornamental stitch the sole fastening. The cross-stitch must be of silk of some color contrasting with the gold — red, blue, or green look best — and it should be of some thickness — either a twist or a thick strand of em- broidery silk. Otherwise it will look poor. The lengths of gold thread or plate should be first laid down and secured firmly at the ends, before the ornamental stitches are begun. In the centre of the diamonds may hs placed a French knot made of line gold parsing, or a small coil of fine gold thread, sewn down with self-colored Maltese silk, or any other device that suggests itself to the worker. Tlie figure shows the pattern as it would looli if "plate" were used, but single or double lines of gold thread might 1)6 treated in exactlj^ the same manner. The fastening stitch of silk may also be varied in many ways. It may be observed that gold thread, being round, and therefore giving a varied effect, is always richer than pi ito, which has in all cases a somewhat tinselly look, and is not to be recniinncndod. Japa- nese or Chinese gold thread is the most suitable for tliis class of laid work. or fine gold cord may be used with very admirable effect. Fig. 50 shows tlr

16

A LADT'S book

gold threads laid two together in parallel lines at measured distances. It would always be safest to secure these lines lightly by invisible stitches of

Figs. 50 and 51. Maltese silk first. The ornamental fastening stitches of colored and some- wliat thick silk arc then taken across the first row of double gold at measured intervals. The second row is then fastened down, and the ornamental stitches taken at the same distances, but exactly between those of the pre- vious row. In place of two straight stitches, as shown in the cut, a cross- stitch may be substituted, and another variety may be introduced by alter- nating cross and straight stitches.

The pattern indicated in Fig. 51 shows the ornamental stitches taken two together at right angles, and at measured distances, across two of the double linos of gold instead of one, and alternately, as in Fig. 50. A third stitch i,s then taken at right angles crossing the two fastening stitches. This pattern may also be varied by taking the stitches diagonally instead of straight, and forming a long cross, or by alternating cross and straight stitches. In Fig. 52 the threads of gold or plate are laid singly in parallel lines at measured distances, crossing each other so as to form squares. These lines should be secured by small invisible cross-stitches in Maltese silk at the points of in- tersection. The ornamental fastening stitches are then taken from side to side of the squares, forming a cross in the centre, and this cross is again se- cured by a smaller cross-stitch taken diagonally over the point where the two threads of silk meet. These ornamental crossings may be taken over every alternate square as shown in the cut, or the alternate squares may be left vacant. In this case small crossings of colored silk at the points of inter- section of the squares of gold may be introduced with very good effect.

Numerous varieties may be made in this pattern by disposing the orna- mental fastening stitches in different ways. For instance, a small diamond may be made by grouping four of these ornamental squares together, and leaving one or more blank squares between. It would always be necessary in such a case to have the small crosses to secure the intersections of the

ON ART EMBROIDERT IX SILK.

17

gold lines, but they might be made in different colored siilv from the large cross, with very rich effect. For instance, a rich brown might be used for

Fig. 52. the small stitches, and a lighter shade for the larger ones. The ornamental crossing stitches migjit also be taken diagonally from corner to corner of the squares, and the point of intersection covered with a knot-stitch which would give a very rich effect. Knotted stitches might again be introduced in tlic centre of the blank or uncrossed squares. Fig. 53 shows double gold tlircads or cords laid in lines crossing each other at right angles as in Fig. 52, but in this case the gold is secured either by simple tent-stitches, or by ordinary cross-stitches of thick, colored silk. Here, again, almost any variety may be 'produced by the manner in which the silk crossings are arranged in large or small diamonds, alternating disks or squares, or Tandycks, always remembering that the fastenings maybe made invisible by using Maltese silk the exact tone of the gold; and the colored twist silk may be treated entirely as a decoration, and the stitches taken in it disposed in any way that a skill- ful worker can think of as a variety.

