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+The Project Gutenberg EBook of The Library of Work and Play: Needlecraft, by 
+Effie Archer Archer
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Library of Work and Play: Needlecraft
+
+Author: Effie Archer Archer
+
+Release Date: January 26, 2014 [EBook #44766]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NEEDLECRAFT ***
+
+
+
+
+Produced by Chris Curnow, Chris Jordan and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+book was produced from images made available by the
+HathiTrust Digital Library.)
+
+
+
+
+
+
+
+THE LIBRARY
+OF WORK AND PLAY
+
+    CARPENTRY AND WOODWORK
+               By Edwin W. Foster
+
+    ELECTRICITY AND ITS EVERYDAY USES
+               By John F. Woodhull, Ph.D.
+
+    GARDENING AND FARMING
+               By Ellen Eddy Shaw
+
+    HOME DECORATION
+               By Charles Franklin Warner, Sc.D.
+
+    HOUSEKEEPING
+               By Elizabeth Hale Gilman
+
+    MECHANICS, INDOORS AND OUT
+               By Fred T. Hodgson
+
+    NEEDLECRAFT
+               By Effie Archer Archer
+
+    OUTDOOR SPORTS, AND GAMES
+               By Claude H. Miller, Ph.B.
+
+    OUTDOOR WORK
+               By Mary Rogers Miller
+
+    WORKING IN METALS
+               By Charles Conrad Sleffel
+
+
+
+
+[Illustration: Photograph by Mary G. Huntsman. The Last Step is Making
+the Buttonholes]
+
+
+
+
+                              NEEDLECRAFT
+
+                        BY EFFIE ARCHER ARCHER
+
+      _Needlework Editor of well-known magazines. Connected with
+                 New York Public Schools, Y. W. C. A.,
+                       and Arts and Crafts Club_
+
+[Illustration: Title Page]
+
+                       GARDEN CITY      NEW YORK
+                       DOUBLEDAY, PAGE & COMPANY
+                                 1916
+
+
+
+
+    ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION INTO FOREIGN
+                 LANGUAGES, INCLUDING THE SCANDINAVIAN
+
+             COPYRIGHT, 1911, BY DOUBLEDAY, PAGE & COMPANY
+
+
+
+
+                               CONTENTS
+
+
+  CHAPTER                                                  PAGE
+
+  I. What You Should Have in Your Work Box--Sewing
+  on Buttons--Basting--Darning                               3
+
+  II. Back-stitching--Over-casting--Creasing a
+  Hem and Hemming--Rolling a Hem--French
+  Hemming--Sewing on Tapes and
+  Hooks and Eyes                                            12
+
+  III. Gathering--Sewing on Bands--A Practical
+  Sewing Apron--Hemmed Patches--Gussets
+  and Tucks                                                 26
+
+  IV. A Doll's Skirt--Sewing Case--Bindings--Doll's
+  Bed Linen--Pin Case                                       41
+
+  V. Making Buttonholes--Cutting from a Pattern--A
+  Doll's Dress                                              58
+
+  VI. A Lesson in Stencilling                               74
+
+  VII. What Can Be Done with One Skin--Cut
+  Leather Bags, Belts, Book Covers, etc.                    83
+
+  VIII. Tooled Leather and Tools Necessary                  91
+
+  IX. The Simplest Stitches in Embroidery--Chain-stitching,
+  Outlining, Herring-boning, Cross-stitching,
+  Soutache, Coronation Braiding                             98
+
+  X. Smocking--Feather-stitching--Lazy-daisy
+  Stitch                                                   112
+
+  XI. Couching--Shadow-work--Turkish Stitch--How
+  to Stamp Designs                                         121
+
+  XII. Buttonholing and Wallachian Embroidery              130
+
+  XIII. Roman Cut-Work--Fancy Buttonholing for
+  Borders--Bermuda Fagotting                               138
+
+  XIV. Satin-Stitch and Marking                            147
+
+  XV. Eyelets and French Knots--Bullion Stitch,
+  and Other Fancy Stitches                                 160
+
+  XVI. Long and Short--Kensington Embroidery--Ribbon
+  Work for Simple Flowers                                  176
+
+  XVII. Hardanger Embroidery for Squares, Pin
+  Cushions, and Spreads                                    190
+
+  XVIII. Appliqué on Linen and Other Materials--Hedebo
+  Embroidery                                               198
+
+  XIX. Hemstitching for Handkerchiefs and Collar
+  and Cuff Sets--Simple Drawn Work
+  Stitches                                                 207
+
+  XX. Easy Lace Stitches--Fagotting, Single Mesh,
+  Double Mesh, Spiders, Fan, Maltese Cross,
+  Twisted and Buttonhole Bars, Picots for
+  Simple Edge                                              227
+
+  XXI. Simple Baskets                                      242
+
+  XXII. Raffia Baskets and Napkin Rings                    250
+
+  XXIII. Raffia Hats                                       262
+
+  XXIV. Knotting for Dolls' Hammocks, Shopping Bags
+  and Other Purposes                                       271
+
+  XXV. Simple Bead Chains on Single Strings--A
+  Homemade Loom--Woven Chains--Belts
+  and Purses                                               278
+
+  XXVI. Braiding and Weaving Four and Six Strands--Weaving
+  on Looms                                                 295
+
+  XXVII. Simple Crocheting--Stitchery for Edges and
+  Shawls                                                   306
+
+  XXVIII. Pattern Directions for Making Doll Caps
+  and Capes, Jackets, and Child's Bedroom
+  Slippers                                                 320
+
+  XXIX. Irish Crochet Lace                                 333
+
+  XXX. Knitting, Plain and Purling--Wash Rags--Fancy
+  Stitches for Shawls                                      351
+
+  XXXI. Doll's Cap, Hood, Leggings, and Jackets            360
+
+  XXXII. Embroidery Suggestions for Boarding School
+  Girl                                                     372
+
+
+
+
+                             ILLUSTRATIONS
+
+
+  The Last Step is Making the Buttonholes             _Frontispiece_
+
+                                                       FACING PAGE
+
+  The Right Way to Darn                                     10
+
+  A Single Motif Being Used on a Stencilled Scarf           76
+
+  Many a Happy Hour is Spent Embroidering                  164
+
+  It is Jolly to Make a Raffia Work Bag                    250
+
+  Sewed Raffia Baskets Make Attractive Gifts               258
+
+  The Fascinating Task of Making Bead Chains               284
+
+  A Cushion Top Can be Woven on a Simple Hand Loom         296
+
+  Her First Knitted Shawl                                  356
+
+
+
+
+                              NEEDLECRAFT
+
+
+
+
+I
+
+WHAT YOU SHOULD HAVE IN YOUR WORK BOX, SEWING ON BUTTONS, BASTING,
+DARNING
+
+
+You will find that you are happiest when doing things for those you
+love; and what greater help can you give than by learning to do things
+for yourself that now those who love you best do for you? The little
+everyday things that appear to be so simple, yet take so much of the
+mother's time should be the things first to learn. There are so many
+things that one could do if one only knew how, that it seems a shame to
+waste time. Dolly needs new clothes, mother always needs help with her
+sewing; and then, too, the numerous birthdays and Christmases follow so
+quickly one on top of another, that there is hardly a chance to save
+up for one before the next is here. Many a hard problem for the little
+mother will be solved in this book.
+
+It is lovely to have a little work-box fixed up with thread, needles,
+and scissors, all of your own, and if you ask mother, I am sure she
+will give some of her threads to help you start one. If you take a
+card and shape it like a Maltese cross you will have space for four
+colours of threads. You will need a card for the white alone because
+you will find you use so much more of it. You must have a little
+thimble and always use it or your finger will look cramped when
+working. Have you noticed how pretty ladies look when sewing? Well, you
+must do as they do, tap your needle with the thimble to send it through
+the material (Figure 1).
+
+[Illustration: Fig. 1. The way to use your thimble]
+
+Have you ever wondered and wondered why it is that buttons have the
+horrid habit of dropping off just when you wanted to dress quickly or
+take Sally Ann walking? Well, I will whisper the reasons for this:
+the first is, that the thread might have been worn out from active
+service; or the thread used might have been weak; or lastly, which is
+probably the true cause, the button might have been sewn too close to
+the material and came off the first time it was used. Mother may not be
+around to help you when the accident happens, and would you not feel
+proud to sew it on for yourself?
+
+To sew a button on securely you should make a pin-hole where the
+button is to be placed. A four-hole white button is the easiest to work
+on. Thread a No. 7 needle with a length of No. 40 white sewing cotton,
+bring the ends together and make a knot. The right length thread is
+measured from the tip of the thimble finger to the elbow. When a thread
+is used double it should be twice the length of this. A neat knot is
+made by holding the threaded needle in the right hand and by taking the
+end or ends, as the case may be, between the thumb and first finger of
+the left hand. Keep the thread tightly stretched, wind it around the
+top of the first finger, then move the finger down the thumb, carrying
+the thread with it about half an inch. Now with the nail of the second
+finger bring the knot thus formed to the end of the thread.
+
+A large ungainly knot is a disfigurement to a piece of sewing. You are
+now ready to adjust the button; place the knot on the upper or right
+side so that it will be concealed; after adjusting the button put a
+pin across the top and sew securely through the holes, crossing the
+threads. Sew not less than three times through each hole. Remove the
+pin. Insert the needle from underneath, then bring it out between the
+button and cloth close to the centre of the button. Wind the thread
+tightly around the neck of the button three or four times. (The neck
+is the threads between the button and material.) Wrapping the threads
+around protects the stitches and allows room for the buttonhole to lie
+under the button. Take the thread through to the wrong side and take up
+three stitches, make a short stitch on the material and cut the thread
+close (Figures 2 and 3).
+
+[Illustration: Figs. 2 and 3]
+
+When a three-hole button is used the stitches form a triangle on the
+top of the button. A shoe-button should be sewed with a No. 2 needle
+and coarse black thread. The stitches are taken through the shank of
+the button. Fasten off the thread after sewing on two buttons, for if
+they are all on one continuous string or thread and that breaks, all
+the buttons are apt to come off. If each button is securely fastened
+the thread may be passed, however, from one to the other.
+
+[Illustration: Fig. 4. Even basting]
+
+[Illustration: Fig. 5. Uneven basting]
+
+Now I know you want to do some real sewing; it must not be big or
+you will get very tired and think sewing is not as pleasant as you
+fancied. The simplest stitch in sewing is basting. This is used to
+hold materials together until you are ready to make firmer stitches.
+In the following illustration the even and uneven basting stitches are
+shown (Figures 4 and 5). They must be straight. Even basting stitches
+should be taken about a quarter of an inch apart and in the running
+stitch which is fine basting about an eighth or a sixteenth of an inch.
+Pretty huck pillows can be made of even and uneven basting or running
+stitches. A leaf, star or a figure cut out and traced on a piece of
+muslin will make a nice design for running stitches (Figure 6).
+
+[Illustration: Fig. 6. A simple design in running stitch]
+
+If you will examine different kinds of materials before they are cut,
+you will note that the threads run in two directions. The threads
+running lengthwise must be the stronger, as they have more strain on
+them. They are called the warp. The warp is set up first before the
+weaving begins. The threads running crosswise are called the woof. It
+is the weaker thread and forms the edge or selvage.
+
+If you will take a card three inches square and prick a line of dots
+half an inch from the top and bottom edges and prick a line a quarter
+of an inch apart you will have a little loom. The dots must be directly
+under each other. A piece of coloured worsted and a large-eyed crewel
+needle No. 2 will be required. Make a knot at the end of your thread
+and start from the upper right hand hole on the wrong side. Bring your
+thread up through the hole and down through the lower right-hand dot.
+The needle must now come up through the next hole at the bottom and the
+thread be again stretched across the card.
+
+When every hole has been filled and you have several rows of straight
+lines, fasten off the worsted in the back. Another shade of wool should
+be selected so that you can distinguish the warp from the woof. The
+thread you are now going to use is the woof; commence at the top and go
+straight across to the left line, up over and down under each thread
+and so on till the row is completed. In weaving the next row, pick up
+the threads of the warp that you went over last time. Alternate rows
+agree (Figure 7). When finished, the little piece can be used as a
+doll's mat.
+
+To darn your stockings is almost as simple a matter as this weaving.
+Instead, however, of starting the thread of the warp on an even line,
+as on the card, start some higher than the others. The reason for this
+is that an even line will be apt to make an uncomfortable seam in
+your stocking. The woof threads are always connected to the stocking.
+A darning ball should be used under the hole. In darning cashmere or
+woollen stockings it is best to allow the warp to be very slack as
+wool shrinks considerably in washing. Wool should be used for darning
+woollen stockings.
+
+[Illustration: Fig. 7. Weaving with worsted]
+
+[Illustration: Fig. 8A. The first step in darning]
+
+[Illustration: Photograph by Mary G. Huntsman. The Right Way to Darn]
+
+Have you ever belonged to a sewing club? If not, try to start one
+and see how much fun there is in it. The club should meet either on
+Friday or Saturday afternoon, after the school work is finished. Every
+girl should bring her stockings to darn and another piece of work, so
+that when the darning is over she will have something to work on. If
+there are more than four in the club it is a very hard thing to keep
+up. Three is the ideal number for it. It is better to have a small
+number--three, for instance. A large club is apt to be distracting, but
+three or four little girls, with the right helpful spirit, will find
+such meetings very instructive and entertaining.
+
+[Illustration: Fig. 8B. The second and last step in darning]
+
+
+
+
+II
+
+BACK-STITCHING, OVER-CASTING, CREASING A HEM AND HEMMING, ROLLING A
+HEM, FRENCH HEMMING, SEWING ON TAPES AND HOOKS AND EYES
+
+
+[Illustration: Fig. 9. The right way to hold your scissors]
+
+"Stitching is witching," the song book says, and it is true, for after
+we know that stitch there are a hundred and one things we can do. Some
+people call it back-stitching and we must try to remember that, so that
+we shall understand of what they are talking. Get mother to give you a
+piece of material to practise on that has a stripe in it. Now take your
+scissors (Figure 9) and cut out two three-inch squares. Baste the two
+squares together a quarter of an inch from the edge. Hold the square
+over the first finger of the left hand ready for the back-stitching.
+Let the basting run up and down over your finger. Start from the top
+and make a small stitch backward, on the right side of the material,
+instead of forward as you did in running (Figure 10). Pass the needle
+under until you have a stitch twice as long on the wrong side as that
+on the right. Take the next stitch backward close to the end of the
+last one on the right.
+
+[Illustration: Fig. 10. Back-stitching]
+
+Remember that the stitch you take backward is only half as long as
+the one you take forward. Stitching always looks very different on
+the wrong side, but on the right side it ought to look like machine
+stitching. This stitch might be called the lion stitch, because it is
+so strong. It is used to join two edges together, as for the seams in
+bean-bags or cushion covers.
+
+In places where there will not be much strain we use a quicker stitch,
+which is called the half-back stitch (Figure 11). This is very much
+like the stitching of which I have been telling you. The wrong side
+will look about the same, but on the right side instead of the
+stitches touching there will be a space, then a stitch of equal length.
+
+[Illustration: Fig. 11. The half-back stitch]
+
+The next stitch to learn is the combination-stitch, which is made up of
+both the running and the back-stitch (Figure 12). It is a stitch that
+is greatly used for sewing long seams, as on underwear. By this stitch
+we can cover the distance in about half the time that back-stitching
+would take.
+
+[Illustration: Fig. 12. The combination running and back-stitch]
+
+Whenever you can avoid making a knot, do so, because it spoils the
+look of your work on the wrong side. You can start your work, if it
+is a seam, for example, by making two or three stitches on top of
+each other. Follow the thread of the warp or woof of the material as
+much as possible. After fastening your thread, make two fine running
+stitches forward and one back. Keep the stitches the same length.
+
+[Illustration: Fig. 13. Over-casting]
+
+Over-casting is used on unfinished or cut edges to keep them from
+fraying (Figure 13). The stitches all slant from right to left. Take
+the stitches one eighth of an inch deep and one quarter of an inch
+apart.
+
+[Illustration: Fig. 14. Over-handing]
+
+Over-handing is fine over-casting and used to connect two finished
+edges together (Figure 14), as when sewing lace on ruffles, or joining
+selvages. What is the selvage? It is the edge of the warp. The next
+time mother goes shopping ask her to take you with her. When she tells
+the salesman she wants so many yards of goods, whether it is for
+kitchen towels or a dress for herself or for you, notice how the goods
+is measured. The salesman will measure along one of the finished sides
+of the goods. These finished edges are called selvages.
+
+[Illustration: Fig. 15. The seam opened]
+
+Make the stitches in over-handing as small as possible, keeping the
+stitches even. Sew through both pieces of the material. Hold your work
+between your thumb and first finger. Here again it is not necessary to
+make a knot. Let a half-inch of the end of your thread lie on top of
+the material toward the left side; the over-handing stitches will cover
+this end. When the over-handing is finished run your thumb-nail along
+the stitches on the right side. If your stitches are too deep there
+will be a seam on the wrong side, whereas if the instructions have
+been followed carefully the material will lie perfectly flat (Figure
+15).
+
+Now we are ready to help mother hem the new kitchen towels. First see
+that the edge you are to hem is straight. If it is not, pull out a
+thread so as to mark a line to cut by. You must take a thread that runs
+the entire way across the end of the towel. Cut carefully along the
+space out of which the thread came. Get a piece of card that has two
+smooth or straight edges and make a notch one-half inch from the corner
+(Figure 16). A half-inch hem is the one commonly used on a towel.
+
+[Illustration: Fig. 16. A notched card]
+
+If mother likes to have her towels with a wider or narrower hem, notch
+the card the size she wishes. Turn the material back one-quarter inch
+and crease it down with your thumb-nail. A second fold is made the
+width of the hem. Take your measuring card and, placing the end of it
+on the double edge, see if your hem is exactly the width desired. Baste
+along the first folded edge to hold the material together for hemming
+(Figures 17 and 18). Hold the edge to be hemmed toward you. Do not knot
+your thread. Insert the needle at the extreme right of the hem. Pull
+the needle through, leaving a little end, as in over-handing, to be
+fastened down with the hemming itself.
+
+[Illustration: Fig. 17. The first step]
+
+[Illustration: Fig. 18. The second step]
+
+Your needle should slant as shown in the diagram (Figure 19). Take a
+stitch right through all the thicknesses of the material. Be sure that
+it goes through to the other side. The fewer the threads taken on the
+needle at the same time, the neater the result will be. The stitches
+should slant from right to left. The stitches must be close together if
+we want fine hemming. Let each stitch be the same size as the other and
+slant in the same direction. The right side of the hem looks like a row
+of short dashes.
+
+[Illustration: Fig. 19. The way the needle should slant]
+
+If your needle gets "sticky" when you are sewing, you should pass it
+through your emery-bag till it is shiny and sharp again. The needle is
+apt to get that way if your hands perspire. Ladies who like to keep
+their sewing looking fresh and white, as if hands had never touched it,
+find it a good plan to wash their hands in a little vinegar, or lemon
+and water.
+
+It is very necessary to sit so that the light falls over your left
+shoulder. A little straight-back chair is another good help in sewing.
+Do you know that many of our English great-grandmothers had very
+straight backs? When they were little girls they had to sit on a very
+straight, tall chair, an hour or two every day. A foot-stool was placed
+under their feet, and their shoulders strapped against the chair. Of
+course they did not sit there idle, but a piece of fine sewing was
+given them to work. You see they did not have the opportunity to run
+around and play as you have. Their chief recreation was their dancing
+lesson.
+
+[Illustration: Fig. 20. A corner basted ready for hemming]
+
+The towel finished, the next thing to learn is how to turn a corner and
+hem it. Shall we make a cover for Sally Ann's bed or a dust-cloth for
+mother? In either case cut a piece of material eighteen inches square
+and turn a hem and baste it as you did for the towel. The next side is
+folded the same as the first. The corner should form a perfect square
+(Figure 20). Sometimes the material is very thick and the hem wide; in
+that case it is wise to cut a little oblong piece out of the corner as
+shown in the illustration (Figure 21).
+
+[Illustration: Fig. 21. The material cut from a corner]
+
+Napkins and table-covers should be sewed with a French hem. Make a turn
+about a sixteenth of an inch deep. The second turn should be about
+three sixteenths of an inch wide. Fold the hem back so that it touches
+the right side of the material. The hem is connected to the material
+with tiny over-hand stitches. Open the hem, when finished crease with
+the thumb-nail till it lies perfectly flat.
+
+[Illustration: Fig. 22. Whipping]
+
+A pretty new way of finishing a handkerchief is to roll the material
+for the edge instead of folding it. Over-cast or, as we sometimes say,
+whip it with delicate-coloured cotton, (Figure 22). The nicest material
+for handkerchiefs is fine linen, but lawn is cheaper for practice
+work. Hold the wrong side of the material to you. Then roll about one
+eighth of an inch between the thumb and first finger of your left hand.
+Do not roll more than an inch of the hem at a time. Take a needle
+and thread it with a piece of coloured cotton. In this case it is
+permissible to make a knot. Insert the needle at the beginning of the
+roll. Over-cast or whip the rolled edge. The stitches should encircle
+the roll and not go through it. When the rolled inch is over-casted,
+roll another inch and repeat in this manner till the whole handkerchief
+is worked. If you desire, when you have finished one side, you can whip
+in an opposite direction toward the point at which you started, thus
+forming a cross with each return stitch (Figure 23).
+
+[Illustration: Fig. 23. A pretty finish for handkerchiefs]
+
+Lace is sewed to raw edges by rolling and whipping the material and
+connecting the lace at the same time.
+
+[Illustration: Fig. 24. A rolled hem]
+
+[Illustration: Fig. 25. One end creased one quarter of an inch]
+
+[Illustration: Fig. 26. The tape open flat on material]
+
+Tapes should be on all towels and on all your skirts and dresses that
+are to hang on nails or pegs. Take a piece of fine tape about five
+inches long. Crease one end down one quarter of an inch (Figure 25). If
+the tape-loop is to be sewed on a towel find the direct centre of the
+top edge of the towel. Lay the tape with the creased end open flat on
+the towel (Figure 26). Sew along the creased line with back-stitching.
+Fold the other end of the tape over, baste it down so that it entirely
+covers the stitches already made and with small hemming stitches
+connect the tape to the material (Figure 27). There should be two
+tape-loops on your dress or separate skirt. There is usually too much
+weight for only one loop. Place a loop in each armhole of the waist or
+dress. For the skirt, measure the waist-band and place the loops so
+that the band is divided in thirds.
+
+[Illustration: Fig. 27. The tape finished]
+
+Do you know that very few people sew on hooks and eyes properly? Yet
+there is no difficulty in sewing them correctly and they look much
+nicer. Take the eye, connect it to the material with two stitches that
+make a cross. With the same thread pass the needle to the left-hand
+loop. Insert the needle in the material so that the eye of the needle
+is within the loop and the point of the needle comes just outside. See
+that the thread passes from left to right _under_ the point of the
+needle. Draw the needle through and repeat in this manner until the two
+loops of the eye are firmly connected to the material. Sometimes it is
+necessary to cover the upper part of the eye. In that case cover the
+metal with fine over-and-over stitches as shown in (Figure 28B).
+
+[Illustration: Fig. 28A. The eye firmly sewed]
+
+[Illustration: Fig. 28B. A covered eye]
+
+The loop of the hook is sewed on in a very similar manner at the
+base, while the top of the hook is caught with eight or nine
+over-and-over-stitches (Figure 29). These stitches are taken under the
+hook portion and connect the under side only. Measure accurately just
+where every eye goes and place the hook so that when it meets the eye
+it will be straight. A sixteenth of an inch out of the way spoils the
+appearance and is apt to pull the material crooked. Another point to
+remember is that it is not a good plan to place the eyes on the extreme
+edge. A margin of some size is most necessary to extend beyond the
+eyes. Sometimes it is necessary to sew a piece of material so that it
+extends one inch beyond the eyes if the eyes are sewed on the extreme
+edge of the finished garment. This piece is called the fly piece.
+
+[Illustration: Fig. 29. The hook]
+
+
+
+
+III
+
+GATHERING, SEWING ON BANDS, A PRACTICAL SEWING APRON, HEMMED PATCHES,
+GUSSETS AND TUCKS
+
+
+Though I know you don't like making samples, I am going to ask you to
+make a little apron for a doll, as a model, before we make a real big
+one.
+
+Get a piece of muslin five by nine inches and a No. 9 sewing needle.
+Thread it with a piece of No. 70 cotton. Baste an eighth of an inch hem
+on both of the five-inch sides, and a three-quarter of an inch hem on
+one of the nine-inch sides.
+
+The basting of the three sides being finished we will now start to
+gather the fourth side. Thread a No. 8 needle with No. 50 thread. Use a
+thread a trifle longer than nine inches. Make a good-sized knot in the
+thread so that the end cannot slip through the material. Start from the
+right-hand side of the piece and insert the needle on the under side.
+Let the knot come on top of the narrow hem about one quarter of an inch
+from the raw edge.
+
+The needle is now in position on the right side of the material. Take
+up several stitches on the needle before pulling it through (Figure
+30). The stitches are nothing more than running stitches. When the
+running has been worked across the nine inches of the material, take
+the needle out and make a knot in the thread.
+
+[Illustration: Fig. 30. Gathering the apron]
+
+Put a pin, vertically, close to the last stitch. Take up only a few
+threads of the material on the pin. Draw up the running thread so that
+you have about three and a half inches of gathering. Wind the thread
+that extends beyond the gathering over the top and under the point of
+the pin a number of times, crossing the thread at the middle of the pin
+so that it forms an eight (Figure 31).
+
+To allow the gathering to fall evenly, it will be necessary to stroke
+it. Use a No. 2 needle for this purpose. With the right side of the
+work toward you begin at the left-hand edge. Hold the work between
+the left thumb and forefinger, keeping the thumb below the gathering
+thread. Put the point of the No. 2 needle under the gathering thread,
+holding it obliquely. Press the needle toward the thumb, bringing the
+little plait under the thumb and drawing the needle downward. Pinch
+the little plait down lightly with your thumb. Continue in this way,
+putting the needle under each stitch (Figure 32).
+
+[Illustration: Fig. 31. Gathers ready for stroking]
+
+Let us now put a band and strings on our apron. Cut two strips of
+material ten inches long by two inches wide. These are for the strings.
+Baste an eighth of an inch hem on the two long sides of each strip.
+Make a three-quarter of an inch hem on each string.
+
+Over-hand the ends of the broad hem. All the hems that are basted on
+the strings and the material itself should be hemmed with fine stitches.
+
+[Illustration: Fig. 32. Gathering Strokes]
+
+Cut another strip two and a half inches wide by five inches long. This
+is the band. Turn down one eighth of an inch of the material all around
+the band. Crease the band in half, lengthwise, so that the edges, just
+folded, are inside.
+
+Find the centre of the gathered material and the centre of the opened
+band. Holding the wrong side of the apron toward you, pin the middle of
+the apron to the middle of the band. Pin the gathered side of the apron
+to the band, three quarters of an inch from each end of it.
+
+Wind the gathering thread around the left-hand pin, drawing the thread
+up to fit the band. With the point of the needle adjust the gathers
+so that the fullness is evenly distributed along the band. Holding
+the gathers toward you, baste with small stitches a little above the
+gathering thread.
+
+Turn up the band and on the right side of the apron hem the band in it,
+catching up a gather with each stitch. Some people prefer to stitch
+along the basting line instead of hemming (Figure 33).
+
+[Illustration: Fig. 33. Taking up a gather with every stitch]
+
+Baste the other side of the band down, and hem as on the right side.
+Insert the strings in the band. Hem in the same way as on the band,
+first the right side and then the left side, and now your little apron
+is completed (Figure 34).
+
+Would you not like to have a sewing apron that you can use as a bag
+when you are not wearing it? It is such an easy thing to make that
+after you have one for yourself you will be making them for your
+friends for Christmas.
+
+[Illustration: Fig. 34. The apron completed]
+
+Get mother to measure you from the waist to the knees. The material for
+the apron should be one and a half this measurement. Turn one third of
+the material back. Baste the double edges together and sew with fine
+combination stitches.
+
+Turn this piece inside out. Crease back one eighth of an inch edge of
+this pocket, as it were. Baste a piece of beading over this raw edge
+right around the back of the apron. Be careful not to sew up the pocket.
+
+The beading on the back must be the same distance from the bottom as
+the beading in front; that is, we must keep a straight line. Sew on the
+extreme edges of the beading with fine running stitches, to connect it
+to the material. Now as the ribbon we are to run in the beading must
+serve as a draw string, as well as for decoration, it will be necessary
+to put two pieces in. So get a narrow ribbon about one half the width
+of the openings in the beading. Each piece of ribbon must be long
+enough to go once around the apron and enough of the ends left to tie
+double bows--one for each side. Start one piece of the ribbon at the
+right-hand side of the apron and the other at the left.
+
+The top of the apron or single piece is finished with a piece of
+beading which is sewed on, as on the pocket. A ribbon long enough to
+go around your waist and to tie a bow in the back is run through the
+beading (Figure 35).
+
+[Illustration: Fig. 35. The apron]
+
+When the apron is not being worn your work can be placed in the large
+pocket and the single section folded within the pocket. The ribbons
+are then drawn up tight and "bravo!" you have a work bag fit for a
+queen (Figure 36).
+
+[Illustration: Fig. 36. The work bag]
+
+There are so many kinds of rents or holes that may happen to your
+clothes that it is worth the while to know how to mend the various
+kinds. There is an old adage that says, "Waste makes want," and we
+would spend a small fortune in clothes if every time a wee hole made
+its appearance we discarded the garment.
+
+If it is a circular hole in a dress or underbody, as often happens,
+under the arms, we will use the square patch. Cut a piece of the same
+kind of material, three inches square, or larger if necessary. Turn a
+fold of one eighth of an inch on the four edges of this square. Crease
+it lengthwise and crosswise.
+
+[Illustration: Fig. 37. The patch hemmed to the material]
+
+Crease the material on which the patch is to be laid lengthwise and
+crosswise through the tear. Pin the small piece or patch on the wrong
+side of the large piece, or garment, so that the creases run in the
+same direction. The warp must run the same way in both pieces. One
+sixteenth of an inch from the edges run a basting thread. Hem the four
+sides on the patch to the material (Figure 37).
+
+[Illustration: Fig. 38. The pin in each corner of the patch]
+
+On the garment side make a crease half an inch wide, from the hemming,
+on the four sides. Four little squares will be formed in the corners.
+Crease along the diagonal of each square. Place a pin one eighth of an
+inch from each corner, within the patch (Figure 38). Cut the garment
+from the centre of the tear to the pins. Repeat this on each side,
+cutting along the crease which you made, one half inch from the hemming.
+
+Turn in one eighth of an inch and baste. Hem all around (Figure 39).
+
+[Illustration: Fig. 39. The garment side of the patch]
+
+In patching material such as checked or striped ginghams, percales, or
+other materials, the stripes or the checks must match so that the patch
+is not too apparent (Figure 40).
+
+[Illustration: Fig. 40. Matching the stripes]
+
+Have you ever noticed how the slit or placket of a petticoat or side
+opening of drawers is finished? A piece of material is put in of an
+odd shape to strengthen the openings. This is called a gusset. Suppose
+that you were making a petticoat. Join the skirt up the back from the
+bottom, but leave eight inches open at the top. This top opening is the
+placket. But let us take a small piece of material and practise making
+the back of a skirt. We will put a hem and a few tucks at the bottom of
+the material first.
+
+[Illustration: Fig. 41. Basting the tuck]
+
+Make a measuring card of a straight strip with an eighth, three
+eighths, and three quarters of an inch notches.
+
+Crease and fold a wide hem (three quarters of an inch), using the
+measuring card as a guide.
+
+Over-hand each end of the hem. Now baste along the hem. The
+over-handing must be done before the basting. Now hem this wide hem.
+
+Again, using the cardboard measure, on the right side of the model
+fold a crease three quarters of an inch above the hem. Begin at the
+right-hand side to crease and baste (Figure 41).
+
+With a fine, even, running stitch, an eighth of an inch below the
+crease, make the tuck (Figure 42). Measure every few stitches to keep
+the seam straight.
+
+[Illustration: Fig. 42. Making the tuck]
+
+If a second tuck is desired, measure from the tuck instead of the hem.
+
+Now we are ready for the slit which is in the centre top. On the wrong
+side start at the top with an eighth of an inch hem, but decrease it to
+almost nothing right to the bottom (Figure 43). Fold the other side in
+the same manner. In hemming the two sides, start at the top.
+
+[Illustration: Fig. 43. The placket hemmed]
+
+Now let us practise making gussets on a piece of paper. Cut a piece
+of paper three inches square. Fold it from corner to corner and cut
+(Figure 44). Turn the straight or short edges of the paper one eighth
+of an inch and fold along the two shorter edges (Figure 45).
+
+[Illustration: Fig. 44. The triangle]
+
+Hold the paper with the straight edge down, measure it from the two
+points one quarter of an inch. Now cut a piece of material the size of
+the paper and fold like model.
+
+[Illustration: Fig. 45. The short edges folded]
+
+Cut off the two points one quarter inch from each corner on the thread
+of the goods (Figure 46). Turn these two straight ends and the bias
+edge of paper one eighth of an inch (Figure 47). Turn point of paper
+down one eighth of an inch from bias hem and crease (Figure 48).
+
+[Illustration: Fig. 46. With points cut off]
+
+Now cut the muslin gusset and fold just like the paper one.
+
+[Illustration: Fig. 47. All sides are now creased.]
+
+[Illustration: Fig. 48. The point folded over]
+
+Hold the model or skirt with right side toward you, and turn up point
+of gusset. Holding the wrong side of the skirt toward you, twist left
+side of gusset to left side of placket and over-hand to creased line,
+half way up the gusset (Figure 49).
+
+[Illustration: Fig. 49. The gusset over-handed half way]
+
+Over-hand right side. Turn bias edge of gusset over to right side, pin,
+having straight edges parallel to warp and woof threads and then hem
+(Figure 50).
+
+Gather the top of the skirt and put on a band on each side of opening
+about the same width as the one used on the apron (Figure 51).
+
+[Illustration: Fig. 50. Gusset hemmed]
+
+[Illustration: Fig. 51. The gusset model completed]
+
+
+
+
+IV
+
+A DOLL'S SKIRT AND SEWING CASE, BINDINGS, DOLL'S BED LINEN AND A PIN
+CASE
+
+
+Let us suppose that Sally Ann measures twelve inches from the crown of
+her head to the soles of her feet and that you would like to make her a
+gored skirt like mother's. Would you not feel happier if you made the
+pattern and then cut the skirt yourself?
+
+Take a piece of paper twelve by nine inches wide, mark every inch on
+both the long sides of the paper. Lay a ruler so that it touches the
+centre of the space between the first and second dots on the upper
+edge, and between the second and third dots on the lower edge. This
+will form the half of the front gore of the skirt. Mark it, "half of
+front."
+
+Now draw a line from the second dot on the upper edge to the centre of
+the space between the fourth and fifth dots of the lower edge. Connect
+the sixth dot on the upper and lower edges, mark this section "side
+gore." Connect the eleventh dot on lower and upper edges and mark this
+section "back." The remaining inch mark "belt." (Figure 52).
+
+[Illustration: Fig. 52. The pattern drawn]
+
+Cut the pattern apart along the lines drawn.
+
+Take a piece of muslin twenty-four by nine inches. Tear off two inches
+of the muslin on the length for the band and then ten inches for the
+back of the skirt.
+
+Fold the remaining piece of muslin with the two short edges together so
+that the doubled piece measures six inches by nine. Place the straight
+edge of front of skirt pattern on the fold of the material and the edge
+of the side gore on the other edge. Pin the pattern down securely and
+cut through both thicknesses of the material (Figure 53).
+
+Pin the skirt together, placing a straight edge of a gore to a bias.
+Baste a quarter-inch seam along the finished edges of each gore,
+holding the bias edge toward you. Sew the seams up with combination
+stitches. Press open the seams and over-cast each one to keep it from
+fraying.
+
+[Illustration: Fig. 53. The back, side gore and front]
+
+Fold a hem at the bottom of the skirt an inch and a quarter wide. Baste
+the hem so that seam comes to seam. On the front gore there will be a
+fullness. Gather this fullness in with fine running stitches and baste.
+Use a separate thread for the gathering. Now hem around the whole skirt.
+
+Cut the placket two inches down through the centre back. Turn a hem on
+the right side one half inch wide and on the left one eighth inch. Sew
+the hem.
+
+Lap the wide hem over the narrow at the bottom of the placket and
+stitch across the wide hem two rows of stitching one eighth of an inch
+apart.
+
+Turn in the strip you cut off at first for the band one quarter of an
+inch on the two short sides and on one of the long sides.
+
+[Illustration: Fig. 54. The skirt]
+
+Fold lengthwise, find centre of band and crease; one inch from this,
+crease again.
+
+Place and pin band in the same way as for the gusset described in the
+last chapter, placing the middle crease at the middle of front of
+skirt. Then pin the band also at the creases on either side of centre.
+Gather each side of the skirt that is left. Draw in the thread to fit
+belt. Spread the gathers so that most of the fullness is in the back.
+
+Over-hand the ends and hem second side of the placket. This finishes
+the skirt (Figure 54).
+
+A basket or box of some sort is very nice to have, as we have said
+above, for your sewing, but suppose you were going to sew with another
+friend and you wanted a handy case in which to carry your sewing
+implements? A cloth case that can be folded or rolled is very much more
+convenient and may be carried in the large pocket of your apron. One
+made of denim is inexpensive, wears well, and is highly practicable.
+One yard will make you a case.
+
+Cut a piece of green denim sixteen by fifteen inches long. Turn up four
+inches of the material, baste down both sides. Baste a four-inch pocket
+on the left-hand corner of your case. The rest of the case divide in
+two. This will hold your darning cotton that comes on cards.
+
+We have a pretty way of finishing this case, which is not only
+ornamental but strong, and that is to bind it. Get a piece of tape long
+enough to go around the whole case. Crease it lengthwise so that one
+edge comes slightly below the other. Open it and lay it on denim and
+then neatly back-stitch the right side and hem the wrong. The hemming
+should be just below the back-stitching, and must not be seen on the
+right side. Allow enough tape at the corners to make a good angle. Both
+sides of the corner must be treated alike.
+
+[Illustration: Fig. 55. The material caught from side to side]
+
+It will be well to have a needle case to match the sewing case. Cut
+a strip of material thirteen inches long by three and a half inches
+wide. Cut this strip in four parts. Get a piece of cardboard that is
+not too thick or of such kind that will break easily, as some of the
+cheaper grades of brown cardboard are apt to do. Cut four pieces, three
+inches wide by three and a half inches long. Thread your needle with a
+piece of No. 40 cotton and put a big knot at the end. Take one of the
+pieces of denim and a piece of the cardboard. Catch the material from
+side to side with stitches about one quarter of an inch apart (Figure
+55). After sewing these two sides sew the third and fourth in the same
+manner. Cover each piece of the cardboard in this way (Figure 56). Take
+two of the covered pieces and over-cast them carefully together.
+
+[Illustration: Fig. 56. The four sides of material caught together]
+
+You should have leaves of flannel to stick your needles in. Pink the
+edges of the flannel. Pinking is snipping out the edge in little points
+and can be done with scissors. Connect the two pieces of the needle
+case with two tiny bows, or a heavy thread can be made to answer the
+purpose. The flannel sheets are tacked through the centre like the
+pages in a book (Figure 57).
+
+The third or middle compartment between the spool case and darning
+thread can be used for a miscellaneous pocket to hold the tape-measure,
+emery-bag, small scissors and other necessary articles.
+
+[Illustration: Fig. 57. The flannel sheets tacked through the centre]
+
+A piece of tape stretched down on the denim with just enough spring for
+the package of needles to pass through is a handy way to carry them
+(Figure 58).
+
+It is rather dangerous to travel with a pair of scissors with the
+points unprotected. In Canada and the states that border it the
+Indians sell the little sweet grass protectors. A cork, however, that
+comes in small bottles such as you get from drug stores will protect
+the points of the scissors as well as the sweet grass protectors, if
+not as elegantly. If the scissors are too large to put in the pocket a
+piece of tape could be stitched down to slip them in lengthwise. The
+case should be folded in three parts when it is not in use and a piece
+of tape the same colour as the binding tied around it (Figure 59).
+
+[Illustration: Fig. 56. The four sides of material caught together]
+
+Now that you have your sewing apron and a work box, you will love to
+be sewing every chance you get. Suppose we plan a set of bed things
+for Sally Ann. First let us make a mattress. The mattress on your bed
+is covered, probably, with ticking, but this is too harsh for your
+fingers to sew, so let us select percale or zephyr, and half-inch tape
+for the binding; the filling can be cotton, hair, or feathers. If it is
+impossible to get any of these three, newspapers chipped up very fine
+will make an excellent padding. Many people use newspaper chippings to
+fill pillows for summer use.
+
+[Illustration: Fig. 59. The case folded]
+
+Measure the bedstead and cut two pieces of percale or zephyr exactly
+the same size. Now cut a stripe of the material, one inch wide, long
+enough to go around the four sides of one of the pieces of the material
+that you have just cut.
+
+[Illustration: Fig. 60. The narrow strip to the large strip]
+
+Baste the long narrow strip around one large piece. Lay the wrong side
+of the strip to the wrong side of the material (Figure 60). The edges
+must be even. Use the combination stitch of one running stitch and one
+back-stitch just below the basting. When the strip has been securely
+sewed to the four sides of the material, join the two ends together on
+the wrong side.
+
+Now take your tape, which may be white or the colour of the figure in
+your material, and bind the edges by first running one side down and
+then the other (Figure 61).
+
+[Illustration: Fig. 61. Binding the mattress]
+
+The other piece of material is sewed in the same manner--the wrong
+side of the strip to the wrong side of the material. Do not sew,
+however, around the entire four sides but leave about six inches open
+through which the filling may be passed. After basting the strip with
+combination stitching fill with cotton or whatever material you have on
+hand. Do not fill the mattress so that it will be bumpy. Put a little
+stick in and flatten the filling at the top. Now sew the opening up
+and we are ready to quilt the mattress.
+
+Thread a large needle with two pieces of heavy cotton floss or wool.
+Push your needle through to the other side, letting a short end extend
+above the mattress. Bring your needle back again close to where it came
+out (Figure 62). Unthread the needle and tie the ends tightly. Cut off
+what is left and repeat again two and a half inches over. It is best to
+quilt in rows; that is, to start two inches in from the long side and
+make a row parallel with the tape. The next row is made two and a half
+inches farther over and the next row of knots should come in between
+the first row of dots.
+
+[Illustration: Fig. 62. Quilting]
+
+This mattress is made just like yours and the pillow is the next
+article we will make. The pillow should be half the width of your
+mattress, as we will use two on the bed. Take a piece of material
+twice the length desired for the pillow. Use the same kind of material
+as that used for the mattress. Fold the piece in two with the wrong
+side out. Join the two long edges and one of the short sides with the
+combination stitch (Figure 63). Make the stitches one quarter inch from
+the edge. Now turn the case inside out and fill with cotton. Turn in
+the edges of the open end and over-cast them together (Figure 64). As I
+have said before, it will be necessary to make two pillows.
+
+[Illustration: Fig. 63. The pillowcase]
+
+[Illustration: Fig. 64. Overcasting the open end]
+
+The pillowcases can be made of lawn, cambric or muslin. Cut the
+material a little larger both in length and width than the pieces used
+for the pillow. The seams of the pillowcases will have to be felled.
+Along the one short side and the long side make fine running stitches,
+one quarter of an inch from the edge. Cut the raw edge from one side so
+that the other is about an eighth of an inch wider. Now fold the wider
+edge over like a hem so that it completely covers the cut edge and
+hem neatly to the material. The open end has a wide hem of say three
+quarters of an inch. When the hem is finished turn the case with the
+work inside.
+
+For the sheets cut two pieces of muslin or lawn large enough to cover
+the mattress and to turn under. The selvage edge of the material should
+run the length of the sheet. Turn in a quarter-inch hem on the two long
+sides of each sheet and hem. Now turn a one-inch hem at the top and
+bottom of each sheet. This completes the sheet (Figure 65).
+
+[Illustration: Fig. 65. The sheet]
+
+A blanket is of course very necessary to have and it can be made of
+a piece of an old blanket or of canton flannel, cashmere, or plain
+flannel. If a piece of blanket is used, finish the edges with the
+blanket stitch which is described in Chapter twelve of the book.
+
+The flannel, cashmere, or canton flannel is finished by turning the
+edges over a quarter of an inch and herring boning or cat-stitching
+them to the material (Figure 66). For cat-stitching see diagram in
+Chapter nine.
+
+[Illustration: Fig. 66. The blanket]
+
+No bed is complete without a counterpane of some sort and this can
+be made as fancy as you desire. A pretty one is made of strips of
+insertion joined together by fine over-casting or fagotting. Fagotting
+is explained in Chapter twenty. A row of edging will have to be sewed
+like a ruffle around the two long and one short sides to complete the
+counterpane.
+
+[Illustration: Fig. 67. The crow's foot and spider on checked gingham]
+
+If a very fancy counterpane is desired get a piece of checked gingham
+of some light colour. The check should be a quarter of an inch square.
+With your needle threaded with white or a shade deeper than the
+darkest check make spiders on the dark squares and crow's feet on the
+light. Directions for making a spider are given in the chapter on "Lace
+Stitches."
+
+A crow's foot is made by taking one stitch on the diagonal of the
+square and two on each side of it, the stitches on each side of the
+first one being a trifle shorter than the previous ones (Figure 67). A
+counterpane like this is very attractive and does not require a great
+deal of time to make.
+
+[Illustration: Fig. 68. The envelope opened]
+
+A dainty little pin case that will make an acceptable little gift for a
+friend that is going to travel is the envelope pin case. Take a piece
+of material such as linen, cretonne, or silk and another piece of
+different coloured material for lining and shape one end as shown like
+the flap of an envelope (Figure 68). A good size is nine inches long by
+four inches wide.
+
+Cut a piece of stiff paper a half inch smaller than the pieces of
+material. Baste the material which will be outside over the paper so
+that the edges are folded back one quarter on the paper. Turn a similar
+fold on the lining and hem it to the material as shown on the flap of
+the envelope opened.
+
+[Illustration: Fig. 69. The envelope case closed]
+
+Now take two papers of pins and place them in the case so that they
+look like leaves of a book. Be careful to see that the heads of the
+pins are on top. Now catch the pins to the case with several long
+stitches which are taken below the points of the pins. Stitch a ribbon
+to flap of envelope and one at the bottom. Close the case and tie the
+ribbons and you have a handy pin case (Figure 69).
+
+
+
+
+V
+
+MAKING BUTTONHOLES, CUTTING FROM A PATTERN, A DOLL DRESS
+
+
+To make a good buttonhole is an accomplishment that any girl can be
+proud of, as it is the hardest thing in sewing. The thread should be
+almost double in length to that you usually take, as a joining is very
+clumsy in a buttonhole.
+
+A buttonhole is a worked opening in a piece of material or garment
+through which a button is to be slipped. The friction caused by
+buttoning and unbuttoning necessitates that the worked edges should be
+firmly and well sewed.
+
+[Illustration: Fig. 70. The first step in buttonholing]
+
+Before we make a real buttonhole, let us see how the stitch is worked.
+Draw a line one inch in length with the straight of the material. Take
+two stitches one inch long over this line. At the extreme right of the
+stitches insert your needle, threaded with No. 40 cotton. Take a stitch
+about a sixteenth of an inch below the line. While the needle is still
+in the material--you are working from left to right--(Figure 70), carry
+the thread under its point from the left, to the right side of the
+needle. The enlarged cut showing this stitch is very plain. The needle
+is then drawn through the material toward the chest and then straight
+from it. The next stitch and every other stitch must be identical with
+the first, the difference being that each stitch is then a little
+farther to the left. Every stitch must be the same length.
+
+Now let us prepare to make the stitch on a fold. Fold a band in three
+equal parts. Pass the needle between the folds and bring it out on the
+edge. Hold the end of the thread with the left thumb. Carry the needle
+to the back of the fold and insert the point through the fifth thread
+of the material from the edge. The double thread at the edge of the
+needle is brought around the point of the needle from left to right and
+drawn out. (Figure 71).
+
+A tailor's buttonhole is made slightly different. The needle is placed
+in the same position as in the ordinary buttonhole. The thread is
+brought from the top of the stitch and the doubled thread is brought
+around under the point of the needle from right to left (Figure 72).
+
+[Illustration: Fig. 71. The position of the needle in buttonholing]
+
+[Illustration: Fig. 72. A tailor's buttonhole]
+
+The corners of the buttonhole are worked in two ways, either barred or
+rounded. The round corners are worked in the same buttonhole stitch,
+only it is twice the depth of the buttonholing along the two edges.
+Five or seven stitches will be sufficient for a corner or the ridge of
+the buttonholing will be too crowded.
+
+The bar or braced end of the buttonhole is a little more difficult. It
+is necessary to bar a buttonhole for heavy woollen materials such as
+men's coats, or your own cloak, or outer wraps (Figure 72). Generally
+the first end of the buttonhole is rounded and the last end barred
+(Figure 73).
+
+[Illustration: Fig. 73. The buttonhole with one end rounded and the
+other barred]
+
+Work around the buttonhole end when the last stitch has been made,
+turn the material so that the work lies across your forefinger. Pass
+the needle over the extreme left of the stitch, (Figure 74). Work four
+stitches the same length as those of the two sides of the buttonhole,
+and then insert the needle through the ridge of the first buttonhole
+stitch. The ridge of the bar faces the buttonhole. This bar should be
+just the width of the buttonhole. Nine stitches are usually sufficient
+for it.
+
+[Illustration: Fig. 74. Barring the buttonhole]
+
+Tailors run two or three strands at the base of the buttonhole before
+working the nine stitches. The stitches are not taken through the
+material but only over the threads.
+
+A buttonhole is fastened off on the wrong side at the base of the
+stitch.
+
+The most important step is to cut the buttonhole straight. The
+buttonhole should be a trifle longer than the button. It should be cut
+in the opposite direction to which the strain will be. For instance on
+the back of the waist the buttonholes should run crosswise, for the
+movement of the shoulders spreads the buttonhole lengthwise. On the
+bands around the waist buttonholes are made lengthwise.
+
+A sharp pair of scissors or a penknife should be used for cutting the
+holes. Insert the point of the scissors or knife through the centre of
+the buttonhole. Cut one side, then the other, along a thread of the
+material.
+
+The thread is fastened securely on the wrong side of the left-hand
+corner. Use No. 40 sewing cotton for buttonholes, unless on very fine
+material, when No. 60 should be used. Sometimes it is well to over-cast
+the raw edges before working the buttonhole. A thread should always
+start at the extreme lower left-hand corner.
+
+The backs of yokes should be fastened with loops and fine buttons. To
+make a loop, span the thread across the edge of the material in a loop
+large enough to slip the button through. Let the last stitch be on the
+right-hand side. Now place the threaded needle under the strands of
+thread letting the thread fall under the point of the needle. Repeat in
+this manner till the strands are entirely covered. The ridge or purled
+edge of this stitch will be on the outside of the loop.
+
+[Illustration: Fig. 75. Loops made of threads]
+
+Hooks are sometimes caught into loops, but they are made directly on
+the material instead of sewed on the edge. The strands of thread,
+however, are not as loose as the buttonloops. The diagram (Figure
+75) of the two loops will convey a clear idea of how the threads are
+spanned and covered.
+
+The last step in sewing is cutting from a given pattern. An old garment
+that fits well, ripped apart makes an excellent pattern and requires
+very little fitting. Press the pieces before using them as a pattern.
+Lay the material so that the selvage runs lengthwise, that is, from
+head to foot. Only one half of the garment is necessary for a pattern,
+as the material is doubled or folded lengthwise (Figure 76). The
+centre front of the skirt or waist is always placed on the fold of the
+material and either basted or pinned down before cutting.
+
+[Illustration: Fig. 76. The centre front on fold]
+
+Collars, cuffs, bands, and sleeves are cut with the selvage running
+their length. Cut any part of a garment such as sleeves, waist, or
+skirt through two thicknesses of material so that both sides will be
+exactly alike. This does not refer to the front gore of a skirt. When
+the material has a right and wrong side the right sides should face
+each other before cutting the pattern.
+
+Handkerchiefs or frills should be cut along a thread so that the edges
+may be perfectly straight.
+
+Be sure that the material lies perfectly flat under the pattern. Pin
+the centre first to keep it from slipping before pinning the edges.
+Pin the entire garment before cutting anything, so that you can be
+sure that your material will be sufficient. This also gives you an
+opportunity to see where to put the smaller pieces and economize with
+the material.
+
+A large pair of scissors should be used in cutting. The blunt-pointed
+blade is next to the board or table. It is well to practise on paper
+and plan the pattern before using the pattern on the cloth.
+
+Bias bands should be cut on the bias of the material. Cut a square
+piece of material and fold it cat-a-corner. Cut along the fold and you
+will get a true bias.
+
+Bands to finish the necks of undergarments or around armholes should be
+cut on the bias. In fact, any curved edge that has to be faced should
+be faced with a bias instead of a straight band.
+
+Now suppose we make a real dress for Sally Ann that will be put
+together and finished just like one of your own dresses. The style we
+will select will be on the order of a French dress, that is, a long
+waist and short skirt. The pattern for the waist is in seven parts:
+they are the front, side front, back, side back, sleeve, collar, and
+cuff. The skirt is only one piece.
+
+Three quarters of a yard of material will be sufficient to make a dress
+for a doll from eighteen to twenty inches in height.
+
+In all patterns that are bought only one half is given; sometimes
+all the seams--which are a very important part of a dress--are given
+and sometimes they are omitted. Any pattern that is published by a
+reliable firm tells on the envelope whether you should allow for the
+seams or not.
+
+The pattern is usually of tissue paper and each piece has perforations
+or holes of different shapes. One shape means this side must be
+placed on the fold of the material, another shape or perforation the
+same shape only grouped differently, means that the pattern should
+be placed on a straight thread of the material. Still another means
+"gather here." If there are tucks in the pattern they are usually
+indicated. Where the seams join each other, little notches are made and
+corresponding notches are placed together and pinned after the pattern
+is cut.
+
+Let us suppose the material is forty-five inches wide. Place the centre
+of the skirt on the fold of the material and pin in place. Your pattern
+should be planned and pinned on a flat surface such as a sewing table.
+Place the pins through the tissue pattern and both thicknesses of the
+material, letting the head and the point of the pin be visible to the
+eye. Do not cut any piece of your pattern until you have planned and
+pinned every piece, as that is the only way you can economize on your
+material (Figure 77). Often a pattern cut before each piece is planned
+comes to grief if an over-supply of material has not been provided.
+
+The centre front is also placed on the fold of the material as well as
+the centre, back and collar. The sleeves are now fitted in, so that
+the perforations rest on the straight thread of the material. The side
+front and back and cuffs are also pinned to the material. The pattern
+now pinned, take a large pair of cutting scissors and holding the blunt
+part toward the table, cut close to the tissue pattern, or if no seams
+are allowed, the width stated in directions should be allowed for the
+seams.
+
+[Illustration: Fig. 77. The waist pattern pinned to the material]
+
+Let us make the sleeve first. Take one sleeve and holding with the
+right side join notches together (Figure 78). Baste the sleeves up on
+the seams one eighth of an inch from the edge. When the basting is
+finished make a row of fine running stitches. Turn the sleeves on the
+wrong side and baste them before working the combination stitches. The
+sleeves are now ready to be banded. The band is taken and sewed on the
+short side. The seaming is taken on the wrong side of the material. A
+little seam is taken on each of the long sides of the cuff. Fold the
+cuff in half. The turns or folds are opened out and now turn the cuff
+inside out. Run a gathering thread at the lower edge of the main part
+of the sleeves starting the thread one half inch from each side of the
+seam. Place the cuff around the sleeve so that cuff seam rests on the
+seam of the sleeve. Pin into position. It will probably be necessary
+to pull or adjust the gathering thread so that the lower part of the
+sleeve be just the size of the cuff. Baste the band on after it has
+been pinned satisfactorily before working the combination stitch.
+
+[Illustration: Fig. 78. Notches of sleeve put together]
+
+Turn the sleeve inside out and fold the cuff in the creases. Hem the
+inner side of the cuff to the wrong side of the sleeve. On the upper
+side of the sleeves run another gathering thread about one inch and a
+half from the seam (Figure 79). We have now finished with the sleeve
+until the waist proper is ready.
+
+[Illustration: Fig. 79. Gathering the top of the sleeve]
+
+Now take the centre back and side back and baste them together. Join
+the pieces so that the notches correspond. Work the combination stitch
+three eighths of an inch from the edge. The side fronts are joined
+to the backs under the arm and on the shoulders. The front is then
+sewed to the right side of the waist only. It will be necessary to
+face the centre front piece and the left side front. Take a bias strip
+of material not more than three quarters of an inch wide and fold an
+eighth of an inch on each side of this strip. Join the shoulder seams
+together, one side of the back to the right side of the front and
+the other side to back. Sew with combination stitches, then make a
+felled seam as explained for the sleeve. Baste the turned fold to the
+right-hand side of the waist by opening out creased side and placing
+the two right sides together and stitching one eighth of an inch from
+the edge. Turn the bias over to the wrong side of the waist and slip
+stitch. Slip stitching, as I have explained before, is somewhat like
+hemming; only the stitches are taken back of the folded edge and catch
+one thread only of the material.
+
+The other bias band is basted in like manner to the left-hand side of
+the waist.
+
+[Illustration: Fig. 80. The gathers on the upper part of the sleeve]
+
+The sleeves are ready to be put in. Measure one and one quarter inches
+from the under arm seam on the waist, which is the short seam near the
+front of the waist. Pin the seam of the sleeve to this point. Pin the
+rest of the sleeve so that the gathers are evenly distributed. Pin
+the right side of the sleeve to the right side of the waist. Baste
+securely. Remember that the gathers should be thickest on the upper
+part of the sleeve (Figure 80). Stitch with fine back-stitching and
+then overcast. The neck may be bound or may have the collar attached.
+
+Turn and hem the outer edge of the collar; a ruffle of lace may be
+added if desired. Baste the collar to the waist, and try the waist on
+Sally Ann. If it is a satisfactory fit, stitch in place. It is well to
+cover the raw edges with a little bias fold. Hem the fold down on both
+sides.
+
+The long strip is not joined, but a half-inch hem folded on one side
+and then stitched. The skirt is plaited or kilted, as it is often
+called. A hem is made on each of the short sides of the strips. Now
+crease the material as if you were going to make a tuck three quarters
+of an inch deep. A box plait will next have to be planned; again crease
+your material as if you were going to make a tuck three quarters of an
+inch deep. These creases must be exactly three quarters of an inch from
+the double fold of each piece. Measure an inch and a half, then turn
+the material under so that a three-quarter inch piece is under the left
+side of the waist line. This completes the box plait.
+
+The plaits from there on are folded toward the left, while the first
+two were toward the right. Baste each plait down securely. When working
+on cotton materials that have a lot of dressing, the creases are likely
+to stay in without basting, but while working on it the edges are apt
+to get turned up. Basting (Figure 81) is therefore the surer and safer
+way to keep the plaits in position, while for woollen or soft, sleazy
+materials it is the only way.
+
+When every plait has been basted lengthwise, take another thread and
+baste them crosswise three or four times.
+
+[Illustration: Fig. 81. Section of plaited skirt showing how it should
+be basted crosswise]
+
+Join the waist to the skirt, taking care that the centre of the
+box-plait is under the direct centre of the front of the waist.
+
+A sash will be needed to finish this dress. It can be tacked in place
+or little straps of ribbon may be stitched at intervals and the ribbon
+run through the straps (Figure No. 81A).
+
+If this dress had been stitched on the machine it would have been
+better to make tailored seams on the waist; that is, a narrow seam is
+taken on the wrong side. The material is then turned back so that on
+one side of the seam it slightly overlaps the other. Baste in place and
+stitch on the edge. Tailored seams do not require any extra allowance
+of material. They should slant toward the right on the right side
+of the garment and toward the left on the left side. If the seams
+were stitched to run in one direction the garment would have a very
+one-sided appearance.
+
+[Illustration: Fig. 81A. Sally Ann's new dress]
+
+Press all the wrinkles caused by handling the dress in sewing. It is
+best to lay a damp cloth over the material rather than place the iron
+directly on the material. You will need a small iron for this dress.
+Press each plait down carefully. Take out the basting threads before
+trying on the dress.
+
+There are good, bad and indifferent dressmakers, and I know you wish
+to be one of the former. Sew a row of buttons on the left front of the
+dress and make little buttonholes to correspond on the right side.
+
+
+
+
+VI
+
+A LESSON IN STENCILLING
+
+
+What is stencilling? Let us see. Stencilling is a branch of painting.
+Have you heard the story of the Baltimore belle in the time of the
+Revolution who was most anxious to go to the first big ball that was to
+be given after the war? The town had been divested of all the beautiful
+silks and satins that the great ladies were accustomed to wear. Our
+country had stopped importing these costly materials because there was
+no occasion to use them and no money to pay for them.
+
+An invitation had been sent to one of Baltimore's fairest daughters
+who was intending to go with her cousin. What were they to wear? Both
+needed the festive garments. At last, after a careful canvass of the
+town, the young man managed to borrow a pair of satin breeches and a
+flowered coat and all the other articles necessary to make a fine dandy
+of those days, except the silk stockings.
+
+The girl succeeded in finding a piece of white lawn of the coarsest
+kind that was sufficient to make a frock. In no way discouraged this
+clever young lady, who luckily could paint beautifully, started and
+painted little sprays of rose buds on the fifteen or twenty yards
+required for the gown. This made a very dainty and pretty frock.
+
+[Illustration: Fig. 82. Stencilled curtains]
+
+Poor George, her cousin, was in despair in not being able to borrow or
+buy a pair of silk stockings, but clever Miss Betty hit on the plan of
+painting his legs with a thick coat of white and then decorating them
+with clocks on each side, so that no one at the dance even suspected
+that he didn't have on silk stockings.
+
+Miss Betty's dress was voted to be the most charming dress of the
+evening.
+
+Ever since I have heard this story I have wished that Miss Betty had
+known how to stencil. What a lot of time she would have saved! I am
+sure you will agree with me when you know how to stencil.
+
+Have you noticed the flat gay decorations above the moulding in some
+houses? Well those are stencilled. A painter will cut out a design from
+a thin steel background; he lays this on the wall and paints over the
+open spaces in the design. It is the only true way in which he can keep
+his pattern. All free-hand designs are bound to show a difference in
+outline.
+
+Stencilling for home decoration is used on curtains (Figure 82),
+portières, rugs, couch covers, table covers, lunch sets, pillow tops,
+(Figure 83), bags, counterpanes, as well as for dresses, parasols,
+wraps, scarfs, and in fact almost every conceivable object that allows
+the use of decoration.
+
+You can get a stencil board from any artist supply shop, but the one
+you can make at home is cheaper even if it is not quite as durable.
+
+[Illustration: Photograph by Mary G. Huntsman. A Single Motif Being
+Used On a Stencilled Scarf]
+
+In many of the schools, stencilling in its simplest form is taught in
+the kindergarten. The children are taught to fold a heavy piece of
+drawing paper lengthwise and draw half a design so that the centre
+of it is on the fold of the paper. The design is then cut away, leaving
+the background intact. This method is good for very simple motives.
+Sometimes when we do not wish our design to be so set, we will draw it
+without creasing the paper.
+
+[Illustration: Fig. 83. A simple stencilled pillow]
+
+The stencil board that you can buy is very hard for little fingers to
+cut, besides being expensive.
+
+To make a stencil pattern, draw a design such as a bunch of violets.
+Let every petal be separated from the other and where the stems should
+intersect leave a little space between. These little spaces or bridges
+are what keep the background together. Of course, as a usual thing,
+if you buy a stencil outfit, one pattern or more already cut comes
+with it. In many of the large shops stencil patterns can be bought
+separately, but if one has any idea of drawing it is an easy matter to
+make a pattern.
+
+[Illustration: Fig. 84. The cut stencil]
+
+The design can be traced and cut on a piece of heavy manilla paper: a
+coat or two of shellac makes the paper stiffer and somewhat waterproof.
+The advantage of using drawing paper is this, that it may be cut with a
+pair of scissors, while a stencil board requires a sharp penknife and
+lots of finger strength to cut the pattern. White shellac is the best
+to use, as it dries quickly. It can be bought from any paint store.
+
+The pattern now cut (Figure 84), you are ready to do a piece of real
+stencilling. Let us choose the cheapest thing we can get for our first
+attempt. A piece of cheese cloth for a sash-curtain appeals to me.
+Put in the hem so that the stencil will be sure to be straight. Lay a
+large piece of blotting paper over the board or table on which you are
+going to work. Place the cheese cloth on top of that. Try your stencil
+pattern and measure how many times you can repeat it. It is better to
+plan a pattern with a small space between each motif so that you will
+not have half or part of the design left over. Stick a pin where the
+centre of each motif should be.
+
+Lay the stencil pattern in position and thumbtack it down to the cheese
+cloth and blotting paper. Turpentine and oil are the most satisfactory
+for stencilling, though there are several patent mixtures sold that
+are good. The paint can be mixed with the turpentine till it is the
+consistency of a thick cream or the brush can be dipped into the
+turpentine and then into the paint. In either case the brush must be
+wiped quite dry, as the process is more of a rubbing in one than
+painting. Bristle brushes of four different sizes should be in your
+stencil outfit. They come round and flat, (Figure 85). The frontispiece
+shows a child stencilling with the round brush.
+
+[Illustration: Fig. 85. The brushes]
+
+Dip the brush into the mixture and be sure you wipe it off on a soft
+rag before painting in the design. If the brush is too wet the result
+is a blurred stencil.
+
+Use a different brush for every colour. When the first motif is
+stencilled, move the pattern and place it over the next pin. If you
+want to reverse the pattern, clean it thoroughly with naptha on both
+sides and let it dry for a couple of minutes before using again.
+
+To make a stencilled piece washable it has to be steamed like printed
+dress goods. This can be accomplished in two ways: that is, by
+holding it over a steaming kettle, or by laying a wet cloth over the
+stencilling and pressing with a hot iron.
+
+Needless to say, a piece stencilled in water colours should not be
+treated like this.
+
+[Illustration: Fig. 86. A stencilled bag]
+
+Water colours or crayons can be used when a piece is not desired to be
+washed. The latter works in as smoothly as paints.
+
+Scrim, cheese cloth, linen, crash, burlap, monk's cloth, and Arras
+cloth can be used for curtains or portières. The cost of them varies
+from seven cents to one dollar a yard.
+
+Sometimes a small motif is taken and stencilled all over the material.
+This gives the effect of a printed pattern.
+
+Five tubes of paint will produce almost any shade under the sun. They
+should be blue, yellow, red, black, and white. Blue and yellow make
+green; blue and red, purple; lavender, yellow and red make orange. A
+little black will soften the colours while white lightens the shade.
+Other combinations can be made by mixing three colours together. Enough
+of the paint should be mixed at one time to stencil the entire piece,
+as it is extremely difficult to mix a new batch of colour that will
+be the exact shade as the first. Ultramarine blue is the shade of the
+deep sea. Crimson lake is a bright red. Venetian red is a terra cotta.
+Emerald green is a blue green. Sap green is yellow green. Ivory or lamp
+black are the two blacks to be had in oil paints; the former is shiny
+while the latter is dull. Flake white is the term for white in oil
+paints.
+
+Of course, you can buy ready mixed in tubes almost any shade you
+desire, but it is lots more fun to make your own colour combinations,
+as well as very much cheaper. Diamond dyes can be used for stencilling
+by letting one package of dye serve for one pint. The dyes will have to
+be boiled in the manner stated in their directions.
+
+You will find that stencilling is the most delightful of the home
+crafts. Those who are not fond of needlework will find this a real
+wholesome pleasure.
+
+
+
+
+VII
+
+WHAT CAN BE DONE WITH ONE SKIN; CUT LEATHER BAGS, BELTS, BOOK COVERS.
+ETC.
+
+
+There is nothing so handsome for a library table or cushion in a
+room of dark rich colouring as leather work. These articles are very
+expensive to buy and are sold in arts and crafts shops or women's
+exchanges and some of the department stores. You have doubtless seen
+the dyed whole skin used on a library table, but have you ever seen
+leather appliqué? That is the design cut out of a leather background
+and lined, or pieces of leather applied to a background.
+
+Different kinds of leather may be used for this work. The cheapest and
+thinnest kind is sheepskin. Leather is usually sold by the square foot
+and one has to buy the entire skin. Sheepskin costs about sixteen cents
+a square foot; some stores charge more for it, while it is possible at
+a wholesale and retail shop to get it for less. The skins come dyed in
+all shades. Golden brown, dull gray or moss green are the most artistic
+for general use. Many tailors like to trim ladies' suits with leather
+and for this purpose many beautiful odd shades are dyed. Goatskin ranks
+next to sheepskin and is a trifle dearer. Chamois is good for belts or
+dainty opera bags. It comes in white or cream only. Calf is a beautiful
+substantial skin, as is also Russia calf. Pebble calf is what its name
+implies, very rough with a glazed finish. The other side presents an
+undyed appearance.
+
+[Illustration: Fig. 87. A well-planned skin]
+
+If you get a skin you should not expect to get a sofa cushion as well
+as a large table mat out of it. A skin carefully cut will give you one
+large piece and the rest of it can be planned for smaller objects,
+such as card cases, pen wipers, blotter corners, belts, picture frames,
+possibly a magazine cover or a bag. The diagram of the skin shows how
+carefully to cut out and plan every part of it (Figure 87).
+
+Let us take the sofa cushion first. A bold conventional design can be
+used in each corner. One that has each part separate like a stencil
+design is one that I have in mind.
+
+Cut each part out carefully so as not to impair the background. A
+cheaper grade of leather of a tone deeper or lighter can be laid under
+the design, though velvet is also in excellent taste for this work.
+Broadcloth, satin, and sometimes taffeta are also used. If a shaded
+effect is wanted a different coloured background can be pasted under
+each different section of the design. It is a better plan, however,
+for the amateur to restrict herself to one colour for the background
+as the finishing of different pieces is no easy problem (Figure 88).
+Library paste is the best means of making the leather and background
+adhere, also it does not spot as mucilage does. The majority of leather
+workers consider that the pasting completes the piece, while others
+feel that it is necessary to machine stitch along the extreme edge of
+the cutting. Yet again others prefer to work embroidery stitches such
+as open buttonhole or couching stitches. Both of these are explained
+at length in later chapters. A pen wiper can be made from a piece cut
+in circular, diamond, or triangular shapes. Cut two pieces of chamois
+leather the same shape. A plain piece of the leather also is needed to
+back the pen wiper. The chamois pieces serve as leaves on which the pen
+is wiped.
+
+[Illustration: Fig. 88. Leather appliqué bag]
+
+A card punch will be needed to make a hole through the four pieces for
+the ribbon or cord which holds them together.
+
+It is most necessary to plan the design so that it will be appropriate
+to the object it is to be applied to. The leather should also harmonize
+with the colour of the room or gown with which it is used or worn.
+
+For those who are anxious to learn how to design, books on this subject
+can be obtained from the public libraries. You should bear in mind,
+however, that practice makes all things perfect.
+
+The different methods of applying the design had better be gone into
+before we proceed any further. Thick manilla paper or artist linen may
+be used on which to draw the design. The pattern is then thumb-tacked
+or pinned on a flat wooden surface, on the upper edge only, as it will
+be necessary to raise the paper off and on during the tracing.
+
+An orange stick such as used for manicuring or hard pencil will be
+needed for the tracing. Trace along the pencilled design with a very
+heavy pressure so that there will be an indented line on the leather. A
+line once impressed is almost impossible to remove, so great care must
+be taken to keep the design true.
+
+Every time you stop tracing there will be a deeper indentation; for
+that reason in tracing a curved line try to draw a full sweep without
+stopping. A ruler will be an aid in tracing straight lines.
+
+It may be found necessary to dampen the leather so that the tracing
+will be distinct. In that case dampen the entire piece of leather with
+a wet cloth. Dampening in sections only causes water rings. Once the
+whole leather is dampened, however, it can be redampened in sections
+without fear of marking.
+
+Designs for leather may also be applied by means of a perforated
+pattern and a stamping powder or paste or a transfer pattern may be
+also used.
+
+The leather for cut-work may be cut with sharp scissors and manicuring
+scissors for round or curved places or two sharp knives of different
+sizes. A board of soft wood is the best on which to work.
+
+[Illustration: Fig. 89. A belt of leather of appliqué underlaid]
+
+The best kind of paste is one that has been recommended by a successful
+leather teacher and proves satisfactory to all who have tried it.
+"Bring to a slow boil a half-pound of flour in two quarts of water. Add
+to this mixture when cool, an ounce of nitric acid and a dram of boric
+acid and a few drops of clove oil." The nitric and boric acid, as well
+as the clove oil, can be obtained from the drug store.
+
+If knives are used to cut out the design, thumbtack the leather before
+commencing.
+
+The paste is applied lightly on the wrong side of the leather, then the
+lining placed over it. Lay the article with the right side up and put
+it under weights until it dries. Any surplus paste that may happen to
+ooze through can readily be scraped off.
+
+A wide range of articles can be made from leather appliqué, whether
+underlaid or overlaid, such as table covers, bags, belts (Figure 89),
+medicine cases, card cases, mirror frames, book or magazine covers,
+portfolios, memorandum pads, waste baskets, pocket books, bill folders,
+chair covers, besides numerous other articles.
+
+Sometimes it will be necessary to have two tracings of the design,
+one on the leather and one on the other background. Leather is often
+applied to heavy crashes for portières, or pillow tops. A bold
+conventionalized poppy is an excellent design for portières.
+
+Paper is often used to line centerpieces or mats.
+
+Rough tinted cartridge paper can be treated the same as cut leather
+and the daintiest of candle or lamp shades can be made of them. The
+design is cut out as in leather and a thin China silk lines the whole.
+Each section of the design may then be coloured the right shade of the
+silk. For instance, a design of cherries can be painted with orange
+and red for the cherries and the leaves green, while the paper is of
+tobacco brown; a narrow gold braid finishes the shade at the top and
+bottom, while the shade is held together with four tiny gold rivets.
+
+
+
+
+VIII
+
+TOOLED LEATHER AND TOOLS NECESSARY
+
+
+Tooled leather is one of the oldest and most beautiful of crafts.
+Instead of weakening the leather it simply makes it more beautiful. A
+handsome box is made of soft wood or cardboard and covered with tooled
+or embossed leather and is a possession that a queen might envy.
+
+Boxes containing tools for leather work can be had for from five to
+twenty-two dollars for the outfit. Twelve tools are in the box. Two
+modelling tools, a steel hammer, two embossing tools, a punch, an
+embossing ball tool, one cutting or trimming knife, and four chasing
+and pearling knives (Figure 90). Now I know that there are not many
+of you who would care to buy an outfit for five dollars, but for home
+use there is a simple little article that can be substituted and yet
+you can obtain very satisfactory results. A steel nut pick will work
+wonders and then, when you feel that you can do very much better work
+with other tools, invest in a case of them.
+
+All leathers are not satisfactory for tooling. The best and most used
+is Russia calf in a heavy quality. One skin is usually the least a
+dealer will sell.
+
+Let us suppose we are working on a card case. The design is traced in
+the manner described in the last chapter, that is, by tracing over the
+dampened leather.
+
+[Illustration: Fig. 90. A case of tools]
+
+After the design has been traced remove the paper and holding the nut
+pick firmly in your right hand as you would a pencil, proceed to deepen
+the lines. The leather must be kept moist or the tool is apt to scratch
+and break the outer skin. It is a work over which you may become
+fatigued, but you can just lay it aside till the next day and then
+proceed again. The deeper the tooled line the handsomer the piece. It
+will take several hours to tool a card case.
+
+Another form of decorating leather is with the little geometrical die
+that was used so much in past winters for decorating the background of
+etched copper articles (Figure 91). The little die is placed on the
+leather with its raised or embossed side downward and one knock from
+a steel hammer is sufficient to make an imprint on the leather. The
+entire background is filled out in this manner. Hammer with an even
+pressure otherwise the background will be bumpy.
+
+[Illustration: Fig. 91. The dies for backgrounds]
+
+Sometimes you may prefer to have your background pressed or modelled
+and the design to stand out in relief. In that case take the bowl or
+thick part of the nut pick or modeller and press the background in
+flat. If the leather wrinkles when rubbing it change the direction
+of working. When the work is completed it will be noticed that the
+modelled part of the leather is darker and quite shiny.
+
+Designs such as cherries, cat-tails, and most floral forms give a
+greater opportunity for elaborate working. They can be carried out in
+relief. This relief is a much more difficult work. In the first place
+the design is drawn on the finished surface of the leather and then,
+after another sponging with water, hold the leather up from the table.
+Holding the section to be modelled between the first finger and thumb,
+work the tool backward and forward under the section.
+
+Some workers prefer to hold the working side toward them, contending
+that a greater pressure can be brought to bear on a downward stroke
+than an upward one. In that case the design is stamped or traced on the
+wrong side of the leather.
+
+The oftener the rubbing is done and the leather is dampened the higher
+the design will stand forth. The parts to be worked in relief may be
+done before the background (Figure 92).
+
+[Illustration: Fig. 92. A magazine cover]
+
+To keep the leather from falling back to its natural shape some workers
+paste the relief parts. My teacher used a paste that we found quite
+stiff enough except for large heavy objects.
+
+To make this paste an ounce of dextrin is left soaking in water for
+about sixteen hours. Dextrin, by the way, is the only paste which will
+not stain silk. It is a white powder, and when used as a paste can be
+dissolved in boiling water till it is the consistency of a thick cream.
+When used as a modelling wax, however, it requires to be thicker than
+a cream. After the dextrin is dissolved mix in a pint of scrap leather
+that has been grated to shreds, and a few drops of turpentine. The
+scrap leather thickens the paste while water thins it.
+
+Before applying the paste to the leather the raised side is placed face
+downward upon the marble. Take some of the paste and press it into the
+hollow places until they are entirely filled. After every space has
+been filled lay a piece of paper over them and then a cardboard or a
+piece of board large enough to cover all the design.
+
+Turn the leather, paper, and board right side up on the working table.
+While the places are being filled in the design is apt to be pushed a
+little out of shape. With the finer modelling tool or your nut pick go
+over the flattened places again. Let the work remain on the table for
+four days without touching it so that it may be thoroughly dried.
+
+Sometimes you will see a beautiful tinted leather. This is usually
+done by the means of dyes, or chemicals. For the amateur the former is
+recommended. The dye is applied to the leather with soft cotton or a
+sponge. To deepen the shade wet the places desired to be darker two or
+three times with the dye.
+
+To obtain the brightly polished appearance so often seen in a handsome
+piece of leather rub the piece with your bare palms. A little wax
+rubbed on your hand greatly aids the work.
+
+In all leather work it is necessary to leave a margin about a half inch
+at least.
+
+Another paste which may be substituted for the formula given in this
+chapter is one made of equal parts of sawdust and rye flour with water.
+
+The cutting or shaving knife that comes with the outfit is good for
+cutting the leather. If a deeper indentation is desired than is
+obtained by tracing the pattern, a slight slit may be made with the
+shaving knife. Of course cutting the leather weakens it and it should
+only be done on a very heavy piece of skin.
+
+The hammer is indispensable for stamping in the little dies. These dies
+are not usually included in the outfit.
+
+The difference between the modelling (Figures 93 and 94) and embossing
+tools is that the embossing tools are a greater aid in achieving fine
+bas-relief work. The embossing ball tool is used to make the deep
+indentations.
+
+[Illustration: Fig. 93. A modelling tool]
+
+[Illustration: Fig. 94. A modelling tool]
+
+The punch is to make holes for rivets or through which cords or ribbons
+may be passed to connect two or more pieces of leather together as on
+a pad or book. The punch and pearling knives are used in fine carved
+leather. As one becomes proficient in the art of simple leather work
+she is tempted to branch out and try more elaborate work. A great many
+books have been written on this subject which, though perhaps puzzling
+to a beginner, will be interesting and invaluable if the work is taken
+up as a serious occupation. The best specimens of this work can be seen
+at the different arts and crafts exhibitions.
+
+
+
+
+IX
+
+THE SIMPLEST STITCHES IN EMBROIDERY--CHAIN STITCHING, OUTLINING,
+HERRING-BONING, CROSS-STITCHING, SOUTACHE, CORONATION BRAIDING
+
+
+It would be hard indeed to say just how many stitches there are in
+embroidery, as so many are combinations of the others. The ones you
+will hear about are the simplest ones.
+
+Some years ago I had a large class in embroidery in a mission school.
+Every seat was taken and many applicants were refused admittance. The
+supervisor came in one day and said that there was a little girl who
+was very anxious to join the class and that she knew how to sew. I
+did not have the heart to refuse her, so in marched little Nellie.
+She was just seven years old and said that she attended sewing school
+every Saturday at her church and that her teacher had taught her _all_
+about embroidery. I gave her a little stamped design and told her to
+chain-stitch it and let me see how well she could do it. About five
+minutes later I happened to turn around and there was little Nellie
+frantically waving her hand. "Teacher, teacher," she said, "that is
+the only stitch the Lady didn't show me."
+
+Now, as I am most anxious that nothing like that will happen to you,
+I will start with chain-stitching as the simplest stitch (Figure 95).
+It is also one of the oldest stitches in embroidery. Every museum that
+exhibits embroidered articles will have some elaborate designs carried
+out in fine chain-stitching. If the stitches are worked in filo silk or
+spool silk the effect is like machine work.
+
+[Illustration: Fig. 95. Chain-stitching, showing how to turn a corner]
+
+Draw a straight line on a piece of muslin and thread your needle with
+a piece of red cotton. No knots should be used in embroidery. Fasten
+the thread by taking three fine running stitches and one back stitch to
+insure firmness at the end of the line. Now with the needle in position
+at the beginning of the line, start by taking a straight stitch on the
+line. Bring the thread under and pull the needle through the material.
+You have made the first loop. Put your needle back into the last hole
+or as near as possible to it, take another stitch on the line, repeat
+until you come to the end of the design.
+
+Take the same length stitch every time or you will not have a
+good-looking chain. If you will look at the links in your chain
+bracelet, you will see that every link is the same size as the others.
+Suppose you wanted to chain-stitch a square or a triangle: when you
+come to the corner do not try to make one continuous line, but carry
+the needle down through the material at the end of the loop to fasten
+the link and start the next row at right angles to it. Chain-stitching
+can be put to many uses. It is a pretty stitch to cover a single line
+in a conventional design. It is also the quickest kind of padding
+for large designs. When it is used as a padding, the rows are worked
+close to each other. If the work is to be raised very high, the
+chain-stitching may be placed in rows one on top of the other. You
+will, however, hear more about padding in a later chapter.
+
+[Illustration: Fig. 96. Smooth outlining]
+
+The next stitch we will talk about is the outlining, (Figure 96).
+Some people think it is simpler than chain-stitching. It was the
+first stitch I learned in embroidery, but it is not as pretty as
+chain-stitching. The first thing I did in fancy work when I was nine
+years old was a wonderful face cloth with a wild rose on the top, and
+under it my name and the motto, "_Cleanliness is Next to Godliness_,"
+worked in red cotton. After that I made face cloths for every member of
+the family.
+
+Outlining makes one think of plain sewing. There are two kinds of
+outlining, rough (Figure 97) and smooth, the difference being in how
+the thread is thrown. To make the rough outline, fasten the thread as
+directed in chain-stitching and on the line take a stitch about an
+eighth of an inch. Then work from left to right. Let the thread fall
+under the needle and be sure to keep it this way. A smooth outline is
+made by throwing the thread over the needle instead of under it; this
+outline can be used as stems for flowers unless a more elaborate kind
+is desired.
+
+[Illustration: Fig. 97. Rough outlining]
+
+Either chain-stitching or outlining is an excellent way to decorate
+bureau scarfs, pillow tops, or table covers.
+
+Herring-boning is used for finishing seams on a flannel skirt, or
+it may be used above hems. The little flannel skirt you intend to
+make for Sally Ann this winter should be finished in this way. Here
+is a stitch for which we do not need guide lines, though while you
+are learning, the lines might be helpful. Draw two parallel lines a
+quarter of an inch apart. Take a stitch on the upper line, about an
+eighth of an inch long. Then make one on the lower line, letting the
+thread fall always to the right. When you have made a row between with
+the lines, try to work one without lines and see if you can keep the
+herring-boning straight (Figure 98).
+
+[Illustration: Fig. 98. Herring-boning or cat-stitching]
+
+A plain quilt or cover for the baby can be made very attractive, by
+working herring-boning around the edge. If the cover is woollen, use
+worsted or heavy silk for the stitchery, but if it is cotton material,
+a heavy lustre is recommended. The needle to use depends on the thread.
+A sewing needle will carry a round cotton thread such as D. M. C.,
+Madonna, Utopia, Royal Society, or Peri lustre. A crewel needle, which
+is a needle with a long eye, will be required for silk or worsted. An
+easy way to thread a No. 2 or No. 4 crewel needle with worsted is to
+hold the needle in the left hand and double the thread at one end and
+run the needle through it. Hold the thread between the thumb and first
+finger of the right hand so that the thread is just visible. Gently
+pull the needle out with the left hand and run the doubled thread
+through the eye. It sounds a great deal harder than it actually is, but
+it will require very little practice.
+
+[Illustration: Fig. 99. The first step in cross-stitching]
+
+When you went to kindergarten did you have little pierced cards on
+which you made designs in coloured silks or cottons? Well they had
+these at my school and we made book-marks, needle-books and all sorts
+of funny little things. If you remember the cross-stitching of the
+kindergarten days, regular cross-stitching will be a simple matter.
+The nicest material for this work is Java canvas, which is very coarse
+and stiff. It is ideal for book covers or napkin rings. The holes in
+the canvas are so large that working on it is almost like play. As
+Java canvas is rather expensive you will find a coarse scrim a good
+substitute. A lot of boys that I once knew took up this work very
+enthusiastically, so simple is it.
+
+[Illustration: Fig. 100. The second step in cross-stitch]
+
+Do you know that you can make a gingham apron for mother and decorate
+it with cross-stitching that will last ever so long? Get a piece of
+gingham with squares about an eighth of an inch. Cross-stitch it in a
+shade darker than the gingham or in white or red. The stitches are
+taken on the diagonal as shown in the diagram (Figures 99 and 100).
+If there is a great deal of cross-stitching to be done, the quickest
+way is to make all the stitches that run in one direction first, and
+then come back and cross them. Perhaps mother has a small piece of
+cross-stitching that you can use as a model. Simple triangles are
+easy to make. Begin the lower row with an uneven number, such as
+seven, nine, eleven, or thirteen. The next row make two stitches less,
+dropping one from each end, and so on till you have one at the top.
+
+[Illustration: Fig. 101. A good hand design in cross-stitching]
+
+Now suppose that you had a little linen or silk bag on which you would
+like to have a cross-stitch design, yet this material is not coarse
+enough for you to use as a guide for the cross-stitching. Do not think
+you cannot do it, for I will show you a way. Get a piece of scrim just
+as coarse as you can find, and baste it over the place you would like
+to cross-stitch. Work the design on it and when the cross-stitching is
+all finished pull out the scrim thread by thread. Sometimes you will
+have to snip the thread of the scrim if your needle accidentally gets
+caught in them. (Figures 101, 102, and 103.)
+
+[Illustration: Fig. 102. A cross-stitch design]
+
+[Illustration: Fig. 103. Another cross-stitch design]
+
+A very simple thing to do is to braid a dress for yourself. Now that
+all the large pattern houses are carrying transfer patterns you can get
+a design for braiding very cheap. A little girl I know braided a dress
+for herself and one for her mother last summer. She used light blue
+chambray and braided it with white. There are several kinds of braid,
+but the easiest to use is soutache, whether it is cotton or silk. It is
+a flat braid and varies in width from one to three eighths of an inch.
+First stamp your design on the material, or if you have not a transfer
+pattern you can draw a design on tissue paper, making it as long as
+required and then baste the paper in right position on your dress. Take
+a stiletto, which is a little tool somewhat like a nail that is used in
+embroidery for piercing holes, and punch a hole on the line. Push one
+end of your braid through this and fasten the end of it on the wrong
+side of your material. Thread your needle with sewing cotton or silk
+the colour of the braid and sew it down with little running stitches
+and an occasional back-stitch to fasten it firmly. When you come to
+the end of the line or of the braid, carry the end through as at the
+beginning and fasten.
+
+[Illustration: Fig. 103A. A fourth design in cross-stitch]
+
+Coronation braid is beautiful, but oh, so very much harder to sew
+on than flat braid. There are two ways that coronation braid may be
+sewed on. The one that I give preference to is stamping the design
+on the wrong side of the material and holding the braid on the
+right. A stiletto hole is made on the line and the end of the braid
+brought through to the back and fastened securely so there will be
+no likelihood of its slipping. Then, holding the braid with the left
+hand, connect it to the material from the wrong side with fine running
+stitches. The stamped line on the wrong side will serve as a guide for
+the stitches. You can feel every time the needle touches the braid.
+Now perhaps many of you are wondering what coronation braid is. It is
+a braid that looks like fat grains of rice all strung together. There
+are different sizes of the braid, varying from the quarter inch to the
+three quarters of an inch size.
+
+[Illustration: Fig. 104. Coronation braid]
+
+The second way to sew it on is from the right side with little slip
+stitches. At the small end it would be wise to take a stitch over the
+braid to hold it firmly. Centre pieces, bureau-scarfs or even towel
+ends are handsome when decorated with coronation braid, and do you know
+it is a very easy matter to make designs for yourself, as there is
+nothing prettier than daisies or wild roses for coronation braid. If
+the petals are too fine to allow you to use the coronation braid, then
+you must use one grain for each petal, cutting off the grains as you
+require them.
+
+Coronation braid comes in white, Delft blue, bright green, or red. The
+braid is supple enough to turn sharp corners.
+
+The daisy, as I have stated before, is one of the principal designs
+used for coronation braid. Braid the flower with one piece of the
+braid. It is not necessary to cut the braid but at the beginning and
+the ending of the daisy. The very largest width of coronation braid
+will be required for the daisy. Two grains will be sufficient for a
+petal. Bring the narrow ends to the centre and connect them to the
+material. In the centre make a cluster of French knots. The effect
+produced is a daisy embroidered heavily and yet quite different from
+satin stitch. (Figure 105.)
+
+A belt decoration with five or six coronation daisies is very
+attractive when used on a light summer dress. Sometimes the owner
+prefers to couch the braid down with blue cotton and to work the centre
+of the daisy in the same colour.
+
+[Illustration: Fig. 105. A daisy in coronation braid]
+
+A row of daisies is improved by working a fagotting stitch which is
+explained in "Simple Lace Stitches," between the petals. See that the
+braid is sewed on far enough apart that the lace stitches will not be
+crowded.
+
+Coronation braid is also used with crochet stitches for the borders of
+centre pieces and towels.
+
+
+
+
+X
+
+SMOCKING, FEATHER-STITCHING AND LAZY-DAISY STITCH
+
+
+Smocking is such a fashionable trimming this year that I am sure you
+will not be contented till Sally Ann has a smocked dress. Why, one
+cannot take a walk in the park without seeing several little children
+and some grown-ups, too, wearing smocked dresses. Sometimes they are
+made of fine lawn or pique and then again they are China silk, crêpe de
+chine, or cashmere.
+
+Stamped patterns can be had for smocking but they are not at all
+necessary. Nearly every little English girl knows how to smock without
+buying a pattern and why should not you?
+
+The simplest form of smocking is the honeycomb or diamond (Figure
+106). It can be any size you wish. A good size for Sally Ann's dress
+is the half-inch diamond smocking. The beauty of the work lies in its
+regularity. To keep it so, the dots must be spaced evenly. A good
+way is to have a marking card. Take a piece of heavy paper or thin
+cardboard about six inches long by an inch and a half wide. With a
+ruler draw a faint line one half inch down parallel with the long
+edge of the card. Draw four other lines below this at quarter-inch
+intervals. Be sure that the space between each two lines is a quarter
+inch, no more or no less. Along the top line measure in one half inch.
+From this point make dots at quarter-inch intervals all the way across.
+Each line is dotted in like manner, letting each dot come directly
+under the upper one in straight rows. If mother has a card punch ask
+her to lend it to you and where the dots are make holes. A stiletto
+will answer the same purpose as the punch; or an orange stick may be
+pressed into service. Your marking card is now ready.
+
+[Illustration: Fig. 106. Diamond smocking]
+
+Measure the length you wish to make Sally Ann's skirt. Select a piece
+of material that will show pencil marks, such as lawn, pique, China
+silk, or crêpe de chine. It will not be necessary to gore the skirt,
+as the smocking will form a sort of yoke for the dress. A little frock
+smocked in blue or red will be nice enough for all occasions. Take
+the material and smooth all the creases out after it is cut the right
+length. You must allow about the same amount of material for the width
+of the hem as you do for ordinary skirts. Place the smocking card so
+that the edge of it is on a line with the top edge of the goods. The
+smocking must be done before the belt is put on. Through each of the
+perforated holes make a dot in lead pencil. After every hole has been
+dotted, move the card so that there is only one quarter of an inch
+space before commencing to dot again. In other words, place the card so
+the dots have the appearance of being one continuous design.
+
+Thread a No. 6 sewing needle with a piece of red or blue cotton. Make
+a tiny knot at the end. Start from the topmost left-hand dot from the
+under side of the material. Draw the first and second dots together.
+Three stitches on the right side will suffice to hold them together.
+Between the second and third dots let the thread span the material on
+the wrong side without pulling it. The third and fourth dots are drawn
+together and then the thread spans the space between the fourth and
+fifth. Do you see how we are working? First a dot, then a space, a dot,
+then a space, until the entire line is finished.
+
+The second row is worked exactly the same only instead of starting on
+the first dot of the second row, start with the second. The third row
+corresponds with the first and now at last we have formed a diamond.
+
+[Illustration: Fig. 107. Smocking in points]
+
+If a little more colour is wanted than just the dot alone, pass a
+thread along the edge of each diamond under the dots. A suggestion
+which may prove helpful to you if the material has starch in it is that
+it is easy to crease each line of dots before starting to smock. If the
+material is soft the smocking should be stroked or gauged. There is a
+new term to learn, "gauge." It is the same as stroking in sewing. The
+English women have all sorts of complicated patterns in smocking, but
+the one that is most popular is the diamond smocking I have told you
+about. After you know the principle you can make the smocking as deep
+as you wish and then try and smock in points. (See Figure 107.)
+
+Feather-stitching is almost as simple as smocking. It has various other
+names. Perhaps you know it by the name of "brier-stitch." The first and
+simplest form is the single feather-stitching. A thread as fine as No.
+60 sewing cotton or a heavy Germantown wool can be used for it. Baby
+blankets or a blanket for yourself are pretty feather-stitched in wool.
+
+[Illustration: Fig. 108. Single feather-stitching]
+
+Like smocking, patterns can be had for feather-stitching. But the best
+embroiderers never use them, as their mechanical correctness makes the
+work too much like machine work. I do recommend, however, a faint line
+drawn so as to have something on which to guide your line and gauge
+your stitches.
+
+[Illustration: Fig. 109. Double feather-stitching]
+
+Let us thread our needle with a piece of coarse blue thread. On a
+little piece of muslin draw a faint pencil line across it. Commence
+from the upper right-hand side of the line. Take a short stitch about
+three sixteenths of an inch on the right of the line, slanting to the
+line. Let the thread come under the point of the needle in each stitch.
+The second stitch is taken on the left side of the line the same
+distance over and the same in slant (Figure 108).
+
+[Illustration: Fig. 110. Triple feather-stitching]
+
+[Illustration: Fig. 111. Four on each side]
+
+Double feather-stitching is two stitches to the right, two to the left
+and so on till the line is finished (Figure 109). In fact you can
+make three, four (Figures 110 and 111), or five stitches or even more
+if you wish on each side. The prettiest little border can be made of
+feather-stitching in circles. Take a quarter or a fifty-cent piece and
+draw a faint line around it on the material about one inch from the
+edge. Move the piece till it overlaps the pencilled circle and draw
+another circle. Repeat as many times as necessary to go around the
+skirt, sleeve, or section you are decorating. A row such as this makes
+a pretty decoration around the sleeves and neck of a night dress or the
+ruffles of drawers. Marking cotton No. 20 or No. 25 should be used for
+feather-stitching underwear.
+
+Infants' dresses, bibs, or petticoats of lawn or any very sheer
+material of cotton or linen should be worked in fine marking cotton,
+either Nos. 25, 30, 40, or 50.
+
+Just a word about threads. There are several different kinds. The
+most popular and best known are D. M. C., Madonna, Royal Society, and
+Utopia. The numbers run about the same. Some teachers recommend one
+certain kind, but the result obtained from using any of them is almost
+identical.
+
+[Illustration: Fig. 112. Seaweed-stitch]
+
+There is a pretty little stitch that can be made with a foundation of
+double feather-stitching. We used to call it "seaweed-stitch" when we
+were youngsters. I remember I made a white cashmere coat for my doll
+and used the seaweed-stitch along the hem and above the opening, and on
+the cuffs and collar of the coat. It was embroidered in rose coloured
+filo silk. A row of double feather-stitching was worked in the usual
+way. At the end of each stitch a little Van Dyke point or V was worked.
+Try it yourself and see how dainty it is (Figure 112).
+
+A good way and something new for decoration is the feather-stitchery
+used like festoons on the hems. The way this is done is to take a
+compass and make a circle about two and a half inches in diameter. Cut
+it out in heavy paper or thin cardboard. Baste the hem in place and
+then trace one-third of the circle. Repeat in like manner till the hem
+has the appearance of large scallops. Along the lines work the single
+or double feather-stitching in No. 20 marking cotton through the two
+thicknesses of the material. Pull out the basting threads from the hem
+and then carefully cut away the material within each scallop on the
+wrong side of the hem. In other words, the upper part of the under hem
+is cut close to the stitching. Cut right down to the feather-stitching.