The stitches hitherto described under this variety of laid gold work have been only those to be executed with thick twist silk, but a great variety may be produced by using strands of thick embroider3^ In Fig. 54 are shown parallel lines of single gold thread, or plate. Crossings of soft silk are taken

18

A lady's book

over three of the gold Knes together, at right angles, the needle is just passed through the material and brought up again almost at the same place, and then again taken over three more of the gold lines. This is continued across the whole space to be covered by the pattern three times; that is to say, three rows of silk stitches must be side by side across the gold. The stitches

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Fig. 53. must be taken rather closely together, but not too closely to allow the gold to show slightly through. In the next row, the silk is taken over two lines of gold, instead of three, then two lines of gold are left uncovered, the silk being taken through the material beyond the two first lines, and brought up again on the near side of the fifth line, so as to leave two lines vacant. This stitch is also continued across the whole design. A second row, the same as above, is worked side by side with it to the edge of the space, the silk threads being kept as before just far enough apart to allow the gold to be seen

Fig. 54. through very sliglitly. In the next row the stitches over two lines of gold are taken in a line with the intermediate spaces of the previous rows, and

ON ART EMBROIDERY IN SILK.

19

this is repeated once again. Again, two rows of stitclies are taken over two lines of gold alternating with the last; that is, in a hne with the first rows. This forms the whole repeat, the next three rows being taken over three lines of gold as at the beginning. "When carried over a large space this stitch is a very effective one. It is often found in the very beautiful embroideries of ancient times, chiefly as filling ujj the backgrounds of figure-pieces. This particular pattern lias been selected as being one of tlie most effective; but it is obvious that it may be regarded merely as a type, and that an infinite variety may be worked out in the same style, by simply changing the order in which the crossing stitches are taken. Two different colored silks may also be used, if carefully selected with regard to tlie tone of the gold which will show through with very good effect. Kindness of '-Art Amateur."

DRAWN WORK.

The designs here given illustrate a pretty pattern for the popular drawn work. The threads of linen or any canvas are carefully drawn and knotted together with thread. Handsome borders are made on pillow-shams, splashers, towels, baby afghans, tea-tray covers, luncheon cloths, buffet covers, etc. Coarse linen looks better than that of a finer (juality, and the border should be finished with a long knotted fringe.

Notice illustrations of drawn work on pages 33 and 34.

20

A lady's book

RICK-BACK DAISY.

Crochet the centre with yellow embroidery silk or Ileminway's pure dye knitting silk, and gather in the rick-rack braid as is shown in the cut.

Another style of daisy may be made of felt, tlie white petals, or points being connected where they come towards the yellow centre.

PLUSH PETALS FOR ROSES, PANSIES, ETC.

if Ik. 4i

The above illustrations represent the three shapes necessary to form a wild rose, using two each of the smaller styles and one of the large.

These petals can be procured at art embroidery stores or they can be cut from the piece and edges turned in. Embroider the centre of the rose with dark olive chenille and knots of yellow brown floss with stitches of a paler shade for the stamens.

ON ART EMBROIDERY IN SILK.

21

CHILD'S BIB.

Liueu toweling is the Ijcst material for children's bibs, and can be orna- mented very prettily by outlining with Japan wash silk some simple pattern.

PLUSH STITCH.

This stitch is best adapted for making such llowers as golden rod, Russian snow flower, coxcomb, sumac, marigold, and others of a similar nature.

First fill in the flower with French knots of the leading color, then Tisiug Heminway's filling silk (split), pass the needle through from the back, take a double strand of filling silk, pass the fine thread over it and through the work at about the same place the needle came up. As the split silk is tight- ened, the double silk naturally will fall into place ; cut the double silk tlie length best adapted to the height of the flower. Repeat this stitch until the flower is sufiSciently covered to appear well. If the stitches are very much crowded the flower will look heavy.

By varying the size of the French knot wliich forms the groundwork of the flower, its surface can be be raised more or less, as desired.

22

A LADY'S BOOK

CATCH-ALL FOR CLOSET.

Material used — linen duck. Pattern outlined in Japan wash silks. Edges bound with braid of contrasting color.

EMBKOIOERY HINTS.