+
+Only thin materials are pretty worked like this, as the doubled
+material gives a milk-white appearance, while the upper or single
+parts are transparent. A lazy-daisy stitch worked in the centre of
+each scallop adds further beauty to a feather-stitched hem such as has
+been just described. The lazy-daisy has been aptly called because it
+requires a stitch to connect each petal to the material.
+
+Another name for this lazy-daisy stitch is the "bird's-eye" stitch
+(Figure 113). It is used to represent clovers, daisies, or leaves.
+The stitch is made, if for a daisy, from a common centre. Bring your
+needle up from the centre of the daisy and take a stitch the length of
+the petal. Let the thread come from the left under the point of the
+needle. Pull the needle through the material on the right side. A short
+stitch at the end of the petal catches it down to the material. The
+needle is now brought back to the centre and the next petal made in the
+same manner. Any size daisy can be made like this from the quarter to a
+two-inch size. Remember that the larger your daisy is the more petals
+it should have. As fine thread should be used for the little flowers
+and the heaviest silk or lustre for the big ones, it is a wise plan to
+faintly mark in pencil the daisy. One line will be sufficient for each
+petal. If you do this, you can then be sure that each petal will be the
+same length as the last.
+
+[Illustration: Fig. 113. The lazy-daisy stitch]
+
+A charming little yoke can be made of groups of fine tucks and rows of
+the daisies.
+
+
+
+
+XI
+
+COUCHING, SHADOW WORK AND TURKISH STITCH HOW TO STAMP DESIGNS
+
+
+The more one does of fancy work the more fascinating it becomes. Every
+new piece presents an opportunity for new stitches and colours.
+
+We have talked a lot in the first chapters of this book as to the
+different implements necessary for sewing and by now I am sure you have
+a well-equipped sewing box or basket. Now it will be necessary to add
+considerably to your work box for embroidery.
+
+The crewel needle which I mentioned in the ninth chapter is the most
+important implement. Get a pack of assorted Nos. from 5 to 10. They
+will answer every purpose unless you need a large tapestry needle for
+couching. The most unfortunate thing about a crewel needle is that the
+eye has the bad habit of breaking. This is caused from the steel being
+so fine at the top that vigorous working snaps it off very quickly.
+
+A tapestry needle is like a large crewel needle, only it is much
+stronger and the eye is very large.
+
+A stiletto of ivory, bone, or steel should also be in your box. An
+orange stick can be substituted for a stiletto in case of emergency.
+
+A small pair of scissors, too, should be included to cut the ends of
+silks or pare away the material after buttonholing or making an eyelet.
+
+I have kept the most important till the last. That is the embroidery
+hoop or rings. Really you would be surprised to see how many different
+kinds there are in this world. First there are the black celluloid ones
+that have their good points, but they do not stretch over the material.
+Then there are the common wooden ones that have sharp edges that catch
+and fray the silk on every turn. There are some wooden ones that have
+a felt lining and whose edges are an improvement on the cheaper kind,
+but they also do not stretch over thick fabrics. The kinds that have a
+spring and may be adjusted to any size desired have their advantage,
+but the spring catches the silk also and of course that will never do
+for fine work. The simplest, best, and cheapest kind is the pair that
+is made at home. Get two pairs of the cheapest rings, even if their
+edges are rough. One pair should be small enough to set inside of the
+other. They vary from the smallest to the largest circular kind, each
+one setting inside of the other. Select two pairs that come next in
+size to each other. The most convenient size and ones that can be used
+for all kinds of work are the six inch. Take the larger hoop of each
+pair for your work. Now cut a piece of canton flannel in half-inch
+strips, or if mother has the coloured selvage left from a piece of
+flannelette, get that. The largest hoops should be wound over and over
+like the hoops they use in schools for fancy drills. The other hoop
+should be padded before winding it. To pad, lay strips two or three
+thicknesses deep around the hoop and then wind thickly like the other
+hoop. Hoops like these never leave marks on the material, as often
+happens with the celluloid or wooden hoops. Another point is that the
+sheerest material, such as chiffon, can be used in them, while if a
+heavy burlap or crash is embroidered over them a little of the winding
+strips can be removed for the time being.
+
+There are other things you might find handy for your box, but it is no
+use getting them till you have occasion to use them.
+
+Now we are ready to make use of some of the things just described. The
+tapestry needle will be brought into use for our next stitch, which
+will be couching.
+
+It is a beautiful old stitch that is often used as an outline. It can
+be made as a heavy thick cord, or yet again it need only be the size of
+a fine string. The expression is often used, "Couch a cord on." Cord is
+used instead of threads and lustre on pieces where only the effect is
+wanted.
+
+[Illustration: Fig. 114. Couching]
+
+To couch with a number of silk or lustre threads select a No. 2
+tapestry needle. Cut the skein of silk so that you will have the
+longest length of thread possible. Thread your needle with all the
+strands in the skein, if the eye will carry them. Make a stiletto hole
+in the cloth on the line of the design. Bring the tapestry needle
+through to the back (Figure 114).
+
+A crewel needle is threaded with a single strand of silk, the same
+shade or lighter or darker if you desire. Fasten the silk ends down
+neatly on the back of the material with the single thread and bring it
+up one quarter of an inch from the hole and span the cluster of silk
+threads. The threads are caught down in this manner at quarter-inch
+intervals. When the end of the line is reached, the cluster of threads
+is again taken through to the back of the material.
+
+Couching is a stitch that you will hear more about in later chapters.
+
+The Turkish or Ismet stitch is another name for cat-stitching or
+herring-boning. See Figure 98. The stitch is taken vertically instead
+of horizontally, as in cat-stitch. Turkish stitch gets its name from
+the embroideries from Turkey (Figure 115). It seems to be the favourite
+stitch of the Turkish ladies.
+
+[Illustration: Fig. 115. Turkish stitch]
+
+Have you ever noticed how many pieces of Turkish embroidery are worked
+on coarse unbleached muslin or tan linen? The colours are generally
+bright green, blue, coral pink, chestnut brown, purple and then
+outlined in black or gold thread.
+
+Shadow work, is not that a funny name for embroidery? But you can
+understand why it is called that when you see a piece worked. It
+gives the appearance of a design under the cloth, as all the stitches
+are taken from the wrong side of the material. The design is drawn or
+stamped on the wrong side. Lawn is usually selected for the background
+of shadow work because of its transparency. A heavy cotton such as No.
+16 or No. 20 marking cotton or D. fine lustre is necessary.
+
+Daisies or chrysanthemums are most popular for shadow work on account
+of the smoothness on their edges. Not that it is impossible to work an
+indented edge, but it is more difficult.
+
+[Illustration: Fig. 116. The right side of shadow stitch]
+
+To work the shadow stitch, place your work over your embroidery hoop
+with the design side up. Start to work a petal from the heart of the
+flower. Do not use a knot. The stitch is like cat-stitching (see
+Figure 98). First you take a stitch on one side of the petal, then you
+pass over to the other side. Be sure you take the same length stitch
+every time. The stems are worked in outline stitch. Shadow work from
+the right side looks like back-stitching (Figure 116). It is used on
+aprons, shirtwaists, or bureau scarfs where a good effect is wanted
+with very little work.
+
+There are two ways of working the leaves of daisies or chrysanthemums
+in shadow work: First, and the best in my opinion, is to start and work
+from the top of the leaf to where the midrib commences in the design.
+Now work from the midrib to the outer edge on the right side of the
+leaf. The left-hand side is yet to be filled in. Start from the base
+of the leaf and instead, however, of putting the needle through the
+material by the midrib catch one thread upon the midrib and then take a
+stitch on the left-side edge of the leaf, up to where the midrib ends.
+
+The other way of working a leaf is to outline the midrib first. Then
+start from the base of the leaf and work across the entire leaf. The
+former way is the better, because there is not such a wide stretch of
+thread on the wrong side as in the latter method.
+
+Batiste, organdy, and lawn are the usual materials used in America
+for shadow work, but in England, where more substantial materials are
+generally liked, tea cloths of linen in shadow stitch are often seen.
+Tiger lilies are good for any large piece.
+
+The effect of shadow work on linen is as if a padded design was placed
+on the material.
+
+White is the nicest for working shadow stitch on waists, especially as
+colour is apt to cheapen the effect.
+
+Remember that a design drawn out in pencil soils the cottons or silks
+and necessitates the article being washed before it is used. You can
+buy patterns for embroidery so cheap and in such excellent taste that
+it pays one in the end to use them instead of drawing on the material.
+There is the perforated design that can be had from five cents up.
+It is the oldest and in some ways the most expensive pattern. The
+perforated paper is laid, with the rough side up, over the material on
+the ironing table or any other flat surface. An especially prepared
+powder that embroidery shops sell for stamping designs is the best to
+use. A pouncet is several layers of felt rolled together, or a piece
+of wood covered with felt. Rub the pouncet in the powder. See that the
+pattern is weighted down so that it will not slip while you are working
+on it. Rub the powder in with a circular movement. Lift the weights
+from the lower edge of the paper, and gently raising the pattern see
+that the design is well on before removing the pattern. A hot iron
+will be necessary now to set the powder. Every time you use the iron
+just clamp it down on the design. Wipe it off on an old piece of cloth
+before you press it again on another section of the design. Each time
+the iron touches the powder, part of it adheres to the iron and the
+design would be spoiled if the iron was used again before wiping it.
+After the design has been set, the iron can be used freely over the
+whole work.
+
+There is another method of stamping with a perforated pattern, and that
+is placing the smooth side of the design face upward and using a blue
+paste that comes in cake form. The pouncet is dipped in kerosene or
+naptha and then rubbed on the paste. Apply to the paper as directed for
+the powder. This method requires no iron, but care must be taken not to
+get the pouncet too wet or the design will run.
+
+A third method for stamping is one that requires to be rubbed with the
+back of a spoon. The fourth and newest method of stamping is by the
+transfer designs. The patterns are in different colours. Place the
+transfers with the bright or raised surface next to your material and
+press with a heated iron. Some patterns require a very hot iron, while
+for others a moderately heated iron suffices.
+
+You can make a perforated pattern yourself by drawing a design on a
+piece of paper and using a sewing machine to perforate along the lines.
+
+
+
+
+XII
+
+BUTTONHOLING AND WALLACHIAN EMBROIDERY
+
+
+Embroidery buttonholing is a little different from the buttonhole
+stitch used in sewing. It is a stitch that is most used to finish
+the edges of centre pieces, scarfs, and, in fact, any article where
+embroidery is wanted to finish the work. You know that it is possible
+to use a fancy stitch, such as the Turkish stitch described in the last
+chapter, but in that case the material will have to be turned back and
+hemmed. The twill or purl of buttonholing, as the little ridge on the
+edge is called, serves as a resistance for the material from fraying
+out.
+
+The buttonhole stitch is the most popular in embroidery. It is the
+foundation for many other stitches. Feather-stitching is really an open
+form of this stitch.
+
+As a usual thing it is necessary to pad before working buttonholing. It
+raises the work and makes it much more durable as an edge. The padding
+can be done in either running-stitch or chain-stitching.
+
+Let us take for our first example the straight buttonholing. It is the
+simplest form. Cover the space between the lines with coarse, running
+stitches. Let the background be medium weight linen. The padding
+thread should be No. 16 or No. 20 marking cotton, or two strands of
+white darning cotton makes an excellent padding. The stitches can be
+fully one quarter of an inch in length. Take up a single thread of the
+background so that the padding will be all on the top of the material.
+This keeps the work well raised on the right side and perfectly flat
+on the wrong side. An extra row or two toward the outer edge of
+buttonholing raises the edge prettily. Chain-stitching is a more rapid
+way of padding, but should only be used for coarse work. Remember that
+the wider the buttonholing the more padding will be necessary.
+
+The padding should be worked over your embroidery hoops, keeping the
+work as near to your fingers as possible. The actual buttonholing gets
+a rounder effect if done over the finger, though it is possible, of
+course, to do it over the hoops.
+
+Again, no knots in buttonholing. Thread your needle with No. 25 marking
+cotton. Make three little running stitches and one back-stitch to
+insure firmness in the starting. Let your thread come up slightly
+under the lower line of the buttonholing. With your left thumb holding
+the thread down to the material draw your thread to the right, take a
+stitch over the padding, bringing the needle out slightly below the
+lower line. The thread should fall under the point of the needle in
+each stitch.
+
+The next thing we learn in buttonholing is a scallop. The deeper the
+scallop the more difficult it is to make a good corner and to keep
+the slant of the stitches right. When you buy a stamped piece of
+embroidery, select a pattern that has a shallow scallop and one where
+the points are not too sharp. In working a scallop the stitches should
+slant vertically in the direct centre, slanting the other stitches
+toward this point (Figure 117).
+
+[Illustration: Fig. 117. A simple scallop]
+
+The object in carrying the needle slightly beyond the stamped line is
+that all the stamping may be well covered. A stitch that is taken
+directly through the line shows the stamping.
+
+The diagrams (Figures 117 and 118) show how to work a simple scallop
+and one with a sharp scallop. A good deal has been written about the
+cutting of scallops, but the safest and wisest is to wash the piece
+before cutting out the scallops. A pair of small embroidery scissors
+should be used to cut the material away close to the twill of the
+buttonholing. If a scallop is cut before it is washed it frays so much
+that the edge has an untidy look.
+
+[Illustration: Fig. 118. A sharp scallop]
+
+Some women work a row of machine stitching close to the lower edge
+before padding it, as a preventive from fraying, while others insist
+on cutting the material to allow a hem on the wrong side only. Try the
+first way and see if you are not successful. Another point to bear in
+mind in buttonholing is that the stitches should be taken very close
+to each other. If a piece of buttonholing is well done it is hard to
+distinguish one stitch from the other, and yet they must not be made
+one on top of the other or the buttonholing will be rough.
+
+Wallachian work gets its name from a little community in Pennsylvania.
+It is a German word and is nothing more than coarse buttonholing. It
+is especially appropriate on heavy waists, centre pieces, pillow tops
+or work bags. A finer form of it looks well on sheer waists. The rings
+or circles are worked from a centre like the spokes in a cart wheel
+(Figure 119).
+
+[Illustration: Fig. 119. A Wallachian ring]
+
+[Illustration: Fig. 120. Wallachian stitch]
+
+The leaves or petals of a Wallachian figure are worked on the slant,
+and here is the difference from ordinary buttonholing and the
+distinctive feature of Wallachian embroidery. Usually the petals have
+an indented top and a line running through the centre. Begin at the
+lower right-hand section and take a short stitch on the line as for
+outlining. The next stitch is taken close to this from the midrib to
+the outer right-hand edge. The stitches need not be quite as close as
+in buttonholing and no padding is required. Continue in the same slant
+to where the centre line stops. The stitches from this point radiate
+till they are in a good slant to continue down the left side. Note the
+stitches in the diagram (Figure 120).
+
+Some people do not slant their stitches and the result is that the work
+is not as pretty and loses its chief charm.
+
+Placing your thimble on a piece of material, make a little circle
+around it and in the centre make a little dot to practise the
+Wallachian ring on.
+
+[Illustration: Fig. 121. A whisk broom holder in Wallachian stitch]
+
+You will find that your thimble or spool is a great help to you also in
+making scallops. Draw a line with the ruler just below where you want
+your scallop to be. Inscribe half a circle with the aid of your thimble
+or spool on the straight line. Just within this half-circle draw
+another half-circle that will touch the upper line of the scallop. A
+ten-cent piece or in fact any coin can be used like this. Embroidered
+pieces should be washed by themselves, especially if they are worked in
+colours.
+
+A little girl I was teaching some years ago was very slow in working
+a centre piece. She finished the piece one day just before her term
+was over. Thinking that she would surprise me, little Daisy decided to
+launder the piece herself. Her mother knew nothing about embroidery, so
+was not able to tell her how to proceed. So Daisy washed the piece and
+having seen how mother bleached the linens, Daisy desired to give her
+piece a sun bath. She spread it out in the sun and when she went for it
+the colour was half out. Poor little Daisy was heart-broken. She would
+not have had this trouble had she observed the following directions:
+
+Put the piece to launder in warm water and rub it with a pure soap,
+such as castile. Ordinary laundry soaps are too strong of lye to be
+used. If the piece is very soiled let it soak a long time, several
+hours. Usually washing the piece out in water is sufficient. Rub with
+the hand only. Rinse in clean water and lay the piece on a thick cloth
+or a Turkish towel. Roll the towel up and leave until the piece is
+almost dry.
+
+Lay the embroidery, with the worked side down, over a heavy padded
+surface. Press with a hot iron quickly. If the centre of the piece
+puckers, dampen it again till you have pressed it out thoroughly.
+
+If you fear to put the iron directly on the piece lay a thin white
+cloth over it and then press. Many a really beautiful piece is spoiled
+in the laundering.
+
+
+
+
+XIII
+
+ROMAN CUT-WORK, FANCY BUTTONHOLING FOR BORDERS, WORK BAGS, BERMUDA
+FAGOTTING
+
+
+Roman cut-work or Colbert embroidery is one of the prettiest forms of
+buttonholing. The right way to work it is to make the stitches so that
+each one is distinct from the other. Some people insist on crowding the
+stitches as in regular fine buttonholing, which is quite a mistake, as
+its distinctness lies in dissimilarity to the ordinary buttonholing
+(Figure 122).
+
+The work is used for centre pieces, corners of lunch napkins, coat
+sets, as well as on heavy linen dresses. In Scotland the little girls
+make the entire yokes of their night gowns in cut-work as well as the
+top of their night gown case. These cases are placed on top of the bed
+pillows during the day and are marvels of fine handwork. This custom is
+not restricted to Scotland, but Italian, French, and German women are
+also proud of their night dress cases.
+
+The design for Roman cut-work should be bold and not too close
+together. It should be stamped directly on the material. The American
+way of working it is to run a line of fine stitches on the outline and
+then work a row of buttonholing. The stitches are a little less than an
+eighth of an inch deep. The background spaces between the design are
+then cut away close to the buttonhole edge. Do not neglect to wet and
+press the linen before cutting the buttonholing. Keep the twill of the
+buttonholing on the outer edge of the design so that the background
+will be bordered with the twilled edges (Figure 123).
+
+[Illustration: Fig. 122. Roman cut-work]
+
+The European method of Roman cut-work is to run the thread first and
+then cut the material so that there is an eighth of an inch extending
+beyond the running stitches. This is turned under till the running
+thread forms the edge and then the buttonholing is worked through both
+thicknesses of the material. This way prevents the linen from fraying.
+The design is basted over a piece of coloured paper, letting the
+basting stitches follow closely the buttonholing. The wide spaces are
+then filled in with a simple lace stitch such as the twisted bar, woven
+bar, or spiders. Sometimes the spider is used in conjunction with one
+of the former stitches, and it is an excellent stitch for filling in
+the corners. Marking cotton No. 20 or No. 25 should be used for Roman
+cut-work, as well as the lace stitches.
+
+[Illustration: Fig. 123. A Roman cut-work centre piece]
+
+To make the twisted bar, plan the open spaces so that they will be well
+filled and yet not too crowded. Span from one side of the space to the
+other with the thread, then return and whip the thread or stitch three
+or four times. The stitches may be connected and have the appearance of
+a series of points (Figure 124).
+
+[Illustration: Fig. 124. The twisted bar]
+
+The woven bars are made by working two threads across the space about
+one eighth of an inch apart. Start from one end and weave. Take up
+one thread on the upward and the other thread on the downward pass.
+Continue in this manner till the whole bar is woven. The bars are
+placed at equal distances apart (Figure 125).
+
+[Illustration: Fig. 125. The woven bar]
+
+The spider is a little more complicated. It is made on an uneven
+number of threads, usually seven. They may be double or single. To
+make the whipped or double-thread spider, span the space with the
+thread and then whip back to the centre and connect the thread to the
+buttonholing again at some little distance from the first stitch. Whip
+back to the centre again and take a stitch directly opposite. Continue
+in this manner till there are five, seven, or nine threads around the
+centre, then proceed to weave under one and over the next thread until
+a good-sized spider is made. Do not make too large a spider, as it
+detracts from the work. An illustration for the single spider is given
+in the chapter on lace stitches.
+
+[Illustration: Fig. 126. Blanket stitch]
+
+The blanket stitch is a favourite for working the edge of flannel
+skirts or quilted covers. Worsted or coarse silk can be used for it.
+It is made on the raw or folded edge of the material. Two stitches
+are long and two are short. Sometimes they are worked like a pyramid.
+Beginning at the base we increase each stitch till we reach the point
+and then decrease each stitch in length as we work back to the base on
+the other side (Figure 126).
+
+The triangular buttonhole is a pretty stitch for a conventional design
+that has long narrow sections. It may also be used for working a very
+large simple scallop (Figure 127). The way we were taught in school
+was to mark the section to be worked in deep points. The twill of the
+buttonholing must come on the lines. The stitches are not very close to
+each other. The stitches are taken on the line across to the next line.
+Begin at the longest opening and make every stitch shorter. When the
+line is covered, turn the work so that the twill of the buttonholing
+touches the top of the stitches just made. If this stitch is used on
+the outer scallop it will be necessary to hem the material, letting the
+triangular buttonholing form the edge.
+
+[Illustration: Fig. 127. The triangular buttonholing]
+
+Then there are fancy forms of buttonholing that are used especially
+in Mount Mellick work. The double buttonhole stitch is effective to
+fill in the large leaves. The stitches are taken in groups of two,
+then a little space and two more stitches. Continue in straight rows.
+Sometimes one will see a leaf worked one half in double buttonholing
+and the other half in a close stitch.
+
+[Illustration: Fig. 128. The honeycomb stitch]
+
+The honeycomb or mesh is a fancy name for another form of buttonholing.
+Work a row of buttonholing about a quarter of an inch apart. The
+distance may be changed to suit the design you are working on. In the
+second and all other rows, the needle is over the buttonhole loop
+directly above and a short stitch taken a quarter of an inch, or the
+distance you have decided on, below the loop. In starting each row
+bring the needle up a quarter of an inch, or more or less as you
+desire, below the previous row. The distance must be kept even to
+achieve satisfactory results. It is not necessary to start from one
+side always. The first row is worked from left to right, the second
+from right to left and so on, back and forth, till the space is filled
+(Figure 128).
+
+Bermuda fagotting is the name of a stitch that gives the effect of
+drawn work, when no threads have been drawn. It is used on scroll
+designs as well as to outline a simple floral pattern. Lawn, dimity,
+China silk, handkerchief linen, or nainsook are the prettiest materials
+for this stitch, as it demands a fine, transparent background to give
+the right effect.
+
+[Illustration: Fig. 129. Diagram of stitches]
+
+Sewing cotton No. 100 or 150 and a special needle are the only
+requirements for this work. The needles can be bought from any art
+needlework shop for five cents each. It is like a large-sized carpet
+needle with a small eye. A carpet needle can be substituted if it is
+not possible to obtain the regular needle in your locality. Tie one end
+of the thread to the eye of the needle. While practising this stitch it
+will be necessary to make guide lines. On each side of the design line
+make a row of dots an eighth of an inch apart. The dots above the line
+must be directly over the lower dots. Note the diagram (Figure 129) of
+this stitch. I have numbered the first six dots.
+
+Take a stitch from one to three and tie the end of the thread under
+this point. Make the stitch a second time from these points, pulling
+the material between them closely. Pass the needle underneath and
+connect one and two with two stitches. Then pass to point four and
+connect two. Three and four are connected in the same manner. It is
+only necessary to tie the thread when commencing the work or a new
+thread. The needle is so large that it makes quite a hole in the
+material and the thread is so fine that the manner of working is not
+clear to the average eye unless a detailed explanation is given (Figure
+130).
+
+[Illustration: Fig. 130. An enlarged drawing of Bermuda fagotting]
+
+When working on a curved line or a corner it will be necessary to make
+an extra stitch on the outer or longer side only.
+
+The scroll lines or stems of a conventional shirtwaist design are more
+dainty when made in Bermuda fagotting. The corners of handkerchiefs
+or a design on underwear or yokes and collars lend themselves to this
+style of adornment.
+
+
+
+
+XIV
+
+SATIN-STITCH AND MARKING
+
+
+The more interested we become in embroidery the more we find how much
+more there still is to be learned about it.
+
+There may be embroiderers who are experts in one branch of the subject
+and yet who will do very unsatisfactory work in another. For instance,
+one girl may be very proficient in fancy stitches and yet may not
+do the simple stitches or vice versa. Few American girls excel in
+the satin-stitch, not because it is hard, but it must be perfectly
+accurate. The average German, Swiss or French child can do better
+satin-stitch at the age of twelve than the average American woman does.
+From the time the children in those countries can hold a needle in
+their hand they are taught to sew and embroider.
+
+[Illustration: Fig. 131. A letter in satin-stitch]
+
+Satin-stitch is a stitch that is taken over and over across a space.
+Sometimes it is quite heavily padded and at a first glance gives the
+appearance of a piece of material heavily raised. Fine designs should,
+however, be slightly padded. There are three ways in which padding may
+be done. There is the running or uneven darning, the chain, or the
+filling-stitch. A great deal depends on the smoothness of the padding.
+The chain-stitch should only be used for coarse work. The padding
+should not cover the stamped outlines, for they are needed as a guide
+for the satin-stitch. The padding is usually worked in a heavier thread
+than the outer stitches. Darning cotton that comes in four strands is
+often used. One or two strands is sufficient.
+
+[Illustration: Fig. 131A. Satin-stitch]
+
+The prettiest satin-stitch is taken straight across. The stitches
+should not be crowded, but should be worked so that when the embroidery
+is finished the stitches are hard to distinguish one from the other.
+
+[Illustration: Fig. 131B. Satin-stitch dot]
+
+The Old English letter "E" (Figure 131) shows a good example of
+satin-stitch and outlining. The latter was used on the single lines.
+The entire letter may be carried out in satin-stitch by first running
+the single lines with uneven darning stitches and then covering these
+with fine satin-stitches. Make the padding stitches as close together
+as possible, or the satin-stitches will be uneven.
+
+The letter "C" (Figure 132) offers an opportunity of combining two
+colours. After the satin-stitch has been done, a little back-stitch
+is worked through the centre of the heavily padded sections. This
+combination of stitches is pleasing when colour is used, as the
+satin-stitch is in one colour and the centre stitches in another. A
+great many of the regular sewing stitches can be used instead of the
+embroidery ones. For the very fine lines, back-stitching can be used,
+making the stitches finer than those used in ordinary sewing.
+
+[Illustration: Fig. 132. Satin-stitching and seeding]
+
+The letter "A" of Figure 133 shows a good combination of satin-stitch
+and back-stitching.
+
+[Illustration: Fig. 133. Satin-stitch and back-stitching]
+
+Satin-stitch can be worked straight across or on the slant. Most of
+the modern work is straight, though a great many Germans still prefer
+to slant their stitches. The work should be held toward you and the
+needle straight. The padding should be worked lengthwise on the design
+and the satin-stitch in the opposite direction.
+
+The Chinese do beautiful embroidery, usually in satin-stitch which is
+not padded and the finest of silks are employed for the work.
+
+Another way of marking is to make a row of French knots along the
+outline design. A single line script letter lends itself best to this
+kind of work.
+
+[Illustration: Fig. 134. A simple letter in back-stitching]
+
+For bath towels an outlined letter is better than a padded one. The
+letter on a school bag or a heavy Turkish towel should be very simple
+as the wear they get does not warrant the spending of too much time on
+them. If there is a monogram to be made it is prettier if the initials
+of the Christian name be light and the surname heavy.
+
+We learned about outlining in the first chapter of embroidery stitches,
+but outlining in combination with outer stitches is a little surprise
+for you. We have the German to thank for most of the good combinations
+of stitches or letters. After the letter has been outlined in white,
+we will say, a thread of colour is taken. Starting from the upper
+left-hand side the needle is passed under the first stitch of the
+outlining, up through the second stitch and down again through the
+third, till every stitch has been taken up on the needle (Figure 135).
+The threaded needle should not pass through the material except at the
+beginning and end of each line (Figure 136).
+
+[Illustration: Fig. 135. A pretty combination stitch]
+
+[Illustration: Fig. 136. A letter in fancy stitch]
+
+Another manner in which a letter may be embroidered, especially an old
+English letter, is to work it solid in white and outline it in colour.
+The Van Dyke point is good also where a broad space is to be filled. It
+is sometimes called the bird's-eye stitch.
+
+[Illustration: Fig. 137. A simple way to work a letter]
+
+Start at the top and on the left side of the letter or space it is to
+fill. Insert the needle on the right side and take a stitch to the
+centre on a slant like a buttonhole stitch. Fasten to the material with
+a little short stitch. Bring needle out at the extreme left and repeat
+directions until the space is filled. Each stitch forms a V (note
+Figure 138).
+
+Sometimes you will find a very elaborate letter, the outline of which
+has been worked in satin-stitch or French stemming. Little eyelets or
+satin-stitch dots are worked between the lines.
+
+[Illustration: Fig. 138. Van Dyke stitch]
+
+When two or more letters intertwine they are called a monogram. It is
+not every set of letters that will make good monograms. Letters that
+have a good swing should be selected so that though they intertwine
+each letter should stand forth clearly. It is permissible to use the
+surname initial a trifle larger than the Christian initial. When
+monograms are composed of three letters and one of the smaller letters
+is placed on either side of the larger one the effect is very pleasing.
+The smaller the letters, the finer the thread should be. No. 50 or
+60 marking cotton can be used for letters one half-inch in size. A
+three-quarter inch letter should be carried out in No. 45 marking
+cotton. A one-inch letter requires No. 35 cotton, while the two-inch
+letters take No. 30 and so on. The larger the letter the coarser the
+cotton.
+
+[Illustration: Fig. 139. A letter in Van Dyke stitch]
+
+[Illustration: Fig. 139A. Seeding]
+
+The beauty of a monogram is to have something original. Perhaps you
+want to work your bag. Take a tea cup and place on the material in the
+position you desire the monogram. Run a faint pencil line around the
+cup. Draw a block letter in the centre so that it touches the upper
+and lower edges of the circle. Your two Christian initials are then
+placed one on each side of the centre letter. Try to fit the letters
+so as to keep the circle perfect. It may be you will not really draw
+block letters, but so much the better, as the monogram will be more
+original. If it is impossible to make a complete circle with the
+letters, embroider the sections of the circle between the letters
+in stem-stitch. Stem-stitch, you will remember, is an outline-stitch
+covered with the over-and-over or small satin-stitch.
+
+A monogram of this sort is especially appropriate for a man's
+handkerchief. A twenty-five-cent piece, or a fifty-cent piece if it
+is a very large handkerchief, should be used for the circle. Seeding
+(Figure 139A) may be combined with satin-stitch in working monograms.
+Seeding is nothing more than a series of little back-stitches. A good
+effect is obtained by working one letter in satin-stitch and the other
+in seeding. It will be necessary to outline the outer edges of the
+seeded letter.
+
+You have probably noticed the gold emblems and lettering on the sleeves
+of army officers' regimentals. They are generally worked in bullion,
+though sometimes gold thread is used. Bullion comes in gold and silver
+and at the first glance looks like the Oriental gold or silver threads.
+The difference is, however, that bullion is tubular, while the threads
+are usually composed of two or three strands twisted together or
+over and over a thread of red cotton. The red cotton makes a strong
+foundation for the gold threads and, by the way, do you know that all
+silk that comes on spools has a fine thread of cotton running through
+the centre? The purer the silk the less cotton is used, but the latter
+is very necessary, as the threads will not stand very much strain if
+they are all silk.
+
+Now let us get back to emblems in bullion. It is necessary in bullion
+work to have a fine cardboard foundation which is called "the cartoon."
+Trace your design on the cardboard and then cut the design out. Baste
+the cartoon to the background, which may be of any material you desire.
+Broadcloths, silks, satins, and velvets are the materials usually
+selected for the work. Thread a fine needle with a piece of silk.
+Fasten the thread on the wrong side of the material and bring the
+needle up through the right side. Let us suppose that you are working
+the block letter A. Start from the apex of the letter. Cut a piece of
+the bullion just the size of a very small bead. Slip the needle through
+the cut piece of bullion and span the point of the letter. Continue in
+this manner till the cardboard is closely covered with the bullion.
+Each piece of bullion is cut to fit the space it is to cover.
+
+In working a five pointed star, start and pad each section lengthwise,
+if it is to be embroidered in silk or cotton. For bullion work the
+cartoon is always necessary.
+
+Work each section of the star from the point to the centre. Work from
+left to right, so that each section that is worked is to the left.
+
+Papier-maché letters can be bought that may be used as a padding. They
+are very satisfactory for anything that is not to be laundered, but
+continual washings flatten the papier-maché, while if the padding is
+made of cotton it lasts as long as the background.
+
+Handkerchiefs for yourself can be daintily marked in very fine
+feather-stitching in D. M. C. marking cotton No. 80. Remember to keep
+the stitches in a pretty slant.
+
+There are numerous places that a letter or monogram can be used. A
+girl I know who is at a boarding school has marked all her bed linen
+and towels. For each pair of sheets and two pillow cases she uses a
+different style letter or monogram so that her linen is in sets.
+
+Cross-stitching is appropriate for bath towels, although face towels
+are often very attractive worked in this stitch.
+
+The question often arises as to which is the right place to put a
+letter or monogram on a table cloth, napkin, pillow case, or sheet, and
+though you may not be interested in any of these articles at present,
+it is well to know these little points when helping to mark the
+household linens.
+
+Napkins are usually marked with the letter in the direct centre when
+folded. Of course, like many other things, there are fads for changing
+the position. One extreme style is to mark the letter in the direct
+centre of the napkin. This style necessitates folding the napkin in a
+fancy shape so that the embroidery will be seen at its best advantage.
+
+There are two good ways to mark a table cloth. One is to place the
+lettering midway between one corner of the table and the hem. When
+the cloth is on the table the letter is below the top. The second and
+newer way is to have the letter on the top of the table on a line with
+the plates. If two sets of letters or monograms are used place them at
+diagonal corners.
+
+On sheets the letters should be placed two and a half inches above the
+hem. The letter is worked so that when the sheet is folded back the
+base of the letter is toward the foot of the bed.
+
+Pillow cases or towels are marked in the centre of one side, two inches
+above the hem.
+
+Again let me impress upon you not to embroider white washable material
+in silk, thinking that because silks are more expensive they are
+better. Silks are apt to discolour in laundering. Cottons are now
+manufactured that have a high gloss like silk and yet they never
+discolour.
+
+[Illustration: Fig. 140. A handkerchief corner in satin-stitch]
+
+Another pretty and new way to mark letters on lawn or fine linen
+handkerchiefs is one that gives the effect of Bermuda fagotting and yet
+it is only hemming with a large needle (Figure 140). Draw the letter
+in pencil on the handkerchief. Thread a large tapestry or chenille
+needle with a piece of No. 200 linen thread. Cotton thread may be used
+but it is very apt to break. Tie one end of the thread to the eye of
+the needle so that it does not slip out. Thread another needle with a
+strand of No. 8 marking cotton and pass it to the back at the beginning
+of the letter. Unthread the needle, allowing a half inch to extend
+out of the back. Let the No. 8 cotton follow the lines of the letter
+and take a stitch into the material with the large needle. Work from
+right to left, holding the No. 8 cotton from you. Pull the fine thread
+tight around the stitch you have taken. Now pass your needle around
+the same group of threads of the material, holding the stitch over the
+heavy cotton. Work around the entire outside of the letter, then turn
+and work the inner line. Stitch again through the hole already made,
+taking up the same group of threads. Sometimes this style is called
+ladder-stitch, as the heavy cotton gives the effect of the side of the
+ladder and the groups of threads represent the rungs. Any design that
+is uniformly narrow can be carried out in ladder-stitch.
+
+[Illustration: Fig. 141. A simple letter for towels]
+
+
+
+
+XV
+
+EYELETS AND FRENCH KNOTS, BULLION STITCH, AND OTHER FANCY STITCHES.
+
+
+The most beautiful of the embroidery stitches is the eyelet, and it is
+also one of the hardest. A piece of embroidery that is thickly covered
+with eyelet-work and possibly a little satin-stitch and buttonholing
+is commonly termed Madeira embroidery. One will often see a piece of
+the Madeira embroidery so closely covered that it is almost impossible
+to put another stitch in between the embroidered spots. About fifty
+years ago it was a matter of impossibility to buy machine embroidery,
+and eyelet-work was one of the last things made by machine. It was an
+easy matter to distinguish the hand-work from the machine-work up to
+about five years ago. A certain regularity of the stitches and the kind
+of thread used proclaimed it machine to even the amateur. Now-a-days
+the crafty manufacturers stamp the material to imitate the hand-made
+embroideries and use a thread of the same quality so that sometimes
+the professional embroiderers find it hard to distinguish it from the
+real.
+
+If you should ask a boy who has watched his mother working one, what
+an eyelet is he will probably tell you that it is cutting holes in the
+material and sewing them up again. To his mind this is a great waste of
+time.
+
+[Illustration: Fig. 142. Baby's bootees]
+
+Besides being ornamental, the eyelets often play an important part.
+They are used to run ribbon through in corset covers, night-gowns and
+other pieces of underwear, as well as on bags, baby bootees, (Figure
+142), caps and carriage covers. No machine beading can impart the
+elegance that a well-made eyelet does to a personal garment. Eyelets
+can be either round or oval. For a small round one run a tracing thread
+on the outline. Let each stitch take up but one or two threads of the
+material. Use No. 35 or finer marking cotton for small eyelets. With
+your stiletto pierce a hole in the outlined edge till it is just the
+size of the stamped eyelet. Now with the same thread sew around the
+opening with close over-and-over stitches. The stitches should only be
+the width of the stamped line (Figure 143). They must be even, else you
+will have a "Pig's-eye."
+
+[Illustration: Fig. 143. The way to work an eyelet]
+
+For the large round eyelet, as well as the oval, in all sizes it will
+be necessary to cut the material within the outline which has first
+been traced with the running thread. The cuts should be made lengthwise
+and crosswise, right to the tracing thread. The cut material is turned
+under to the wrong side and the eyelet worked as just described. After
+the embroidery is finished turn the material over and any part of
+the cut cloth that extends beyond the stitches trim off. Your fine
+embroidery scissors should be used for the cutting.
+
+[Illustration: Fig. 144. The round eyelet]
+
+Sometimes you might like to make an eyelet to represent a grape. Some
+embroiderers call it a shaded or padded eyelet. After the eyelet has
+been traced make another row of tracing or padding below the lower half
+of the eyelet. Start from the centre side of the eyelet and make the
+second tracing deeper on the lower portion of the eyelet. If any space
+is left between these two rows of tracings fill in with other rows of
+uneven darning (Figure 144A).
+
+[Illustration: Fig. 144A. A padded eyelet]
+
+When eyelets are used on the outer edge of a design, they should be
+buttonholed.
+
+[Illustration: Fig. 145. A simple centre piece in eyelets]
+
+The next stitch to claim our attention is French knots. In France they
+are known as the English knot. They are used to fill in the centres of
+flowers. When working a piece of golden rod the natural effect is best
+produced by using French knots very close to each other. A row worked
+on each side of a row of feather stitching makes a pretty decoration on
+babies' dresses, caps or even on yokes of dresses for yourself.
+
+[Illustration: Fig. 146. An eyelet design for a pillow]
+
+A heavy thread is good to practise making the knot. The actual size
+or kind of thread to use should depend partly on the kind of material
+and partly upon the other style of work or stitches that you intend
+combining with it.
+
+[Illustration: Photograph by Mary G. Huntsman. Many a Happy Hour is
+Spent Embroidering]
+
+To work the knot, fasten the thread securely on the wrong side and
+bring the needle through to the right side. Now hold the thread down
+with your left thumb. With the right hand put the needle over and under
+the thread until there are three or four coils of the thread around
+the point of the needle. Now hold these coils down with the left thumb.
+Turn the needle so that its point will go down through the material as
+close as possible to the place through which it came (Figure 147).
+
+[Illustration: Fig. 147. French knots]
+
+A pretty idea for making knots for dress trimmings is to thread the
+needle with two strands of silk, each of a different colour.
+
+Bullion stitch is an elongated French knot. It is used considerably in
+Mountmellick embroidery, to represent grains of wheat. Small leaves and
+daisies are oftentimes carried out in bullion stitch.
+
+To make the stitch we will say that we are working on the conventional
+daisy. Bring the thread up to the base of the petal. Insert the needle
+so that the length of the petal lies on top of it. (See Figure 148.)
+Twine the thread around the needle point until there are as many coils
+as the length of the petal. The left thumb should hold the coils in
+place while you are twisting them. The needle is now drawn through the
+material. It is put through the same hole, or as near as possible to
+the one from which it came. Keep the left thumb holding down the coils
+until the stitch has been fastened.
+
+Another way to accomplish bullion stitch, which has the same
+appearance, but which really is a very much slower method, is to lay a
+heavy thread the length of the stitch desired and then neatly wind the
+cotton over it. It requires a heavy cotton to work this successfully.
+
+[Illustration: Fig. 148. Bullion-stitch]
+
+An embroidery needle should not be used for either French knots or
+bullion stitch, as the eye is apt to stick when pulling it through the
+coils. A large sewing needle should be substituted.
+
+[Illustration: Fig. 149. An elaborate piece of buttonholing and
+satin-stitch]
+
+Any girl can make dainty and original designs for eyelet work if she
+will invest in compasses. As has been stated before, eyelets vary in
+size. The size that is most effective for decorating heavy linen or
+cotton is an eyelet a little less than half an inch in diameter. A
+larger eyelet is often used, but it requires a good deal of patience
+and experience to keep it in shape.
+
+With the compass hundreds of designs may be used. The most popular
+as well as being the most attractive is the simple daisy. A circle
+is drawn to represent the centre. A quarter of an inch over from the
+centre circle, or less if you wish to, draw six other circles so that
+they form a ring around the centre dot.
+
+A design such as this can be used on a ruffle of a petticoat or
+between tucks on dresses while for a whole linen piece there is
+nothing handsomer for a scalloped or hemstitched centre piece, doily,
+bureau cover and many other articles on which a bold, open effect is
+appropriate.
+
+The Wall-of-Troy design is a good one for compass work, only it is
+suggested to faintly rule the design then inscribe the circles so that
+their centres are on the line. For instance, suppose you want to make a
+border design about an inch and a half deep. Take your rule and keeping
+on a straight thread of your material draw a two-inch line, then leave
+a space, then draw another line, so on to the end. An inch and a
+half above these lines draw another row of lines just over the spaces
+of the first row. Connect the ends of the lines together. Plan so
+that there is a circle at the points or corners of each line. Between
+these dots on the horizontal lines make two more circles, while on the
+vertical lines make only one. These instructions are for a circle the
+size described; for a smaller eyelet it will be necessary to add more
+circles to the lines.
+
+A still simpler design is one that is made on a square, that is, with a
+dot at each corner and one in the direct centre. The dots must be kept
+the same distance apart.
+
+The Italian girls will make the most elaborate designs of compass
+work on strips of firm, heavy muslin for ruffles for underwear. They
+are not like the American and French girls, who will only wear the
+sheerest kind of light material. The advantage the Italian girl has
+over her French and American sisters is that when she embroiders a
+garment it lasts for years, even if it is constantly used, while
+delicate embroidery is apt to have a very short life on account of the
+background. To the American girl this is no drawback, as she is always
+craving for new things.
+
+Sometimes a thimble, spool, or even a twenty-five cent piece is used
+instead of the compass when a large eyelet is required.
+
+An edge of eyelets is very handsome on a collar and cuff set or
+handkerchief. They should be placed so that after they are worked they
+touch each other. The entire eyelet may be carried out in buttonholing
+or the lower half may be buttonholed and the top worked in the regular
+way. After the work has been completed dampen the edge and press before
+cutting out the material from underneath the lower edge of the eyelet.
+
+It is possible to work the eyelet without any buttonhole stitches and
+yet use it for an edge. In that case a little padding is required and
+the stitches should be close together.
+
+A linen hat that has a simple scallop edge and a simple design on the
+brim and crown is a treasure that usually only the wealthy enjoy. It
+is nice to know how to embroider, but unless we put to use the things
+we know our knowledge is like a white elephant on our hands. After a
+careful study of the diagram of the stitches you desire to make and
+reading the description as to how to make it, a little child could
+almost work a hat, but the mounting of a hat is not so simple. Yet,
+what is the use of taking time to embroider one if you do not intend
+to make it up?
+
+Eyelet work is particularly dainty on a hat as it gives a lacy effect.
+The material should be a medium weight linen so as not to be too stiff.
+At one time butcher's linen was thought to be the only kind to be used,
+but of later years a softer linen is preferred. Lingerie hats have been
+used for years, probably long before you were born. Every year the
+shape varies a little. One year it is a narrow brim sailor, next year
+it is a wide brim, then again a high, next a Tam-o'-shanter crown. The
+last four years it has been the mushroom shape. For most faces there is
+nothing more becoming and girlish than the latter (Figure 150).
+
+[Illustration: Fig. 150. A lingerie hat]
+
+Sometimes the mushroom shape is covered with hand-embroidered ruffles,
+while again a circular piece having the crown cut out is used. The size
+of hat varies by what fashion dictates, so it is hard to say just how
+large your linen should be cut. A twenty-two or twenty-four inch circle
+makes a neat little shape.
+
+After the embroidery has been worked as described in the first part of
+this chapter, the frame is prepared for mounting it. A wire frame is
+lighter and more satisfactory than a buckram frame.
+
+The first thing to decide is, how are we going to face the hat? Tucked
+ruffling, net, dotted swiss, or fine ruffles of Valenciennes lace may
+be used. Most people prefer to cover the entire frame with cheap, fine
+lawn before facing or covering the hat.
+
+This is done by placing the hat on the lawn, the brim touching the
+material, and cutting a circle a trifle larger than the brim. Cut a
+circle out for the crown and slip the lawn over the frame. If the crown
+is too large to allow the lawn to be slipped over it a wide bias band
+of the lawn can be used to cover the brim. The bias strip should be
+just the depth of the brim. For the crown, cut a circle large enough to
+cover the top and use a bias band around its sides.
+
+Tack the muslin to the frame by long basting stitches. It will be
+necessary to pass under the wire when taking a stitch to keep the
+material in place. The tucked ruffling can be bought by the yard,
+trimmed with a row of narrow lace. The entire thing is banded. To
+adjust a ruffling of this sort place the band around the edge of the
+crown and tack the ruffle in position at short intervals and at the
+extreme edge of the brim.
+
+Net or dotted Swiss is pretty shirred or corded or even put on plain. A
+strip three times the length that it would take to go around the brim
+plain is cut the depth of the brim. This band is cut on the straight
+of the goods. A shirring string is run on both sides. The strip is
+placed in position and pinned taking care to distribute the gathers
+evenly. The shirring string under the crown is pulled up first and the
+material over-handed to the frame. The gathering thread on the outer
+edge of the brim is also adjusted like this, only instead of over-hand
+stitches, fine running stitches are preferable. Then a small heading
+is made on one side of the strip that is to be shirred. The heading
+makes a pretty, soft finish at the edge and does not require any great
+length of time to do. Allow three quarters of an inch, or more, in the
+depth of your ruffle if it is to have a heading. Turn one edge of the
+material to the wrong side. The turn should be a little more than a
+quarter of an inch deep. The gathering thread is run a quarter of an
+inch from the folded edge of the material. When the thread is pulled up
+the heading is formed.
+
+If the material is to be corded, baste a narrow round cord like a
+corset lace inside the material. The cord is placed where it is desired
+and the material is folded over it as for a tuck. A running thread is
+worked close to the cord to keep the two pieces of material together.
+The threads are afterwards drawn up to bring the fulness of the ruffles
+to fit the outer edge of the hat.
+
+Three rows of cording are quite sufficient on the edge and the other
+two rows at equal intervals from the outer brim to the crown.
+
+The ruffles of Valenciennes lace are adjusted by pulling the drawing
+string on the edge of the lace, and basting the first row of lace on
+the extreme edge. The second row just touches the first, and so on,
+filling as many rows of lace in as required.
+
+The embroidered piece is then washed and the brim placed. The edge is
+tacked at intervals while around the crown the stitches are taken very
+close together.
+
+The Tam-o'-shanter crown is pulled in shape by a gathering thread, if
+it is cut in a circular shape and the gathering is all on the edge. Cut
+the circle large enough to make a pretty Tam-o'-shanter.
+
+The embroidery decoration may be in the direct centre of the crown. If
+the design is a small one it can be scattered over the crown to give an
+all over effect.
+
+There are many ways that a lingerie hat may be trimmed and it is
+hard to say which is the prettiest. A black ribbon band and a bow is
+simple but severe. White taffeta ribbon may be used the same way if
+an all white hat is wanted. In fact any shade of ribbon is attractive
+used like this. The illustration shows a pretty way of trimming a
+lingerie hat for a girl of about fourteen. A narrow coloured ribbon
+is used around the crown and a rosette of leaves with rose buds and
+forget-me-nots is attractively placed on one side.
+
+Sometimes coloured linen is used for the hat and in that case the
+embroidery may be worked in the same shade as the linen; or white.
+The hat is then trimmed with white or black. A coloured hat is not as
+practicable as a white one, as the former is apt to fade and may not be
+as becoming as the white.
+
+A baby's buttoned hat is made of two circular pieces scalloped out
+at the edges, one piece being four or five inches smaller than the
+other. The large one is used for the brim. The head size is cut out
+of the direct centre and then bound in tape. Three inches from the
+crown opening sew a circular row of buttons, a half inch apart. Use a
+washable linen, lace, or crochet button for this purpose.
+
+One inch from the edge of the crown make as many buttonholes as you
+have buttons. A pair of daintily hemstitched strings that are attached,
+one on each side of the crown opening, completes this charming little
+hat. It can be easily unbuttoned and laundered flat. These hats are
+made of duck, pique or heavy linen. They are the nicest thing you can
+make for your little sister for the summer when she wants to play in
+the sun.
+
+
+
+
+XVI
+
+LONG AND SHORT, KENSINGTON EMBROIDERY, AND RIBBON WORK FOR SIMPLE
+FLOWERS
+
+
+It is the ambition of every one who starts to embroider to make a piece
+of flower work and though the floral designs are most fascinating to
+embroider they are by no means as artistic as the conventional.
+
+The way to embroider a piece of flower work and obtain an original
+colouring is to get a natural flower and place it in a vase in a
+position that you can clearly see the light and shadow. The best flower
+to start with is a daisy. Note that the petals are not a dead white,
+but there is a suggestion of green toward the centre of the flower. Get
+mercerized cotton to work with at first until you become accustomed to
+the stitch.
+
+There is no cut and dried rule in regard to the colouring, but the art
+of shading a piece naturally is a lesson that is very essential for the
+embroiderer.
+
+To many people the term embroidery means flower work and only after
+a course of instruction they discover for themselves how much more
+artistic and in keeping with most rooms is a conventional design.
+
+Flower work, however, is not to be despised as you will learn more
+about colour combination and Kensington stitch in one piece of this
+style than any kind of embroidery.
+
+[Illustration: Fig. 151. Long and short stitch]
+
+All flower work has long and short stitch on the edge of the petals or
+leaves that do not turn over. Daisies do not have turn over leaves as
+often as a double rose or chrysanthemum. Suppose we draw a very large
+daisy on a piece of white muslin. With your needle threaded with white
+lustre start from the right-hand side. Take one stitch on the line.
+Place your needle back near the same point from which you started. Take
+a short stitch that goes a wee bit outside of the stamped line past the
+first stitch. The object of going beyond the line, is that the stitch
+completely covers the stamping.
+
+The third stitch is taken at the same slant, only longer. The fourth
+is a short one and so on, first one short and then one long until the
+top of the petal is reached. Remember, though, these stitches are only
+on the edge. The left half is worked the same, but the stitches slant
+a little differently. A good rule to mention right here is, that all
+stitches should slant to the heart of the flower. In leaves they slant
+toward the base. The inside of the petal, when the long and short
+stitches are completed, should be irregular (Figure 151).
+
+The Kensington stitch gets its name from an English school of
+embroidery. It is more like outlining than any other stitch.
+
+After the edge of the flower has been worked in long and short stitch,
+the Kensington stitch is used to give the solid effect.
+
+The piece must be held all the while in a tight fitting pair of hoops
+so that it can not sag in the least.
+
+If the petal is long, two or three rows of Kensington stitch will have
+to be worked to fill it in. If silk is desired, two strands are used
+for the edge and one strand for the Kensington stitch. The stitches
+are dovetailed into each other. Each row must have an irregular lower
+edge, else they will look like bricks laid one on top of the other. The
+stitches should be so worked that it is difficult to tell where one
+ends and the other begins (Figure 152).
+
+[Illustration: Fig. 152. The Kensington stitch]
+
+Three shades of green are sufficient for the leaves until you are quite
+expert. In working them embroider on the edge of the lower half of
+each leaf with the second shade and the upper part with the lightest.
+Work one side first using the second shade under the lightest and the
+third under the second. Work to the midrib only. It is not necessary
+to work in the veins, but if they are desired they are put in after
+the leaf has been worked. Do not hesitate to cover the stamped veining
+on the leaf you are working, as the next leaf will be a guide to where
+to place the veins. They may be in the lightest or deepest shade of
+green, while sometimes a reddish-brown is substituted.
+
+The centre of the daisy may be satin-stitch or a cluster of French
+knots. If the dot is worked from the centre to left and from the centre
+to right you are more apt to get a perfect outline than when starting
+from one side and working to the other.
+
+As a usual thing the lightest shade is on the outer edge of most
+flowers, but there are a few exceptions, like wild roses and some
+species of pansies in which the deepest shade is on the edge and toward
+the centre it is lightest.
+
+The stems may be worked in satin-stitch or Kensington in wood shades or
+deep greens, whichever give the more realistic effect to the flower.
+
+It is a great mistake to use white for the background of flower work.
+Cream or pale gray make a very much softer and more pleasing effect.
+
+Sometimes a little of the stem brown can be worked into the leaves.
+
+Have you ever seen a lace spread or centre piece with flowers
+embroidered on it? You might think that the worker was more than
+ordinarily clever, but really any one who can embroider flowers can do
+this. Baste a piece of fine lawn on the section you desire to embroider
+and stamp it with a spray. Embroider in the usual way and when the
+spray is finished neatly cut away any of the lawn that extends beyond
+the flower without cutting the lace. The result is that the piece has
+the effect of a natural flower resting upon it.
+
+The finer the silk used the more delicate shading can be accomplished.
+
+There is another way to represent flowers that is particularly
+beautiful. It is known as ribbon work or rococo embroidery. The ribbons
+especially made for this work vary from slightly less than one quarter
+of an inch to a little more than a half inch in width. The colours do
+not range in such long lines as the silks. In fact it is rare to find
+a shop that carries more than ten colours. Sometimes the ribbons are
+shaded. They are soft and do not crease quite as readily as an ordinary
+ribbon.
+
+A No. 6 crewel needle is about the right size for the narrow ribbon,
+while the half inch ribbons need a No. 3.
+
+[Illustration: Fig. 153. Ribbon flowers]
+
+Forget-me-nots, conventionalized small asters, and little roses are
+suitable for the narrow ribbons. Satin, moire, broadcloth, or heavy
+silk are used for the background and the daintiest of needle cases,
+jewel cases, handkerchief bags, belts, and other little accessories
+may be evolved from a small piece of silk and a few yards of ribbon.
+The design is stamped on the background and all the single lines or
+stems outlined with filo silk. Let us imagine we are working on a spray
+of forget-me-nots. The needle is threaded with six inches of the narrow
+green ribbon. Slip your needle from the under side of the material
+drawing all the ribbon through but a quarter of an inch. One stitch
+is generally sufficient for a leaf, though sometimes the leaves are
+wider and require two or possibly three stitches. The ribbon serves
+the same purpose as silk. The one point to remember is that the ribbon
+should not be twisted. Naturally in pulling it through the material
+several times it becomes so wrinkled that a short piece works to better
+advantage than a long one. The flower is made in the same way, one
+stitch for each petal and when completed a French knot is made in the
+centre of the flower (Figure 153).
+
+The ends caused from starting and finishing off are fastened or caught
+down with a piece of fine thread on the wrong side.
+
+Do not pull your stitches. The work is very much prettier when it lies
+soft and full on the background.
+
+It is well to make use of every piece of fancy work you do and yet
+sometimes a new thing may strike your fancy and you would like to make
+a small piece.
+
+A card case is acceptable to every girl and it is a good plan to make
+them to match your visiting dresses.
+
+Take a piece of material five by ten inches long. Three inches from one
+of the short edges stamp a design that will not occupy a space larger
+than three inches long and two inches deep. The length of the design
+must run parallel with the short edge of the material. The bottom of
+the stamping must be five and a half inches from the short edge of the
+material.
+
+[Illustration: Fig. 154. A card case]
+
+A little spray of lilies of the valley on a green silk background makes
+a dainty case (Figure 154).
+
+Get a piece of stiff tailor's canvas and cut it to measure eight and
+three quarters inches by four inches wide. A piece of china silk the
+same size as the satin will be needed for the lining. It is best to
+select the shade of silk that harmonizes with the outside material.
+With a green cover a lining lighter or darker is suggested. The latter
+is preferred as the constant fingering of a light colour is apt to soil
+it.
+
+Cut all three pieces so that they are true oblongs; two and a quarter
+inches from the short edge make a crease. Two and a half inches from
+the first crease or four and three quarters inches from the outer edge
+make another crease and cut along it, thus separating the stiffening in
+two.
+
+[Illustration: Fig. 155. The foundation of the card case]
+
+Two and a half inches on both sides of the now short edges of the piece
+that is not creased draw a line from side to side and crease.
+
+On the extreme right-hand side measure down one and a half inches from
+the corner and make a dot; measure up from the lower corner and make
+another dot. The space between the dots should measure one inch. Take a
+twenty-five cent piece and place on the space between the dots so that
+the edge of the material is under the direct centre of the quarter.
+Make a semicircular curve on the canvas around the quarter. Cut along
+the pencil lines (Figure 155).
+
+[Illustration: Fig. 156. The canvas interlining]
+
+The stiffening now ready, baste it to the lining. See that all creases
+have been smoothed out of the China silk lining before basting. Place
+the two pieces of canvas so that there is an equal margin on all four
+sides. The cut edges of the canvas must be placed one eighth of an inch
+apart as shown in the diagram (Figure 156). On one side is the four and
+three-quarter inch piece and the other is the four inch. Pin or baste
+the canvas through the centre to keep it in position. With a threaded
+needle cat-stitch the silk to the canvas, care being taken to see that
+the stitches do not appear on the silk side. Cat or catch-stitching is
+another name for herring-boning, which is explained in the chapter on
+feather-stitching.
+
+Before turning a corner, cut off a small piece of material to prevent
+the corner from being bulky. Treat each corner in like manner: when you
+come to the little curved part, slash the material so that when it is
+folded over the canvas it will fit perfectly smooth.
+
+Fold the canvas and lining along the creases originally made in the
+canvas. An iron pressed over them will help to make them stay in
+position. The embroidered piece is then placed over the wrong side
+of the canvas. A half-inch turn is made on all sides. Turn this half
+inch toward the wrong side of the canvas. Sometimes a layer of cotton
+batting is laid under the embroidery between the canvas and satin. The
+satin piece is basted to the canvas. The folded edge of the satin and
+the folded edge of the silk are overcast with tiny stitches. Fold back
+the two sections of the case and over-cast each side (Figure 157). Your
+card case is now completed.
+
+[Illustration: Fig. 157. The inside of the card case]
+
+
+A bill folder is made in the same way, only that the ends are not
+stitched together to form pockets as in the card case.
+
+It is always well to know how to make pretty, attractive pieces of
+needlework that will make acceptable gifts for Christmas or a birthday.
+
+Nearly everybody has a hobby. Sometimes it is saving receipts,
+sometimes keeping newspaper clippings, and then again it may be keeping
+theatre programmes. It is well to consider what gift is most suitable
+for the one that is to receive it; to make for the faddist an envelope
+to keep her clippings will be just the thing.
+
+[Illustration: Fig. 158. The way to make an envelope]
+
+Take a piece of brown linen ten and a half inches by nine and a
+half inches. Fold it in half so that it measures five and a quarter
+inches by nine and a half inches. Stamp a spray of daisies or wild
+roses on one side and mark what the envelope is supposed to hold,
+such as receipts or clippings. Brown linen does not soil as easily
+as white. Embroider the flowers and the lettering, then dampen the
+linen thoroughly and press on the wrong side. Now take two pieces
+of cardboard that measure eight and a half inches by four and three
+quarters. Cover the cardboard with the linen, use long stitches as
+described in the needle case, except that two pieces of the cardboard
+are placed side by side on the brown linen. Now take two pieces of
+brown paper the same size as the cardboard and cover the stitches.
+Paste should be used to make the paper stick to the linen.
+
+[Illustration: Fig. 159. The envelope]
+
+[Illustration: Fig. 160. The case completed]
+
+Make six envelopes by taking six pieces of paper nine by thirteen
+inches and cut a two and a half inch square from each corner (Figure
+158). One inch over from where the squares are cut make a star. There
+are eight such points as you note. Connect the dot to the corner by
+a line. Cut the paper along the lines. Fold the ends in, then fold
+the bottom flap over these and paste. Fold the top flap over without
+pasting (Figure 159).
+
+Now, holding these six envelopes in the case with bottom edges touching
+the space between the two cardboards, punch three holes through linen,
+cardboard, and envelopes.
+
+Take a half a yard of ribbon and run through the holes and tie the ends
+in a bow on the corner.
+
+Take another half a yard of ribbon and cut in two. Fasten a piece on
+each side of the cover (Figure 160). These two pieces are tied in a bow
+and keep the base of the case closed.
+
+
+
+
+XVII
+
+HARDANGER EMBROIDERY FOR SQUARES, PIN CUSHIONS, AND SPREADS
+
+
+We have to go back to the foreign embroideries to find those that are
+beautiful and yet substantial enough to last beyond the usual life of a
+piece of fancy work. There is nothing we have originated in embroidery
+on this side of the world as rich as Hardanger work, and yet it is
+comparatively little known. The background for this work is a loosely
+woven material like scrim or basket weave materials such as Java canvas
+or the regular Hardanger canvas which is imported.
+
+It is lots of fun working Hardanger in wool on Java canvas as it goes
+so quickly, and after we have learned the stitches we can work it on as
+fine a canvas as we desire.
+
+The simplest stitch is the block. Thread a large tapestry needle with
+a piece of heavy wool. On your piece of Java canvas work a little
+block. The worsted is on the right side of the canvas, and then taking
+a stitch over four threads of the canvas bring the needle up on the
+next opening to the right on the same line as the first. Five stitches
+constitute a block; a space of four threads is then left and the next
+block started, (Figure 161). A great deal of Hardanger has these blocks
+running at right angles to each other with no space between the blocks.
+Mistakes cause a great deal of trouble and sometimes it is necessary to
+rip out quite a lot of stitches before they can be rectified and for
+that reason you must be very accurate in your counting.
+
+[Illustration: Fig. 161. The block]
+
+[Illustration: Fig. 162. The star]
+
+The star is another favourite figure in Hardanger work (Figure 162).
+Four stitches are taken over four threads of the material, side by
+side, then five stitches over eight threads of the material and then
+four again. This forms one side of the star. The second side is made
+exactly the same only that at the base of the thirteenth stitch the
+first stitch of the second side starts forming a right angle. The star
+has four sides as you will note in the diagram of this stitch. Now
+count and see if there are twelve threads on each of the inner sides of
+the star. If you find any mistake go over it and straighten it out.
+There must be twelve threads on each side. Cut four from each corner.
+This will leave four threads directly in the centre of each side. With
+a piece of embroidery cotton about the weight of a thread of your
+canvas weave the bars. The weaving is very simple, over one and under
+the next till the bars are woven. Some of these bars have little knots
+on the outer centre edge of each. They are called picots (pronounced
+pe-co) and they are made somewhat like a French knot. The bar is woven
+half way across and laying the needle on the bar the thread is wound
+around the needle point. Hold each twist down with the left thumb
+(Figure 163). The needle is drawn through and the result is a little
+knot on the thread near the stitches. A little stitch is taken into the
+woven part of the bar and the thread carried over to the other side of
+the bar and another picot made.
+
+[Illustration: Fig. 163. The picot]
+
+For an ornamental stitch to be used on the material between the
+stars or blocks make a diagonal stitch like the first stitch in cross
+stitching (Figure 164).
+
+Pin cushion tops are easy to make and the following instructions are
+given for cushions about four or five inches square. Take a square of
+scrim or Hardanger canvas eight inches large. It will be necessary to
+pull a thread so that the material will be quite straight on the edges.
+Pull out four threads about one and a quarter inches from the edge on
+each side of the material. Turn a quarter-inch fold on one side and
+crease the material again so as to make a half-inch hem. Baste it down
+so that it just touches the drawn threads. Repeat on the four sides.
+Be sure that at the corner the double thickness of drawn threads are
+exactly over each other. We are now ready to hemstitch the hem. Thread
+the needle with No. 90 sewing cotton. Run the thread under the hem and
+holding the double part of the hem toward you take up four threads of
+the material. Pass the needle again around this group and now into the
+hem. Continue in this manner around the four sides. At the corners it
+will be necessary to take up both thicknesses of the material.
+
+Crease the finished square in four. Count sixteen threads upon the
+crease from the hemstitching and with lustre No. C or heavy linen
+thread "aa" make a little block of four strands of floss over four
+threads of the material. Make a flight of eight blocks each at right
+angles to the other. Now instead of continuing in the same direction
+turn and work seven more groups down and to the left. Turn again to the
+left and work seven blocks for the third side of the square. Six groups
+to the right of the third row completes the square.
+
+[Illustration: Fig. 164. A simple ornamental stitch]
+
+[Illustration: Fig. 165. A good arrangement of picot]
+
+Now with your fine embroidery scissors cut close to the stitches of the
+three blocks at each corner. The cut threads are drawn out. Four more
+cuttings will be necessary on each side. They should be made against
+the stitches only; that is, the threads that are running in the same
+direction as the stitches should be cut. Figure 165 shows where the
+cuts were made and the threads drawn out. The remaining threads are
+woven. A mercerized or dull finished marking cotton is used for the
+weaving. It may be either the plain weaving or may have picots on each
+side of the bar. Another pretty arrangement of picots is to place them
+on one side of the bars so that they appear in groups of four each
+facing the other (Figure 165).
+
+Sometimes a lace stitch is used such as the spider or simple loop
+stitch. Directions for making a spider will be found in the chapter on
+lace stitches. The loop stitch is made by taking a stitch in the centre
+edge of each bar. Take a stitch just as if you were buttonholing.
+
+Buttonholing the edge is preferred by many to hemstitching.
+
+A pretty stitch often seen bordering a row of drawn work is made in
+pyramid form. It can be as deep as desired. First take a stitch over
+two strands of the material then three, then four, then five and down
+again to two (Figure 166). This stitch must be worked of course before
+any of the threads are drawn.
+
+[Illustration: Fig. 166. The pyramid stitch]
+
+If a little larger and more elaborate square is wanted, take a piece of
+material nine or ten inches square. Make a star, skip four threads and
+work the open squares described for the smaller pin cushion.
+
+On the opposite side of the square, directly across from the first
+star, skip four threads and make another square. At the other two
+corners of the square make a star (Figure 167).
+
+[Illustration: Fig. 167. The Hardanger square pin cushion]
+
+The German peasant girls are proud of their aprons with a border of
+Hardanger embroidery. It is a common thing for them to have a border
+fifteen or eighteen inches deep. Often they will make yards and yards
+of a pattern, say four inches wide, and they will insert it above the
+hems on sheets and towels and cut out the background material.
+
+There is no nation on earth as thrifty as the Germans. A German girl
+I know who is only nineteen years old has her entire bedroom fitted
+up with Hardanger articles that she has made herself. First there is
+the bedspread and bolster, each most elaborately embroidered with an
+all-over design. Then there is a round pillow (the edge buttonholed)
+and a square pillow as well as the bureau scarf and pin cushion. If
+she bought the articles already worked she would have paid hundreds of
+dollars for the outfit, while the actual cost was only a few dollars.
+Nearly all the best of fancy-work shops sell small pamphlets on
+Hardanger work that are not expensive and after one is familiar with
+the foundation stitches it is an easy matter to follow the designs they
+give.
+
+
+
+
+XVIII
+
+APPLIQUÉ ON LINEN AND OTHER MATERIALS AND HEDEBO EMBROIDERY
+
+
+Appliqué, or laying one material on another and stitching or
+embroidering them together is one of the simplest forms of embroidery
+that even the Indians years ago knew how to do. How many of you have
+not seen on an Indian woman queer shapes cut out of leather and
+ornamented with beads used for a border on her skirt?
+
+There are two kinds of appliqué, underlaid and overlaid. Most of the
+work is the latter kind. The underlaid is a little more difficult to
+do. It will be explained at greater length later in this chapter.
+
+Appliqué is such easy work that you will almost think it a mistake not
+to have heard about it before, but after all it is really necessary
+that we should know the simpler embroidery stitches before we attempt
+an appliqué piece, so that we can decorate it in the manner to suit
+ourselves.
+
+The European peasants work some of the crudest specimens of appliqué,
+yet their colour schemes and choice of material are good. For
+instance, Russian crash, which is sold at the towel department of many
+of our large department stores, from twelve to twenty cents a yard,
+and which is very narrow, usually about sixteen inches wide, is often
+employed as the background of their portières.
+
+Before the Russo-Japanese War it was possible to get Russian crash as
+wide as forty inches. It is made by the peasants in their homes from
+the waste ends left from weaving linens. You have no doubt read of how
+poor Russian peasants live in hovels in the same room with the cow, if
+they are fortunate enough to possess one, and their pigs. Necessarily
+the work they do is not very clean but the artistic qualities of the
+crash overcomes the fact of the dirt.
+
+The better class of peasants will take three strips of crash and
+connect them together with coarse sewing or lace stitches and then
+apply circles of broadcloth, or coloured linens on them. Other
+geometrical figures are often applied.
+
+I heard of a Southern family the other day who are so thrifty that they
+allow nothing to go to waste, not even the old coats and trousers that
+have played the double rôle of clothing the father and then have been
+cut down for Johnny. After Johnny has had all the wear possible out of
+them Grandma again cuts them, this time in the shape of leaves, and
+sews them on a large muslin circle, one overlapping the other. This
+forms a mat for the dining room. I am telling you this story not that
+you may imitate it, but rather to let you know that after all we have
+women here that are as clever and thrifty with their needles as the
+European women.
+
+[Illustration: Fig. 168. A pillow in Hedebo embroidery]
+
+For appliqué work the design is cut out and the wrong side covered
+almost to the edge with a paste made of starch and water.
+
+When a complicated piece of appliqué is to be worked, stamp your
+design on the background. Then on the right side of the material to be
+appliquéd, or on the wrong side of velvet, lay a piece of transfer
+paper. Place the design on them. With a blunt pointed instrument go
+over the line firmly till you have a tracing of the design. If the
+lines are not quite clear go over them with a pencil.
+
+Cut out each piece and paste it to the background. The edges may be
+machine stitched or satin-stitched or outlined. A cord, also the
+couching stitch, makes a good finish.
+
+Very clever representations of animals can be made by appliqué. Take a
+duck, for instance. The breast can be white felt, the head dark green
+velvet. The wings dark brown and the back and tail a lighter brown
+broadcloth. The legs and the bill should be canary-coloured taffeta
+silk. Cut each section so that it slightly laps over the other.
+
+Appliqué underlaid is accomplished by stamping the design on the wrong
+side of the material and then cutting it out. The background is left
+intact like a stencil. A piece of material of a different colour is
+laid under the cut piece of material. The raw or cut edges may be
+treated in many ways. The material may be turned back and stitched
+by machine or the edges may be finished with buttonholing stitches,
+couching, fine satin-stitch or chain stitch. The turning back of the
+cut edges requires that they be neatly done or the embroidery will not
+show to its best advantage.
+
+Hedebo embroidery is in no way connected with appliqué work, but like
+the latter it is a branch of needlework that few people in America
+understand. Without exception it is the most elaborate form of white
+work. The stitches give the effect of being very difficult, but this
+is not so. The work requires a lot of time and careful planning of the
+stitches for which buttonhole stitch is usually the foundation.
+
+[Illustration: Fig. 169. An elaborate design in Hedebo]
+
+[Illustration: Fig. 170. Part of a Hedebo collar]
+
+Hedebo is worked on a finely woven linen. The design is stamped
+directly on the material. A thread of D.M.C. No. 25 or spool linen
+thread outlines the figures. Within the design, the linen is cut one
+eighth of an inch from the running thread. This eighth-inch extension
+is then turned under the stitches and basted down. A small piece
+of dark green oilcloth is then laid under the figure to be worked
+and basting stitches hold the material and oilcloth together. The
+oilcloth protects the fingers and it is often used by foreigners in
+making eyelets. A small piece is used and it is moved as many times as
+necessary. A large piece is too clumsy to hold. On the extreme double
+edge of the opening of the design fine buttonholing stitches are taken.
+The stitches are about one thirty-second of an inch apart.
+
+A section of a design suitable for a collar is shown here and the
+stitches will now be explained that have been used on it (Figure 170).
+
+A bar is formed by laying two or three threads so that they span the
+opening from side to side. Over these threads fine buttonholing is
+worked.
+
+The little triangles are worked by making seven or nine stitches into
+as many of the buttonhole stitches. The second row is worked into the
+first, one stitch from each end is omitted. Continue in this way to the
+point (Figure 171).
+
+The three large loops that separate the pyramids or triangles from
+each other in the two outer circles are worked by making two loops
+that will each take up half the space between the triangles. These
+loops are whipped two or three times to make them heavier and then
+they are covered with buttonholing. Work the first and half of the
+second and then make the loop for the third or last and work it also in
+buttonholing, then finish the second (Figure 172). The centre of the
+circle is made by connecting the opposite triangles and loops together.
+Gently distribute the threads from the centre to allow a small opening.
+Put a thread around this opening and neatly buttonhole the threads.
+
+The middle figure is made by working a row of open buttonholing then
+running a drawing thread into the loops and buttoning this band with
+tiny stitches.
+
+The stitches of the middle circle are somewhat simpler than the ones
+just described. A circle of open stitches is made directly under the
+buttonhole stitches on the material. Divide this circle in eight parts
+and make a large loop at alternate eighths. A connecting thread at the
+centre base of each loop connects each opposite pair of loops. The
+triangles are worked from the centre to the outer edge.
+
+[Illustration: Fig. 171. Triangle in Hedebo embroidery]
+
+The open triangles are made by working a row of open loops around the
+three sides. The loops are drawn slightly together with another thread.
+
+[Illustration: Fig. 172. Buttonholed loops]
+
+There are many pretty edges that can be used as finishes for work. The
+linen pieces, however, have to be hemmed first and then the fancy edge
+put on. An edge of pyramids is attractive. An edge of buttonholed
+loops with a picot in the centre of each bar as described on Hardanger
+is also good. Sometimes the loop or pyramid may need stretching in
+shape. Take a pin in the lower centre and pull the edges out the
+desired size.
+
+In turning curves an extra little loop may have to be worked so as not
+to crowd the large points.
+
+
+
+
+XIX
+
+HEMSTITCHING FOR HANDKERCHIEFS AND COLLAR AND CUFFS SETS, ALSO SIMPLE
+DRAWN-WORK STITCHES
+
+
+Drawn work is another of the fascinating branches of fancy work and
+when used in combination with embroidery it greatly enriches the piece.
+Suppose now that you wanted to make a handkerchief and yet did not want
+to take the time to buttonhole the four edges. Well there is nothing
+more appropriate than hemstitching. The very expensive handkerchiefs
+only have two threads drawn before hemstitching them but it will be
+easiest to hemstitch when more threads are pulled.
+
+[Illustration: Fig. 173. Hemstitch]
+
+Handkerchief linen that can be bought from one dollar up per yard is of
+course the correct thing to use, but lawn or fine china silk is often
+substituted.
+
+A third of a yard of linen thirty-six inches wide will make three
+handkerchiefs. A thread will have to be drawn so that the squares will
+be perfectly straight. A twelve-inch square of linen will make a nice
+little handkerchief. Narrow hems not more than one-quarter inch wide
+are more generally used at present so we will plan our handkerchief for
+that.
+
+[Illustration: Fig. 174. Hemstitching, second step]
+
+Measure up from the edge of one side five eighths of an inch and draw
+out four threads one at a time. The other three sides must also be
+treated in like manner. After measuring the first side with the tape
+measure the other sides are more accurately measured by turning up one
+corner of the side that has the thread drawn so that it forms a right
+angle. The upper edge of the angle must just touch the drawn threads.
+Crease firmly along the diagonal as shown in the diagram. Now with the
+piece still folded over pull the first thread of the second side of
+the handkerchief so that the corner when turned back forms a perfect
+square (Figure 173).
+
+When the threads of the four sides have been drawn fold back one eighth
+of an inch, then make a double fold so that the hem is just one-quarter
+inch wide. Baste it down so that the folded edge lies right under the
+drawn threads. With your needle threaded with a piece of No. 100 sewing
+cotton, start from one corner. Let the end of your threaded needle
+fall between the two thicknesses of the material. Bring the needle
+through the edge of the hem. Work from right to left; pass the needle
+under four of the upright threads. Now pass again under the same group
+of four threads, but this time carry the needle through the edge. Hem
+directly on a line with the fourth thread of the group (Figure 174).
+
+[Illustration: Fig. 175. Another way to hemstitch]
+
+Another way is to hold the material with the hem toward you and work
+from left to right. Pass the needle under four threads letting the
+thread in the needle fall under the point of the needle. Pull the
+needle through, thus forming a loop and taking a stitch into the hem in
+the usual way (Figure 175).
+
+If your thread gives out or breaks, start the next thread by working
+over two or three of the stitches.
+
+In hemstitching the corners take up four of the double threads.
+
+When hemstitching on coarser material more threads can be drawn and
+also a greater number of threads can be taken up when working.
+
+Dainty little collar and cuffs sets can be made by hemstitching the
+hems: and a quarter of an inch above this work make a row of French
+knots or feather-stitching.
+
+[Illustration: Fig. 176. Double hemstitching]
+
+Sometimes when a very open effect is desired it is necessary to double
+hemstitch the threads. This is very simple. Hemstitch in the usual way,
+then turn the work and take up each group on the other side of the
+drawn threads (Figure 176).
+
+Drawn work is worked to perfection in Mexico. There they have large
+classes for the mountain children who do most elaborate pieces on
+frames.
+
+Hemstitching is not always necessary in doing drawn work. Many
+beautiful borders can be made with simple stitches.
+
+The sheaf stitch (Figure 177) is made by pulling the threads for a
+space of a quarter of an inch or more. Decide the width that you desire
+and then cut the threads perpendicularly. Draw the first and last
+thread to the distance desired, and then cut opposite end to match the
+first slash. After the threads have been drawn out neatly buttonhole
+the cut edges with narrow buttonhole stitches. Now place your work in
+your embroidery hoops, or, better still, if it is possible, buy a pair
+of oval ones that are especially made for drawn work. Fasten thread in
+the centre of one of the buttonholed sides.
+
+[Illustration: Fig. 177. The sheaf stitch.]
+
+The number of threads to take up will depend on the coarseness of the
+weave of the material. For medium weight linen take up either six or
+eight threads using a stitch like that shown in the first step of the
+second method of hemstitching. Pass on to the next stitch and when the
+row is finished fasten in the second buttonholed side. The thread that
+passes from sheaf to sheaf should lie straight enough so as not to sag
+between each group or pucker the material.
+
+Another pretty stitch that reminds one of a fish bone is worked
+somewhat like feather-stitching.
+
+Prepare the space as for the sheaf stitch. Connect the thread in the
+same way. Take up six threads on the left hand side placing the thread
+under the point of the needle as it comes through. Now on the right
+hand side divide the group made by the first stitch in half and take
+the last three threads and the three next to it that are not worked
+(Figure 178).
+
+[Illustration: Fig. 178. A simple stitch in drawn work]
+
+A simple stitch is the twist stitch (Figure 179). Prepare the material
+in the same way as for the last two stitches and securely fasten your
+needle in the centre of the bar, skip the first three threads. Take up
+the next three on your needle; pass the needle back under the first
+three. Continue like this till the end of the row is reached.
+
+[Illustration: Fig. 179. The twist-stitch.]
+
+A dainty all-over effect suitable for yokes or corners of
+handkerchiefs, cloths, etc., is made by drawing the threads out so that
+the material left forms squares. Pull a quarter inch of threads then
+leave a half inch of material. Repeat in this manner until the space is
+covered. Cross the lines, forming squares of the material (Figure 180).
+
+The double hemstitching, sheaf-stitch, fishbone, or twist stitch can
+be worked on the drawn threads. You will note that you will have at
+each corner of the solid squares an open quarter-inch square. They
+will require an extra stitch such as the spider described in the lace
+stitches or the loop stitch described in the Hardanger chapter.
+
+Sometimes it is hard pulling the threads of linen. If the threads are
+soaped they come out very easily. Do not wet the soap but just rub it
+dry on the material.
+
+Some of the finest examples of hand embroidery or drawn work are found
+in the convents. Perhaps you are under the impression that drawn
+work must be done right with the hem, but that is not so. I want to
+describe a beautiful handkerchief to you that I once saw in a convent.
+It was made of the sheerest handkerchief linen and one thread only had
+been pulled for the hemstitching. A quarter of an inch above the hem
+another thread was drawn, but this time, instead of letting it extend
+to the hem, a thread was cut one quarter of an inch from the hem at the
+beginning and ending. Six threads were drawn like this at eighth of an
+inch spaces. The four sides were treated in like manner.
+
+[Illustration: Fig. 180. The threads pulled to form squares]
+
+[Illustration: Fig. 181. Cat-stitch over the tape]
+
+[Illustration: Fig. 182. Five rows of tape cat-stitched]
+
+Where the threads intersected at the corner, the squares were
+hemstitched all around, two stitches being allowed to each side of the
+square. The stitches were taken through to the centre of each square.
+Beyond where the lines intersected the six long lines were treated
+quite differently. A piece of fine braid not more than an eighth of an
+inch wide was taken on the space between the first two rows of drawn
+threads. A regular cat-stitch was worked over this. First a stitch
+was taken on the drawn threads above the braid, then, one below it
+(Figure 181). When the braid was entirely covered with stitches on the
+first row, a second piece of tape or braid was placed over the space
+between the second and third rows of drawn threads. This time instead
+of catching the thread of both rows, the stitches are taken into those
+of the previous row on one side of the tape and into the third row of
+drawn threads on the other side of the tape. Five rows of tape complete
+the band between the stitches. Of course all this work is on the wrong
+side of the handkerchief. On the right side, a totally different effect
+is produced. At first glance you would think that there are five rows
+of tiny tucks with hemstitching on each side, until you look again
+closely and see that it is padded hemstitching (Figure 182).
+
+[Illustration: Fig. 183. A handkerchief for an ambitious little girl]
+
+A section of a drawn work handkerchief for some ambitious little girl
+to own is shown in the illustration on this page (Figure 183). It is
+like a cobweb. A piece of handkerchief linen twelve inches square is
+selected. Starting from the outer edge of the four sides an eighth of
+an inch wide space is left, then the threads drawn for an eighth of an
+inch. Repeat this seventeen times. At the corners the space and drawn
+threads form squares.
+
+Now the rest of the space should be divided up in like manner, so
+starting from one corner of the solid square in the centre, draw the
+threads for an eighth of an inch, then leave a space the same length
+and then draw again. Continue in this manner on the four sides of the
+centre square. Pull out all the cut threads and you find that you have
+a deep border of little squares. Buttonhole around the four sides of
+the centre square with tiny stitches, thus keeping the linen from
+fraying.
+
+To get the pointed edge as shown in the handkerchief, buttonhole over
+the line of horizontal threads and four of the vertical. The little
+filling stitch I am going to suggest to you is so simple that really
+after you have buttonholed the handkerchief your task is almost
+completed.
+
+Start in the first point under the solid square and work diagonally
+across the open space. Pass your thread around the centre of the little
+square also on the diagonal. Continue across till you reach the
+buttonholed edge around the linen square in the centre.
+
+Skip the next point and work the same stitch in every other point. This
+stitch and in fact all the rest of the handkerchief should be carried
+out in No. 200 sewing cotton.
+
+In between the worked points make another stitch which is very similar
+to the one just described.
+
+It is started from the edge and a stitch is taken on the diagonal
+across four of the squares and half way across the solid squares at the
+corner of each group.
+
+Having reached the buttonholing next the linen you turn your work and
+repeat the stitch over the same square. The stitches now form the
+figure 8.
+
+The design of drawn work in the centre of the square is simple as well
+as being particularly pleasing. Draw the threads for a half-inch space,
+one quarter of an inch above the buttonholing. This must be done on
+the four sides of the square. The corners must be buttonholed before
+beginning the drawn work. Start the first thread for the drawn work in
+the centre of one of the buttonholed corners. Work the sheaf stitch all
+the way across. Now start a second thread, knotting the first sheaf in
+three, the next in two; so on to the end. These stitches are taken
+quite close to the linen. Both sides of the sheaf stitch are treated
+the same.
+
+The daisy in the corner completes the pattern. The daisy is made on
+the foundation of cross-stitches caused by the sheaf stitch. A Maltese
+cross is made thus forming twelve stitches catching all these together
+in the centre. Now weave a thread around in a circle, one eighth of an
+inch from the centre. To form the petals of the daisy start a thread
+from one of the threads that connect with the buttonholing and catch on
+the woven circle as you would if you were doing fagotting.
+
+Wherever threads are drawn so that they intersect at right angles, as
+in the case of this handkerchief, a space is left vacant which is very
+unsightly if not filled in with some figure. Here it was with the daisy
+which is extremely easy but in the majority of cases it is with the
+Maltese cross.
+
+The wide strip of drawn work shows a pretty pattern for linen scarfs.
+It is nothing but right that every girl should take an interest in
+her bedroom. She may not be fortunate enough to have one entirely
+by herself but that does not excuse her from trying to make it as
+attractive as possible. The key-note to beauty and elegance is
+simplicity. Better have a dainty bureau scarf hand made and a few
+necessary toilet articles than a bureau beribboned and with a lace
+scarf, crowded with old visiting cards, dance orders, and dainty
+nothings that only catch the dust and give one a bewildered feeling
+when one looks at them. The scarf should be worth displaying if it is
+hand work, for remember what is worth doing is worth doing well.
+
+The butterfly pattern of drawn work (Figure 184) is simple and pretty
+enough to please the most exacting and as has been said before is most
+appropriate for bureau scarfs. The material of the scarf may be linen,
+lawn, or scrim. It is quite unnecessary that the drawn work extend
+around the whole scarf--three sides, one long and the two short, being
+quite sufficient.
+
+[Illustration: Fig. 184. The butterfly pattern in drawn work]
+
+Draw the threads out for an inch, then hemstitch the cloth on both
+sides of the space; be sure to take up the group of threads already
+hemstitched when working on the second side. Fasten the thread in the
+direct centre of one end of the drawn work and catch eight groups of
+threads to form the sheaf stitch. An eighth of an inch above the centre
+thread start another thread. Divide the sheaf in thirds and knot each
+section of the first sheaf. Pass the thread to the second sheaf and
+repeat the same thing, this time under the centre instead of above it.
+Alternate sheaves are divided above the centre line and the remaining
+sheaves under.
+
+A third thread is started beginning an eighth of an inch below the
+centre and the other side of the sheaf is divided in three.
+
+A fourth thread is started one eighth of an inch from the solid
+material. This time the sheaf is divided in four, in groups of two.
+First the top of one sheaf is woven like this, then the bottom of the
+next. Continue in this manner till the end of the strip is reached.
+
+The fifth thread knots the groups on the side of each sheaf that was
+omitted by the fourth thread.
+
+You will notice now that the four threads cross each other in the
+centre of the space between each sheaf. Knot the threads in the centre
+and weave across the lower four threads until you have made as large a
+fan as the space will allow. The remaining threads are divided in two,
+three on each side, and two other fans are woven on them.
+
+In the next space the fan of four is reversed and is made in the
+opposite direction to the first group. This pattern is commonly termed
+the butterfly pattern.
+
+Drawn work should be worked on frames, though it is not necessary to
+use the large square one of the Mexicans. The nicest kind of frame and
+one easy to handle is the oval form, which comes in different sizes.
+They are particularly convenient to hold a long, narrow piece, which
+can be worked to better advantage than on the round rings.
+
+Every once in awhile one sees specimens of a new kind of drawn work.
+There is the Mexican of which we have had a few of the simplest
+stitches, there is the Hardanger or Swedish drawn work, which is
+described in another chapter, the Porto Rico drawn work which is very
+intricate and also very trying to the eyes, but after all none compares
+in simplicity to the Bulgarian drawn work. It is so substantial that
+often after the material of the article on which the work is done has
+worn out, the drawn work is as good as new and can be transferred to
+another piece of material.
+
+Bulgarian drawn work instead of weakening the material as Mexican work
+usually does strengthens it considerably.
+
+The work is done in spaces varying from a half inch to three inches
+in width. It can be done on linen, huck or lawn backgrounds, though
+sometimes scrim is used. Personally I do not think it pays to work
+elaborate patterns on scrim as the background is not substantial enough.
+
+We will take for example the first towel end shown in this work.
+
+[Illustration: Fig. 185. A towel in Bulgarian drawn work]
+
+Draw threads out of an inch and a half space. It is not necessary that
+the cloth should be hemstitched, though till you are quite familiar
+with the work it may be easier for counting. The hem is then turned
+over and hemstitched. Make the double hemstitch on the other side as
+described in the first part of this chapter.
+
+I have found that though there are many threads that may be used for
+weaving there is nothing quite as satisfactory as Electro in its
+finest number. Start from the extreme lower left hand corner. Weave
+back and forth over three of the groups with a blunt pointed crewel
+needle for one quarter of the distance from the hem. Now omitting the
+first group weave across three. You will see that you dropped the first
+group and took up the fourth. Weave to the middle of the space. Now
+drop the second group and weave across to the fifth group until you are
+three quarters across the space. Now drop the third group and weave
+across to the sixth. Weave until the space is filled. Without breaking
+your thread weave the seventh, eighth and ninth, then the eighth, ninth
+and tenth, next the ninth, tenth and eleventh, then the tenth, eleventh
+and twelfth. Weaving the eleventh, twelfth and thirteenth brings you
+back again to the hem.
+
+The woven threads will look somewhat like an arch of blocks. Between
+the arch there are six groups of threads. Let us weave that in pyramid
+effect. Start at the hem and weave across the six for a little more
+than a quarter of an inch. Then dropping the first and last groups of
+threads of the proposed pyramid weave over four threads for another
+quarter of an inch. Again dropping the first and last threads of the
+four you were weaving, work across two. Fasten your thread by bringing
+it through the woven stitches into the hem. A new thread is started in
+like manner. You are now ready to start another arch, close to one just
+made.
+
+A little more elaborate design is shown in the second towel end, a
+detail of which is also given (Figures 186 and 187.)
+
+[Illustration: Fig. 186. Detail of Fig. 187]
+
+After the threads have been prepared as has been just described for the
+first towel start from the lower left hand side and weave across the
+threads eight times. The weaving is very simple. First you take two
+groups with needle pointing to the left and then you take the one group
+that you didn't take up the first time. You work back and forth as it
+were.
+
+Now drop the first thread and weave across to the fourth group as in
+the first towel. Each set of three groups will only have eight lines
+however. Continue in this manner till you are one space from the solid
+material, then weave across four instead of three. Start to weave down
+on the right side over the three groups under the block of four. Now
+continue weaving over groups of three until the hem is almost reached
+then weave the last block over four (See detail of Figure 187).
+
+On each side of these blocks weave a row working over two groups.
+
+[Illustration: Fig. 187. A more elaborate design in Bulgarian drawn
+work]
+
+The groups of thread within the woven rows are woven into a triangle.
+
+Bulgarian drawn work is used on pillow cases, handkerchiefs, towels,
+dresses, scarfs, or small square cloths.
+
+Sometimes coloured threads are used and the result is very effective.
+Use cottons and if they are coloured boil them in salt and water before
+working with them.
+
+
+
+
+XX
+
+EASY LACE STITCHES, FAGOTTING, SINGLE MESH, DOUBLE MESH, SPIDERS, FAN,
+MALTESE CROSS, TWISTED AND BUTTONHOLED BARS, PICOTS FOR SIMPLE EDGES
+
+
+One of our best authorities on lace has said that there are over one
+hundred different stitches used in lace. Now there are various kinds of
+laces; there are crochetted, bobbin, as well as needle point laces. It
+is about two branches of needlework laces--Renaissance and point--that
+we will talk about in this chapter.
+
+Renaissance lace is made by basting a flat braid on a given pattern and
+filling the spaces between with simple lace stitches. Point lace is
+made of very fine plain braid with much finer thread and more elaborate
+stitches.
+
+The basting of the braid is extremely important. Sometimes only a
+single line is given to indicate where the braid will be, while again
+a double line is shown. The braid must not be wider than the double
+lines. It may be basted so that the side held toward you will be the
+right side of the lace or _vice versa_. Start from one corner of the
+design, turn over one end of the braid an eighth of an inch. For coarse
+work one row of basting stitches through the centre of the braid is
+sufficient but for fine work baste along both edges of the braid.
+
+In basting around a loop the inner edge of the braid will have to be
+gathered. This may be done in two ways: the first by pulling a thread
+or by running a thread on the edge. At a sharp point the braid will
+have to be turned.
+
+[Illustration: Fig. 187A. Fagotting and feather-stitching on a cap]
+
+The preferred method of working the lace is to have the right side
+facing you. In starting to braid turn up one eighth inch of braid and
+start from a point so that the end may be covered later.
+
+The braids vary from one cent to fifteen cents per yard.
+
+[Illustration: Fig. 188. Fagotting]
+
+[Illustration: Fig. 189. Single Brussels stitch]
+
+A simple stitch in lace that greatly resembles the Turkish stitch
+in embroidery is fagotting. It is a stitch that is often used by
+dressmakers to connect bias bands together for yokes and sleeves. For
+this as well as other lace stitches the beginning of the thread should
+be fastened so as to be unobserved by the average eye. If the braid
+is neatly over-casted the end will be quite secure. Starting from the
+extreme left of the section to be fagotted take a stitch through the
+braid on the opposite side of the opening, letting the thread fall to
+the right. The stitches are taken from side to side. This stitch is
+best suited to long narrow spaces (Figure 188).
+
+The foundation stitch of lace is the single mesh or net stitch. It is a
+stitch that may be used in almost any shape opening. It is a good thing
+when working a piece of lace to pick out one stitch for filling in the
+background; then the design proper can be as fancy as desired.
+
+[Illustration: Fig. 190. A handkerchief in simple lace stitches]
+
+The mesh or net stitch is good for a filling stitch. A blunt pointed
+needle is the best for working lace as you are not so apt to stick
+yourself. Make a row of open buttonholing, not however through the
+background. The second row is worked slightly below the first row. Each
+stitch is taken into a loop of the upper row. If the spaces decrease
+in size drop one stitch from each end for as many rows as necessary.
+To finish the stitches overcast them to the braid. To many lace makers
+this stitch is known as single Brussels (Figure 189).
+
+Double Brussels or the knot is worked like the single only that there
+is a second stitch taken in the same position as the first. The last
+must be short and drawn tightly (Figure 191).
+
+[Illustration: Fig. 191. Double Brussels stitch]
+
+Another pretty filling-in stitch is the spider. It can be as large as
+desired allowing the space it is to be used in to determine the size.
+A thread is spanned across the space and the braid whipped for a short
+distance, say a quarter of an inch. The space is spanned again so that
+the threads cross. Pick up all the threads on the needle through the
+centre and make a little stitch to bind them. Now begin to weave over
+one leg or strand and under another, so on till a good-sized body is
+formed to the spider. In weaving be careful not to skip one of these
+little legs (Figure 192).
+
+Another way to work a spider, to make it a little stronger is to whip
+each leg as it is spanned.
+
+A third and more elaborate spider is one made with the foundation
+thread as described for the first spider and then instead of weaving
+straight around make a stitch back over one leg and forward under two
+until the body is the desired size. This is called the spider in its
+web (Figure 193).
+
+[Illustration: Fig. 192. The simple spider]
+
+It is easier to weave on an uneven number of threads, and the number of
+these should depend on the space. A large space requires a large spider
+with lots of legs.
+
+[Illustration: Fig. 193. The woven spider]
+
+A fan (Figure 194) is made by spanning three or five threads so that
+they come to a common centre on one side and on the other they are
+arranged in ray effect. The weaving is started from the base under one
+thread and over the other on the first row if there are only three.
+The second row is like the first, only the threads skipped in the first
+row are taken up. Alternate rows agree.
+
+[Illustration: Fig. 194. The fan]
+
+A Maltese cross looks like four fans caught together. The threads are
+crossed lengthwise and crosswise and the stitches taken to gather the
+threads in the centre. The weaving is the same as the fans. In weaving
+the fans or crosses do not work much more than half way up (Figure
+195). A twisted bar is nothing more than a thread overcasted (see
+illustration, Figure 124).
+
+[Illustration: Fig. 195. A Maltese cross]
+
+A buttonholed bar is made by laying two or three threads and
+buttonholing over them (Figure 196).
+
+In this age of machine work there are all sorts of braids that may be
+procured for lace work. Little edges that were impossible to buy are
+now made by machinery.
+
+A little edging makes a dainty finish to a straight braid and also
+enhances the beauty of the fancy braids.
+
+To make a simple edging, work a row of picots on the edge of the braid
+which forms the edge of the design.
+
+Dainty yokes, collars, baby caps, and tie ends can be made of a few
+yards of braid and two or three different kinds of stitches.
+
+Another decoration I would like to tell you a little about is Limerick
+darning. It is often used with fine lace work on a background of fine
+net.
+
+The lace thread is used for the darning. The most common of the
+stitches is the plain darning taken up over one hole and under the next
+of the net. The next row is worked close to the first.
+
+[Illustration: Fig. 196. A buttonholed bar]
+
+Darning on net is a decoration that is often used by itself. Smart
+little turn-over collars and cuffs are most attractive darned in heavy
+white floss or colour if preferred. Pin cushion covers and other
+dainty articles that every girl loves to have in her bedroom may be
+darned to good effect.
+
+One of the most simple forms of lace work is Connemara lace. It gets
+its name from the Irish county of that name.