Very good effects may be produced by using crewel for certain parts of a design and silk for others, or by working it in crewel and only touching up with silk.

In very delicate coloring it will frequently be found an advantage to thread the needle with two strands of diflerent colored silk — thus, blue and green or green and gold; and, in some cases, where a purple is too red, a single strand of a related blue will give it the required tone. This can only be done by a person with a very accurate eye for co'or. The silks used together must al- ways be related hues and of the same tone in the scale.

ti^f ART EMBROlbERY IN SILK.

23

TWO PRETTY SATCHET DESIGNS.

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SATCHET FOR GLOVES.

Cut a piece of plush the required size; embroider a design; trim the edges with silk cord, aud line with quilted satin of some pale color.

24

A lady's book

SILK WORK BAG,

The original from which this engraving is ■made is about fourteen inches long. The upper portion is a pretty shade of maroon satin, and the lower part a pale pink.

The l^not of ribbon at the side represents light blue, pink and olive colors. The silk balls at the bottom being the same combination.

The flowers are made of plush petals (pale blue), and the leaves are worked in silk chenille.

HOW TO WASH SILK ARTICLES.

Wash in luke-warm water, using a very little white castile soap in the water, and avoid rubbing the article as much as possible.

Rinse in clean cold water, and squeeze the article in a clean dry cloth to dry it, never wring it ; never use acid or alkali in washing silk. Dry at once, and when nearly dry, place between a dry, smooth cloth with weight enough to press the article smooth.

Always use Heminway's pure silk.

ox ART EMBROIDERY IN SILK.

25

L.ADIES' WORK BAG.

The accompanying can be made of momie cloth, linen, satin, or pon- gee silk, lined with different colored satin.

It is ornamented with intersecting circles worked in contrasting colors, either darned or woven in silk.

An inch and a half from the top are two rows of stitching, through which pass ribbons used as draw strings.

MATCH SAFE.

A quaint device for lioldirisj matches is made of a pair of little woodeu gjjoes winch are manufactured for this purpose. They can be purchased for

26

A LADY S BOOK

thirty cents a pair. The foundation seen here for mounting tliem is made of a piece of tliin board, six by eight inches. It is covered witli plush ovc~ a layer of cotton, with a few sprays of flowers embroidered on it. Cover the back of the board with sateen or muslin. The rest or support at the back is made of a piece of paste-board the size of the board, covered neatly on botli sides with the sateen ; overhand it on the board at the top, make a narrow strap of the sateen five inches long and attach it at the bottom of back and lioard to keep it from spreading too much. Gild the shoes and tack them on. Another pretty idea, and one with very little trouble, is to gild the shoes, bore holes through the sides, tie them together with satin ribbon and hang them on the wall or suspend them from the chandelier.

FLAT-IRON PAPER WEIGHT.

A paper weight both new and pretty is made by covering a common flat- iron wiih some thick soft material which caii be fastened on with mucilage, just enough being used to hold the material firmly, and not enougli to strike through to the right side. Decorate t^he material by an embroidered spray, and a small tliermometer, such as ma_, be procured at any fanej^ store; may be tacked on or not, as desired.

A convenient addition sometimes is a small pocket just large enough to hold a few postage stamps.

ON ART EME50IDERY IN SILK.

2t

Ladies who have au accumulation of odd colors in worsted or yarn will find this a very useful way of disposing of them to advantage:

Cast on a needle ahout fourteen stitches, knit an inch or more of a color and Join on oihcr colors, knitting about the same length. Cut out a piece of lieavy canvaj the desirable size for the rug and hem the edges. Embroider prettily, in Ileminway's silks, a piece of cloth for the centre-piece. Then sew with close stitches one edge of the knitted stiip around the border of the canvas, and fill all the space between that and the centre-piece with other strips placed about an inch apart. Cut with sci.'^sors the edge cf the knitted strip not sewed to the canvas, ;uid lun-avol as far a.s possible. To give the yarn a more wrinkled effect, dampen and press the strips before sewing on.