+
+The materials required are Brussels net of any size desired, lace braid
+of a width to correspond with the net, heavy lace rings, a ball of
+Renaissance thread No. 60 or linen spool thread No. 25, as well as a
+spool of coloured cotton.
+
+Connemara lace is used extensively for curtains, bed spreads and in
+fact, on any large piece, when the effect is desired and yet not much
+work. A good design for Connemara lace is shown in Figure 197.
+
+[Illustration: Fig. 197. A good design for Connemara lace]
+
+The net can be white, ecru, or black.
+
+Draw a simple yet bold design on a piece of stiff paper or better still
+a piece of pink or blue paper muslin.
+
+The rings can be bought all ready for applying, for a couple of cents
+per dozen but they can also be made at home. Take a pencil and wind
+around one end of a thread about as many times as you would judge from
+the illustration of the button or ring half worked (Figure 198). Slip
+the threads from the pencil and carefully and closely go over them with
+buttonhole stitches till all the loose threads are completely covered.
+
+[Illustration: Fig. 198 Button half worked]
+
+Baste your net over the design, then baste the braid along the design.
+With a fine thread secure the braid on the extreme edge to the net only
+with fine running stitches. Sew one side of the braid entirely around
+the design then sew the other side down.
+
+The rings are buttonholed to the net.
+
+If a very elaborate piece is wanted, lace stitches may be inserted in
+spaces that are bound on all sides with braid. The stitches, however,
+should be of the simplest, such as the twisted bar or spider.
+
+Honiton braid which is an egg-shaped braid is much more beautiful than
+the plain Renaissance braid employed in Connemara.
+
+The dearest of baby caps, handkerchief tie ends, and other dainty
+little articles on which a fine decoration is desired can be made from
+fine net and Honiton braid. Each section of braid can be cut and made
+to form petals for a flower or to represent a leaf. Honiton is of
+course more expensive than Renaissance braid but a yard of Honiton goes
+a good way.
+
+There is a thread that can be bought by the yard, called picot or
+purling thread. It has a loop at short intervals each side of it. The
+needle can be threaded with it and can be used for stems, tendrils, or
+other parts of a design where a fine single line is desired.
+
+The centre of a flower in Honiton appliqué may be in worked various
+ways. A small ring or button may be used or spiders may be woven in the
+centre. Again the single Brussels or mesh stitch is worked in a little
+circle in the centre. Use a very small ring, if you decide on rings for
+centre, as a large ring spoils the effect of a flower. Any child can
+make designs for Honiton appliqué.
+
+The background for Honiton is the fine Brussels net. Sometimes a double
+thickness of net is basted over the pattern and the Honiton sewed on or
+appliquéd to the net. The double thickness of net gives a moire effect.
+Each section of the braid is sewed to the net only. Sometimes two
+widths of braid are used, one size for the flowers and another for the
+leaves.
+
+The braids at most art shops can be had in black, cream, or white.
+If, however, you are not fortunate enough to get cream, the white can
+be dyed at home to be as light or deep as you desire. I use cold tea
+diluted in water for a light cream, and coffee for the deeper cream.
+Put the lace to soak in the tea or coffee for a couple of hours. Rinse
+in cold water and let dry. If it is not a deep enough shade put more
+tea or coffee in the water and soak the lace again. Another way to dye
+lace, chiffon or any delicate fabric is to get a tube of oil paint the
+colour you desire and dilute it in gasolene. Of course the gasolene
+makes the paint light, so test the solution by dipping a small piece
+of cloth in and see if it is the right shade. A quart of gasolene is
+sufficient unless the article is very large.
+
+I know a girl who dipped her white hat all trimmed with flowers and
+tulle that was quite soiled into a mixture of gray paint and gasolene
+and the result was a pretty dove gray that everybody thought was new.
+
+Teneriffe or Brazilian point lace is such a simple form of lace making
+that I am going to stop and tell you a few words about it before we
+proceed to the next chapter.
+
+Little forms which look like a large spool with pins stuck in them
+can be bought in many art shops, but you can easily make a foundation
+yourself for Teneriffe lace.
+
+Draw a circle two inches in diameter on a stiff piece of cardboard.
+Sometimes the circle is drawn on white muslin and fastened securely
+to an embroidery hoop or frame. Divide the circle into halves, then
+quarters, then eighths and each eighth divide into six equal parts.
+Make a dot at each division. Thread a needle with a piece of coarse
+thread. Insert the needle one quarter inch beyond the circle and bring
+it up on a dot. Continue in this manner all around the circle. Fasten
+securely.
+
+[Illustration: Fig. 199. The first step in Brazilian point lace]
+
+Now thread a needle with a long thread of No. 80 linen thread. Let it
+be extra length. Pass the needle under each loop from side to side
+until each little stitch has a thread passing through it. (Figure 199).
+Knot the threads in the centre and weave four or five rows, over and
+under the strands close to the centre. Skip a quarter inch then carry
+a thread around and knot each thread as you pass it. Count the threads
+and divide the number by six; on this number weave a little pyramid.
+Repeat the little pyramid five times, each time letting it be woven on
+the same number of threads as the first. Take a thread and catch every
+two threads above the centre figure. An eighth of an inch above this
+work another row, this time dividing the two threads previously caught
+and taking one of them and one of the next row together. An eighth of
+an inch above the row make another row, catching the same threads as
+were taken in the first row from the central figure (Figure 200).
+
+[Illustration: Fig. 200. A motif in Brazilian lace]
+
+Sometimes a pin cushion is used to make Brazilian lace. The pins are
+stuck in and the threads wound over them.
+
+Brazilian or Teneriffe lace can be used for borders on handkerchiefs
+or other fine articles, while again they may be used as medallions on
+waists or other thin clothes. The material from under them is cut out
+so that a lacy effect may be produced.
+
+Other patterns may be readily made. Remember that the stitches are very
+similar to those used in the corners of drawn work borders.
+
+
+
+
+XXI
+
+SIMPLE BASKETS
+
+
+Basketry is so easily done and at such a small cost that almost
+any one, even a very little child, can master it without very much
+difficulty. With very few tools some beautiful gifts and other useful
+articles may be made.
+
+In this chapter it is my intention to tell little children just how
+to make some pretty things with materials that they can obtain from
+nature's storehouse and otherwise.
+
+In making baskets a great deal of rattan is used. I suppose that some
+of my little readers will wonder what rattan is. Well, I will tell
+you. It is a kind of grass or leaf which grows in forests of foreign
+countries, twining about the tress, hanging from branch to branch
+sometimes hundreds of feet in length but hardly ever over an inch
+thick. The people over there in those countries send this material to
+us so that we can make many pretty things. For little boys and girls
+living in the country there are materials which they can get from the
+fields and river banks that may be substituted for rattan.
+
+For instance the water willow when peeled proves a very good material.
+Reed, which is a sort of grass that grows on the banks of rivers, may
+also be used after it is dried and peeled. Raffia is another material
+which is commonly used for this work. It is a sort of soft substance
+generally pale yellow and can be bought by the pound at any large store.
+
+Dried grass is sometimes substituted for raffia and the results are
+often just as pretty as those obtained by the original material.
+
+Grass twine is used. It is something like rope, and rope is often
+substituted for it. Raffia is generally used to cover it in making
+baskets.
+
+A few tools will be necessary for our work such as a strong pair of
+shears, a tape measure or ruler, a vessel for water, and some very
+coarse, blunt-edged needles.
+
+Simple baskets of rattan are very interesting to make and I will tell
+you how to make a small round basket without a cover.
+
+For this basket you will need four fourteen-inch pieces of rattan or
+spokes as we are going to call them, one eight-inch piece and two or
+three longer pieces for weavers.
+
+Before starting the work, the rattan should be soaked in water until it
+becomes soft enough to bend easily. Then two of the pieces are placed
+side by side in a vertical position and the other two in a horizontal
+position crossing the vertical pieces at the centre. Between the two
+horizontal pieces and to the right of the centre the half spoke is
+placed.
+
+[Illustration: Fig. 201. Weaving the bottom]
+
+These are held in position by the left hand, while the right hand does
+the work.
+
+One end of the long piece called the weaver is placed at the centre,
+back of the horizontal spokes, with the end toward the right. The
+first finger of the right hand presses the weaver across the vertical
+spokes, under the horizontal on the left, over the vertical, and behind
+the horizontal again. Repeat twice so as to fasten well.
+
+Separate the spokes evenly, and it is now ready for the weaving (Figure
+201).
+
+If there is any of the winding piece left, it may be used as a weaver.
+
+The weaving is done by pressing the weaver under one spoke and over the
+other until the bottom of the basket is about two and one half inches
+across.
+
+Soak it in water for a few minutes and then bend the spokes upward to
+form the sides of the basket.
+
+In order to make the weaving of the sides of the basket easier, rest
+the work on the knee, holding the spokes with the left hand and press
+the weaver under and over the spokes with the first finger of the right
+hand. If the weaver comes to an end join a new piece by crossing them
+behind a spoke about an inch from the end of each.
+
+When the sides of the basket have been woven, leaving about an inch and
+a half of the spokes extending, it is ready for the border.
+
+Cut the spokes to an even length with a slanting cut, so that the
+points may be easily pushed down between the weaves. Hold the spokes in
+water for a few minutes and then push one of the spokes down beside
+the next spoke at least three quarters of an inch below the edge. Do
+this with every spoke until the border has been completed. Now our
+little basket is finished and ready for use.
+
+Sometimes little girls like to have their baskets brightened up. A
+pretty lining of silk or other material would do this very nicely.
+
+[Illustration: Fig. 202. The basket]
+
+Perhaps some children would like to know how to make a basket with
+a cover. It only requires a little more time but it will prove very
+interesting.
+
+The material for this basket consists of six sixteen-inch spokes, one
+spoke nine inches long and three or four weavers.
+
+The bottom of this basket is made in the same way as the one previously
+described. After this much has been done, wet the spokes and proceed
+to turn them up and weave the sides of the basket. The weaving is
+done rather loosely until you have used three of the weavers. The last
+weaver is drawn more tightly so that the basket will assume the shape
+of an apple with the top cut off. The edge is finished off with a flat
+border which may be made by soaking the spokes in water until they
+become quite soft. Each spoke is brought behind the next one to the
+right of it, and out over the front of the basket. Then the end of each
+spoke which is lying over the front of the basket is brought up over
+the next spoke to the right and is pressed down inside of the basket.
+When it is dry the ends of the spokes may be cut off.
+
+[Illustration: Fig. 203. A mat]
+
+The cover is made like the bottom of the basket, only the spokes are
+bent gradually upward from the centre. The material for this cover
+consists of six fourteen-inch spokes, one spoke seven or eight inches
+long and two long pieces for weavers.
+
+When the cover is nearly as large around as the top of the basket it
+is finished off with a border like the one described for the top of
+this basket. The cover has to be fastened to the basket and the easiest
+way of doing this is by making rings of rattan.
+
+A piece of rattan about twelve inches long is tied into a ring, the
+ends being twisted in and out of the ring. Three rings are necessary,
+none of them measuring more than a half or three quarters of an inch
+across. One ring is attached to the cover on the front between the
+border and the last row of weaving, the ends being sewed under a spoke.
+Another ring is attached in the same way at the back of the cover and
+the third is fastened across a spoke in the front of the basket between
+the fourth and fifth rows of weaving. The cover is placed on the basket
+so that the ring at the back will be just over a spoke of the basket. A
+small piece of weaver is then placed between the third and fourth rows
+of weaving, below the border and to the left of the spoke mentioned. It
+is brought through the ring on the cover and drawn just tightly enough
+to allow the cover to close easily. The ends are crossed and brought
+through to the inside and sewed down, as the rings were. When this is
+done the basket is complete.
+
+There are many other pretty articles that can be made easily, such as
+a mat for a teapot or lamp and trays for other purposes (Figure No.
+203).
+
+A very simple way to make a mat would be to cut four fourteen-inch
+spokes of rattan, one eight-inch spoke, and two weavers. The mat is
+started in the same way as the first basket in this chapter. When the
+end of the first weaver is reached, a second is joined to it. By the
+time the second weaver has been used, the mat is large enough for a
+border. The mat has to be bound. The binding may be done by passing the
+weaver under the last row of weaving just before it reached the next
+spoke. It then goes behind that spoke, in front of the next and under
+the last row of weaving. The spokes should then be soaked in water,
+and when soft take spoke No. 1 and cross No. 2 and push it down beside
+No. 3 and so on around the mat. A number of these mats may be made and
+joined together for various purposes. Two mats joined by ribbon make a
+very pretty whisk-broom holder.
+
+In nearly all this work weaving is the principal thing. By changing the
+weave we can obtain very interesting and pretty results. The simple
+over and under weave may be changed by using two weavers and twisting
+once, twice or three times between the spokes according to the size of
+the article.
+
+
+
+
+XXII
+
+RAFFIA BASKETS AND NAPKIN RINGS
+
+
+Raffia is so soft and strong that it is very well fitted for the work
+of children's fingers.
+
+So many different things can be made with raffia that it is just as
+precious to the little ones as the same amount of gold.
+
+Little baskets made of raffia are dainty and easily made. For example
+a work basket, a candy basket, or a basket for handkerchiefs, collar
+buttons, and many things are interesting.
+
+For one of these baskets we need one long piece of rattan, a bunch of
+raffia and a blunt-pointed needle. Soak the piece of rattan in water
+until it is soft enough to work with. Wind the end into the smallest
+possible ring and with the needle full of raffia start in the middle
+of the ring and sew over and over from left to right until the end is
+firmly fastened. The next row is brought around at a little distance
+from the first and the raffia is brought down through the centre, up
+and once around the coil, thus holding the first coil to the second.
+
+[Illustration: Photograph by Mary G. Huntsman. It is Jolly to Make a
+Raffia Work Bag]
+
+
+Wind the raffia around the rattan until the coil has been brought half
+way around the second time, when it is again sewed through the centre.
+At quarter distance all the way through the basket these joinings are
+made and they must be made to the right of the one below and joined to
+the previous row. The joinings form a pattern.
+
+As the basket grows larger the number of joinings increase. New
+needlefuls of raffia are always started at a joining, the old strand
+being brought from left to right through the upper part of the joining.
+The new strands being brought from right to left through two twists of
+raffia and drawn through so as to leave the short end lying next to the
+rattan.
+
+Begin to wind again and soon both ends are covered. When you have
+made about ten rows, which will form the bottom of the basket, bring
+the rattan above the last row and proceed as before. Each new row is
+brought above the previous one so as to form the sides of the basket.
+When the basket is about eight rows high, the ninth row is brought just
+a little inside of the eighth so as to have something for the cover
+to rest upon. When about three inches from the point where the rattan
+was brought up to make the sides of the basket, it should be cut long
+enough to finish the row and then shaved off to a flat point which is
+sewed closely to the last row. For this basket we will have to make a
+cover.
+
+The cover is made in the same manner as the bottom of the basket. When
+you have nine rows complete, a border is made to finish off the cover.
+The tenth row is sewed to the ninth by a fancy stitch which is made
+by winding once around the ninth from left to right and once around
+the tenth from right to left and so on alternately until the row is
+completed.
+
+The end of the rattan is shaved off and sewed to the last row. A pretty
+lining would beautify this article very much.
+
+One of the very simple things which a very small child could easily
+make is a napkin ring (Figure 204).
+
+Cut a piece of cardboard or stiff paper about an inch and a half wide
+and eight or nine inches long. Paste the ends together forming the
+ring. Take two strands of raffia and knot them. Place the knot inside
+the ring holding it with the first two fingers of the left hand. The
+strand on the right is brought up and across the ring on the top, the
+end hanging over the left side. The strand on the left is brought
+around the right strand under again through the ring and out on the
+right through the loop made by the right strand in turning and
+crossing the ring. Pull both ends. The strand on the left is brought
+across the ring, the right strand placed over it through the ring and
+out through the loop on the opposite side. Pull both ends. The little
+knot formed on the edge is called "Solomon's Knot" and it makes a very
+desirable edge.
+
+[Illustration: Fig. 204. The napkin ring]
+
+Different colours may be used in raffia which brighten the ring very
+much and make the work more interesting.
+
+When the strands of raffia come to an end, a new one is joined by
+placing the end over the old one about an inch or an inch and a half,
+and working with them as one. The ends may be cut off after the ring
+is finished. Sometimes a small bunch of raffia about an inch long is
+tied to the outside of the ring. The ends are frayed out to add to the
+effect.
+
+There is one article which proves to be most delightful and interesting
+to make (that is, to the girls) a doll's hat (Figure 205).
+
+I think that nearly every little girl knows how to braid raffia and
+after you have learned how to sew this braid together you can make any
+size or shape in hats.
+
+Braid some raffia, say about two or three yards. Have several loose
+strands and a needle and scissors.
+
+[Illustration: Fig. 205. A doll's braided hat]
+
+Just as in making large hats we begin with the centre of the crown. A
+needle is threaded with a fine strand of raffia and the work is begun
+by winding the end several times with the end of the strand threading
+the needle.
+
+A coil is then started with the edge of the braid up, not the face,
+and it is sewed through at least two braids at a time, in stitches
+which run in the direction of the braid. The needle is put in slanting
+down from right to left and up in the opposite direction. The crown
+is coiled round and round until it is about two or two and a half
+inches large. The coil is then brought round with the upper edge just
+below the centre of the last row. The following rows are sewed in the
+same way until the crown is completed or high enough to suit you. Have
+care in sewing the braid so as to show as little of the stitches as
+possible. The brim is made by flattening out the braid and sewing it so
+that it overlaps the centre of the braid of each preceding row.
+
+When the brim is wide enough one or two rows are sewed more tightly
+than the others and the end of the braid is sewed under the brim very
+flatly. Now the hat is ready to be trimmed.
+
+I would like to tell a little about the handles of baskets in this
+chapter. In most of the baskets already described a cover has been
+made. Some people would rather have a handle to the basket, so let us
+see if we cannot learn how to make some handles. The twisted handle of
+rattan is made by using one spoke of rattan of suitable length, and a
+weaver. A knitting needle or something similar will be necessary for
+the work.
+
+The needle is pushed down beside a spoke of the basket and then drawn
+out again to make room for the end of the rattan to be pushed in, about
+three inches below the top of the basket. The other end is inserted in
+the same way on the opposite side. This makes the foundation handle.
+The end of the weaver is inserted under the third row of weaving to
+the left of the spoke and pushed up between the weaving. It is twisted
+around the foundation about an inch apart. When the opposite side is
+reached, the weaver is pushed in under the third row of weaving on one
+side of the handle spoke and brought out on the other side. The weaver
+is then laid across the first twist and each of the following ones, to
+the other side where it goes under the third row as on the opposite
+side. About five or six times across will cover the handle. The weaver
+is fastened off by bringing it inside the basket across a spoke, in
+again, and then cut off.
+
+The braided handle is made by using six pieces of rattan braiding using
+two pieces in each strand.
+
+While weaving the basket, three pieces are pushed in on each side of a
+spoke and the weaving is continued over the spokes.
+
+The double ring handle is made by twisting rattan into rings and sewing
+the rings to the weaving of the basket on opposite sides.
+
+In sewing baskets or other articles, different kinds of stitches are
+used. To put a hat together the braids are sewed together with a
+plain stitch, whereas in putting a basket together a fancy stitch is
+employed.
+
+The Indians are famous for the various kinds of fancy stitches, which
+they have used in making basketry articles.
+
+The skip stitch which is used in sewed baskets is made by enclosing two
+spokes at a time or enclosing one spoke between every two.
+
+Another useful and decorative stitch which is often used is the split
+stitch. The spokes are twined with raffia for a certain distance and
+then are split in two and the right spoke of one is joined to the left
+spoke of the other and twined with raffia as one.
+
+Sometimes in making a cover for a hanging jar the spokes radiating from
+the centre are brought diagonally across each other and joined together
+by the winding stitch.
+
+Many of the simple lace stitches described in a preceding chapter prove
+very useful in basketry work.
+
+To make the melon-shaped basket shown in Figure 206 a six-inch pair
+of embroidery hoops will be needed. One hoop is placed inside of
+the other. The inside hoop is perpendicular while the other one is
+horizontal. Tie the two rings together at the point of intersection.
+
+From basket splint one sixteenth of an inch thick, cut six strips which
+are ten inches in length. They should be one inch and three quarters in
+the centre and taper to points at both ends.
+
+[Illustration: Fig. 206. A melon-shaped basket]
+
+Select raffia in two shades. The natural and brown were used for this
+basket. With a strand of the brown start to weave at the point of
+intersection.
+
+Wind around the four pieces of hoop until a square about one and a half
+inches is made. Repeat on the opposite side of the hoops.
+
+[Illustration: Photograph by Mary G. Huntsman. Sewed Raffia Baskets
+Make Attractive Gifts]
+
+Take two of these pieces of prepared basket splints and insert them in
+the centre of both squares. First one side of the pieces is inserted
+in the square and then the other end of the ribs is inserted in the
+other square. The natural colour raffia is now used to weave over the
+hoops and ribs. The weaving is done over and under and back and forth
+from side to side until there are a dozen rows of weaving. The other
+side of the basket is treated in like manner.
+
+The other four ribs are inserted two on each side of those previously
+placed. Now begin and weave all the way across. Weave several rows of
+brown then the natural raffia. You will put in more or less of the
+brown raffia as you desire, only the pattern on each side of the centre
+must agree.
+
+Instead of weaving from one side and then across to the other, it is a
+better plan to weave a little first on one side of the basket and then
+on the other. In this way you are sure of your pattern.
+
+[Illustration: Fig. 207. The cover]
+
+If the raffia is threaded in a large needle it is easier to weave.
+
+Another strand or more is wound around the handle. A basket such as
+this makes an attractive fruit basket and is just the thing to give to
+sick friends or to use when going berrying.
+
+[Illustration: Fig. 208. Buttonholing the cardboard]
+
+[Illustration: Fig. 209. A simple basket box]
+
+Raffia can be used in many ways as you have already seen. A pretty box
+for jewellery is one that is almost as easy to make as the napkin ring.
+Get a sheet of thin white cardboard. The brown cardboard is a very weak
+material and easily bends and breaks. Cut two circles of cardboard five
+inches in diameter. Use compasses to inscribe the circle, so that it
+may be perfect. Then cut a strip seventeen inches long by two inches
+wide. From the centre of one of the circles cut a two-inch circle. This
+piece will be the top of the box. Now thread your needle with a strand
+of the raffia which has been soaked in water and buttonhole in raffia
+over the cardboard. When the cardboard has been entirely covered with
+the raffia stitches (Figure 207) take the other circle of cardboard
+and cut a half-inch circle from the centre. Cover this piece of
+cardboard like the top. (Figure 208). The raffia should be wiped before
+using it; if not the water will spoil the cardboard.
+
+The centre opening on the cover will be filled with a
+spider-in-its-web. Make four strands of raffia across the space. We
+now have eight spokes. Take the threaded needle back to the centre and
+having passed under a spoke go back and pick it up. The idea is to go
+back over one and forward under two. Continue in this manner till the
+spider is the size you desire.
+
+The long strip of cardboard is sewed together and is worked like the
+napkin ring. With a strand of raffia, cast or bind the bottom of the
+box to the side. The top is fastened on one side with two strands of
+raffia which are tied in a bow. The extra ends are cut off.
+
+
+
+
+XXIII
+
+RAFFIA HATS
+
+
+Many of our little girls have made any number of dolls' hats by just
+braiding raffia and sewing the braids together.
+
+If you were to make a large hat (by this I mean a hat large enough
+to wear yourself) by sewing braids of raffia together, it would be
+entirely too heavy and also would fall into any shape, perhaps not a
+very desirable one.
+
+The only thing to do would be to procure a wire frame and to make the
+raffia hat on it.
+
+In order to do this we will have to braid enough raffia for the whole
+hat before doing anything else.
+
+For this kind of braiding the raffia will have to be soaked in water
+and then rolled out so that the strands will look like pieces of ribbon
+about three quarters of an inch wide.
+
+You may use a five, seven, or nine strand braid for this hat. Take one
+long strand of raffia and place it horizontally on a flat surface. Tie
+seven long pieces to the horizontal piece as shown in Figure 210.
+
+Begin with the last strand on the right-hand side and weave it over the
+next, under the following one, etc., toward the left side letting it
+hang out to the left. Take the next strand on the right and weave it in
+the same manner as the preceding one.
+
+[Illustration: Fig. 210. Weaving the raffia]
+
+When the left-hand side is reached, drop the first left-hand one with
+the rest and let the new weaver hang out till the next is brought over.
+The first one, when it reaches the left side, is always turned over the
+last weaver just brought over before dropping it (the first one) into
+place with the others.
+
+When the first set of strands are used, replace them one at a time by
+using the new and old together about two inches from the end of each.
+
+It will take about eighteen or twenty yards of braiding to cover the
+frame. When the braiding is ready to sew on the hat, begin with the
+centre of the crown. When the crown is entirely covered, start with
+the brim and begin sewing the coils together to the frame at the base
+of the crown. The under side of the brim may be covered with silk or
+material of a similar kind, or if you prefer to have it, covered with
+braid sewed on in the same manner as the outside, beginning at the base
+of the crown.
+
+When the whole hat frame has been covered with the braiding, you may
+roll it in the front or on the side, or in fact any place to suit
+yourself. A nice large bow of ribbon placed on the hat in a becoming
+fashion would make it very attractive, or for those who prefer flowers
+and ribbon the hat trimmed in this manner would be equally charming.
+
+A woven raffia hat made on a wire frame is a very charming and neat
+creation.
+
+It takes time and patience and skill to make the hat, but when it is
+finished you are doubly repaid for your work and the time spent on it.
+
+The crown is woven first and then fitted to the crown of the wire
+frame. Take a small strand of raffia to make a ring of very small
+dimensions, say about one quarter of an inch in diameter. To this
+ring, knot eight strands of raffia as shown in Figure 211. Eight more
+strands are tied around each of the eight strands, using the very
+pretty and effective "Solomon's Knot."
+
+[Illustration: Fig. 211. The crown of the hat]
+
+This knot is a very simple twist and may be tied either with a double
+or single strand. The strand which is tied on is laid first under the
+main double strand and then both ends are crossed over each other. The
+right one goes first under the end of the left-hand one and over the
+double middle strand and then again under the loop of the left-hand one.
+
+It would be well to practise with strands of raffia other than those
+used in making the hat so as to become quite familiar with the knot
+before using it on the hat. Counting the eight strands tied to the
+ring and the sixty-four strands that are Solomon-knotted to the
+original eight we have seventy-two strands in all. They start from a
+common centre and are brought down and outward through the pattern and
+are knotted one by one onto the main strands as they cross.
+
+If you were to trace any one of the seventy-two strands you will find
+that it comes to the outside edge of the square through a very simple
+course. The last or eighth strand, knotted to the main strands, is used
+to tie up the bunch of strands coming from the sides of the diamond.
+It falls into place with the other strands and is tied up in turn as
+the others are. The larger knot tying up the bunch of raffia in the
+centre of the diamond is the same kind of knot as the smaller ones. It
+may look slightly different in composition, but that is due to the fact
+that it is being tied around a larger bulk.
+
+After the knots have been all tied at the edges of the diamonds, the
+ends are woven under and over making a sort of a square design as shown
+in the illustration.
+
+The finishing of the crown is done by taking four strands, two from
+each of the squares at the centre, and knotting them together with a
+simple knot. Two from each side are knotted together.
+
+If you find that the strands do not come out in sets of four, make an
+extra strand by splitting in two one of the other strands.
+
+The brim of the hat is not so tedious to make as the crown and having a
+larger surface on which to work you will find that the progress is more
+rapid and requires less time and energy.
+
+Knot on the outer wire of the frame as many strands of raffia as will
+fit very closely but easily side by side and then tie them into loops
+such as were used on the edge of the crown of the hat. This loop is the
+same as that used in making the shopping bags and hammocks described in
+the next chapter.
+
+You may use your own judgment in designing the brim. The outer edge may
+be made of the same loops that we have just spoken of. On the next row
+the strands of raffia are drawn down tightly and tied around the wire
+with a simple knot.
+
+Alternate these two designs and you will have a very pretty brim.
+
+To finish off the edge on the brim, cut the ends off to about three
+quarters of an inch in length and sew them in under the wire with a
+needle threaded with fine raffia. A tapestry needle or a darning needle
+would do for this purpose.
+
+The trimming for this hat could be easily made of raffia. I will leave
+it to the maker to decide what would be most suitable to the taste.
+I might suggest such articles as buckles made of raffia or rattan or
+perhaps quills made of raffia.
+
+If you do not care to have the hat trimmed with its own material,
+velvet ribbon, satin, flowers, quills, etc., would make a desirable
+trimming.
+
+A very bewitching hat of a plain, three-strand braid of raffia can be
+easily made with very little trouble.
+
+The raffia has to be soaked in water until it is soft. Unroll each
+strip and it will probably be about three quarters of an inch wide. In
+order to make the braid thick enough it will be necessary to use three
+or four pieces in one strand of the braid. Braid about nineteen or
+twenty yards before beginning to make the hat.
+
+Choose a wire frame of a low rounded crown and a broad flat brim. If
+you wish to change the shape of the frame after the braid is sewed on,
+it will be a very trifling matter.
+
+The end at which the braid is begun forms the centre of the crown. It
+is bent over at about five eighths of an inch from the tip and the
+long end is coiled around in a second row, the edge of which comes an
+eighth of an inch under the edge of the centre. It is generally sewed
+on with a darning needle, threaded with a very fine strand of raffia.
+Use the back-stitch bringing the strand all the way through on the
+right side and then all the way through underneath.
+
+The crown is made entirely by sewing the plaits together, separately
+from the wire frame, but it will be well to try it on the frame
+occasionally so that it will securely fit. When about six or seven rows
+have been sewed together and the crown is four or five inches high, the
+brim is begun. The coil of braiding is brought around more loosely and
+flattened out as it is sewed.
+
+When six or seven rows have been completed, the brim at the back will
+be large enough. Each succeeding row will have to be cut as it gets
+near the back and the end fitted in under the previous row until the
+sides near the back are about nine or ten rows wide and the front
+twelve rows. It would be well to pull the coil slightly tighter as it
+draws nearer the outer edge so that the last rows may roll a little.
+
+If you care to have the under brim of braided raffia it can be made in
+the same way, except that it is one row wider at the front and sides,
+to allow it to roll over the edges of the brim. It is pressed on the
+wrong side and attached to the under brim of the wire frame, with very
+small stitches of raffia. The outer edge of the under brim should not
+be fastened until the crown and the top brim are on the wire frame, as
+the top brim should come over the edge of the under brim.
+
+The crown and the upper brim are now pressed on the inside and put on
+the frame to which they are caught with a stitch of raffia here and
+there.
+
+The centre of the crown particularly should be firmly attached with
+stitching to the centre of the wire frame. A row of braiding is brought
+around to cover where the upper and under brims join inside the rolled
+brim and is sewed on either edge with small stitches of raffia.
+
+[Illustration: Fig. 212. A braided hat for yourself]
+
+A hat like this would be very pretty trimmed with a satin ribbon or
+silk bow. A large bow at the side or the back would make it very
+attractive if the bow is of a contrasting colour.
+
+Some people prefer leaves and flowers, with a little touch of silk;
+others quills or feathery materials. In fact it may be trimmed with
+material of any kind.
+
+
+
+
+XXIV
+
+KNOTTING FOR DOLLS' HAMMOCKS, SHOPPING BAGS, AND OTHER PURPOSES
+
+
+Knotting of raffia for dolls' hammocks, shopping bags, belts, coverings
+for hanging jars, and many other things proves to be a very interesting
+part of the basketry work.
+
+Little girls could easily make some very pretty belts to be worn with
+some of their dainty frocks, and I don't know what could be more
+delightful than a hammock for dolly to sleep in.
+
+First let us see how we can make dolly's hammock. We will have to have
+two small brass rings about three quarters of an inch in diameter,
+twelve pieces of raffia, and a pair of scissors.
+
+Place one of the rings on a table or other flat surface and tie each
+of the twelve pieces of raffia on the ring, leaving an end about an
+inch long. Begin and tie simple knots three inches from the ring and
+one inch apart, knotting the strands two and two until nine or ten rows
+have been completed. Finish the hammock by fastening the ends three
+inches from the last row of knots, to the other ring. The hammock is
+ready for Sally Ann to have a nap.
+
+The next thing to do is to make a shopping bag, to carry all the small
+bundles when you go down town to buy dolls' clothes.
+
+This little bag is made with the same kind of knotting, only the number
+of strands and the arrangement of them differ (Figure 213).
+
+Twenty-two strands of raffia and a pair of scissors are necessary.
+Arrange twenty of the strands in pairs, and tie each pair in the
+centre. Place them on a table with the knots side by side, leaving a
+little less than ten inches on each side of the knots. Begin on one
+side of the centre knots, and tie one strand from one knot to the next
+strand from the next knot. They must be an inch from the first knots.
+Tie the same two strands an inch from the centre on the opposite side.
+In the same way tie the outside strands of this group to form the
+corners. Tie them one inch from the first centre knot. Make ten rows of
+knots an inch apart. When these have been completed, the bag is ready
+for the handles.
+
+Separate the strands on one side of the bag from those on the other.
+Divide the group on one side in half. Fasten each group one and a half
+inches beyond the last row of knots. Braid the strands about six
+inches. Do the same with each group, making four braids in all. Hold
+the two braids from one end of the bag together so that the loose ends
+of one braid overlap the other. Beginning at the middle point make a
+binding one and a half inches to the right and a similar one to the
+left. Cover the binding with "Solomon's Knots." Keep the lines of
+knotting straight. Finish the opposite handle in the same way.
+
+[Illustration: Fig. 213. A shopping bag]
+
+Some day when you have shopping to do for your mother, take your bag
+along and see how handy it will be.
+
+In the beginning of the chapter I spoke of a belt to wear with a pretty
+frock. A belt made of a six strand braid proves to be very serviceable
+to some little girls. You may use plain white raffia or a plain colour
+but oftentimes two colours add to the attractiveness of the belt.
+
+Take three long pieces of raffia, that is, if the raffia is very thick;
+if not, six or twelve pieces using two or four pieces as one strand.
+Hold the strands at the centre in the left hand. Put the strand on the
+extreme right over and under the next two strands. The strand on the
+extreme left is put under, over and under the other strands. This forms
+a braid. Continue doing this braiding until the belt is long enough to
+suit you. To finish the ends tie the remaining loose strands close to
+the braid and cut off the ends. Turn the knots under and sew over the
+ends with the loop-stitch described in a preceding chapter.
+
+In working with raffia many times an article will need something to
+put a finishing touch to it, I would suggest using a fringe or tassel
+according to the kind of work in question. In my experience they have
+proved to be just the thing for such purposes. For example, in knotting
+raffia for a work bag, the ends of the raffia may be left hanging and
+when cut to an even length provide a very plain finish for the bottom
+of the bag. Fringing or tassels would, I think, add considerably to the
+appearance of the article. To make fringe on the bottom of such a bag
+it is necessary to cut the ends an even length after the last knot has
+been made, and with a pin or needle fray out the ends very finely.
+
+The way to make tassels for a finish is to wind a strand of raffia
+over a cardboard about two or three times, or if the tassel is to be
+quite thick, wind five or six times. Slip it off and bind it several
+times near the top with the end strand of the bag. Sew it fast with a
+tapestry needle. Cut through the centre of the loops. A row of these
+across the bottom of a bag are very effective.
+
+[Illustration: Fig. 214. A whisk broom]
+
+A very dainty little article for a very small child to make is a little
+clothes brush or whisk broom. Secure a brass ring about one inch in
+diameter and cover the ring with the loop stitch. Fold twelve strands
+of raffia twice and slip the bunch through the ring bending it in the
+middle. Make a binding one inch below the ring and one inch long; cover
+the binding with "Solomon's Knots." Fringe the ends well and trim off
+evenly (Figure 214).
+
+Knotting in silks, cotton or linen strands should be mentioned in
+this chapter. It is a difficult thing to find a piece of fringe that
+will just match the colour of silk you have but it is an easy matter
+to make the fringe yourself. The simplest kind is the knot fringe.
+It can be made of filo, rope, twisted, or heavy floss when used in
+connection with a silk, satin, or velvet background. For cotton or
+linen background, cotton floss or fine cord can be used.
+
+Let us suppose that you wish to make the fringe into a hem. Take a
+cluster of six or eight strands of rope silk, ten inches in length,
+and draw them through the extreme edge of the hem. If the other kind
+of silks are used, more strands will be necessary. Knot the cluster
+close to the hem. At a little less than a half inch distance over make
+another cluster and repeat in this manner across the space on which you
+want the fringe.
+
+Now take the first cluster and divide it in half. Hold the half nearest
+the next group in your left hand and divide the second group. Taking
+the half close to first group, knot the strands together one half inch
+from the hem. Continue like this all the way across. Do not pucker the
+material when knotting.
+
+A third row of knots is now made below the second. This takes up the
+first half of the knot previously used and half of the next group.
+In this way you form a diamond. If a deeper fringe with more knots is
+desired cut the strands of silk three inches longer. For every inch of
+fringe allow three inches of strands.
+
+
+
+
+XXV
+
+SIMPLE BEAD CHAINS ON SINGLE STRINGS, A HOME-MADE LOOM, WOVEN CHAINS,
+BELTS AND PURSES
+
+
+Have you ever taken pop corn and made a chain of it for Christmas
+trees, or perhaps you have strung cranberries? Maybe it was the first
+time that you ever held a needle. I remember when we were youngsters
+living in the South, our nurse used to take us out under trees and we
+would string "Job's Tears" for hours. Many drug stores sell these seeds
+on strings for infants to cut their teeth on.
+
+The simplest form of bead work is just as easy as stringing pop corn or
+berries. Beads come in all sizes from the tiny ones that are no bigger
+than a top of a pin to the large ones the size of a marble. Sometimes
+you can get odd-shaped beads, flat on one side and curved on the other.
+A string that is pretty enough to wear on state occasions can be made
+of heart-shaped and round beads.
+
+The regular bead needle is very fine and long. It is better when
+stringing a single strand to double the thread. Use linen thread No.
+100 or 150. Thread the needle with a piece of thread eight inches
+longer than double the length of the necklace. Bring the two ends
+together and make a knot three and a half inches from the ends of the
+thread. The thread will be very much stronger if you wax it. Now thread
+seven small round beads then an odd shaped one. Repeat in this manner
+till you have the length of chain desired. Cut off the needle and tie
+the remaining thread in a tight knot close to the beads. Ribbons are
+sometimes used to fasten the chain or necklace together but the little
+clasps that you can buy for a few cents are neater and do not get
+soiled as ribbon does. Fasten on the clasp with the thread that extends
+beyond the knots.
+
+A sweet little daisy chain can be made on two threads. Thread two bead
+needles with two long threads. Bring one end of each thread together
+and make a knot as described above. Fasten the knot to a table with a
+pin so that one needle is on the right and the other one on the left.
+Thread two white beads on your right hand needle. Put your left hand
+needle down through the white bead so that you have a thread coming
+from each side of the beads. Your needles will have changed position.
+Thread the right hand needle with one yellow bead. Pass the left hand
+needle down through this and again the needles are reversed. Thread two
+more white beads like the first two and do the same thing. Now take the
+right hand needle and thread two more white beads and carry the needle
+through the first two white beads from right to left. Thread two more
+white beads on the same needle and carry it through the second or top
+group of white beads from left to right. Thread ten green beads on each
+of the needles and now we are ready to make another daisy (Figure 215).
+Continue in this manner till the necklace is complete.
+
+[Illustration: Fig. 215. A daisy chain]
+
+Another and more elaborate daisy chain is made on one needle. Make a
+knot in the thread and string four green beads. Hold this down between
+the thumb and forefinger of the left hand. Thread one green bead and
+pass through the third of the four beads. Thread another green bead and
+pass through the first bead. Thread one white bead and pass through the
+green one on the left. Thread another green bead and pass through the
+green one to the left (Figure 216).
+
+Third row--Thread a green, pass into a green to the left. Now thread a
+white bead and pass in through the first white bead.
+
+[Illustration: Fig. 216. A woven daisy chain]
+
+Fourth row--Thread a yellow bead and pass through last white, and a
+green bead through the green.
+
+Fifth row--A green bead through the last green, a white through the
+yellow.
+
+Sixth row--A white bead through the last white, a green through the
+last green.
+
+Seventh row--A white through the last green, a green through the last
+white of the sixth row.
+
+Then three white beads on the needle and pass through the first white
+on the second row. Carry the thread through the daisy thus formed till
+you have it again in same position as it was before you threaded the
+three beads.
+
+Eighth row--One green into the last green, one white into the last
+white. (Note that you are now starting another daisy on the left-hand
+side).
+
+Ninth row--One yellow into last white, one green into last green.
+
+Tenth row--One green into last green, one white into yellow.
+
+Eleventh row--One white into last white, one green into green.
+
+Twelfth row--One white into last green, one green into white.
+
+Repeat the directions from the second row. Note that though the chain
+is four beads wide there are only two beads that you work on in each
+row.
+
+If the thread breaks, start the new one, two or three rows back and go
+through the different beads.
+
+The above directions are for a chain that is worked without a loom.
+Now-a-days it is quite possible to buy a little loom for about fifty
+cents, but you can make one at home that will not cost you a penny. The
+size of the loom will depend on what you are working but we presume
+that it is a chain. Should you ever make a purse it would pay you to
+buy a loom.
+
+To make the home-made loom get a piece of card and a wooden meat
+skewer such as butchers use. Fasten the skewer down on both ends to
+the cardboard about two inches from the upper edge. One inch above the
+skewer in the direct centre make a hole and one inch from the bottom
+edge of the cardboard make another hole. Cut six pieces of No. 90
+linen thread, thirty-six inches long. This measurement is sufficient
+for a chain twenty-seven inches or under. Tie one end of each thread
+to the skewer. Now holding the six threads together, carry them down
+through the bottom hole across the back of the cardboard and tie in a
+loose knot to the top hole.
+
+[Illustration: Fig. 217. A home-made loom]
+
+Thread a bead needle with a thread of No. 100 linen thread that has
+been well waxed. Tie the thread to the extreme right hand thread of the
+warp. Now we are ready to make the chain (Figure 217).
+
+First row--Thread the needle with five yellow beads. Pass the needle
+toward the left under the warp threads, letting one bead slip in every
+space. On the left hand side bring the needle up to the right side and
+slip it through the five beads.
+
+[Illustration: Fig. 218. The design for the chain described]
+
+Second row--Thread five blue beads and fasten them in the same way.
+
+Third row--Thread five yellow beads.
+
+Fourth row--Five red beads.
+
+Fifth row--Five red beads.
+
+Sixth row--Two red, one blue and two red.
+
+Seventh row--One red, three blue, one red.
+
+Eighth row--Five blue.
+
+Ninth row--One red, three blue, one red.
+
+Tenth row--Two red, one blue, two red.
+
+Eleventh row--Five red.
+
+Twelfth row--Five red.
+
+[Illustration: Photograph by Mary G. Huntsman. The Fascinating Task
+of Making Bead Chains]
+
+
+Continue in this manner for as many inches as needed (Figure 218).
+When you have used up all the warp threads on the upper side of the
+cardboard roll the finished chain over the skewer and fasten the
+remaining threads in the lower hole.
+
+[Illustration: Fig. 219. Another design for chains]
+
+To make a belt or purse the larger loom will be necessary. Designs used
+for cross stitch are suitable for bead work.
+
+[Illustration: Fig. 220. A third design for a chain]
+
+Before I tell you how to make any more bead chains and the other
+articles that may be made with beads, I want to tell you how to make a
+dainty purse that is illustrated in this chapter. It is made of gold
+and rose-coloured glass beads and it belongs to a bright little girl I
+know who has been using it for the past three years. A spool of heavy
+buttonhole twist of a colour to correspond to one of the coloured beads
+is needed (Figure 221).
+
+Take eighteen strands of silk, each a yard long. See that the ends are
+all even. Tie a tight knot through the centre of the threads. Thread a
+bead needle with one of the strands of silk. Put on two pink beads then
+three yellow, five pink, three yellow, five pink, three yellow, five
+pink, three yellow, five pink, five yellow, one pink, seven yellow, one
+pink, seven yellow, one pink, seven yellow, one pink, five yellow, five
+pink, three yellow, five pink, three yellow, five pink, three yellow,
+five pink, three yellow, seven pink. This completes the first string.
+Do not allow any beads to drop, which they are very apt to do while you
+are working on another row. It is suggested that the strand of silk on
+the left of the beads should be knotted closely to the beads to prevent
+them from slipping.
+
+[Illustration: Fig. 221. The bead bag described]
+
+Unthread your needle and take the next strand; thread two pink, one
+yellow, then slip your needle through the second yellow bead of the
+first row, thread one yellow, five pink, one yellow, now slip your
+needle through the middle yellow bead of the first row or in other
+words slip your needle through every eighth bead on the first row. The
+colouring remains the same. I will start the instructions again for the
+second row which is to be threaded, two pink, one yellow, slip needle
+through bead on first row, one yellow, five pink, one yellow, slip
+needle through bead, one yellow, five pink, one yellow, slip needle
+through, one yellow, five pink, one yellow, slip needle through bead,
+one yellow, five pink, one yellow, slip needle through bead, three
+yellow, one pink, three yellow, slip needle through, three yellow, one
+pink, three yellow, now slip needle through bead, three yellow, one
+pink, three yellow, slip needle, three yellow, one pink, three yellow,
+slip needle, one yellow, five pink, one yellow, slip needle, one
+yellow, five pink, one yellow, slip needle, one yellow, five pink, one
+yellow, slip needle, one yellow, five pink, one yellow, slip needle,
+one yellow, six pink, slip needle into last bead of first row and knot
+the two threads close to the bead. Be sure that the knot is large
+enough not to slip through the hole of the bead.
+
+Thread your needle with the third strand. Put on two pink, three
+yellow, two pink, slip needle through third bead of first group of five
+pink of the second row. (For the rest of the row "slip needle" means
+slip the needle through the fourth bead below the one slipped through
+on the second row) two pink, three yellow, two pink, slip needle, two
+pink, three yellow, two pink, slip needle, two pink, three yellow, two
+pink, slip needle, two pink, five yellow, slip needle, seven yellow,
+slip needle, seven yellow, slip needle, seven yellow, slip needle, five
+yellow, two pink, slip needle, two pink, three yellow, two pink, slip
+needle, two pink, three yellow, two pink, slip needle, two pink, three
+yellow, two pink, slip needle, four pink.
+
+The fourth row is the same as the second. Every other row from the
+third is also worked like the third.
+
+The last row which joins the bag--Two pink, slip needle into fourth
+bead of next to last row, thread three more beads, slip into centre
+bead of the group of sevens of the first row. The pattern is
+diamond-shaped as you will note, therefore after threading your needle
+with three beads of the shade to correspond with the previous row slip
+your needle in the centre bead of the groups of seven of the preceding
+row and the first row. Work first to the right and then to the left.
+
+Every two strands of silk must be knotted together to keep the beads
+from slipping off. Braid the threads extending beyond the bead work in
+groups of three. A large bead or slide will be necessary to make the
+purse a practical money bag. Get two big beads that have openings large
+enough to pass all the silk threads through. Take a knot on the silk
+thread after the first large bead is in position. This knot should be
+two inches at least from the beads. The silk threads may now be cut
+quite close to the knot or they may be cut one inch from the knot to
+form a tassel.
+
+If the little purse was left without any further work it would look
+quite top heavy and unfinished, for that reason a bead tassel is
+suggested as shown in the illustration of the bead purse.
+
+Thread your needle with a long strand of the buttonhole twist. String
+about two and a half inches of pink beads. Before commencing to string
+the beads fasten the thread in the heavy knot at the bottom of the
+purse. Catch the thread with the beads also in the knot. Make two pink
+strings this length and two yellow. Then make four strings, two pink
+and two yellow, that are not more than an inch and a half long. Fasten
+off the threads securely and the bag is complete.
+
+Three bunches of pink beads and two bunches of yellow will make two
+purses as have just been described. The beads vary in price from six
+cents a bunch to twenty-five cents. Sometimes the more expensive kind
+have only half the number of beads that the cheaper bunches have. Do
+not get too small a bead or the work will become very tedious. The
+large beads for the slides are more expensive. They cost four cents
+apiece or more.
+
+Of course other colour combinations can be made, also other patterns.
+Silver and blue is another pretty combination for a bead purse.
+
+Now while we are on the topic of beads, I would like to tell you
+about some sensible portières and cushion tops that I recently saw at
+an Arts and Crafts exhibition made of an inexpensive background and
+beads. Monk's cloth was used for one of the portières. Monk's cloth
+is somewhat like burlap but the weave is coarser and more even. A hem
+was turned on one short side and one of the long sides and the thread
+drawn out for a space of about two inches. The threads were hemstitched
+and then a design of beads worked between the groups of threads. To
+accomplish this the design was well planned out before commencing the
+work. The number of beads needed to fill out the space can be judged by
+placing the beads in the opening and testing that for yourself. After
+the design has been selected make a pencil copy of it. It is better to
+restrict yourself at first to just two colours. Fasten your sewing
+thread securely to the threads of the material. Use carpet thread for
+the weaving. Let us suppose that you have selected a pattern that is
+seven rows of beads deep and you have chosen tan as the background and
+red and chalk white beads for the decoration:
+
+First row--Thread one red bead, six white, one red, six white. As we
+will only work a section at a time, let us secure the beads. Slip your
+thread under the hemstitching. Now let each bead come between two
+consecutive groups of hemstitching. Bring your thread to the right
+side. Be careful not to disturb your beads. Now carry the thread
+through the beads again. The thread should be drawn tight but not so as
+to pucker the hem.
+
+Second row--Work this by stringing one white, one red, four white, one
+red, one white, one red, four white, one red. Fasten as described in
+the first row.
+
+Third row--One red, one white, four red, one white, one red, one white,
+four red, one white. Fasten.
+
+Fourth row--One red, one white, one red, four white, one red, one
+white, one red, four white. Fasten.
+
+Fifth row--One red, one white, four red, one white, one red, one
+white, four red, one white. Fasten.
+
+Sixth row--One white, one red, four white, one red, one white, one red,
+four white, one red. Fasten.
+
+Seventh and final row--One red, six white, one red, six white. Fasten.
+
+After this section is worked slip your needle through the beads to the
+last one on the first row and continue to weave.
+
+The beads to use for portières or large pillows are round ones that are
+three eighths of an inch in diameter.
+
+For curtains, table covers or any article where the weight of the
+large bead is not desirable use a smaller bead that is not more than a
+quarter-inch in size.
+
+Scrim curtains with a single row of the smaller beads add a pretty
+touch of colour to the otherwise plain window. Almost any shade can be
+had in the beads, but the trouble is that they can not be bought at
+every store. A bead supply house is the one from which to get them.
+They cost only one-quarter as much as when bought in a department store.
+
+Ecru scrim with a row of turquoise blue, canary yellow and sage green
+beads and the simple twist stitch such as described in the chapter on
+"Simple Stitches in Drawn Work," makes a curtain suitable for a simple
+room. The way to accomplish this work, is to take a stitch on the drawn
+thread, in the regular way for the twist stitch, then slip a bead on,
+then take another stitch, then a bead, so on to the end.
+
+If a skeleton square of beads is desired on a sofa cushion it is
+advisable not to draw it out in the same manner as for a curtain.
+
+For a two-inch border to be set in four inches from the edge, crease
+the cushion through the direct centre. Measure four inches from the
+edge and cut the material on the crease for two inches. Treat each side
+like this. Draw the threads out on each side of the cut, stop when
+you get four inches from the edge. Of course the material must be in
+a perfect square and just the size you want for the pillow before you
+begin any of the work. Place the beads as explained for the portière.
+Do not cut the threads you drew out but, threading a needle with two
+or three at a time, carry them through the beads. In this way there is
+no necessity for cutting and buttonholing the corners where the border
+intersects, as in drawn work. Loose woven materials such as monk's
+or arris cloth are extremely hard to buttonhole and even after very
+careful work they are apt to fray.
+
+If a fancy edge is desired for the pillow one made of beads is far more
+appropriate than anything else. After the pillow is complete and made
+up, put on the bead edge by catching a bead to the material at a short
+distance from each other.
+
+For a canoe or porch pillow there is nothing more durable than bead
+pillows of a dark colour worked with gay coloured beads.
+
+
+
+
+XXVI
+
+BRAIDING AND WEAVING FOUR AND SIX STRANDS
+
+WEAVING ON LOOMS
+
+
+Braiding or plaiting can be done in any materials and may be used for
+shopping bags or circular rugs. Raffia, corset laces, heavy silk floss
+or rags can be utilized for the braiding.
+
+It is extremely difficult to conceal the ends when three strands are
+used so for that reason I have selected four strands to commence with.
+
+[Illustration: Fig. 222. The strands crossed]
+
+When working with cords or very long strands of material, knot the four
+ends together. Pin the knot to your knee and proceed to weave. Take the
+extreme left-hand strand and weave under the next strand. At the same
+time weave the extreme right-hand strand over the next. Cross the two
+strands in the centre. (See Figure 222.) If a knot is not desired at
+the start the cords may be commenced as shown in the Figure 223.
+
+To braid with six strands take the extreme left-hand strand and weave
+under and over to centre and with the right-hand strand weave over and
+under to centre and cross the left-hand strand (see Figure 224).
+
+[Illustration: Fig. 223. The way to commence braiding without a knot]
+
+After the braid has been made it can be sewed together for a mat. In
+joining a strand insert the new piece so that it extends a little
+beyond the braid. If a long braid is desired it is best to have the
+strands of different lengths so that the joinings will not be all in
+one place (Figure 225).
+
+When braiding or weaving with rags cut the strips about three quarters
+of an inch wide. Old rags can be used for this, cutting out the weak
+parts. Cheap cotton fabrics when new make excellent mats.
+
+Weaving on frames is very interesting and not such a difficult task
+as you imagine. There are hand and treadle looms. The following
+instructions will be for the former. A stretcher such as artists use
+for painting can be used or four pieces of board twenty-four inches
+long by four inches wide and one inch thick. Take the four pieces to
+form a frame.
+
+[Illustration: Photograph by Eddowes Co. A Cushion Top Can be Woven on
+a Simple Hand Loom]
+
+
+Buy three half-inch dowels or long round sticks; which may be bought
+from a hardware shop; and sand-paper till they are quite smooth. Screw
+in four large picture rings two on each side of the frame, one at each
+end. Slip one dowel through the rings at each end and tie to picture
+ring.
+
+[Illustration: Fig. 224. Braiding with six strands]
+
+The warp may be cord which is sold by the pound or a heavy soft twine.
+A wholesale cord or rope house will be the best from which to buy the
+warp.
+
+A thin board such as you have in your window shades and to which
+the string is attached makes a good shuttle. Cut it so that it is
+twenty-two inches long and wind the warp on it lengthwise.
+
+Tie one end of the warp thread to the lower left-hand picture ring.
+
+Lay the warp threads over the lower dowel, up through the frame and
+over the upper dowel. Remember always to lay the thread outside and
+over each dowel. The first six threads are placed very close to each
+other. After that the threads are laid half an inch or a little more
+than a quarter of an inch apart. The finer the weaving the more warp
+threads will be needed. The usual allowance is from four to eight
+threads to an inch.
+
+[Illustration: Fig. 225. The way to join a braid]
+
+Two plain boards that are as long as the dowels and three inches wide
+by a quarter of an inch deep will be required now. Slip into one of
+these boards at each end between the warp threads and bring the boards
+to the centre and tie together to keep them from slipping.
+
+Take a piece of cord nine inches longer than a dowel and tie to the
+throat of the lower left-hand screw. Make a knot at first warp string
+and slip it over dowel. Twist the double thread two, three or four
+times. Repeat slipping over dowel and twisting between every two warp
+strings until you reach the right hand screw. Tie the threads to the
+screw. This is called pairing the threads. Repeat the pairing at the
+other dowel. When the pairing is finished slip the lower dowel out of
+the rings and tie the dowel again to the screws.
+
+To space the warp threads an upholsterer's needle and carpet thread
+will be needed.
+
+If the weaving occupies the full size of the frame, hitch or tie the
+carpet thread to the lower left-hand screw, while if the warp threads
+do not extend very far over place an extra screw on the outside of the
+frame where the warp threads begin.
+
+Buttonhole stitch over the dowel keeping the lower thread down and the
+upper thread on top.
+
+Hold the warp threads apart with finger of the left hand while
+buttonholing. Pull your stitches tight. Two or three stitches should be
+made between each two warp threads. The stitches must be an eighth of
+an inch apart.
+
+Now we are ready for the bridge.
+
+Two feet, as they are called, will be necessary to support the bridge.
+A carpenter will make them for a small amount. They should be seven
+inches high by three inches wide at the base (Figure 226). One foot is
+placed in the centre of opposite sides of the frame and the third dowel
+run through the holes.
+
+Loosen the two boards at the centre and place them close to the dowel.
+Place the bridge over the set of threads nearest you. Take a six-inch
+piece of cord and catch up first warp thread. Tie thread to bridge.
+All knots should be made like a weaver's knot. The loop should not
+extend lower than two inches below the bridge.
+
+[Illustration: Fig. 226. The foot]
+
+This completes the setting up of the loom. To weave, the material may
+be cut as stated before or raffia or Indian fibre may be used. If the
+weaving is to be in one colour only, it is well to join the pieces
+together and wind on a long shuttle. If short pieces are used a hook
+will be required. It can be made of a strip of wood taken from the hem
+of window shades. Notch one end of it.
+
+A selvage will be necessary at the beginning and the end of the weaving
+and is done in a fine cord.
+
+Start at left-hand corner and tie the thread to warp. Pass the shuttle
+to right-hand side between the threads. Lower the bridge and pass the
+shuttle back again between the threads to left-hand side. Raise the
+bridge again and repeat as just explained. It will be best to comb down
+the woof to keep it straight and regular. A regular weavers' comb can
+be bought, but a coarse hair comb may be substituted. Six rows will be
+sufficient for the selvage. The regular weaving is worked the same
+only in coarse warp. Remember the bridge must be lowered every other
+time.
+
+In weaving a new thread or strand commence a little way back from where
+the last strand stopped.
+
+Learn to weave and you get much more artistic effects in rugs than
+ordinary rug or portière weavers obtain.
+
+Beautiful cushions and other useful articles can be made by weaving.
+
+It is a great mistake to think that all cast off clothing can be woven
+into handsome rugs or portières. True it is possible to weave them, but
+it is almost a hopeless task to get artistic effects from old coats or
+a lot of dark articles.
+
+The modern rug weavers get a few yards of cheap muslin in two or three
+shades and make a rug that can be sold for two or three dollars. Silk
+is not like old woollen materials, it can be utilized to the last thread
+because it is soft and works to good advantage.
+
+Two old silk petticoats will make two pillow tops that are artistic as
+well as useful. One of the most beautiful examples of silk weaving was
+a cushion I saw made from two old silk petticoats; one was sage green
+and the other Delft blue. The strips were about one inch wide. All the
+worn parts were cut out. No piece was considered too small to use.
+
+Every pattern of rug has a name given it by the weaver. The most common
+pattern is the hit-and-miss. The name aptly describes it. There are
+never two hit-and-miss patterns that are exactly alike. To look at a
+collection of hit-and-miss rugs one is reminded of the Croton shrub
+which has no two leaves alike. As children, we used to call them
+Match-me-if-you-can trees.
+
+A hit-and-miss pattern is a good one to learn on.
+
+Do not weave first one green strip then one blue and so on, because you
+will get a jumble of blue that is neither interesting nor pleasing.
+Decide on which colour you would like for the background, then use most
+of that shade.
+
+I have heard an old weaver say that when she works the hit-and-miss
+pattern she will carry first one stripe of the background the entire
+way across and probably start the second row. A little strip of the
+second colour is then used and then the background again. The good
+worker never cuts her strips all the same length but strives to get the
+effect of little slashes of colour against a solid background. A rug
+made of medium blue and white rags suggests the sea with white caps on
+it.
+
+When an Indian weaves a rug, he sits on the floor and weaves, till he
+has to stand to work.
+
+Tapestry is woven almost the same as described for rugs; instead of
+the loom having a bridge that has to be moved by hand to regulate the
+threads, a treadle is used.
+
+The wrong side of weaving is always facing you on the loom and all ends
+are fastened afterward with a needle and thread. Perhaps you would be
+interested to know how a weaver makes a set design in tapestry. Usually
+an artist designs a piece, say a design for the back of a chair. Often
+the artist is the weaver himself. He will make two sketches in colour
+one to put under the warp threads and the other to keep in sight. He
+then starts to weave the design in as many colours as desired, then the
+background is worked.
+
+A piece of hand-made tapestry is a possession that only the very
+wealthy can buy for it is indeed exceptional to find an ordinary weaver
+who can make tapestry. To the French is given the honour of being
+the most clever weavers in the world. As a general thing in France
+weaving is an inherited trade. You will find, if you ask the weaver
+what his mother, his father and his grandfathers were, he will tell
+you--weavers. The hands of the men are almost as small and soft as the
+women's.
+
+I have seen a beautiful screen that represented a pansy field, if you
+can imagine such a thing worked in over two hundred shades of silk.
+Every conceivable kind of pansy was worked in it. It was made for a man
+who loved pansies. It took four weavers three months in which to make
+it, working eight hours each day.
+
+Too much thought can not be given to the right colour for your rugs
+or whatever you intend to weave on your simple loom. Study to get
+harmonizing effects rather than contrasting ones. Gray is probably the
+most pleasing of backgrounds and can be combined to advantage with
+almost any other shade. Remember that a dark room needs a cheerful
+colouring while a bright airy room can stand subdued shades.
+
+Red excites the nerves. Lavender is depressing. Blue is a cold colour
+and should be combined with other colours to be effective. Green is
+restful to the eyes in any shade, while yellow seems to reflect light
+and for that reason is to be highly recommended for use in a dark room.
+One of the prettiest rooms I know, which is ordinarily a very dark one,
+is one that has bright yellow and chestnut brown for its decoration.
+The minute you enter that room you are impressed with its cheerfulness
+and warmth.
+
+No matter how pretty and beautiful are the hangings and other dainty
+touches of a room, a rug remains the chief attraction. It is to a room
+what a vase is to a flower. A rug is not absolutely necessary, but
+unless it is the right kind your room looks patchy.
+
+As in everything else practice makes perfect and as soon as you become
+accustomed to weaving you will plan regular designs that will make the
+work more fascinating. If you have a large quantity of undefinable
+shades of silk or wool or cotton rags I would recommend that you dye
+them all one shade.
+
+One ten-cent package of a dye will colour a couple of pounds of rags.
+Get a dye that is good for all three kinds of material as sometimes a
+dye that changes the colour of silk may not affect cotton at all.
+
+
+
+
+XXVII
+
+SIMPLE CROCHETING, STITCHERY FOR EDGES AND SHAWLS
+
+CROCHETING ABBREVIATIONS.
+
+  1. Slip stitch (sl st)
+  2. Chain stitch (ch)     (Figure No. 227)
+  3. Single crochet (s c)      "   No. 228)
+  4. Double crochet (d c)      "   No. 229)
+  5. Treble crochet (tr c)     "   No. 230)
+  6. Shell (sh)                "   No. 231)
+  7. Stitches (sts)
+
+
+The beginner in crochet will have very little trouble in learning the
+work as the stitches used are comparatively few in number although the
+various combinations in which they may be used are almost unlimited. It
+is wise to become accustomed to the stitches and especially with the
+abbreviations, which are used so extensively throughout all crochet
+work. No doubt the beauty and variety of the patterns one can execute,
+also the durability of the work are the chief causes for its popularity
+at the present time.
+
+The implement used is a crochet hook which varies in size according
+with the quality of the thread used. The steel hook with the bone
+handle is to be preferred.
+
+[Illustration: Fig. 227. Chain stitch]
+
+Too much emphasis cannot be placed upon the importance of the position
+of the hands when working, and the firmness of the stitches, as the
+work is, at once, better and more even when the proper position is
+maintained. The crochet needle should be held lightly between the
+first finger and the thumb of the right hand; the hook horizontal and
+parallel with the first finger of the right hand, that part of the work
+which is in course of construction being held closely between the thumb
+and third finger of the left hand. The thread is wound once around the
+first finger, passes under the second and third fingers of the left
+hand, and is wound around the small finger. It is now held in position
+by bending the fourth and small fingers toward the palm of the hand.
+
+The foundation stitch of all crocheting is the chain stitch (ch) (see
+Figure 227) which is begun by making a slip knot around the needle.
+Draw the thread through this loop, and you have a chain. Again draw the
+thread through this second loop, continue until the chain is of desired
+length.
+
+Another stitch is the slip stitch (sl st). Insert the hook in the
+foundation work. Draw loop through the work and another through the
+loop on the needle.
+
+Single crochet (s c). See Figure 228.
+
+[Illustration: Fig. 228. Single crochet]
+
+Insert hook in work, make a loop on the hook and draw through, making
+two loops on the needle. Throw thread again over hook. Draw thread
+through both loops.
+
+Double crochet (d c). See Figure 229.
+
+Before inserting the hook in the stitch to be worked, put the thread
+around it. Throw thread around hook and draw the thread through the
+stitch and you will have three loops on hook. Throw thread again around
+hook and draw thread through two loops. Throw thread again around hook
+and draw through the remaining two loops.
+
+[Illustration: Fig. 229. Double crochet]
+
+Treble crochet (tr c). See Figure 230.
+
+[Illustration: Fig. 230. Treble crochet]
+
+Put the thread around the hook twice, insert in the work. Draw a loop
+through work, making four loops upon needle. Draw the thread or loop
+through two loops on needle, then again through two loops and the
+third time through the remaining two loops.
+
+Shells (sh). See Figure 231.
+
+[Illustration: Fig. 231. Shells]
+
+Shells are formed by making groups of either single, double or treble
+stitches worked into the same space or stitch.
+
+[Illustration: Fig. 232. Tiny insertion]
+
+Edging and insertions are very much in use and are often applied to
+blouses, collars and cuffs, towels, centre pieces, handkerchiefs, belts
+and various other articles.
+
+_Tiny Insertion_ (Figure 232).
+
+Ch 7 catch into a ring and into one side of ring work 5 s c *ch. 7
+catch in next to last s c, 5 s c in new ring. Repeat from * for length
+desired and fasten off.
+
+_Tiny Edging_ (Figure 233).
+
+1st row--Ch. 9 turn.
+
+2nd row--1 s c in each 9 ch, turn.
+
+3rd row--ch 9 work 1 d c in first s c made, turn.
+
+4th row--* Over ch work 9 s c Work ch of 9 turn.
+
+5th row--1 d c over the d c of preceding row. Turn.
+
+Repeat from * until you have length desired.
+
+[Illustration: Fig. 233. Tiny edging]
+
+For the edging made:
+
+1st row--Over each d c on one side and each empty ch on the other work
+4 s c.
+
+2nd row--Work 1 d c into first s c then * 2 ch, miss 2 s c and work 1 d
+c into next. Repeat from * along both sides of insertion.
+
+_Loop Edging_ (Figure 234).
+
+Work 29 s c over a padding cord, then catch in 7th stitch made to form
+a ring. Again work 29 s c and catch in the 7th stitch to form another
+ring. Continue until the edging is the required length.
+
+[Illustration: Fig. 234. Loop edging]
+
+For the edge, begin at the first end for the picots and work as
+follows: make 1 s c into 8th stitch of first ring, ch 5, skip 1 s c--1
+s c in next stitch. Repeat for three picots. Ch 2, begin in 8th stitch
+of next ring and make 3 picots there and so continue to the end of
+edging.
+
+_Loop Insertion_ (Figure 235).
+
+Ch 10 and catch in a ring into one side of ring work 6 s c, ch 10,
+catch in the last s c forming a ring, and into new ring work 6 s c.
+Continue in this way for length desired. Then work down the other side
+of rings 6 d c in each.
+
+[Illustration: Fig. 235. Loop Insertion]
+
+Now work down each side of insertion 1 s c in the centre point of each
+side of the ring and 5 ch between. In these ch loops work 6 s c each
+and fasten off.
+
+_Narrow Crochet Edging_ (Figure 236).
+
+Ch 14.
+
+1st row--1 d c in 10th ch from needle, ch 3, 1 d c in same st. Ch 3, 1
+d c in next st, ch 3, 1 d c in same st. 3 stitches on foundation will
+stand beyond the row.
+
+[Illustration: Fig. 236. Narrow crochet edging]
+
+2nd row--Ch 6 turn * 1 d c in centre loop of cluster of three, ch 3
+repeat from * 2 times. 1 d c in same space, ch 2-1 d c in third ch of
+turning loop.
+
+3d row--Turn ch 5 * 1 d c in centre of loop of clusters, ch 3 repeat
+twice from * 1 d c in same space * ch 1-1 d c in 6 ch loop, repeat from
+* 7 times ch 1-1 s c in end of foundation.
+
+4th row--Turn ch 6-1 sl st in fourth ch from needle ch 1-1 d c in next
+space between d c, ch 5-1 sl st in fourth ch from needle, ch 1-1 d c
+in next space. Repeat from * 5 times. Ch 3-1 d c in centre loop of 7
+ch clusters, repeat from * three times more ch 2, 1 d c in third ch on
+turning loop.
+
+5th row--Turn ch 5, make clusters in centre loop as with other row.
+Repeat from 2nd row. On each repetition of 3 row the final s c is taken
+up in the loop of 3 ch of the former scallop.
+
+_Cone Insertion_ (Figure 237).
+
+1st row--Ch 15 turn 1 d c in ninth ch from needle, ch 3 skip 2-1 d c in
+next, ch 3 skip 2-1 d c in last stitch.
+
+2nd row--4 s c in first space, ch 1 in second space work 2 d c--1 tr c,
+ch 3, 1 tr c, 2 d c, ch 1, in third space work 4 s c.
+
+3d row--Ch 10, one sl st over 3 ch--ch 5, 1 tr c in last s c of
+preceding row.
+
+[Illustration: Fig. 237. Cone insertion]
+
+4th row--4 s c in first space, 1 s c in same space with sl st, 4 s c in
+next space.
+
+5th row--Ch 6, skip 2 s c of preceding row, 1 d c in next stitch. Ch
+3, skip 2-1 d c in next stitch. 3 ch, skip 2-1 d c in final st. Repeat
+from beginning of second row.
+
+_Crochet Insertion with Ribbon_ (Figure 238).
+
+[Illustration: Fig. 238. Insertion with ribbon]
+
+Make a ch of 35 stitches: 1 d c in 7 st from end of ch, 3 ch, 1 d c in
+next 3 rd st of ch, 3 ch, 1 d c in next 3d stitch of ch, 3 ch, 3 d c in
+5th of ch, 3 ch, 3 d c in same st as last 3 d c to join shell, 4 ch, 3
+d c in next 5th st of ch, 3 ch, 3 d c in same stitch as last three, 3
+ch, 1 d c in next 5th of ch, 3 ch, 1 d c in next 3d of ch, 3 ch, 1 d c
+in last stitch of ch, 8 ch; turn. Work the next and every succeeding
+row the same. Run narrow ribbon under and over 3 ch. in centre. This
+trimming is very pretty when used on a blouse waist.
+
+[Illustration: Fig. 239. Rainbow shawl]
+
+_Rainbow Shawl_ (Figure 239).
+
+Either Saxony or floss may be used, about six skeins of white and half
+a skein of each of the colours used being necessary.
+
+_To form main part of Shawl._
+
+Ch 68 sts of white.
+
+1st row--Turn and work back thus: Draw out st on hook about
+three-fourths of an inch, pass hook under the single thread of wool,
+draw through st, pass it under wool, work a sl st, 1 ch (in the way
+you work first st of every row). To make second st* pass hook through
+second, draw up to three fourths of an inch, catch the wool and make 2
+close ch: repeat from * to end of chain. Turn and repeat from first row
+till you have worked 76 rows in the white wool.
+
+_To make the Rainbow Stripe on either end of white._
+
+Fasten in the pink wool and work two rows, then in the order
+named--yellow, orange, light green, dark green, indigo, light blue,
+violet. Finish the end with two or more rows of white.
+
+[Illustration: Fig. 240. Cross stitch]
+
+_To make Fringe._
+
+*Chain 35, fasten down in next st with a sl st, repeat from * to end of
+row. Finish both edges of scarf with a row of knot stitches.
+
+CROCHET SCARF (Figure 241).
+
+Material, 8 skeins Shetland Floss.
+
+[Illustration: Fig. 241. Shawl in cross stitch]
+
+Directions for Cross Stitch (see Figure 240).
+
+Make a chain the desired length: work 1 tr c in the fourth stitch of
+ch. Now stitch back into the first and second of ch and make a tr c in
+each. (This forms a cross stitch.) Repeat to end of chain.
+
+_To make Scarf._
+
+Ch 139 stitches.
+
+Work 34 cross stitch on ch; continue working back and forth with cross
+stitch until scarf measures 1-1/2 yards in length. Finish ends with a
+fringe. Each strand is 6 inches and 8 strands of wool are knotted to
+each cross stitch to form fringe.
+
+
+
+
+XXVIII
+
+PATTERN DIRECTIONS FOR MAKING DOLL CAPS AND CAPES, JACKETS AND CHILD'S
+BEDROOM SLIPPERS
+
+
+Having become well acquainted with the stitches and patterns described
+in the previous chapter, you are competent to go on with the more
+intricate ones described in this chapter.
+
+A pretty doll's cap is made of silk. Without a silk padded lining the
+cap will be just the thing for the warmer months.
+
+_Doll's Cap._
+
+Begin by winding silk around a lead pencil 12 times: make 24 s c over
+this.
+
+2nd row--Make 2 s c in every s c on first row.
+
+3rd row--S c in every s c on 2nd row.
+
+Continue widening often enough to keep the work nearly flat (to do this
+two s c instead of one are worked upon the one of the preceding row).
+This completes the solid work of the crown.
+
+4th row--Ch 3, make 3 d c in same stitch, skip 4 d c in next st.
+Continue around entire crown.
+
+5th row--Make a shell of 6 d c in centre of each shell of 4 d c,
+leaving off within 7 shells of last row.
+
+6th row--Make a ch of 5 st and s c in middle of next shell. Ch 5, s c
+in middle of next shell. Continue around entire crown.
+
+7th row--* 5 s c on each ch of 5 of previous row. Turn s c for entire
+row around to where the shells of 4 were left. This begins the front of
+cap. Turn and repeat from * 2 more rows. Next make a row of shells of 4
+st in every 5th st.
+
+8th row--Make shell of 5 d c in middle of each shell of 4 d c. Repeat
+these 2 groups of 4 rows of s c and 2 rows of shells twice more.
+
+9th row--A row of 5 ch in middle of each shell, then a row of s c.
+Finish the cap with a row of shells of 7 d c around the entire cap.
+Finish shells with a row of picots made by a ch of 3 caught in every st
+with a s c. This completes the cap.
+
+[Illustration: Fig. 242. Doll's Hug-me-tight]
+
+_Doll's Hug-Me-Tight_ (Figure 242).
+
+1 skein of Saxony white.
+
+1 skein of Shetland floss, blue.
+
+1-1/3 yards of narrow white ribbon.
+
+Make a ch of 20 st., take up each ch with a s c.
+
+Turn 19 s c in slipper stitch (slipper stitch is s c taken up on the
+back thread of the row below). Crochet back and forth in this manner
+until you have 8 ribs or 16 rows which form the back. Then take up 5 s
+c and crochet back and forth until you have 9 ribs or 18 rows, which
+forms the one front. Then count nine stitches for the neck, taking up
+the remaining 5 sts for the other front and make 9 ribs or 18 rows for
+the other front. Finish with a border all around of s c taking up the
+whole stitch, alternating the colours, 1 row blue and 1 white until
+you have four blue and four white, finish the whole with a blue picot.
+
+Cut the ribbon into six pieces, sew one piece in each of the outer
+edges to form the armhole and front as illustrated. This jacket can be
+made for a child by commencing with 45 ch, 25 ribs for back and 25 ribs
+for fronts.
+
+_Jacket_ (Figure 243).
+
+[Illustration: Fig. 243. Jacket in star stitch]
+
+Pompadour wool through which a thread of silk runs, was used for making
+this pretty jacket. Three skeins of the wool are required.
+
+The body of the sacque is of star stitch (Figure 244).
+
+Ch 95 on which work 11 stars, widen with 2 ch.
+
+For sleeve make 11 stars, and back, 25 stars.
+
+One front 11 stars. For the first 4 rows of front work 11 stars, widen
+with 2 ch work across sleeve, widen 2, work across back, widen 1
+star every other row; at sleeve widen 2, across sleeve widen 2, then
+11 stars from the front. After the 4th row continue as before, only
+widening 1 star at the four sleeve points for 10 rows. In 15th row work
+11 stars for the sleeve, now drop out the entire sleeve, including the
+widening points, work across back alone, leave out sleeve as before
+then 11 stars for the second front; work 12 rows across sacque widening
+under arms as in centre back. Tie wool at point under arm and work 13
+rows around sleeve joining each row as made. For border, work 4 rows of
+knot stitch.
+
+[Illustration: Fig. 244. Star stitch]
+
+_Slippers in single crochet_ (Figure 245).
+
+One skein of each of two contrasting colours of Germantown wool, one
+pair of soles. For making these slippers in mercerized Perle cotton,
+which is very cool for warmer days, two balls will be required.
+
+In making slippers it is very essential for the work to be as tight as
+possible to prevent it from stretching.
+
+[Illustration: Fig. 245. Slipper in single crochet]
+
+The following directions are for slipper size 3. Ch 11 sts. Make 11 s c
+in slipper stitch, described in doll's hug-me-tight (Figure 246) widen
+in the centre by making 3 s c in 1 ch. Make two rows like last widening
+in centre, then a row without widening. When the work reaches from the
+toe to the hollow part of the sole (about 12 ribs) the front is long
+enough. (Alternate two rows one colour and two in the other.) Turn and
+work 15 s c. Continue in the slipper stitch until the work will reach
+around the sole by stretching. Join the end to the front by overcasting
+on the wrong side. Beginning at the corner where the end is joined make
+a row of crazy stitch around to the other side. Make 3 more rows of
+crazy stitch. Finish with a row of shells.
+
+[Illustration: Fig. 246. Slipper stitch]
+
+Directions for crazy stitch--Make a ch of 4 sts; then throw the thread
+once over the needle, take up the third nearest stitch to the needle,
+and pull it through the loop; throw the thread over again and pull
+it through the nearest two loops on needle and crochet the remaining
+two loops off in the same manner. This completes the d c described in
+chapter 27. Make two more d c in the same loop, skip 3 stitches, fasten
+with a sl st in next st 3 ch. 4 shells in next st. and continue for
+length desired.
+
+_Slippers in Star Stitch_ (Figure 247).
+
+4 balls of mercerized crochet cotton.
+
+Star stitch is made by a ch of the required length. Insert hook in 2nd
+ch from it, draw wool through, keeping both sts on hook, insert hook
+in 3rd ch and draw wool through keeping this st also on the hook, skip
+the next ch and take up the 4th and 5th in same manner, making 5 sts on
+hook; now drop the strands of wool from which these sts were made, and
+take up wool of contrasting colour, double end into a loop with short
+end about one inch in length, draw this through all the sts on hook,
+being careful not to let this short end slip through, ch 1 to hold sts
+in place. Now with this new strand work a star by drawing it through
+the eye of star, it being the tightest stitch near the ch on hook
+keeping both sts on hook as before.
+
+Draw wool also through long st down the side of star, then through next
+2 ch which gives 5 sts on hook, then dropping the strand from which
+this star was made pick up the wool of 1st star and loop it through
+these 5 sts and ch 1 to hold the star in place. This ch should be
+worked tight so it will draw the sts together and form the star, which
+should be almost square. In the second row place the contrasting colour
+over the star underneath, tying in the wool, ch 3 on which take up 2
+sts; this gives you 3 sts on hook, the next 2 loops are drawn through
+the long and short stitches of star underneath, taking up back stitch
+of the long and both strands of the short or eye of star.
+
+[Illustration: Fig. 247. A slipper in star stitch]
+
+_For the slipper proper._
+
+Ch 9, on which make 3 stars, 2 ch at end then work 3 stars down the
+other side of ch, taking up the other thread.
+
+2nd row--4 stars, 2 ch, 4 stars.
+
+3d row--without widening.
+
+Widen 2 stars every other row until you have 10 rows 2 rows without
+widening, then widen in the next.
+
+There will be 13 rows in all, and 20 stars in this last row, now divide
+front and work 20 stars on either half for the sides; fit around sole
+by stretching and sew up the back on the wrong side. The wool or thread
+should be broken at the end of each row. (Crochet should not be worked
+backward and forward unless directions are given to that effect.)
+
+For a frill around the slippers work groups of 6 ch st two more rows of
+the same. I always sew my slippers onto the soles after being finished,
+by overcasting with wool of the same shade on the right side, which
+saves stretching the slippers all out of shape when turning them.
+
+_Jacket in Shell Stitch_ (Figure 248).
+
+Material: 5 skeins of white Germantown and 1 skein of colour for edge.
+No. 7 bone needle.
+
+Ch 127, with 3 extra sts for turning.
+
+1st row--Skip 2 ch and make 4 d c in the next. * Skip 3 ch, 1 s c in
+next, ch 3, 4 d c in same st with s c and repeat from * ending with a
+final s c.
+
+2nd row--Turn 1 s c in s c below * 2 d c in same st, 1 s c in next s c
+below and repeat from * ending with a s c in top of turning ch.
+
+3rd row--Turn ch 3, 4 d c in s c below * 1 s c in next s c, ch 3, 4 d c
+in same st repeat from * to end of row.
+
+Repeat 2nd and 3rd rows 9 times, then repeat the 2nd row once more.
+This gives a depth of work sufficient for the back part of sleeves. At
+the end of the last row fasten off.
+
+[Illustration: Fig. 248. Half of a jacket in shell stitch]
+
+The lower part of the back is now to be made. Count 8 shells (sh) along
+from the end of the last row and begin to crochet there, working as
+with 3rd row until within 8 sh of each other end of last long row.
+
+Crochet in pattern upon this row until 11 rows in all have been worked.
+Upon the 12th row increase 1 sh in the 2 s c from each end by making 2
+sh in those st instead of one.
+
+Work without increasing for 13 rows more, then fasten off.
+
+Go back to the foundation and upon the other side of it, beginning
+where the first row ended, crochet 13 sh as in 1st row. This is the
+commencement of the left shoulder and front.
+
+Upon this row work 3 rows more in the usual way. At the end of the last
+row drop the loop temporarily from the needle, tie in an extra ball
+of wool at the top of the very beginning of the last row, ch 12 and
+fasten off. With this ch the extra width for the centre of the front is
+secured.
+
+5th row--Again take the dropped loop upon the needle and crochet as
+usual making 3 sh upon the extra ch. The row is now 16 sh wide. Work in
+pattern for 17 rows more, the last row ending at the wrist. Fasten off.
+
+On the 1st short row of lower front count 8 sh along from end of last
+row, begin there, work as usual to the other end, then crochet back and
+forth until the front is as long as the back, increasing 1 sh on the
+13th row in the 2 s c from the underarm seam. The second front is made
+exactly like the first. The 3rd pattern row now is worked up the fronts
+around the neck, across the lower edge of jacket and sleeves, then
+finished with a scalloped edge worked as follows: Make 1 s c in space
+preceding st where s c was made on row below, ch 5, 1 s c on top of 1st
+d c below, ch 4, 1 s c in same space, ch 5 and repeat from beginning
+around all the edges, fasten off.
+
+Shape the jacket by crocheting the sleeves and underarm seams together.
+
+Crochet should be carefully washed and should not be put in the general
+laundry. Make suds of warm water and a little borax. Put the article,
+if of cotton or linen thread in and let it soak for a little while,
+then squeeze the water out of the article between the hands. Rinse in
+several waters in this manner always using warm water.
+
+Put the piece in a white bag and hang on the line.
+
+This way keeps the piece from stretching out of shape. Keep it on the
+line till the article is perfectly dry.
+
+Knitted articles should also be treated in like manner when washing for
+if a knitted piece was pinned on a line to dry the article would be
+stretched out of shape.
+
+
+
+
+XXIX
+
+IRISH CROCHET LACE
+
+
+Irish Crochet lace is one of the most durable of laces and is suitable
+to be worn for all occasions. It especially recommends itself for
+pick-up or porch work. It looks well and does not take an endless
+while to make, as almost every motif is made separately thus giving
+a variety. And although one may not have more than a few minutes to
+devote each day to the work, it is surprising how many articles can be
+completed with little effort and little time.
+
+The materials necessary are a steel crochet hook, considerably finer
+than for ordinary crochet work, as the work must be very firm, even
+and close. Irish Crochet Thread, numbers 36 to 50 or D. M. C. cotton
+numbers 70 to 100 inclusive and number 10 for the padding cotton will
+be needed. All laces look better if pressed before making up, this is
+especially true of Irish Crochet. And when slightly soiled it can be
+washed in soap suds, made from any good laundry soap; rinse thoroughly
+in several waters, starch slightly and iron on the wrong side on a
+heavy blanket. These simple directions help to make the lace look like
+new. In Irish Crochet the motifs are made separately mostly worked over
+a padding cotton.
+
+[Illustration: Fig. 249. Doily with crochet edge]
+
+Then these motifs are basted on a pattern of cambric, or paper muslin
+which has been cut to the desired shape. A row of chainstitching is
+worked and basted to the edge of the pattern, then the filling in
+background is worked, joining the different motifs together with rows
+of chainstitching and picots or any other background stitch desired.
+
+_Doily with Irish Crochet Edge_ (Figure 249).
+
+This can also be used for a bread plate.
+
+1st row--around a 24 inch circle of linen work a row of single crochet.
+
+2nd row--5 chain, miss 3 single crochet and fasten with a single
+crochet in the 4th stitch; continue around mat.
+
+[Illustration: Fig. 250. The design for the belt]
+
+3rd row--Into each group of chains work 3 single crochet, 1 picot, 3
+single crochet.
+
+4th row--6 ch fasten in the picot loop.
+
+5th row--3 single crochet, picot, 3 single crochet, 1 picot, 3 single
+crochet, 1 picot; continue all around. This completes the mat.
+
+_Belt of Irish Crochet_ (Figure 250).
+
+This belt is very useful, especially as it is mounted upon a
+foundation, which is the ordinary cotton waist belting, one inch wide
+sold at all notion counters for a few cents. The crochet belt is basted
+upon this belting after being stretched and starched.
+
+To make the belt:
+
+1st row--Chain 26, turn.
+
+2nd row--1 double crochet in 6th stitch of chain, chain 2, miss 2
+stitches and work 1 double crochet in 9th stitch of chain, chain 2,
+miss 2, chain and work 1 double crochet in 12th stitch of chain, chain
+5, skip 5, chain, 1 double crochet into 17th stitch of chain, chain
+2, 1 double in 20th stitch of chain, chain 2, miss 2 chain, 1 double
+crochet into 23rd stitch of chain, chain 2, miss 2 and work 1 double
+crochet in 26th stitch.
+
+3rd row--Chain 5, 1 double crochet in top of double crochet of
+preceding row, chain 2, 1 double crochet in top of double crochet,
+chain 2, 1 double crochet in top of double crochet, chain 2, 1 double
+crochet in top of double crochet, 5 double crochet over chain of 5,
+1 double crochet in top of double crochet, 2 chain, 1 double crochet
+in top of double crochet, 2 chain, 1 double crochet in top of double
+crochet, chain 2, 1 double crochet in 2nd stitch of chain of 5 at the
+end; turn and repeat from 2nd row for length required. For the edge,
+work on both sides of the belt into every chain loop 3 single crochet,
+1 picot 3 single crochet.
+
+_Rose Tie with lawn facing_ (Figure 251).
+
+This bow has an under facing of lawn with a simple crochet edging of
+double crochet and chain stitch with picots, worked at even intervals.
+For the crochet tie:
+
+[Illustration: Fig. 251. Rose tie with lawn facing]
+
+1st row--Work rose the same way as the one in the wheel tie. Now
+crochet around the rose in this manner * chain 3, 1 single crochet
+caught in the 1st double crochet of the rose petal, 5 chain, 1 double
+crochet in 5th stitch of petal, chain 5, 1 double in 8th stitch of
+petal, 5 chain; repeat from * five times more.
+
+2nd row--5 chain, 1 single crochet in each previous group of 5 chain,
+continue around entire rose.
+
+3rd row--6 chain 1 single crochet in each preceding loop of chain.
+
+4th row--* 6 chain, 9 double crochet in first space, 6 chain, 1 single
+crochet for next 4 spaces, 6 chain, then 9 double crochet in 5th space;
+repeat from * twice more.
+
+5th row--* 6 chain, 1 single crochet in 1st double crochet of group, 6
+chain, 1 single crochet in 5th double, 6 chain, 1 single crochet in 9th
+double; repeat from * all around.
+
+For the next two rows work 6 chain, 1 single crochet in each previous
+group of chain. Finish the edge with a row of chain and picot.
+
+Work two sections like the one described and fasten together in the
+centre. Sew this upon the lawn facing and the tie is complete.
+
+If the tie shows any tendency to cap in the course of construction add
+an extra chain in the group of chain stitches every now and then.
+
+_Wheel Tie with Rose and Straps with Shamrock_ (Figure 252.)
+
+Wind padding cotton 6 times around the crochet needle. Over this ring
+work:
+
+1st row--50 double crochet.
+
+2nd row--Chain 5, miss 2 double crochet, * in the third stitch, work 1
+double crochet, 2 chain, miss 2 double crochet repeat from * 24 times.
+Work a spider in the centre of the ring, with a needle and thread.
+
+[Illustration: Fig. 252. Wheel tie with rose and straps with shamrocks]
+
+Make 8 of these wheels for the tie. Join together with filling stitch
+(3 chain and a single crochet). After working 3 chains and a single
+crochet around the edge of the tie, work 1 single crochet in first
+space, 3 chain, 1 single crochet in second space, 3 chain * 1 double
+crochet, 7 chain in third space (catch back into second chain from
+needle to form a picot chain) repeat from * 4 times more, chain 3,
+1 single crochet in next space, chain 3, 1 single crochet in second
+space. Continue in this manner all around tie.
+
+_For rose in centre of tie._
+
+1st row--Chain 6, join in a ring.
+
+2nd row--Chain 6 * 1 double crochet into ring, 4 ch 1 double crochet, 4
+chain repeat from * twice more and join.
+
+3rd row--Over first 4 chain work * 1 single crochet, 5 double crochet,
+1 single crochet; repeat from * 5 times.
+
+4th row--Work a row of 7 chain loops fastening at back of first row of
+single crochet (this is what helps to form the rose petals and makes
+them stand one above the other).
+
+5th row--Over these loops work * 1 single crochet, 7 double crochet, 1
+single crochet, repeat from * all around.
+
+6th row--A row of 9 chain loops.
+
+7th row--Into these loops work 1 single crochet, 9 double crochet, 1
+single crochet; this completes the rose.
+
+Let me mention here that roses can be substituted for the shamrocks
+worn on the ends of the straps.
+
+_For straps._
+
+Work 27 single crochet over a padding cord, join in a ring. Work 9
+single crochet over padding cord, 1 chain, 9 single crochet, 1 single
+crochet, over padding cord into the chain stitch. Continue working
+9 single crochet, 1 chain, 9 single crochet over padding cotton and
+fastening each time in the chain stitch with a single crochet. One
+strap is 6 inches long and the other is 7 inches long.
+
+For the edge of straps work 2 chain, 1 double crochet, in first single
+crochet of previous row, 2 chain, 1 double crochet in 3rd stitch, 7
+chain count back 5 chains and slip stitch (to form a picot) 1 double
+crochet in 5th stitch, 2 chain, 1 double crochet in 7th stitch, 2
+chain, 1 double crochet in 9th stitch. Continue on both sides of straps.
+
+_For the shamrocks._
+
+Wind padding cotton over the end of crochet hook 6 times. Over this
+ring work 30 single crochet. * Over 3 strands of padding cotton work
+11 single crochet. Twist padding cotton in a downward loop and work
+1 single crochet over crossing of padding cotton, continue 15 single
+crochet over the loop, draw padding cotton to pull loop up close and
+then work 11 single crochet over padding cotton alone. Miss 2 single
+crochet on ring and work 2 single crochet over padding cotton into next
+2 stitches of ring.
+
+Turn, leave padding cotton, 12 chain, 1 single crochet into top of
+crossing loop, 12 chain, 1 single crochet into ring just before
+beginning of arch. Turn, over 12 chain work 4 single crochet, 1 double
+crochet, 1 treble crochet. Work 1 treble crochet into single crochet
+over crossing of loop. Continue over next 12 chain, 14 treble, 1 double
+and 4 single crochet. Work 4 single crochet over padding cotton into
+next 4 single crochet on ring, repeat from * twice more leaving out
+the 4 single crochet over padding cotton into the ring the last time.
+Turn, work a row of single crochet over padding cotton. Between petals
+take the needle out, insert in stitch half way between the petals, and
+pull loop through, this will give a better shape to the petals. Then
+continue with single crochet.
+
+For stem work 3 single crochet over padding cotton into ring. Then
+40 single crochet over padding cotton alone, turn and work 40 single
+crochet over padding cotton into the previous row of single crochet to
+the ring. To shape the stem to the right pull the padding cotton before
+working the second row of single crochet.
+
+_Long Jabot_ (Figure 253).
+
+Over a padding cotton work 50 single crochet, turn, and work down other
+side, 41 single crochet over padding cotton into previous row of single
+crochet (leaving one-half of stem still to be worked).
+
+1st arm--Now twist the padding cotton under the stem, fasten with a
+slip stitch, over the loose padding cotton work 18 double crochet, turn
+and work over padding cotton into each double crochet, 18 trebles,
+fasten with a single crochet in the 5th single crochet of centre stem.
+
+2nd arm--Turn work over padding cotton, 10 double crochet into double
+crochet of previous row. Now work 8 double crochet over padding cotton
+alone, turn and work 18 treble crochet over padding cotton into the
+double crochet of previous row. Fasten in 10th stitch, this completes
+the second arm.
+
+[Illustration: Fig. 253. Long jabot]
+
+Now work 8 arms more in the same way, then finish the stem with 9
+single crochet over padding cotton into the other single crochet of
+stem.
+
+For the centre work over 2 strand padding cotton 6 double crochet and
+fasten into the single crochet which connects the arms to the stem,
+continue all around centre and fasten off.
+
+Work 36 chain, into these work 36 double crochet with 6 double on each
+end. Continue working until there are 4 rows of doubles. Connect the
+leaf to this with slip stitch, baste on paper and work 3 rows of the
+filling stitch all around.
+
+1st row--For the edge, work 6 chain loops into every loop of previous
+row.
+
+2nd row--Over 6 chain loops work 7 single crochet.
+
+3rd row--6 chain loops caught into every 4th single crochet.
+
+4th row--Into 6 chain loops work 4 single crochet, picot, 4 single
+crochet, then into 2nd or next loop work 4 single crochet, picot, 4
+single crochet, into 3 loop work 4 single crochet. 5 chain turn and
+fasten in the 4th double crochet over 2nd loop, turn and over chain
+work 4 double crochet, picot, 4 double crochet, then into the 3rd loop
+finish with the other 4 single crochet; repeat from * all around jabot.
+
+_Baby Irish Lace, with Rose Leaf and Grapes_ (Figure 254).
+
+_For roses._
+
+Chain 12. Into chain work * 1 double crochet, 3 chain repeat from *
+for 6 times more. Into each group of 3 chain work 1 single crochet, 6
+double crochet, 1 single crochet making seven petals to a rose.
+
+_For the leaves._
+
+Chain 8, join in a ring. Over this ring work 32 single crochet without
+breaking the thread, chain 8 and form another to the right and a little
+above the other ring, work 32 single crochet into this one also, again
+chain 8 and form a ring to the left of the first ring, fill this ring
+with 32 single crochet.
+
+_For grapes._
+
+[Illustration: Fig. 254. Baby Irish-lace edging]
+
+Chain 3, join. Fill chain with single crochet, continue working
+around, widening as needed for 3 rows. Decrease by missing a stitch
+occasionally to shape grapes. Just before finishing stuff with cotton,
+make 3 grapes for each cluster and fasten into centre of leaf. Baste
+all motifs on muslin and fill with background stitch. For edge of
+scallop work groups of 6 chain caught down with a single crochet then *
+4 single crochet into first space, 2 single crochet into next space, 6
+chain, turn, fasten into single crochet, turn, 3 single crochet over
+chain, picot, 5 single crochet, 2 single crochet into same space, 4
+single crochet into next space, 6 chain, turn, and catch down beside
+first loop, turn, 4 single crochet over chain, 6 chain turn, catch
+down in centre of first loop, turn, 4 single crochet, picot, 4 single
+crochet, into chain, 1 single crochet into next loop, picot, 3 single
+crochet, 4 single crochet into next space and repeat from * all around
+edge of lace.
+
+_Dutch Collar_ (Figure 255).
+
+Begin the rose with a small thick ring made by winding the padding
+cotton ten times around the end of the crochet needle. Cover this ring
+with single crochet, cutting off the end of the padding cotton when the
+ring is three quarters covered. *Chain 6, catch down into the ring;
+repeat from * 5 more times, dividing the spaces as evenly as possible
+so the last chain is caught down beside the first one.
+
+Over the chain loop work * 1 single crochet 7 double crochet, 1 single
+crochet, repeat from * all around.
+
+*Chain 7, catch down at back in the same stitch as that in which the
+chain loops of the preceding row was caught, repeat from * all around.
+
+Over chain loop * 1 single crochet, 9 double crochet, 1 double
+crochet. Repeat from * all around.
+
+*Chain 8 catch down in back same place as before. Repeat from * all
+around.
+
+*Over chain loops work repeat from * 1 single crochet, 11 doubles, 1
+single crochet, this finishes the rose centre.
+
+*Now begin the first row around the rose * 7 chain 3 picot, (catch back
+into third stitch) chain 7, picot, 3 chains, catch down in first petal
+in outer row, repeat from * 12 times more, spacing these picot loops
+evenly all around, catching the last one into the centre of the first.