PORTIERES.

Sheila cloth is an admirable mateiial for tlic portieres of an ordinary room. It is heavy in texture, and being alii<e on both sides, renders the ordinary lining needless. Of the several colors in which it is sliown, the most effec- tive is Indian red and black.

26

A LAbv^g toot

A Successful Kxi>eriiiient

in embroidery has been made on gold cloth — that is, on the material made for the Associated Ariists, which is, in fact, cloth-of-gold, it being woven from gold thread. The design is a large bunch of pink and creamy peonies, with all their luxuriance of color and form. The effect is superb, the cloth taking the embroidery as readily as canvas. The special aim of the experi- ment was to meet the need of hiding the unsightly back of an upright piano, for which some screen different from a curtain is in constant demand.

KEY RACK.

This pretty and useful little ornament can be made with very little trouble. It requires a rolling pin of small size and preferably of some soft wood. Gild the handles with "Queen's Liquid Gold," cover the body with your em- broidered strip, lapping one edge over the other and catching firmlj^ with strong stitches. Screw in five little brass hooks as represented in the cut, then finish with ribbons.

6^ ARf EMBfeOrbEftT iN SILK.

29

RIBBON WORK.

To do this work requires but little instruction other than that required to do embroidery in the Kensington; when the principle of shading i^ once acquired, the stitches are easily learned: then, taste, ingenuily niid practice will master all styles of art embroidery. Ribbon work is rapidly executed, and it is much admired for home decoration. The flowers and buds only are made of ribbon, i. e., the petals only; the foliage in .irr xsene, chenille, filoselle or embroidery silk, as the design and material indicate; for a large design on heavy material, arrasene; on satin for elegance, chenille. For small fine work use filoselle, and embroidery silks for standard work.

If the design, for instance, be a wild rose, two or three shades of ribbon (rose color) are required; this cut in the form of the petals but double the size; run a thread around t/ie edge by which to gather it, draw the thread, and as it gathers turn under, forming the exact shape on the petal as on the design, stitching the gathering to keep it in form, then sew down on the design in blind stitches; then form another and sew down, using the different shades of ribbon as required by the prin-

30 A lady's book

ciple of true art. The petals all in, fill in the centre with French knots, and add the stamens same as in the " Kensington."

The opening of buds is represented by ribbon in the same manner, using for the covering the material selected for the foliage. Should the design be daisies, select the colois you desire them, and if large, treat in the same way as the rose, but if sniull, take the chenille needle and thread it with the ribbon of the width of the daisy petals and draw through the work from the outline of the petal to the centre and fasten the ends on the back with needle and thread. And for poppies, anemone and other flowers having large petals, treat same as the rose.

By permission of Tj. Maria Oheeny, Detroit, Michigan.

TIDY.

The above is the engravino^ of a dark olive sateen tidv about fliree-quarters of a yard long and lialf a .yard wido. The spra}' of wild roses is made exactly the same as that explained in riljbon work article on page 29. The tassels are of olive color silk and quite inexpensive. This tidy is also very pretty used as a scarf for a small stand.

ox AUT EMIiUOIDEin- I.V SILK.

31

PIANO SCARF.

Some 3'ears ago it was an unheard of thing for a lady to think of making a piano cover, but now that the upright pianos are so universally used, the cover comes in for its share of home talent, and it certainly gets it bj^ the amount of work that is expended on that article.

The design of the one seen licre is very handsome and not as much work as a great many. The pond lilies being made of white silk — cut soft white silk in bias strips, double and fold it to represent the petal of the lily as nearly as possible, sow it in place and continue in this manner until tlic lily is formed. They can be purchased read3'-madc if preferred, and is the work of only a few moments to fasten them in place. The leaves and stem are worked in arrasene. The centre of the cover is made of dark blue silk, the same shade as the plush blind, stitch the band on after it is embroidered, and line all with silesia. Use the spike chenille fringe for the bottom, that being the newest for that kind of work.

32 A lady's book

TABLE COVER.