+
+*Next work one picot loop catching in into centre of loop of row below,
+then a loop of 6 chains, repeat from * caught into centre of next picot
+loop.
+
+Turn and over this loop work 9 single crochet, turn, work 9 double
+crochet over the single crochet 3 chain, catch down into same stitch as
+the 6 chain loop was caught. Work 2 rows of picot loops, then repeat
+from * all around finishing the row in the corner of the first 9 double
+crochet ornament.
+
+9th row--Work a row of plain picot loops.
+
+10th row--Work a row of plain picot loops.
+
+11th row--Another row of plain picot loops.
+
+Five roses are required for the collar.
+
+_For the wheels._
+
+[Illustration: Fig. 255. An Irish-lace Dutch collar]
+
+Over a padding cotton ring, work single crochet. Over a single strand
+of the padding cotton crochet into every single crochet, a single
+crochet, work 4 rows the same way only add a picot in every 4th single
+crochet in the last row. Now begin the first row around the wheel *
+chain 7, catch into the last single crochet of the wheel, chain 7,
+picot, chain 7, chain 3, skip 2 stitches of the wheel and catch down
+into the 3rd with a single crochet, repeat from * all around.
+
+Next work 1 picot loop, catching it into the centre of loop in row
+below, then a * loop of 6 chain caught into centre of next picot loop.
+Turn, and over this loop work 9 single crochet, turn and work 9 double
+crochet over the single crochet, 3 chain stitch down into same stitch
+as the 6 chain loop was caught. Work 2 more picot loops, then repeat
+from * all around finishing the row in the centre of the first ornament.
+
+Work a row of plain picot loop. Another row of plain picot loops. Make
+four wheels for the collar.
+
+Sew the roses and wheels firmly on the cambric pattern (the size and
+style having been cut out of the cambric).
+
+Placing them so as to leave room for a single row of picot loops to
+be worked between to join them, crochet a chain of chain stitches and
+baste them upon the edge of the cambric pattern. Fill the work out to
+the desired shape with the picot loops, which should contain the same
+number of chain stitches as the loops in the roses and wheels, 3 chain,
+1 double crochet, 3 chain, work a row all around collar, then begin
+the border or edge. Work around the inner edge and fronts of collar 4
+single crochet into each loop, then around the lower edge * 4 single
+crochet in the first space, 4 single crochet in the second space, 2
+single crochet in the third space; chain 6 down at the beginning of
+second space. Over the loops thus formed make 3 single crochet, picot,
+7 single crochet, 2 single crochet into same (third) space, 4 single
+crochet into next space. Turn, 6 chain catch down into next to the
+last loop, turn, 5 single crochet over the loop, chain 6, turn, and
+catch down into centre of first loop. Turn, 5 single crochet, picot,
+5 single crochet over this last loop, 2 single crochet into the next
+loop, picot, 3 single crochet, repeat from * all around edge. Take the
+collar up from the cambric and press upon the wrong side over a blanket
+or heavy flannel.
+
+
+
+
+XXX
+
+KNITTING, PLAIN AND PURLING, WASH RAGS, AND FANCY STITCHES FOR SHAWLS
+
+
+There are certain terms used in knitting that are peculiar to the work.
+Until these terms are studied and practised, the instructions are as
+bad as trying to read a foreign language that you know nothing about.
+
+Knitting is usually done on two needles though there are times when
+more needles are used, for instance, in knitting stockings.
+
+Thread, silk or worsted can be used for the work. The latter is best
+for practising the first stitches or pieces.
+
+The first term we learn in knitting is "to cast on stitches" (Figure
+256). Select a pair of medium-sized wooden needles. Your worsted should
+be wound into a ball. "Casting on" is the foundation for the work. Take
+a knitting needle in each hand between the thumb and first finger. Make
+a loop of the worsted over the left-hand needle near the end. Put your
+right-hand needle through this loop under the left needle. Holding
+the needles in this position, throw the worsted around the point of
+the right-hand needle and draw the right-hand needle through the first
+loop. There is now a loop on each needle. Slip the last loop made over
+the left needle. * Both needles are in the one loop, the left on top
+of the right. Again throw the worsted over the point of the right-hand
+needle and draw the needle through with the loop on it. Slip this
+loop over the left-hand needle and repeat from *, till the number of
+stitches desired are cast on.
+
+[Illustration: Fig. 256. Casting-on]
+
+The * indicates from which point the directions are to be repeated.
+
+The German method of knitting is to hold the work in the left hand and
+the worsted over the first finger, under the second and third and then
+over the little finger.
+
+To knit, the right-hand needle is in the first loop from the point of
+the other needle. * Throw the worsted over point of the right-hand
+needle and draw it through the loop. Slip the first stitch off the
+left needle and insert the right needle into the next stitch and repeat
+from *, till all the stitches have been transferred to the right-hand
+needle (Figure 257).
+
+[Illustration: Fig. 257. Knitting (K)]
+
+Remember to hold the work in the left hand when starting to knit each
+needle or row.
+
+[Illustration: Fig. 258. Purling (P)]
+
+To purl (Figure 258). The work is held in the left hand. The worsted is
+brought in front of the work. The right-hand needle is inserted through
+the stitch from right to left in front of the left needle. Pass the
+point of the right needle over the worsted and draw the loop through.
+Slip off the stitch on the left needle as in knitting. Repeat in this
+manner until all the stitches are transferred.
+
+Sometimes it is necessary to get rid of some of the stitches. In that
+case the needle is slipped through two stitches instead of one and the
+new stitch formed in the usual way. There are two abbreviations for
+purling two together. They are p. 2 tog. or p-n. The latter means purl
+narrow.
+
+When knitting, two stitches can also be taken together. The
+abbreviation for this is n. K. 3 tog. means knit three stitches (sts)
+together as one stitch.
+
+To slip-stitch means to take a stitch from the left-hand to the
+right-hand needle without knitting it, and its abbreviation is sl.
+
+To bind or cast off means to slip the stitches from the needle so that
+you have a chain edge. Slip the first stitch and knit the second. You
+now have two loops on the right-hand needle. * Put the point of the
+left needle (from left to right) through the first stitch on the other
+needle. Hold the worsted tight. Slip the right-hand needle through the
+loop formed as described above and then slip the loop from the left
+needle. There is only one loop on the right-hand needle. Knit the next
+stitch and repeat from *.
+
+Casting off must be done loosely or the work will have a puckered
+appearance.
+
+[Illustration: Fig. 259. A little girl's first piece of knitting]
+
+It may be that you desire to widen the row of stitches. Both widening
+and decreasing is done at the end of needle or row. Knit as usual
+till there remains but one loop on the left-hand needle. Insert the
+left-hand needle through the loop at the base of the last stitch. Bring
+worsted around the point and make a stitch as usual. The last stitch
+is knitted in the usual way.
+
+After you have practised the stitches with wool, it is well to buy a
+ball of coarse knitting cotton and a pair of steel needles. The cotton
+makes excellent wash cloths. Cast on 50 stitches then knit or purl the
+same amount of rows as stitches. To make a fancy cloth knit three rows
+then purl three rows until you have the fifty rows.
+
+The long straight shawls are the most popular at present.
+
+A little one for yourself that would be quite pretty is made in pop
+corn stitch (Figure 260). It requires five skeins of worsted and a pair
+of wooden needles.
+
+[Illustration: Photograph by Mary G. Huntsman. Her First Knitted Shawl]
+
+Cast on 59 stitches on your needle.
+
+1st row--K 1st, then knit two stitches together (2 K tog) the rest of
+the way. You now have 30 stitches on your needle (Figure 260).
+
+2nd row--K first stitch, then knit the loop which is formed between the
+double stitches of the first row. Continue in this manner till you have
+again on the needle the same number you cast on--59.
+
+3rd row--K plain all the way across.
+
+4th row--P plain all the way across.
+
+5th row--K 2 together all the way across to the last stitch, then k
+that by itself.
+
+6th row--Same as second row.
+
+7th row--K plain.
+
+8th row--P plain.
+
+Continue in this manner till you make a scarf about one yard long.
+
+[Illustration: Fig. 260. The popcorn stitch]
+
+The popcorn pattern affords good practice for the different stitches
+explained before.
+
+If a longer shawl is desired continue in the same manner. To make it
+broader it will be necessary to cast on more stitches at the beginning.
+
+A shawl may be finished in many ways. Sometimes a little crochet edge
+is worked around it, or a chain stitch fringe can be made. The plain
+fringe is the one most used however. This is made by cutting the wool
+about ten inches long. Take four lengths and slip them through and knot
+them into the border edge at each end of the shawl. This makes a fringe
+about five inches deep.
+
+[Illustration: Fig. 261. The basket stitch]
+
+The basket stitch makes a thick shawl (Figure 261.)
+
+To make a wide shawl in this stitch 10 skeins of Germantown wool will
+be required.
+
+Cast on 120 stitches.
+
+1st row--Knit plain.
+
+2nd row--* K 3, p 7, k 3, p 7, repeat from * to end of needle.
+
+3rd row--* K 7, p 3, k 7, p 3, repeat from * to end of needle.
+
+4th row--* K 3, p 7, k 3, p 7 repeat from * to end of needle.
+
+5th row--P the entire row.
+
+6th row--* P 7, k 3, p 7, k 3, repeat from * to end of needle.
+
+7th row--* P 3, k 7, p 3, k 7 repeat from * to end of needle.
+
+8th row--Like 6th row.
+
+9th row--P entire row.
+
+Nine rows form the pattern, repeat from second row until you have a
+shawl two yards long.
+
+
+
+
+XXXI
+
+DOLL'S CAPE, HOOD, LEGGINGS AND JACKETS
+
+DOLL'S CAPE.
+
+     Material--3 Fold Saxony, 2 Steel Knitting Needles No. 10, 1 Steel
+     Crochet Hook No. 6.
+
+
+Commence with 1 stitch. Knit plain, increasing 1 stitch beginning of
+each needle until there are 30 stitches on needle. Increase 1, knit
+12 stitches, bind off 6 stitches, knit 12 stitches. Increase 1 stitch
+beginning of needle, knit to end of row; turn, knit 1 row plain. Repeat
+until there are 15 stitches on needle. Now increase 1 stitch at the
+neck and decrease 1 stitch at end of row, 1 row plain. Repeat 3 times
+more. Knit plain without increasing at front and 2 together at end of
+needle, until 1 stitch is left on needle, fasten off. Finish the right
+side same as left. Crochet a row of holes for ribbon, 1 chain, 1 double
+all around. With blue yarn crochet 1 row, 3 chain, 1 single.
+
+_Doll's Jacket_ (Figure 263).
+
+     Material--3 Fold Saxony, 2 Steel Knitting Needles No. 16, 3 Steel
+     Knitting Needles No. 13, 1 Steel Crochet Hook No. 6.
+
+[Illustration: Fig. 262. Doll's knitted cape]
+
+[Illustration: Fig. 263. Doll's knitted jacket]
+
+Cast on steel needles No. 13, 64 stitches, 1 plain 1 purl for 26 rows,
+Knit 16 stitches; turn. Take another needle, knit the 16 stitches for 5
+rows with No. 16 needles knit plain for yoke, decreasing 1 stitch at
+the neck until there are 12 stitches on needle, knit plain until there
+are 7 ridges, bind off. From the 48 stitches left on needle, knit 32
+stitches for 14 rows; bind off. Finish left front same as right.
+
+Sleeves--Cast on steel needles No. 16, 26 stitches. Knit plain for 6
+ridges. With steel needles No. 13 knit 1 plain, 1 purl for 20 rows.
+Bind off 3 stitches beginning of each needle until 8 stitches are left
+on needle; bind off. Sew up seam and shoulder seams. Crochet a row of
+holes around neck for ribbon, 1 chain, 1 double. With blue yarn crochet
+one row, 3 chain, 1 single all around.
+
+_Doll's Cap_ (Figure 264).
+
+     Material--2 Fold Saxony, 2 Steel Knitting Needles No. 16, 2 Steel
+     Knitting Needles No. 13, 1 Steel Crochet Hook No. 6.
+
+With blue yarn cast on No. 16 steel needles 45 stitches. Knit plain for
+6 ridges. With white yarn and No. 13 needles, 1 plain, 1 purl for 17
+rows.
+
+[Illustration: Fig. 264. Doll's cap]
+
+Crown--Knit 29 stitches, knit 2 together; turn, knit 14 stitches, knit
+2 together. Repeat until all side stitches have been worked up and the
+crown is complete. Then pick up stitches on both ends, first on one
+side; turn, knit them plain, also the crown stitches, then pick up the
+stitches on that side and knit them. Make a row of holes for ribbon,
+yarn over needle twice, then knit 2 together to end of row. 1 row
+plain, knitting only 1 of the stitches cast on. With blue yarn crochet
+1 row, 3 chain, 1 single.
+
+_Doll's Leggings_ (Figure 265).
+
+     Material--3 Fold Saxony, 2 Steel Knitting Needles No. 13, 1 Steel
+     Crochet Hook No. 6.
+
+Cast on 32 stitches. 1 plain, 1 purl for 21 rows. Decrease beginning
+and end of needle. Knit for five rows. Decrease continuously 1 stitch
+beginning and end of needle every 6th row, until there are 22 stitches
+on needle. Knit for 15 rows. Bind off 6 stitches, knit 10, take another
+thread, bind off the remaining stitches. Knit the 10 stitches for 4
+rows. Decrease beginning and end of each needle, until there are 4
+stitches on needle. Bind off and sew up seam. With blue yarn crochet 3
+chain, 1 single around top of legging.
+
+[Illustration: Fig. 265. A doll's legging]
+
+_Infant's Knitted Bootees_ (Figure 266).
+
+     Material--2 Skeins White Wool, 1 Skein Pink or Blue, 1 Pair
+     Knitting Needles No. 16.
+
+1st row--Cast on 53 stitches in coloured wool.
+
+2nd row--Knit plain to the end of row.
+
+3rd row--Slip 1, make 1, knit 25, make 1, knit 1, make 1, knit 25, make
+1, knit 1.
+
+4th row--Knit plain to the end of row.
+
+5th row--Slip 1, make 1, knit 27, make 1, knit 1, make 1, knit 1, knit
+27, make 1, knit 1.
+
+6th row--Knit plain to end of row.
+
+7th row--Slip 4, make 1, knit 29, make 1, knit 1, make 1, knit 29, make
+1, knit 1.
+
+8th row--Knit plain to the end of row.
+
+9th row--Slip 1, make 1, knit 31, make 1, knit 1, make 1, knit 31, make
+1, knit 1.
+
+[Illustration: Fig. 266. Infant's knitted bootee]
+
+10th row--Knit plain to end of row.
+
+11th row--Slip 1, knit 33, make 1, knit 1, make 1, knit 34.
+
+12th row--Knit plain to end of row.
+
+13th row--Slip 1, knit 34, make 1, knit 1, make 1, knit 35.
+
+14th row--Knit plain to end of row.
+
+15th row--Slip 1, knit 35, make 1, knit 1, make 1, knit 36.
+
+16th row--Knit plain to end of row.
+
+You must now have 75 stitches on your needle. Knit now 8 plain rows
+then knit 43 stitches, now knit 2 together. Turn your needles and
+continue this until you have 25 stitches on each side of needle. You
+must now tie on the white wool then knit 12 plain, then knit 2 together
+as above, you are beginning now to make the part that forms the little
+sock. Knit 2 together 7 times, turn your needle, knit 1, pick up
+the stitch that you will see between the two stitches that you have
+knitted, two together, next row knit plain. Next row purl 1, then you
+have four rows complete. Commence 2 together again 7 times continue
+this until you have 5 pattern rows.
+
+Always remember to take 2 stitches together after you have knitted the
+12 stitches. There should be 14 stitches on each side needle. Tie on
+the coloured wool again and knit plain to end. Knit 1 row plain then
+make 1, knit 2 together to the end of row. Then make 1, pick up the
+stitch already explained. Tie on white wool, knit 1 row plain. Begin
+the pattern again by knitting 2 together. Remember you must always
+begin a row on the right side of the bootee. Do 7 rows of the pattern,
+then 12 rows ribbed. Rib is to knit 2 plain rows and purl 2 rows. After
+knitting 12 rows cast off on the right side and sew the bootee up
+neatly at the back and run some ribbon in to finish it off.
+
+_A warm hood for the baby_ (Figure 267).
+
+This hood requires an ounce and a half of Shetland wool and one pair of
+fine bone needles No. 7.
+
+Cast on 21 stitches, knit 6 rows or three ridges plain.
+
+Second row--Knit one * wool over needle twice, knit 2 together, repeat
+from *.
+
+Knit 3 more rows plain. Cast on 21 stitches at one end and knit back
+and cast on 20 more at the other. Knit on these 62 stitches that are on
+the needle for 30 more rows. Now start a new pattern by knitting 1 for
+the edge * wool over, slip the next stitch on the right-hand needle,
+knit the next two, pass the slipped stitches over these two. Note the
+two loops remain on the right-hand needle and the wool cast over.
+There knit from * to the end of row, knitting last stitch plain, purl
+back. Repeat these 2 rows 20 times. Cast off the 20 and 21 stitches at
+the end. Knit on the original 21 stitches for 30 rows.
+
+[Illustration: Fig. 267. A knitted hood]
+
+Next row--Knit 1 * wool across the needle twice, knit 2 together,
+repeat from *.
+
+Knit 6 rows.
+
+Cast off.
+
+Your knitting is now finished and somewhat in the shape of a cross.
+Join the X's to the X's on the wrong side. Sew right up to the corner.
+
+Join the dashes to the dashes, the O's to the O's, the diamonds to the
+diamonds in like manner (Figure 268).
+
+You will have a piece of knitting that looks like a box cover. Turn it
+so the wrong side is in the right position. Fold the backs over the
+other so that the 2 rows of holes correspond. Sew along the bottom edge.
+
+Turn back a little corner from the plain knitting and sew it down.
+
+Run a ribbon through the holes and tie in a bow in front.
+
+[Illustration: Fig. 268. Diagram of hood]
+
+_Knitted Vest for Baby._
+
+     Materials required, 10 oz. of Shetland Wool, a pair of Bone
+     Knitting Needles No. 12 and 2 yds. of Ribbon.
+
+Cast on 140 stitches.
+
+1st row--Knit plain.
+
+2nd row--Knit 2 purl 2 all the way across. Continue knitting 2 and 2
+ribs for 5 inches.
+
+To form the armholes work backward and forward on the 1st 40 stitches
+for two and three quarter inches. Cast off all but 12 stitches for the
+shoulder strap. Work 12 rows on these 12 stitches and cast off.
+
+For back--Continue from where you divide it for the armhole for 60
+stitches leaving 40 for the second front.
+
+Work two and a quarter inches on the 60 stitches. Cast off. Make second
+front the same as first. Sew up on shoulders.
+
+A pretty little crochet edge around the neck and armhole will complete
+this comfortable little vest.
+
+A simple crochet edge is made by working one double crochet, * 4 chain,
+1 double crochet in first chain, miss 2 stitches, 1 double crochet,
+repeat from * sew the two small pieces of ribbon that have been cut
+in half to the vest. Tie in a bow. The bows hold the little garment
+together.
+
+_Pine Pattern Lace._
+
+Cast on 28 stitches and knit across plain.
+
+1st row--Slip 1, knit 2 together, make 2, knit 2 together, knit 10,
+knit 2 together, make 2, knit 2 together, knit 1, make 2, knit 2
+together, make 4 (thread four times round needle) knit 2 together, knit
+2 together, make 2, knit 2 together.
+
+2nd row--Knit plain, but work twice (knit 1 and purl 1) in each of
+these make 2 loops. In the 2nd row work 6 times (knit 1, purl 1, knit
+1, purl 1, knit 1, purl 1,) all in the 4 made stitches.
+
+3rd row--Slip 1, knit 2 together, * make 2, knit 2 together, knit 2,
+knit 2 together, make 2, knit 2 together; repeat from * once, knit
+2, make 2, decrease 2 (by working slip 1, knit 2 together, draw the
+slipped stitch over), knit 5, decrease 2, make 2, knit 2 together.
+
+4th row--The same as second row.
+
+5th row--Slip 1, * knit 2 together, make 2, knit 2 together, knit 1,
+repeat from * three times, knit 2, make 2, decrease 2, knit 3, decrease
+2, make 2, knit 2 together.
+
+6th row--The same as second row.
+
+7th row--Slip 1, knit 2 together, make 2, knit 2 together, knit 2, knit
+2 together, make 2, decrease 2, make 2, knit 2 together, knit 2, knit
+2 together, make 2, knit 2 together, knit 4, make 2, knit 2 together,
+knit 2 together, draw the first two together; stitch over the second
+thus decreasing again, decrease 2, make 2, knit 2 together.
+
+8th row--The same as second row.
+
+9th row--Slip 1, knit 2 together, make 2, knit 2 together, knit 4, knit
+2 together, knit 5, knit 2 together, make 2, knit 2 together, knit 6,
+make 2, decrease 2, make 2, knit 2 together.
+
+10th row--Knit 2 together, drop the second loop of the "make 2," knit
+1, draw the first stitch on the right-hand needle over the knitted one,
+thus decreasing again; knit 1, purl 1, knit 8, purl 1, knit 13, purl 1,
+knit 2. Repeat from first row.
+
+
+
+
+XXXII
+
+EMBROIDERY SUGGESTIONS FOR BOARDING SCHOOL GIRL
+
+
+A girl who has to make a home of her boarding school should try and
+make her room and little personal articles as attractive as possible.
+Her room is her citadel where only her bosom friends and cronies meet.
+One likes to feel when they enter their room that it is a place where
+everything is hers and every object in sight means something to her.
+
+A girl might not like to embroider, yet there are hundreds of
+things that can be done without any needlework decoration, such as
+stencilling, cut leather or simple appliqué. It always amused me to
+hear a girl say, "I don't like to embroider." I always feel like asking
+her, if we are acquainted, if she knows how to embroider. You will find
+that in nine cases out of ten she does not. Embroidery is like anything
+else, you have got to know it to like it. It may be you prefer one
+branch to others. Some branches of this work may be tedious to you but
+when you stop and think what simple things are classed under embroidery
+you will find that you have a wide field from which to select.
+
+It is not my object to go into details in regard to stitchery in this
+chapter but rather to give you some helpful suggestions in regard to
+knowing what to make and what colours to use. The stitches to be used
+are fully described in the previous chapters.
+
+The first thing to consider is, are you going to have a bedstead or a
+couch in your room? Make it the latter unless you have a broad window
+seat that you can heap up with pillows. No room at a boarding school
+or college is complete without a half a dozen pretty pillows. When
+the chairs give out you can use the cushions, Japanese fashion, on
+the floor. Some girls like to carry their whole room out in cretonne,
+which is very pretty and dainty if you can afford it. Cretonne covers
+last about a year and then they get faded and dusty, while a linen
+background embroidered will last for many years. It may need laundering
+but it will stand any amount of that. If the embroidery fades a little
+that also is no drawback as it takes the effect of newness from the
+room. A room ought to look as if people lived in it and enjoyed it and
+not as if it were an exhibition room in some department store. Don't
+think I am trying to encourage untidiness but let the things be used
+and enjoyed.
+
+When I was about your age for several weeks I spent my spare time
+embroidering a centre piece for my auntie's dining room table taking
+care to get just the right colours that would look well with her every
+day china. It nearly broke my heart when it was finished to have her
+use it only for state occasions. If my cousins do not use it any more
+than auntie did it will last for hundreds of years, or be thrown into
+the rag bag by the next generations if they don't like it. Enjoy all
+the pretty things that you possess if they are appropriate for the use
+you intend them for.
+
+Have you ever heard the story of the little dirty boy of the slums who
+was given a new white tie by his teacher? He had first to wash his
+hands before he touched it and then he washed himself to wear it and
+asked his mother for a clean shirt so that everything would go with the
+tie? Do you know that if you have one beautiful thing in your room of
+which you are very proud you too will see that all the things around it
+set off its beauty?
+
+For the girl who has a window seat in a room and wants to keep her room
+dainty and bright there is nothing as pretty as the lingerie pillow.
+It may be made of heavy white linen or lawn as you desire and can be
+oblong, round or square. The cushion is covered in any colour that you
+prefer and the white top embroidered with large eyelets, Roman cut
+work, Hardanger or drawn work so that the colour will appear through
+the openings. Some of the handsomest imported pillows have motifs
+of real Filet, Irish Crochet or Cluny lace. These motifs are very
+expensive and not really necessary. The back and front of the linen
+cover are scalloped on the edges and half an inch above this scalloping
+a row of large eyelets is worked at intervals. The back and front are
+laced together with ribbons the same shade as the coloured covering.
+For a pink and blue room the cushion can be covered with pink and the
+lingerie slip laced with blue. For a square pillow plan the design on a
+square and arrange one in each corner and one in the direct centre.
+
+These slips will require frequent laundering.
+
+The lithographed pillow is a thing to be avoided by a girl of refined
+taste. You would not hang lithograph posters in your bedroom so why
+feel that it is all right to buy a lithograph pillow?
+
+The chief point to remember in getting little accessories for your room
+is to keep the colouring as harmonious as possible. Avoid getting
+the popular things of to-day which are apt to be an eyesore to you
+to-morrow.
+
+Do not decide quickly to carry out your room in school colours, there
+will probably be a dozen of the girls who will do this very thing and
+you will be tired of it before your course is through. A fraternity
+pillow is to be expected as there are dozens of ways that it may be
+treated and look quite different from the other girls' pillows.
+
+The general way in which a school or fraternity pillow is made is to
+cut out of felt the letters, figures and any design that is to be
+placed on it. The background may be broadcloth, ladies' cloth or felt.
+Use one of the school or fraternity colours for the appliqué and the
+other for the background.
+
+One of the handsomest fraternity pillows I ever saw, was one belonging
+to a Hamilton College man. Hamilton's colours are buff and bright
+deep blue. The fraternity's colours were black and gold. A handsome
+piece of Hamilton blue broadcloth was selected for the background. The
+fraternity pin was reproduced in colour in fine filo silk. The gold
+silk was a perfect match to the gold in the pin. Even the background
+of the pin, which was black enamel, was represented by very fine
+Kensington stitches. The rope-like edge of the pin was reproduced on
+the pillow by little rope-like sections heavily padded and worked in
+gold silk. On the back of the pillow were his initial and his class
+year below. No beruffled ribbons or gaudy cord detracted from its
+richness. It was a square cushion and its only finish was a large
+button in each corner where the end was gathered and tucked in to give
+a round effect.
+
+The school girl of to-day is learning to eliminate the unnecessary
+trumpery things that cheapen the room and serve as dust gatherers.
+Outside of the pillow, bed or table covers and an occasional bag for
+fancy work, laundry or gloves there is no ornate display of handwork.
+Even the walls are left bare with the exception of a framed print or a
+few family photographs.
+
+Try if possible and see if you can get a plain paper for your wall.
+More than one really charming room is spoiled by having an atrocious
+paper on it. It is really impossible to try to be artistic with an ugly
+wall paper.
+
+Since stencilling has become so popular, it is not an uncommon thing to
+have the entire room stencilled.
+
+Suppose you had planned to have your room in lilac, green and light
+gray. White can be substituted for the gray but it soils more readily
+than the latter. The floor should be polished and a couple of small
+rugs or one larger one be used on the floor. The lilac shade should
+predominate in the rug. The covers should be of the gray or white with
+a stencilled design in green and lilac. A pretty way to treat the
+pillow is to get inexpensive lilac material of a coarse texture. Cut a
+square about fourteen or fifteen inches. Cut four strips of white or
+gray five inches wide by twenty-five inches long. These strips should
+be finer than the lilac or of a different weave. Baste one strip on
+each side of the lilac square. Mitre the strips at the corners. A
+design is then stencilled on the four strips in lilac and green. The
+backing of the pillow should be in plain lilac.
+
+If preferred a striped lilac and white piece of material can be used
+for the centre and back.
+
+For the girl who is fond of initials or monograms I would suggest that
+the cover be hemstitched and a wreath selected in different sizes
+appropriate to the article on which it is to be used. These wreaths
+can be carried out in colour or the background may be coloured and the
+wreaths white. Inside of the wreath work your monogram or initial. If
+you desire a Dutch room, carry out this scheme in Delft blue material
+and have a dark set of Mission furniture.
+
+Nile green linen with wreaths of conventionalized rosebuds or daisies,
+worked in shades of pink, or white and yellow, suggests a French room,
+with a brass bedstead. As I have stated in the chapter on initials,
+the stem stitch is pretty for working single lines of a design that is
+carried out in satin-stitch.
+
+Stem stitch is too slow a method however to embroider school linens,
+and I would suggest using a substitute that has the effect and yet does
+not require the time. A row of outlining is made, and then turn the
+work back in the same manner, this time instead of working through the
+material, catch the places where the two successive stitches of the
+first row overlap (Figure 269.)
+
+Another wrinkle you might be glad to hear of and possibly want to
+put in practice is how to clean a daintily embroidered piece without
+washing it, such as a pincushion or pillow top. School is not like
+home where you can be sure a piece sent to the laundry will have
+proper attention. Another drawback is that all extras have to be well
+paid for. If the piece is thickly covered with white talcum powder
+and allowed to stand without disturbing it for forty-eight hours, the
+embroidery will emerge almost as clean as if it had been laundered.
+
+[Illustration: Fig. 269. A substitute for stem stitch]
+
+Now then there are the curtains for your room. You may be fortunate
+enough to have a room with dainty dotted swiss or dimity curtains that
+will go very nicely with the things you are planning and then again
+you may be inflicted with a pair of cheap imitation lace curtains.
+If you can possibly afford it change them as soon as possible.
+Personally I would rather have no curtains than the wrong ones. Dimity,
+dotted swiss, scrim, plain net or grass linen are materials that are
+inexpensive as well as artistic. Of course you can make them as fancy
+as you wish. Any of the above mentioned materials can be stencilled.
+Rick-rack braid, which is a wavy braid, can be used to edge the net
+curtains or a Connemara lace design is also appropriate.
+
+A narrow crochet edge can be used on the edge of the scrim curtains or
+a narrow border of drawn work can be used.
+
+Shadow work is effective on dimity or dotted swiss curtains. Another
+pretty stitch very similar to the shadow stitch is the skeleton stitch.
+Instead of the work being on the wrong side it all appears on the
+right. Work a row of very fine running stitches on the right side.
+Fagot stitch from side to side catching the thread into the running
+stitches. The work is done from the centre of the flower to the tip
+of the petal. Do not end your thread but weave over and under the
+fagotting stitch to the end of the petal, leaf or space on which you
+are working.
+
+The curtains may be sash lengths or may be the full length of the
+window but do not make them longer than to reach the sill.
+
+
+
+
+[Illustration]
+
+THE COUNTRY LIFE PRESS
+
+GARDEN CITY, N. Y.
+
+       *       *       *       *       *
+
+
+Transcriber's Notes:
+
+Italic text is denoted by _underscores_ and bold text by =equal signs=.
+
+Obvious punctuation errors repaired.
+
+Obvious typos and errors repaired:
+
+  Maderia -> Madeira
+  bottonholed -> buttonholed
+  pading -> padding
+  diferent -> different
+  faggotting -> fagotting
+  neccessary -> necessary
+  separarely -> separately
+  woolen -> woollen
+
+  It is not necessary to to work -> It is not necessary to work
+  about an an inch -> about an inch
+
+Hyphenation is inconsistent and has been left in that state where there
+was a balance of with and without spellings e.g. chain-stitching and
+chainstitching, handwork and hand-work and over-cast and overcast.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Library of Work and Play:
+Needlecraft, by Effie Archer Archer
+
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+
+<pre>
+
+The Project Gutenberg EBook of The Library of Work and Play: Needlecraft, by 
+Effie Archer Archer
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Library of Work and Play: Needlecraft
+
+Author: Effie Archer Archer
+
+Release Date: January 26, 2014 [EBook #44766]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NEEDLECRAFT ***
+
+
+
+
+Produced by Chris Curnow, Chris Jordan and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+book was produced from images made available by the
+HathiTrust Digital Library.)
+
+
+
+
+
+
+</pre>
+
+<hr class="chap" />
+
+<div><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></div>
+<div class="figcenter" style="width: 533px;">
+<img src="images/i_cover.jpg" width="533" height="800" alt="Cover" />
+<div class="caption"></div>
+</div>
+
+
+<h1 class="p6">THE LIBRARY OF WORK AND PLAY.<br />
+NEEDLECRAFT</h1>
+<hr class="chap" />
+
+<h2 class="h2l">THE LIBRARY<br />
+OF WORK AND PLAY</h2>
+
+<div class="center">
+<table class="biblio" summary="Bibliography">
+<tr><td class="tdlsc">Carpentry and Woodwork</td></tr>
+<tr><td class="tplw">By Edwin W. Foster</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td class="tdlsc">Electricity and Its Everyday Uses</td></tr>
+<tr><td class="tplw">By John F. Woodhull, Ph.D.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td class="tdlsc">Gardening and Farming</td></tr>
+<tr><td class="tplw">By Ellen Eddy Shaw</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td class="tdlsc">Home Decoration</td></tr>
+<tr><td class="tplw">By Charles Franklin Warner, Sc.D.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td class="tdlsc">Housekeeping</td></tr>
+<tr><td class="tplw">By Elizabeth Hale Gilman</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td class="tdlsc">Mechanics, Indoors and Out</td></tr>
+<tr><td class="tplw">By Fred T. Hodgson</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td class="tdlsc">Needlecraft</td></tr>
+<tr><td class="tplw">By Effie Archer Archer</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td class="tdlsc">Outdoor Sports, and Games</td></tr>
+<tr><td class="tplw">By Claude H. Miller, Ph.B.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td class="tdlsc">Outdoor Work</td></tr>
+<tr><td class="tplw">By Mary Rogers Miller</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td class="tdlsc">Working in Metals</td></tr>
+<tr><td class="tplw">By Charles Conrad Sleffel</td></tr>
+
+</table></div>
+
+<p class="ph1">NEEDLECRAFT</p>
+
+
+
+<div class="figcenter" style="width: 565px;">
+<a name="FRNT"></a><img src="images/i_007.jpg" width="506" height="800" alt="" />
+<div class="capr">Photograph by Mary G. Huntsman</div>
+<div class="caption"> The Last Step is Making the Buttonholes</div>
+</div>
+
+<p class="center">NEEDLECRAFT</p>
+<p class="center">BY EFFIE ARCHER ARCHER</p>
+
+<p class="center">
+<i>Needlework Editor of well-known magazines. Connected with<br />
+New York Public Schools, Y. W. C. A.,<br />
+and Arts and Crafts Club</i></p>
+
+<p class="center"><span class="smcap">Garden City</span>            <span class="smcap">New York</span></p>
+<p class="center">DOUBLEDAY, PAGE &amp; COMPANY</p>
+<p class="center">1916</p>
+
+<hr class="tb" />
+
+<p class="center">ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION
+INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN</p>
+
+<p class="center">COPYRIGHT, 1911, BY DOUBLEDAY, PAGE &amp; COMPANY</p>
+
+<hr class="chap" />
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<div class="center">
+<table summary="Table of Contents">
+<tr class="trsm"><td class="tocch">CHAPTER</td><td></td><td class="tocpg">PAGE</td></tr>
+
+<tr><td class="tocch">I. </td><td class="tocti">What You Should Have in Your Work Box&mdash;
+Sewing on Buttons&mdash;Basting&mdash;Darning</td><td class="tocpg"><a href="#Page_3">3</a></td></tr>
+<tr><td class="tocch">II. </td><td class="tocti">Back-stitching&mdash;Over-casting&mdash;
+Creasing a Hem and Hemming&mdash;Rolling a Hem&mdash;French Hemming&mdash;Sewing on Tapes and
+Hooks and Eyes</td><td class="tocpg"><a href="#Page_12">12</a></td></tr>
+<tr><td class="tocch">III. </td><td class="tocti">Gathering&mdash;Sewing on Bands&mdash;A Practical
+Sewing Apron&mdash;Hemmed Patches&mdash;Gussets and Tucks</td><td class="tocpg"><a href="#Page_26">26</a></td></tr>
+<tr><td class="tocch">IV. </td><td class="tocti">A Doll's Skirt&mdash;Sewing Case&mdash;Bindings&mdash;Doll's
+Bed Linen&mdash;Pin Case</td><td class="tocpg"><a href="#Page_41">41</a></td></tr>
+<tr><td class="tocch">V. </td><td class="tocti">Making Buttonholes&mdash;Cutting from a Pattern&mdash;A
+Doll's Dress</td><td class="tocpg"><a href="#Page_58">58</a></td></tr>
+<tr><td class="tocch">VI. </td><td class="tocti">A Lesson in Stencilling</td><td class="tocpg"><a href="#Page_74">74</a></td></tr>
+<tr><td class="tocch">VII. </td><td class="tocti">What Can Be Done with One Skin&mdash;Cut
+Leather Bags, Belts, Book Covers, etc.</td><td class="tocpg"><a href="#Page_83">83</a></td></tr>
+<tr><td class="tocch">VIII. </td><td class="tocti">Tooled Leather and Tools Necessary</td><td class="tocpg"><a href="#Page_91">91</a></td></tr>
+<tr><td class="tocch">IX. </td><td class="tocti">The Simplest Stitches in Embroidery&mdash;Chain-stitching,
+Outlining, Herring-boning, Cross-stitching,
+Soutache, Coronation Braiding</td><td class="tocpg"><a href="#Page_98">98</a></td></tr>
+<tr><td class="tocch">X. </td><td class="tocti">Smocking&mdash;Feather-stitching&mdash;Lazy-daisy
+Stitch</td><td class="tocpg"><a href="#Page_112">112</a></td></tr>
+<tr><td class="tocch">XI. </td><td class="tocti">Couching&mdash;Shadow-work&mdash;Turkish Stitch&mdash;How
+to Stamp Designs</td><td class="tocpg"><a href="#Page_121">121</a></td></tr>
+<tr><td class="tocch">XII. </td><td class="tocti">Buttonholing and Wallachian Embroidery</td><td class="tocpg"><a href="#Page_130">130</a></td></tr>
+<tr><td class="tocch">XIII. </td><td class="tocti">Roman Cut-Work&mdash;Fancy Buttonholing for
+Borders&mdash;Bermuda Fagotting</td><td class="tocpg"><a href="#Page_138">138</a></td></tr>
+<tr><td class="tocch">XIV. </td><td class="tocti">Satin-Stitch and Marking</td><td class="tocpg"><a href="#Page_147">147</a></td></tr>
+<tr><td class="tocch">XV. </td><td class="tocti">Eyelets and French Knots&mdash;Bullion Stitch,
+and Other Fancy Stitches</td><td class="tocpg"><a href="#Page_160">160</a></td></tr>
+<tr><td class="tocch">XVI. </td><td class="tocti">Long and Short&mdash;Kensington Embroidery&mdash;Ribbon
+Work for Simple Flowers</td><td class="tocpg"><a href="#Page_176">176</a></td></tr>
+<tr><td class="tocch">XVII. </td><td class="tocti">Hardanger Embroidery for Squares, Pin
+Cushions, and Spreads</td><td class="tocpg"><a href="#Page_190">190</a></td></tr>
+<tr><td class="tocch">XVIII. </td><td class="tocti">Appliqu&eacute; on Linen and Other Materials&mdash;Hedebo
+Embroidery</td><td class="tocpg"><a href="#Page_198">198</a></td></tr>
+<tr><td class="tocch">XIX. </td><td class="tocti">Hemstitching for Handkerchiefs and Collar
+and Cuff Sets&mdash;Simple Drawn Work
+Stitches</td><td class="tocpg"><a href="#Page_207">207</a></td></tr>
+<tr><td class="tocch">XX. </td><td class="tocti">Easy Lace Stitches&mdash;Fagotting, Single Mesh,
+Double Mesh, Spiders, Fan, Maltese Cross,
+Twisted and Buttonhole Bars, Picots for
+Simple Edge</td><td class="tocpg"><a href="#Page_227">227</a></td></tr>
+<tr><td class="tocch">XXI. </td><td class="tocti">Simple Baskets</td><td class="tocpg"><a href="#Page_242">242</a></td></tr>
+<tr><td class="tocch">XXII. </td><td class="tocti">Raffia Baskets and Napkin Rings</td><td class="tocpg"><a href="#Page_250">250</a></td></tr>
+<tr><td class="tocch">XXIII. </td><td class="tocti">Raffia Hats</td><td class="tocpg"><a href="#Page_262">262</a></td></tr>
+<tr><td class="tocch">XXIV. </td><td class="tocti">Knotting for Dolls' Hammocks, Shopping Bags
+and Other Purposes</td><td class="tocpg"><a href="#Page_271">271</a></td></tr>
+<tr><td class="tocch">XXV. </td><td class="tocti">Simple Bead Chains on Single Strings&mdash;A
+Homemade Loom&mdash;Woven Chains&mdash;Belts and Purses</td><td class="tocpg"><a href="#Page_278">278</a></td></tr>
+<tr><td class="tocch">XXVI. </td><td class="tocti">Braiding and Weaving Four and Six Strands&mdash;Weaving
+on Looms</td><td class="tocpg"><a href="#Page_295">295</a></td></tr>
+<tr><td class="tocch">XXVII. </td><td class="tocti">Simple Crocheting&mdash;Stitchery for Edges and
+Shawls</td><td class="tocpg"><a href="#Page_306">306</a></td></tr>
+<tr><td class="tocch">XXVIII. </td><td class="tocti">Pattern Directions for Making Doll Caps
+and Capes, Jackets, and Child's Bedroom
+Slippers</td><td class="tocpg"><a href="#Page_320">320</a></td></tr>
+<tr><td class="tocch">XXIX. </td><td class="tocti">Irish Crochet Lace</td><td class="tocpg"><a href="#Page_333">333</a></td></tr>
+<tr><td class="tocch">XXX. </td><td class="tocti">Knitting, Plain and Purling&mdash;Wash Rags&mdash;Fancy
+Stitches for Shawls</td><td class="tocpg"><a href="#Page_351">351</a></td></tr>
+<tr><td class="tocch">XXXI. </td><td class="tocti">Doll's Cap, Hood, Leggings, and Jackets</td><td class="tocpg"><a href="#Page_360">360</a></td></tr>
+<tr><td class="tocch">XXXII. </td><td class="tocti">Embroidery Suggestions for Boarding School
+Girl</td><td class="tocpg"><a href="#Page_372">372</a></td></tr>
+</table></div>
+
+
+
+<hr class="chap" />
+<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2>
+
+<div class="center">
+<table summary="Illustrations" >
+<tr><td class="tocti">The Last Step is Making the Buttonholes  </td><td class="tocpg"><a href="#FRNT"><i>Frontispiece</i></a></td></tr>
+<tr class="trsm"><td class="tocti">&nbsp;</td><td class="tocpg">FACING PAGE</td></tr>
+<tr><td class="tocti">The Right Way to Darn</td><td class="tocpg"><a href="#PL1"> 10</a></td></tr>
+<tr><td class="tocti">A Single Motif Being Used on a Stencilled Scarf </td><td class="tocpg"><a href="#PL2"> 76</a></td></tr>
+<tr><td class="tocti">Many a Happy Hour is Spent Embroidering</td><td class="tocpg"><a href="#PL3"> 164</a></td></tr>
+<tr><td class="tocti">It is Jolly to Make a Raffia Work Bag </td><td class="tocpg"><a href="#PL4"> 250</a></td></tr>
+<tr><td class="tocti">Sewed Raffia Baskets Make Attractive Gifts </td><td class="tocpg"><a href="#PL5"> 258</a></td></tr>
+<tr><td class="tocti">The Fascinating Task of Making Bead Chains </td><td class="tocpg"><a href="#PL6"> 284</a></td></tr>
+<tr><td class="tocti">A Cushion Top Can be Woven on a Simple Hand Loom </td><td class="tocpg"><a href="#PL7">296</a></td></tr>
+<tr><td class="tocti">Her First Knitted Shawl  </td><td class="tocpg"><a href="#PL8">356</a></td></tr>
+</table></div>
+
+
+<hr class="chap" />
+<p class = "ph1">NEEDLECRAFT</p>
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p>
+
+
+<h2><a name="I" id="I"></a>I<br /><br />
+<small>WHAT YOU SHOULD HAVE IN YOUR WORK BOX,
+SEWING ON BUTTONS, BASTING, DARNING</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">You</span> will find that you are happiest when
+doing things for those you love; and what
+greater help can you give than by learning
+to do things for yourself that now those who love
+you best do for you? The little everyday things
+that appear to be so simple, yet take so much of the
+mother's time should be the things first to learn.
+There are so many things that one could do if
+one only knew how, that it seems a shame to waste
+time. Dolly needs new clothes, mother always
+needs help with her sewing; and then, too, the numerous
+birthdays and Christmases follow so quickly
+one on top of another, that there is hardly a chance
+to save up for one before the next is here. Many
+a hard problem for the little mother will be solved
+in this book.</p>
+
+<p>It is lovely to have a little work-box fixed up with
+thread, needles, and scissors, all of your own, and if
+you ask mother, I am sure she will give some of<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>
+her threads to help you start one. If you take a
+card and shape it like a Maltese cross you will have
+space for four colours of threads. You will need a
+card for the white alone because you will find you use
+so much more of it. You must have a little thimble
+and always use it or your finger will look cramped
+when working. Have you noticed how pretty
+ladies look when sewing? Well, you must do as
+they do, tap your needle
+with the thimble to send
+it through the material
+(<a href="#Fig1">Figure 1</a>).</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig1"></a><img src="images/i_018.jpg" width="300" height="203" alt="" />
+<div class="caption">Fig. 1. The way to use your
+thimble</div>
+</div>
+
+<p>Have you ever wondered
+and wondered why it is that
+buttons have the horrid
+habit of dropping off just when you wanted to dress
+quickly or take Sally Ann walking? Well, I will
+whisper the reasons for this: the first is, that the
+thread might have been worn out from active service;
+or the thread used might have been weak; or lastly,
+which is probably the true cause, the button might
+have been sewn too close to the material and came off
+the first time it was used. Mother may not be around
+to help you when the accident happens, and would
+you not feel proud to sew it on for yourself?</p>
+
+<p>To sew a button on securely you should make a<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>
+pin-hole where the button is to be placed. A four-hole
+white button is the easiest to work on. Thread
+a No. 7 needle with a length of No. 40 white sewing
+cotton, bring the ends together and make a knot.
+The right length thread is measured from the tip
+of the thimble finger to the elbow. When a thread
+is used double it should be twice the length of this.
+A neat knot is made by holding the threaded needle
+in the right hand and by taking the end or ends,
+as the case may be, between the thumb and first
+finger of the left hand. Keep the thread tightly
+stretched, wind it around the top of the first finger,
+then move the finger down the thumb, carrying the
+thread with it about half an inch. Now with the
+nail of the second finger bring the knot thus formed
+to the end of the thread.</p>
+
+<p>A large ungainly knot is a disfigurement to a
+piece of sewing. You are now ready to adjust the
+button; place the knot on the upper or right side so
+that it will be concealed; after adjusting the button
+put a pin across the top and sew securely through
+the holes, crossing the threads. Sew not less than
+three times through each hole. Remove the pin.
+Insert the needle from underneath, then bring it
+out between the button and cloth close to the
+centre of the button. Wind the thread tightly<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>
+around the neck of the button three or four times.
+(The neck is the threads between the button and material.)
+Wrapping the threads around protects
+the stitches and allows
+room for the buttonhole
+to lie under the button.