This is very simple, the work being such as can be carried in a small work bag and employed at odd moments.

Make the body of olive green felt, any size desired, having all four of the edges simply pinked. Take four squares of peacock blue plush, on each of which embroider a spray of flowers. Blind stitch these pieces on the four corners of the felt, and j-our cover is complete. Of course the size of the smaller square must depend upon the size of the cover. An eight-inch square of plush to a cover measuring one yard is about the right proportion.

CRETONKE TABLE COVER.

A pretty and inexpensive cover can be made as follows: Take nine squares of cretonne, each square measuring twelve inches. Sew these together in the form of a larger square, after which cover the seams with narrow black velvet ribbon, on which is worked a catch stitch in yellow silk. Lino with Canton flannel in gray, olive, scarlet, or brownish yellow. The edges may be finished with balls of contrasting colors, with fringe, with white Guipure lace, or with a pinking of felt or flannel set between the outer part and lining.

In making this cover care should be taken in the selection of cretonne. Flower patterns on pale backgrounds — particularly tints of green, pink, blue and yellow, show to far better advantage than highly colored patterns on black or dark grounds. Two prettily contrasting cretonnes should be used, one forming the centre and corner, the other the intermediate squares. Braid may be substituted for the velvet ribbon if desired.

A SUGGESTION.

To make Linen Work smooth and even when it is finished, it should be dampened all over at the back with a sponge, and then stretched tightly and evenly, face downward, on a board, or pinned out on a nailed carpet with a clean cloth underneath it. When the work, as well as the linen, is quite dry, it may be taken up, and if the edges show the pin-marks, they can be smoothed with the fingers. When linen work is washed, it must be treated in the same way.

ON ART ElIBROIDEKY IN SILK.

33

1>RAWN WORK.

During the last season this worl<^ has become more popular than ever, and in no case is it seen to better advantage than in tlie pretty scrim toilet sets sucli as our cut represents.

Little can be said by way of explanation, but such of our readers as are not already acquainted with the work, need spend but a little time in the in- spection of the enlarged section to understand it thoroughly. Narrow satin ribbon, the same color as the silk used, adds much to the general appearance, and is used as our illustrations represent.

34

A lady's book

Enlarged Section,

AFKOJ^,

Material— scrim. Hem the sides and bottom, then feather-stitch around at the head of the hem, and full a little Oriental lace on the bottom. The cut represents work done in Japan Floss of a briglit yellow, the ribbons used beintc of the same shade.

ON ART EMBROIDERY IN SILK.

35

SQUARE FOR A SILK QUILT,

This handsome design for a silk quilt represents a square of lemon colored satin measuring ten inches, the ground being outlined in the cob-web pattern while the flowers and leaves are embroidered in Ken- sington stitch with split filling silk,

36

A LADY S BOOK

WASTE PAPER BASKETS.

We do not think a written formula necessary to accompany the illustra- tions of scrap baskets, for a person can see just liow they are made.

Of course, the material and embroidered desifi^ns can be as expensive and elaborate as desired Many styles of plain baskets for trimming are now kept at Art Needlework stores,

ON ART EJrBROIDERY IV SILK.

37

SOFA f»ILLOW.

This design, made ia the form of a large bag, is of olive green plush, lined with pale pink satin, and tied with a large bow of ribbon to match the lining. The letters are of heavy tinsel cord.

Material — gendarme blue plush. Spray of pink roses worked in Hemin- way's Japan Floss ; the only other decoration bein^ a rich bow of wide satio ribbon, of appropriate color.

38

A LADY S 1300K

Body of olive brown sateeu, with a spray of goldenrod worked iu plush stitch. (See page 21.)

At least six shades of yellow, from the palest to the deepest, should be used iu the liowers. Finish the edge with a heavy gold silk cord.

PHOTOGKAPH CASE.

A. piece of plush or velvet, 8x18 inches, will make this case nicely, the same quantity of silk or satin being required for luiing. Embroider your de- signs near the ends of the long strip, line the whole jiiece and turn each end up to