+Take the thread through
+to the wrong side and take
+up three stitches, make a
+short stitch on the material and cut the thread
+close (<a href="#Fig2-3">Figures 2 and 3</a>).</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig2-3"></a><img src="images/i_020.jpg" width="300" height="182" alt="" />
+<div class="caption">Figs. 2 and 3</div>
+</div>
+
+<p>When a three-hole button is used the stitches form
+a triangle on the top of the button. A shoe-button
+should be sewed with a No. 2 needle and coarse black
+thread. The stitches are taken through the shank of
+the button. Fasten off the thread after sewing on
+two buttons, for if they are all on one continuous
+string or thread and that breaks, all the buttons are
+apt to come off. If each button is securely fastened
+the thread may be passed, however, from one to the
+other.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig4"></a><img src="images/i_021.jpg" width="600" height="295" alt="" />
+<div class="caption">Fig. 4. Even basting</div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig5"></a><img src="images/i_021a.jpg" width="600" height="308" alt="" />
+<div class="caption">Fig. 5. Uneven basting</div>
+</div>
+
+<p>Now I know you want to do some real sewing;
+it must not be big or you will get very tired and think
+sewing is not as pleasant as you fancied. The
+simplest stitch in sewing is basting. This is used to
+hold materials together until you are ready to make<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>
+firmer stitches. In the following illustration the
+even and uneven basting stitches are shown (Figures
+<a href="#Fig4">4</a> and <a href="#Fig5">5</a>). They must be straight. Even basting
+stitches should be taken about a quarter of an inch
+apart and in the running stitch which is fine basting
+about an eighth or a sixteenth of an inch. Pretty
+huck pillows can be made of even and uneven
+basting or running stitches. A leaf, star or a
+figure cut out and traced on a piece of muslin<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>
+will make a nice design for running stitches
+(<a href="#Fig6">Figure 6</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig6"></a><img src="images/i_022.jpg" width="600" height="576" alt="" />
+<div class="caption">Fig. 6. A simple design in running stitch</div>
+</div>
+
+<p>If you will examine different kinds of materials
+before they are cut, you will note that the threads
+run in two directions. The threads running lengthwise
+must be the stronger, as they have more strain
+on them. They are called the warp. The warp
+is set up first before the weaving begins. The
+threads running crosswise are called the woof. It
+is the weaker thread and forms the edge or selvage.</p>
+
+<p>If you will take a card three inches square and<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
+prick a line of dots half an inch from the top and
+bottom edges and prick a line a quarter of an inch
+apart you will have a little loom. The dots must
+be directly under each other. A piece of coloured
+worsted and a large-eyed crewel needle
+No. 2 will be required. Make a knot at the
+end of your thread and start from the upper right
+hand hole on the wrong side. Bring your thread
+up through the hole and down through the lower
+right-hand dot. The needle must now come up
+through the next hole at the bottom and the thread
+be again stretched across the card.</p>
+
+<p>When every hole has been filled and you have
+several rows of straight lines, fasten off the worsted
+in the back. Another shade of wool should be selected
+so that you can distinguish the warp from the
+woof. The thread you are now going to use is the
+woof; commence at the top and go straight across
+to the left line, up over and down under each thread
+and so on till the row is completed. In weaving the
+next row, pick up the threads of the warp that you
+went over last time. Alternate rows agree (<a href="#Fig7">Figure
+7</a>). When finished, the little piece can be used as
+a doll's mat.</p>
+
+<p>To darn your stockings is almost as simple a
+matter as this weaving. Instead, however, of starting<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span>
+the thread of the warp on an even line, as on the
+card, start some higher than the others.   The
+reason for this is that an even line will be apt to
+make an uncomfortable seam in your stocking.   The
+woof threads are always connected
+to the stocking. A
+darning ball should be used
+under the hole. In darning
+cashmere or woollen stockings
+it is best to allow the warp to
+be very slack as wool shrinks
+considerably in washing. Wool
+should be used for darning woollen stockings.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig7"></a><img src="images/i_024.jpg" width="600" height="456" alt="" />
+<div class="caption">Fig. 7. Weaving with worsted</div>
+</div>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig8"></a><img src="images/i_024a.jpg" width="300" height="328" alt="" />
+<div class="caption">Fig. 8A. The first step in darning</div>
+</div>
+
+<div class="figright" style="width: 500px;">
+<a name="Fig8B"></a><img src="images/i_027.jpg" width="500" height="345" alt="" />
+<div class="caption">Fig. 8B. The second and last step in darning</div>
+</div>
+
+<hr class="chap" />
+<div class="figcenter" style="width: 600px;">
+<a name="PL1"></a><img src="images/i_025.jpg" width="600" height="477" alt="" />
+<div class="capr">Photograph by Mary G. Huntsman</div>
+<div class="caption">The Right Way to Darn</div>
+</div>
+<hr class="chap" />
+
+
+<p>Have you ever belonged to a sewing club? If<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
+not, try to start one and see how much fun there is
+in it. The club should meet either on Friday or
+Saturday afternoon, after the school work is finished.
+Every girl should bring her stockings to darn and
+another piece of work, so that when the darning is
+over she will have something to work on. If there
+are more than four in the club it is a very hard
+thing to keep up. Three is the ideal number for it.
+It is better to have a small number&mdash;three, for instance.
+A large club is apt to be distracting, but
+three or four little girls, with the right helpful
+spirit, will find such meetings very instructive and
+entertaining.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p>
+
+
+
+
+<h2><a name="II" id="II"></a>II<br /><br />
+<small>BACK-STITCHING, OVER-CASTING, CREASING A HEM
+AND HEMMING, ROLLING A HEM, FRENCH HEMMING,
+SEWING ON TAPES AND HOOKS AND EYES</small></h2>
+
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig9"></a><img src="images/i_028.jpg" width="500" height="145" alt="" />
+<div class="caption">Fig. 9. The right way to hold your scissors</div>
+</div>
+
+<p class="drop-cap"><span class="smcap">Stitching</span> is witching," the song book says,
+and it is true, for after we know that stitch
+there are a hundred and one things we can
+do. Some people call it back-stitching and we
+must try to remember that, so that we shall understand
+of what they are talking. Get mother to
+give you a piece of material to practise on that has
+a stripe in it. Now take your scissors (<a href="#Fig9">Figure 9</a>)
+and cut out two three-inch squares. Baste the two
+squares together a quarter of an inch from the edge.
+Hold the square over the first finger of the left
+hand ready for the back-stitching. Let the basting
+run up and down over your finger. Start from the<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+top and make a small stitch backward, on the right
+side of the material, instead of forward as you did
+in running (<a href="#Fig10">Figure 10</a>). Pass the needle under
+until you have a stitch twice as long on the wrong
+side as that on the right.   Take the next stitch
+backward close to the end of the last one on the
+right.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig10"></a><img src="images/i_029.jpg" width="600" height="204" alt="" />
+<div class="caption">Fig. 10. Back-stitching</div>
+</div>
+
+<p>Remember that the stitch you take backward
+is only half as long as the one you take forward.
+Stitching always looks very different on the wrong
+side, but on the right side it ought to look like machine
+stitching. This stitch might be called the lion
+stitch, because it is so strong. It is used to join two
+edges together, as for the seams in bean-bags or
+cushion covers.</p>
+
+<p>In places where there will not be much strain we
+use a quicker stitch, which is called the half-back
+stitch (<a href="#Fig11">Figure 11</a>). This is very much like the stitching
+of which I have been telling you. The wrong
+side will look about the same, but on the right side<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>
+instead of the stitches touching there will be a
+space, then a stitch of equal length.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig11"></a><img src="images/i_030.jpg" width="600" height="199" alt="" />
+<div class="caption">Fig. 11. The half-back stitch</div>
+</div>
+
+<p>The next stitch to learn is the combination-stitch,
+which is made up of both the running and the
+back-stitch (<a href="#Fig12">Figure 12</a>). It is a stitch that is greatly
+used for sewing long seams, as on underwear. By
+this stitch we can cover the distance in about half
+the time that back-stitching would take.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig12"><img src="images/i_030a.jpg" width="600" height="221" alt="" />
+</a><div class="caption">Fig. 12. The combination running and back-stitch</div>
+</div>
+
+<p>Whenever you can avoid making a knot, do so,
+because it spoils the look of your work on the wrong
+side. You can start your work, if it is a seam, for
+example, by making two or three stitches on top of
+each other. Follow the thread of the warp or woof<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
+of the material as much as possible. After fastening
+your thread, make two fine running stitches forward
+and one back. Keep the stitches the same length.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig13"></a><img src="images/i_031.jpg" width="600" height="268" alt="" />
+<div class="caption">Fig. 13. Over-casting</div>
+</div>
+
+<p>Over-casting is used on unfinished or cut edges
+to keep them from fraying (<a href="#Fig13">Figure 13</a>). The stitches
+all slant from right to left. Take the stitches one
+eighth of an inch deep and one quarter of an inch
+apart.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig14"></a><img src="images/i_031b.jpg" width="600" height="238" alt="" />
+<div class="caption">Fig. 14. Over-handing</div>
+</div>
+
+<p>Over-handing is fine over-casting and used to
+connect two finished edges together (<a href="#Fig14">Figure 14</a>),
+as when sewing lace on ruffles, or joining selvages.
+What is the selvage? It is the edge of the warp.<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>
+The next time mother goes shopping ask her to take
+you with her. When she tells the salesman she wants
+so many yards of goods, whether it is for kitchen
+towels or a dress for herself or for you, notice how
+the goods is measured. The salesman will measure
+along one of the finished sides of the goods. These
+finished edges are called selvages.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig15"></a><img src="images/i_032.jpg" width="600" height="248" alt="" />
+<div class="caption">Fig. 15. The seam opened</div>
+</div>
+
+<p>Make the stitches in over-handing as small as
+possible, keeping the stitches even. Sew through
+both pieces of the material. Hold your work between
+your thumb and first finger. Here again it
+is not necessary to make a knot. Let a half-inch
+of the end of your thread lie on top of the material
+toward the left side; the over-handing stitches will
+cover this end. When the over-handing is finished
+run your thumb-nail along the stitches on the right
+side. If your stitches are too deep there will be a
+seam on the wrong side, whereas if the instructions<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
+have been followed carefully the material will lie
+perfectly flat (<a href="#Fig15">Figure 15</a>).</p>
+
+<p>Now we are ready to help mother hem the new
+kitchen towels. First see that the edge you are to
+hem is straight. If it is not, pull out a thread so as
+to mark a line to cut by. You must take a thread
+that runs the entire way across the end of the towel.
+Cut carefully along the space out of which the
+thread came. Get a piece of
+card that has two smooth or
+straight edges and make a
+notch one-half inch from the
+corner (<a href="#Fig16">Figure 16</a>). A half-inch hem is the one commonly
+used on a towel.</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig16"></a><img src="images/i_033.jpg" width="300" height="113" alt="" />
+<div class="caption">Fig. 16. A notched card</div>
+</div>
+
+<p>If mother likes to have her towels with a wider or
+narrower hem, notch the card the size she wishes.
+Turn the material back one-quarter inch and crease
+it down with your thumb-nail. A second fold is
+made the width of the hem. Take your measuring
+card and, placing the end of it on the double edge,
+see if your hem is exactly the width desired. Baste
+along the first folded edge to hold the material
+together for hemming (Figures <a href="#Fig17">17</a> and <a href="#Fig18">18</a>). Hold
+the edge to be hemmed toward you. Do not knot
+your thread. Insert the needle at the extreme right
+of the hem.   Pull the needle through, leaving a<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>
+little end, as in over-handing, to be fastened down
+with the hemming itself.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig17"></a><img src="images/i_034.jpg" width="600" height="435" alt="" />
+<div class="caption">Fig. 17. The first step</div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig18"></a><img src="images/i_034a.jpg" width="600" height="373" alt="" />
+<div class="caption">Fig. 18. The second step</div>
+</div>
+
+<p>Your needle should slant as shown in the diagram
+(<a href="#Fig19">Figure 19</a>). Take a stitch right through all the
+thicknesses of the material. Be sure that it goes<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>
+through to the other side. The fewer the threads
+taken on the needle at the same time, the neater the
+result will be. The stitches should slant from right
+to left. The stitches must be close together if we
+want fine hemming. Let each stitch be the same
+size as the other and slant in the same direction.
+The right side of the hem looks like a row of short
+dashes.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig19"></a><img src="images/i_035.jpg" width="500" height="249" alt="" />
+<div class="caption">Fig. 19. The way the needle should slant</div>
+</div>
+
+<p>If your needle gets "sticky" when you are sewing,
+you should pass it through your emery-bag till it
+is shiny and sharp again. The needle is apt to get
+that way if your hands perspire. Ladies who like
+to keep their sewing looking fresh and white, as if
+hands had never touched it, find it a good plan to
+wash their hands in a little vinegar, or lemon and
+water.</p>
+
+<p>It is very necessary to sit so that the light falls
+over your left shoulder. A little straight-back
+chair is another good help in sewing. Do you know<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
+that many of our English great-grandmothers had
+very straight backs? When they were little girls
+they had to sit on a very straight, tall chair, an hour
+or two every day. A foot-stool was placed under
+their feet, and their shoulders strapped against the
+chair. Of course they did not sit there idle, but a
+piece of fine sewing was given them to work. You
+see they did not have the opportunity to run around
+and play as you have. Their chief recreation was
+their dancing lesson.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig20"></a><img src="images/i_036.jpg" width="400" height="428" alt="" />
+<div class="caption">Fig. 20. A corner basted ready
+for hemming</div>
+</div>
+
+<p>The towel finished, the next thing to learn is how
+to turn a corner and hem it. Shall we make a
+cover for Sally Ann's bed
+or a dust-cloth for mother?
+In either case cut a piece
+of material eighteen inches
+square and turn a hem and
+baste it as you did for the
+towel. The next side is
+folded the same as the first.
+The corner should form a
+perfect square (<a href="#Fig20">Figure 20</a>).
+Sometimes the material is very thick and the hem
+wide; in that case it is wise to cut a little oblong
+piece out of the corner as shown in the illustration
+(<a href="#Fig21">Figure 21</a>).</p>
+
+<p><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span></p>
+
+<div class="figright" style="width: 300px;">
+<img src="images/i_037.jpg" width="300" height="317" alt="" />
+<a name="Fig21"></a><div class="caption">Fig. 21. The material cut
+from a corner</div>
+</div>
+
+<p>Napkins and table-covers should be sewed with
+a French hem. Make a turn about a sixteenth of
+an inch deep. The second
+turn should be about three
+sixteenths of an inch wide.
+Fold the hem back so that it
+touches the right side of the
+material. The hem is connected
+to the material with
+tiny over-hand stitches. Open
+the hem, when finished crease
+with the thumb-nail till it lies perfectly flat.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig22"></a><img src="images/i_037a.jpg" width="500" height="317" alt="" />
+<div class="caption">Fig. 22. Whipping</div>
+</div>
+
+<p>A pretty new way of finishing a handkerchief is
+to roll the material for the edge instead of folding it.
+Over-cast or, as we sometimes say, whip it with
+delicate-coloured cotton, (<a href="#Fig22">Figure 22</a>). The nicest
+material for handkerchiefs is fine linen, but lawn<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
+is cheaper for practice work. Hold the wrong side
+of the material to you. Then roll about one eighth
+of an inch between the thumb and first finger of your
+left hand. Do not roll more than an inch of the
+hem at a time. Take a needle and thread it with a
+piece of coloured cotton. In this case it is permissible
+to make a knot. Insert the needle at the beginning
+of the roll. Over-cast or whip the rolled edge.
+The stitches should encircle the roll and not go
+through it. When the rolled inch is over-casted,
+roll another inch and repeat in this manner till the
+whole handkerchief is worked. If you desire, when
+you have finished one side, you can whip in an
+opposite direction toward the point at which you
+started, thus forming a cross with each return stitch
+(<a href="#Fig23">Figure 23</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig23"></a><img src="images/i_038.jpg" width="500" height="253" alt="" />
+<div class="caption">Fig. 23. A pretty finish for handkerchiefs</div>
+</div>
+
+<p>Lace is sewed to raw edges by rolling and whipping
+the material and connecting the lace at the same
+time.</p>
+
+<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig24"></a><img src="images/i_039.jpg" width="500" height="260" alt="" />
+<div class="caption">Fig. 24. A rolled hem</div>
+</div>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig25"></a><img src="images/i_039a.jpg" width="200" height="486" alt="" />
+<div class="caption">Fig. 25. One
+end creased
+one quarter of
+an inch</div>
+</div>
+
+<div class="figright" style="width: 200px;">
+<a name="Fig26"></a><img src="images/i_039b.jpg" width="200" height="407" alt="" />
+<div class="caption">Fig. 26. The
+tape open flat
+on material</div>
+</div>
+
+<p>Tapes should be on all towels and on all your skirts
+and dresses that are to hang on nails or pegs. Take
+a piece of fine tape about five inches long. Crease
+one end down one quarter of an inch (<a href="#Fig25">Figure 25</a>).
+If the tape-loop is to be sewed on a towel
+find the direct centre of the top edge
+of the towel. Lay the tape with the
+creased end open flat on the towel (<a href="#Fig26">Figure
+26</a>). Sew along the creased
+line with back-stitching.
+Fold the other end of the
+tape over, baste it down
+so that it entirely covers
+the stitches already made
+and with small hemming
+stitches connect the tape to the material
+(<a href="#Fig27">Figure 27</a>). There should be two
+tape-loops on your dress or separate<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span>
+skirt. There is usually too much weight for only
+one loop. Place a loop in each armhole of the waist
+or dress. For the skirt, measure the waist-band
+and place the loops so that the band
+is divided in thirds.</p>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig27"></a><img src="images/i_040.jpg" width="200" height="467" alt="" />
+<div class="caption">Fig. 27. The
+tape finished</div>
+</div>
+
+<p>Do you know that very few people
+sew on hooks and eyes properly? Yet
+there is no difficulty in sewing them
+correctly and they look much nicer.
+Take the eye, connect it to the material
+with two stitches that make a cross.
+With the same thread pass the needle
+to the left-hand loop. Insert the needle
+in the material so that
+the eye of the needle is within
+the loop and the point of the
+needle comes just outside. See
+that the thread passes from left
+to right <i>under</i> the point of the
+needle. Draw the needle
+through and repeat in this manner
+until the two loops of the
+eye are firmly connected to the material. Sometimes
+it is necessary to cover the upper part of
+the eye. In that case cover the metal with fine
+over-and-over stitches as shown in (<a href="#Fig28B">Figure 28B</a>).</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig28A"></a><img src="images/i_040a.jpg" width="300" height="345" alt="" />
+<div class="caption">Fig. 28A. The eye firmly
+sewed</div>
+</div>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig28B"></a><img src="images/i_041.jpg" width="300" height="326" alt="" />
+<div class="caption">Fig. 28B. A covered eye</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p>
+
+<p>The loop of the hook is sewed on in a very similar
+manner at the base, while the
+top of the hook is caught with
+eight or nine over-and-over-stitches
+(<a href="#Fig29">Figure 29</a>). These
+stitches are taken under the
+hook portion and connect the
+under side only. Measure accurately
+just where every eye
+goes and place the hook so that when it meets the
+eye it will be straight.   A sixteenth of an inch out
+of the way spoils the appearance
+and is apt to pull the material
+crooked. Another point to remember
+is that it is not a good
+plan to place the eyes on the
+extreme edge. A margin of some
+size is most necessary to extend
+beyond the eyes. Sometimes it is necessary to sew
+a piece of material so that it extends one inch beyond
+the eyes if the eyes are sewed on the extreme
+edge of the finished garment. This piece is called
+the fly piece.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="Fig29"></a><img src="images/i_041a.jpg" width="300" height="294" alt="" />
+<div class="caption">Fig. 29. The hook</div>
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span></p>
+
+
+
+
+<h2><a name="III" id="III"></a>III<br /><br />
+<small>GATHERING, SEWING ON BANDS, A PRACTICAL
+SEWING APRON, HEMMED PATCHES,
+GUSSETS AND TUCKS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Though</span> I know you don't like making
+samples, I am going to ask you to make
+a little apron for a doll, as a model, before
+we make a real big one.</p>
+
+<p>Get a piece of muslin five by nine inches and a
+No. 9 sewing needle. Thread it with a piece of
+No. 70 cotton. Baste an eighth of an inch hem on
+both of the five-inch sides, and a three-quarter of
+an inch hem on one of the nine-inch sides.</p>
+
+<p>The basting of the three sides being finished we
+will now start to gather the fourth side. Thread
+a No. 8 needle with No. 50 thread. Use a thread
+a trifle longer than nine inches. Make a good-sized
+knot in the thread so that the end cannot slip
+through the material. Start from the right-hand
+side of the piece and insert the needle on the under
+side. Let the knot come on top of the narrow hem
+about one quarter of an inch from the raw edge.</p>
+
+<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p>
+
+<p>The needle is now in position on the right side of
+the material. Take up several stitches on the needle
+before pulling it through (<a href="#Fig30">Figure 30</a>). The stitches
+are nothing more than running stitches. When the
+running has been worked across the nine inches of
+the material, take the needle out and make a knot
+in the thread.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig30"></a><img src="images/i_043.jpg" width="500" height="277" alt="" />
+<div class="caption">Fig. 30. Gathering the apron</div>
+</div>
+
+<p>Put a pin, vertically, close to the last stitch.
+Take up only a few threads of the material on the
+pin. Draw up the running thread so that you have
+about three and a half inches of gathering. Wind
+the thread that extends beyond the gathering over
+the top and under the point of the pin a number of
+times, crossing the thread at the middle of the pin
+so that it forms an eight (<a href="#Fig31">Figure 31</a>).</p>
+
+<p>To allow the gathering to fall evenly, it will be
+necessary to stroke it. Use a No. 2 needle for this
+purpose. With the right side of the work toward<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span>
+you begin at the left-hand edge. Hold the work
+between the left thumb and forefinger, keeping the
+thumb below the gathering thread. Put the point
+of the No. 2 needle under the gathering thread,
+holding it obliquely. Press the needle toward the
+thumb, bringing the little plait under the thumb
+and drawing the needle downward. Pinch the little
+plait down lightly with your thumb. Continue in
+this way, putting the needle under each stitch
+(<a href="#Fig32">Figure 32</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig31"></a><img src="images/i_044.jpg" width="500" height="336" alt="" />
+<div class="caption">Fig. 31. Gathers ready for stroking</div>
+</div>
+
+<p>Let us now put a band and strings on our apron.
+Cut two strips of material ten inches long by two
+inches wide. These are for the strings. Baste an
+eighth of an inch hem on the two long sides of each
+strip. Make a three-quarter of an inch hem on
+each string.</p>
+
+<p><span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span></p>
+
+<p>Over-hand the ends of the broad hem. All the
+hems that are basted on the strings and the material
+itself should be hemmed with fine stitches.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig32"></a><img src="images/i_045.jpg" width="600" height="306" alt="" />
+<div class="caption">Fig. 32. Gathering Strokes</div>
+</div>
+
+<p>Cut another strip two and a half inches wide
+by five inches long. This is the band. Turn down
+one eighth of an inch of the material all around the
+band. Crease the band in half, lengthwise, so that
+the edges, just folded, are inside.</p>
+
+<p>Find the centre of the gathered material and the
+centre of the opened band. Holding the wrong
+side of the apron toward you, pin the middle of
+the apron to the middle of the band. Pin the
+gathered side of the apron to the band, three quarters
+of an inch from each end of it.</p>
+
+<p>Wind the gathering thread around the left-hand
+pin, drawing the thread up to fit the band. With
+the point of the needle adjust the gathers so that the
+fullness is evenly distributed along the band. Holding<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span>
+the gathers toward you, baste with small stitches
+a little above the gathering thread.</p>
+
+<p>Turn up the band and on the right side of the
+apron hem the band in it, catching up a gather with
+each stitch. Some people prefer to stitch along the
+basting line instead of hemming (<a href="#Fig33">Figure 33</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig33"></a><img src="images/i_046.jpg" width="500" height="494" alt="" />
+<div class="caption">Fig. 33. Taking up a gather with every stitch</div>
+</div>
+
+<p>Baste the other side of the band down, and hem
+as on the right side. Insert the strings in the band.
+Hem in the same way as on the band, first the right
+side and then the left side, and now your little apron
+is completed (<a href="#Fig34">Figure 34</a>).</p>
+
+<p>Would you not like to have a sewing apron that<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span>
+you can use as a bag when you are not wearing it?
+It is such an easy thing to make that after you have
+one for yourself you will be making them for your
+friends for Christmas.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig34"></a><img src="images/i_047.jpg" width="600" height="202" alt="" />
+<div class="caption">Fig. 34. The apron completed</div>
+</div>
+
+<p>Get mother to measure you from the waist to
+the knees. The material for the apron should be
+one and a half this measurement. Turn one third
+of the material back. Baste the double edges
+together and sew with fine combination stitches.</p>
+
+<p>Turn this piece inside out. Crease back one eighth
+of an inch edge of this pocket, as it were. Baste
+a piece of beading over this raw edge right around
+the back of the apron. Be careful not to sew up
+the pocket.</p>
+
+<p>The beading on the back must be the same distance
+from the bottom as the beading in front;
+that is, we must keep a straight line. Sew on the
+extreme edges of the beading with fine running
+stitches, to connect it to the material. Now as<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
+the ribbon we are to run in the beading must serve
+as a draw string, as well as for decoration, it will
+be necessary to put two pieces in. So get a narrow
+ribbon about one half the width of the openings in
+the beading. Each piece of ribbon must be long
+enough to go once around the apron and enough
+of the ends left to tie double bows&mdash;one for each
+side. Start one piece of the ribbon at the right-hand
+side of the apron and the other at the left.</p>
+
+<p>The top of the apron or single piece is finished with
+a piece of beading which is sewed on, as on the
+pocket. A ribbon long enough to go around your
+waist and to tie a bow in the back is run through the
+beading (<a href="#Fig35">Figure 35</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig35"></a><img src="images/i_048.jpg" width="600" height="297" alt="" />
+<div class="caption">Fig. 35. The apron</div>
+</div>
+
+<p>When the apron is not being worn your work can
+be placed in the large pocket and the single section<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span>
+folded within the pocket. The ribbons are then
+drawn up tight and "bravo!" you have a work bag
+fit for a queen (<a href="#Fig36">Figure 36</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig36"></a><img src="images/i_049.jpg" width="600" height="400" alt="" />
+<div class="caption">Fig. 36. The work bag</div>
+</div>
+
+<p>There are so many kinds of rents or holes that
+may happen to your clothes that it is worth the
+while to know how to mend the various kinds.
+There is an old adage that says, "Waste makes
+want," and we would spend a small fortune in clothes
+if every time a wee hole made its appearance we
+discarded the garment.</p>
+
+<p>If it is a circular hole in a dress or underbody,
+as often happens, under the arms, we will use the
+square patch. Cut a piece of the same kind of<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
+material, three inches square, or larger if necessary.
+Turn a fold of one eighth of an inch on the four
+edges of this square. Crease it lengthwise and
+crosswise.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig37"></a><img src="images/i_050.jpg" width="400" height="437" alt="" />
+<div class="caption">Fig. 37. The patch hemmed to
+the material</div>
+</div>
+
+<p>Crease the material on which the patch is to be
+laid lengthwise and
+crosswise through the
+tear. Pin the small piece
+or patch on the wrong
+side of the large piece,
+or garment, so that the
+creases run in the same
+direction. The warp
+must run the same way
+in both pieces. One
+sixteenth of an inch
+from the edges run a basting thread. Hem the four
+sides on the patch to the material (<a href="#Fig37">Figure 37</a>).</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig38"></a><img src="images/i_050a.jpg" width="400" height="377" alt="" />
+<div class="caption">Fig. 38. The pin in each corner
+of the patch</div>
+</div>
+
+<p>On the garment side make
+a crease half an inch wide,
+from the hemming, on the
+four sides. Four little squares
+will be formed in the corners.
+Crease along the diagonal of
+each square. Place a pin
+one eighth of an inch from<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span>
+each corner, within the patch (<a href="#Fig38">Figure 38</a>). Cut
+the garment from the centre of the tear to the
+pins. Repeat this
+on each side, cutting
+along the crease
+which you made,
+one half inch from
+the hemming.</p>
+
+<p>Turn in one
+eighth of an inch
+and baste. Hem
+all around (Figure<a href="#Fig39">
+39</a>).</p>
+
+<div class="figright" style="width: 500px;">
+<a name="Fig39"></a><img src="images/i_051.jpg" width="500" height="438" alt="" />
+<div class="caption">Fig. 39. The garment side of the patch</div>
+</div>
+
+<p>In patching material such as checked or striped
+ginghams, percales, or other materials, the stripes or
+the checks must
+match so that the
+patch is not too apparent
+(<a href="#Fig40">Figure 40</a>).</p>
+
+<div class="figleft" style="width: 500px;">
+<a name="Fig40"></a><img src="images/i_051a.jpg" width="500" height="470" alt="" />
+<div class="caption">Fig. 40. Matching the stripes</div>
+</div>
+
+<p>Have you ever
+noticed how the slit
+or placket of a petticoat
+or side opening
+of drawers is
+finished? A piece of
+material is put in<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>
+of an odd shape to strengthen the openings. This
+is called a gusset. Suppose that you were making
+a petticoat. Join the skirt up the back from the
+bottom, but leave eight inches open at the top.
+This top opening is the placket. But let us take
+a small piece of material and practise making the
+back of a skirt. We will put a hem and a few tucks
+at the bottom of the material first.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig41"></a><img src="images/i_052.jpg" width="600" height="298" alt="" />
+<div class="caption">Fig. 41. Basting the tuck</div>
+</div>
+
+<p>Make a measuring card of a straight strip with
+an eighth, three eighths, and three quarters of an
+inch notches.</p>
+
+<p>Crease and fold a wide hem (three quarters of
+an inch), using the measuring card as a guide.</p>
+
+<p>Over-hand each end of the hem. Now baste
+along the hem. The over-handing must be done
+before the basting. Now hem this wide hem.</p>
+
+<p>Again, using the cardboard measure, on the right
+side of the model fold a crease three quarters of an<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
+inch above the hem. Begin at the right-hand side
+to crease and baste (<a href="#Fig41">Figure 41</a>).</p>
+
+<p>With a fine, even, running stitch, an eighth of an
+inch below the crease, make the tuck (<a href="#Fig42">Figure 42</a>).
+Measure every few stitches to keep the seam straight.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig42"></a><img src="images/i_053.jpg" width="600" height="217" alt="" />
+<div class="caption">Fig. 42. Making the tuck</div>
+</div>
+
+<p>If a second tuck is desired, measure from the
+tuck instead of the hem.</p>
+
+<p>Now we are ready for the slit which is in the centre
+top. On the wrong side start at the top with an
+eighth of an inch
+hem, but decrease it
+to almost nothing
+right to the bottom
+(<a href="#Fig43">Figure 43</a>). Fold the
+other side in the
+same manner. In
+hemming the two
+sides, start at the top.</p>
+
+<div class="figright" style="width: 500px;">
+<a name="Fig43"></a><img src="images/i_053a.jpg" width="500" height="498" alt="" />
+<div class="caption">Fig. 43. The placket hemmed</div>
+</div>
+
+<p>Now let us practise
+making gussets<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
+on a piece of paper. Cut a piece of paper three
+inches square. Fold it from corner to corner and
+cut (<a href="#Fig44">Figure 44</a>).
+Turn the straight or
+short edges of the
+paper one eighth of
+an inch and fold
+along the two shorter
+edges (<a href="#Fig45">Figure 45</a>).</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig44"></a><img src="images/i_054.jpg" width="400" height="233" alt="" />
+<div class="caption">Fig. 44. The triangle</div>
+</div>
+
+<p>Hold the paper with the straight edge down,
+measure it from the two points one quarter of an
+inch. Now cut a piece of material the size of the
+paper and fold like model.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig45"></a><img src="images/i_054a.jpg" width="400" height="205" alt="" />
+<div class="caption">Fig. 45. The short edges folded</div>
+</div>
+
+<p>Cut off the two points one quarter inch from each
+corner on the thread of the
+goods (<a href="#Fig46">Figure 46</a>). Turn
+these two straight ends and
+the bias edge of paper one
+eighth of an inch (Figure<a href="#Fig47">
+47</a>). Turn point of paper
+down one eighth of an inch
+from bias hem and crease
+(<a href="#Fig48">Figure 48</a>).</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig46"></a><img src="images/i_054c.jpg" width="400" height="295" alt="" />
+<div class="caption">Fig. 46. With points cut off</div>
+</div>
+
+<p>Now cut the muslin gusset
+and fold just like the
+paper one.</p>
+
+<p><span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span></p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig47"></a><img src="images/i_055.jpg" width="300" height="205" alt="" />
+<div class="caption">Fig. 47. All sides are now
+creased.</div>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<a name="Fig48"></a><img src="images/i_055a.jpg" width="300" height="129" alt="" />
+<div class="caption">Fig. 48. The point folded over</div>
+</div>
+
+<p>Hold the model or skirt with right side toward
+you, and turn up point of gusset.   Holding the
+wrong side of the skirt toward you, twist left side
+of gusset to left side of placket and over-hand to
+creased line, half way up the gusset (<a href="#Fig49">Figure 49</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig49"></a><img src="images/i_055b.jpg" width="500" height="370" alt="" />
+<div class="caption">Fig. 49. The gusset over-handed half way</div>
+</div>
+
+<p>Over-hand right side.   Turn bias edge of gusset
+over to right side, pin, having straight edges parallel
+to warp and woof threads and then hem (<a href="#Fig50">Figure 50</a>).</p>
+
+<p>Gather the top of the skirt and put on a band<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span>
+on each side of opening about the same width as
+the one used on the apron (<a href="#Fig51">Figure 51</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig50"></a><img src="images/i_056.jpg" width="600" height="414" alt="" />
+<div class="caption">Fig. 50. Gusset hemmed</div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig51"></a><img src="images/i_056a.jpg" width="600" height="449" alt="" />
+<div class="caption">Fig. 51. The gusset model completed</div>
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span></p>
+
+
+
+
+<h2><a name="IV" id="IV"></a>IV<br /><br />
+<small>A DOLL'S SKIRT AND SEWING CASE, BINDINGS,
+DOLL'S BED LINEN AND A PIN CASE</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Let</span> us suppose that Sally Ann measures twelve
+inches from the crown of her head
+to the soles of her feet and that you would
+like to make her a gored skirt like mother's. Would
+you not feel happier if you made the pattern and
+then cut the skirt yourself?</p>
+
+<p>Take a piece of paper twelve by nine inches
+wide, mark every inch on both the long sides of
+the paper. Lay a ruler so that it touches the
+centre of the space between the first and second
+dots on the upper edge, and between the second
+and third dots on the lower edge. This will
+form the half of the front gore of the skirt.
+Mark it, "half of front."</p>
+
+<p>Now draw a line from the second dot on the
+upper edge to the centre of the space between the
+fourth and fifth dots of the lower edge. Connect
+the sixth dot on the upper and lower edges, mark this
+section "side gore." Connect the eleventh dot on<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>
+lower and upper edges and mark this section "back."
+The remaining inch mark "belt." (<a href="#Fig52">Figure 52</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig52"></a><img src="images/i_058.jpg" width="600" height="407" alt="" />
+<div class="caption">Fig. 52. The pattern drawn</div>
+</div>
+
+<p>Cut the pattern apart along the lines drawn.</p>
+
+<p>Take a piece of muslin twenty-four by nine inches.
+Tear off two inches of the muslin on the length for
+the band and then ten inches for the back of the
+skirt.</p>
+
+<p>Fold the remaining piece of muslin with the two
+short edges together so that the doubled piece
+measures six inches by nine. Place the straight edge
+of front of skirt pattern on the fold of the material and
+the edge of the side gore on the other edge. Pin
+the pattern down securely and cut through both
+thicknesses of the material (<a href="#Fig53">Figure 53</a>).</p>
+
+<p>Pin the skirt together, placing a straight edge of<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
+a gore to a bias. Baste a quarter-inch seam along
+the finished edges of each gore, holding the bias
+edge toward you. Sew the seams up with combination
+stitches. Press open the seams and over-cast
+each one to keep it from fraying.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig53"></a><img src="images/i_059.jpg" width="600" height="418" alt="" />
+<div class="caption">Fig. 53. The back, side gore and front</div>
+</div>
+
+<p>Fold a hem at the bottom of the skirt an inch
+and a quarter wide. Baste the hem so that seam
+comes to seam. On the front gore there will be a
+fullness. Gather this fullness in with fine running
+stitches and baste. Use a separate thread for the
+gathering. Now hem around the whole skirt.</p>
+
+<p>Cut the placket two inches down through the
+centre back. Turn a hem on the right side one
+half inch wide and on the left one eighth inch.
+Sew the hem.</p>
+
+<p>Lap the wide hem over the narrow at the bottom<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
+of the placket and stitch across the wide hem two
+rows of stitching one eighth of an inch apart.</p>
+
+<p>Turn in the strip you cut off at first for the band
+one quarter of an inch on the two short sides and
+on one of the long sides.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig54"></a><img src="images/i_060.jpg" width="600" height="693" alt="" />
+<div class="caption">Fig. 54. The skirt</div>
+</div>
+
+<p>Fold lengthwise, find centre of band and crease;
+one inch from this, crease again.</p>
+
+<p>Place and pin band in the same way as for the
+gusset described in the last chapter, placing the<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span>
+middle crease at the middle of front of skirt. Then
+pin the band also at the creases on either side of
+centre. Gather each side of the skirt that is left.
+Draw in the thread to fit belt. Spread the gathers
+so that most of the fullness is in the back.</p>
+
+<p>Over-hand the ends and hem second side of the
+placket. This finishes the skirt (<a href="#Fig54">Figure 54</a>).</p>
+
+<p>A basket or box of some sort is very nice to have,
+as we have said above, for your sewing, but suppose
+you were going to sew with another friend and you
+wanted a handy case in which to carry your sewing
+implements? A cloth case that can be folded or
+rolled is very much more convenient and may be
+carried in the large pocket of your apron. One
+made of denim is inexpensive, wears well, and is
+highly practicable. One yard will make you a case.</p>
+
+<p>Cut a piece of green denim sixteen by fifteen inches
+long. Turn up four inches of the material, baste
+down both sides. Baste a four-inch pocket on the
+left-hand corner of your case. The rest of the
+case divide in two. This will hold your darning
+cotton that comes on cards.</p>
+
+<p>We have a pretty way of finishing this case, which
+is not only ornamental but strong, and that is to
+bind it. Get a piece of tape long enough to go
+around the whole case. Crease it lengthwise so<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span>
+that one edge comes slightly below the other. Open
+it and lay it on denim and then neatly back-stitch
+the right side and hem the wrong. The hemming
+should be just below the back-stitching, and must
+not be seen on the right side. Allow enough tape at
+the corners to make a good angle. Both sides of the
+corner must be treated alike.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig55"></a><img src="images/i_062.jpg" width="600" height="346" alt="" />
+<div class="caption">Fig. 55. The material caught from side to side</div>
+</div>
+
+<p>It will be well to have a needle case to match the
+sewing case. Cut a strip of material thirteen inches
+long by three and a half inches wide. Cut this
+strip in four parts. Get a piece of cardboard that is
+not too thick or of such kind that will break easily,
+as some of the cheaper grades of brown cardboard
+are apt to do. Cut four pieces, three inches wide by
+three and a half inches long. Thread your needle
+with a piece of No. 40 cotton and put a big knot at
+the end. Take one of the pieces of denim and a<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
+piece of the cardboard. Catch the material from side
+to side with stitches about one quarter of an inch
+apart (<a href="#Fig55">Figure 55</a>). After sewing these two sides sew
+the third and fourth in the same manner. Cover
+each piece of the cardboard in this way (<a href="#Fig56">Figure 56</a>).
+Take two of the covered pieces and over-cast them
+carefully together.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig56"></a><img src="images/i_063.jpg" width="600" height="502" alt="" />
+<div class="caption">Fig. 56. The four sides of material caught together</div>
+</div>
+
+<p>You should have leaves of flannel to stick your
+needles in. Pink the edges of the flannel. Pinking
+is snipping out the edge in little points and can be
+done with scissors. Connect the two pieces of the
+needle case with two tiny bows, or a heavy thread
+can be made to answer the purpose. The flannel
+sheets are tacked through the centre like the pages
+in a book (<a href="#Fig7">Figure 57</a>).</p>
+
+<p><span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span></p>
+
+<p>The third or middle compartment between the
+spool case and darning thread can be used for a
+miscellaneous pocket to hold the tape-measure,
+emery-bag, small scissors and other necessary
+articles.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig57"></a><img src="images/i_064.jpg" width="600" height="474" alt="" />
+<div class="caption">Fig. 57. The flannel sheets tacked through the centre</div>
+</div>
+
+<p>A piece of tape stretched down on the denim with
+just enough spring for the package of needles to
+pass through is a handy way to carry them (<a href="#Fig58">Figure 58</a>).</p>
+
+<p>It is rather dangerous to travel with a pair of
+scissors with the points unprotected. In Canada<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>
+and the states that border it the Indians sell the
+little sweet grass protectors. A cork, however,
+that comes in small bottles such as you get from drug
+stores will protect the points of the scissors as well
+as the sweet grass protectors, if not as elegantly.
+If the scissors are too large to put in the pocket a
+piece of tape could be stitched down to slip them in
+lengthwise. The case should be folded in three parts
+when it is not in use and a piece of tape the same
+colour as the binding tied around it (<a href="#Fig59">Figure 59</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig58"></a><img src="images/i_065.jpg" width="600" height="478" alt="" />
+<div class="caption">Fig. 58. The place for the needles</div>
+</div>
+
+
+<p>Now that you have your sewing apron and a work
+box, you will love to be sewing every chance you get.
+Suppose we plan a set of bed things for Sally Ann.<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>
+First let us make a mattress. The mattress on your
+bed is covered, probably, with ticking, but this is too
+harsh for your fingers to
+sew, so let us select percale
+or zephyr, and half-inch
+tape for the binding;
+the filling can be cotton,
+hair, or feathers. If it is
+impossible to get any of these three, newspapers
+chipped up very fine will make an excellent padding.
+Many people use newspaper chippings to fill
+pillows for summer use.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="Fig59"></a><img src="images/i_066.jpg" width="400" height="220" alt="" />
+<div class="caption">Fig. 59. The case folded</div>
+</div>
+
+<p>Measure the bedstead and cut two pieces of percale
+or zephyr exactly the same size. Now cut a
+stripe of the material, one inch wide, long enough to
+go around the four sides of one of the pieces of
+the material that you have just cut.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig60"></a><img src="images/i_066a.jpg" width="500" height="350" alt="" />
+<div class="caption">Fig. 60. The narrow strip to the large strip</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span></p>
+
+<p>Baste the long narrow strip around one large piece.
+Lay the wrong side of the strip to the wrong side of
+the material (<a href="#Fig60">Figure 60</a>). The edges must be
+even. Use the combination stitch of one running
+stitch and one back-stitch just below the basting.
+When the strip has been securely sewed to the four
+sides of the material, join the two ends together on
+the wrong side.</p>
+
+<p>Now take your tape,
+which may be white or
+the colour of the figure
+in your material, and
+bind the edges by first
+running one side down
+and then the other
+(<a href="#Fig61">Figure 61</a>).</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="Fig61"></a><img src="images/i_067.jpg" width="400" height="412" alt="" />
+<div class="caption">Fig. 61. Binding the mattress</div>
+</div>
+
+<p>The other piece of
+material is sewed in
+the same manner&mdash;the wrong side of the strip to the
+wrong side of the material. Do not sew, however,
+around the entire four sides but leave about six inches
+open through which the filling may be passed. After
+basting the strip with combination stitching fill
+with cotton or whatever material you have on hand.
+Do not fill the mattress so that it will be bumpy.
+Put a little stick in and flatten the filling at the top.<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
+Now sew the opening up and we are ready to quilt
+the mattress.</p>
+
+<p>Thread a large needle with two pieces of heavy cotton
+floss or wool. Push
+your needle through to
+the other side, letting a
+short end extend above
+the mattress. Bring your
+needle back again close to
+where it came out (<a href="#Fig62">Figure
+62</a>). Unthread
+the needle and tie the
+ends tightly. Cut off
+what is left and repeat
+again two and a half
+inches over. It is best to quilt in rows; that is, to
+start two inches in from the long side and make a
+row parallel with the tape. The next row is made
+two and a half inches farther over and the next row
+of knots should come in between the first row of dots.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="Fig62"></a><img src="images/i_068.jpg" width="400" height="466" alt="" />
+<div class="caption">Fig. 62. Quilting</div>
+</div>
+
+<p>This mattress is made just like yours and the pillow
+is the next article we will make. The pillow should
+be half the width of your mattress, as we will use two
+on the bed. Take a piece of material twice the
+length desired for the pillow. Use the same kind of
+material as that used for the mattress. Fold the piece<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
+in two with the wrong side out. Join the two long
+edges and one of the short sides with the
+combination stitch (<a href="#Fig63">Figure 63</a>).
+Make the stitches one quarter inch
+from the edge. Now turn the case
+inside out and fill with cotton.
+Turn in the edges of the open end
+and over-cast them together (<a href="#Fig64">Figure
+64</a>). As I have said before,
+it will be necessary to make two
+pillows.</p>
+
+<div class="figcenter" style="width: 250px;">
+<a name="Fig63"></a><img src="images/i_069.jpg" width="250" height="436" alt="" />
+<div class="caption">Fig. 63. The pillowcase</div>
+</div>
+
+<div class="figcenter" style="width: 250px;">
+<a name="Fig64"></a><img src="images/i_069a.jpg" width="250" height="459" alt="" />
+<div class="caption">Fig. 64. Overcasting
+the open end</div>
+</div>
+
+<p>The pillowcases can be made of
+lawn, cambric or
+muslin. Cut the material a little
+larger both in length and width
+than the pieces used for the pillow.
+The seams of the pillowcases will
+have to be felled. Along the one
+short side and the long side make
+fine running stitches, one quarter
+of an inch from the edge. Cut the
+raw edge from one side so that the
+other is about an eighth of an inch
+wider. Now fold the wider edge
+over like a hem so that it completely covers the
+cut edge and hem neatly to the material.   The open<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span>
+end has a wide hem of say three quarters of an inch.
+When the hem is finished turn the case with the
+work inside.</p>
+
+<p>For the sheets cut two pieces
+of muslin or lawn large enough
+to cover the mattress and to
+turn under. The selvage edge
+of the material should run the
+length of the sheet. Turn in
+a quarter-inch hem on the two
+long sides of each sheet and
+hem. Now turn a one-inch
+hem at the top and bottom of
+each sheet. This completes
+the sheet (<a href="#Fig65">Figure 65</a>).</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="Fig65"></a><img src="images/i_070.jpg" width="300" height="448" alt="" />
+<div class="caption">Fig. 65. The sheet</div>
+</div>
+
+<p>A blanket is of course very necessary to have and it
+can be made of a piece of an old blanket or of canton
+flannel, cashmere, or plain flannel. If a piece of
+blanket is used, finish the edges with the blanket
+stitch which is described in Chapter twelve of the
+book.</p>
+
+<p>The flannel, cashmere, or canton flannel is finished
+by turning the edges over a quarter of an inch and
+herring boning or cat-stitching them to the material
+(<a href="#Fig66">Figure 66</a>). For cat-stitching see diagram in
+Chapter nine.</p>
+
+<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span></p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="Fig66"></a><img src="images/i_071.jpg" width="300" height="458" alt="" />
+<div class="caption">Fig. 66. The blanket</div>
+</div>
+
+<p>No bed is complete without a counterpane of
+some sort and this can be made as fancy as you desire.
+A pretty one is made of strips of
+insertion joined together by fine
+over-casting or fagotting. Fagotting
+is explained in Chapter
+twenty. A row of edging will have
+to be sewed like a ruffle around
+the two long and one short sides
+to complete the counterpane.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig67"></a><img src="images/i_071a.jpg" width="500" height="491" alt="" />
+<div class="caption">Fig. 67. The crow's foot and spider on checked gingham</div>
+</div>
+
+<p>If a very fancy counterpane is
+desired get a piece of checked
+gingham of some light colour. The check should
+be a quarter of an inch square. With your needle
+threaded with white or a shade deeper than the<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span>
+darkest check make spiders on the dark squares
+and crow's feet on the light. Directions for making
+a spider are given in the chapter on "Lace Stitches."</p>
+
+<p>A crow's foot is made by taking one stitch on the
+diagonal of the square and two on each side of it,
+the stitches on each side of the first one being a trifle
+shorter than the previous ones (<a href="#Fig67">Figure 67</a>). A counterpane
+like this is very attractive and does not
+require a great deal of time to make.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="Fig68"></a><img src="images/i_072.jpg" width="400" height="471" alt="" />
+<div class="caption">Fig. 68. The envelope opened</div>
+</div>
+
+<p>A dainty little pin case that will make an acceptable
+little gift for a friend that is going to travel is
+the envelope pin case. Take a piece of material
+such as linen, cretonne, or silk and another piece of<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span>
+different coloured material for lining and shape one
+end as shown like the flap of an envelope (<a href="#Fig68">Figure 68</a>).
+A good size is nine inches long by four inches wide.</p>
+
+<p>Cut a piece of stiff paper a half inch smaller than
+the pieces of material. Baste the material which
+will be outside over the paper so that the edges are
+folded back one quarter on the paper. Turn a
+similar fold on the lining and hem it to the material
+as shown on the flap of the envelope opened.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig69"></a><img src="images/i_073.jpg" width="600" height="319" alt="" />
+<div class="caption">Fig. 69. The envelope case closed</div>
+</div>
+
+<p>Now take two papers of pins and place them in
+the case so that they look like leaves of a book. Be
+careful to see that the heads of the pins are on top.
+Now catch the pins to the case with several long
+stitches which are taken below the points of the
+pins. Stitch a ribbon to flap of envelope and one
+at the bottom. Close the case and tie the ribbons
+and you have a handy pin case (<a href="#Fig69">Figure 69</a>).</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span></p>
+
+
+
+
+<h2><a name="V" id="V"></a>V<br /><br />
+<small>MAKING BUTTONHOLES, CUTTING FROM A PATTERN,
+A DOLL DRESS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">To make</span> a good buttonhole is an accomplishment
+that any girl can be proud of,
+as it is the hardest thing in sewing.
+The thread should be almost double in length to
+that you usually take, as a joining is very clumsy
+in a buttonhole.</p>
+
+<p>A buttonhole is a worked opening in a piece of
+material or garment through which a button is to be
+slipped. The friction caused by buttoning and unbuttoning
+necessitates
+that the worked
+edges should be firmly
+and well sewed.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig70"></a><img src="images/i_074.jpg" width="500" height="385" alt="" />
+<div class="caption">Fig. 70. The first step in buttonholing</div>
+</div>
+
+<p>Before we make a
+real buttonhole, let
+us see how the stitch
+is worked. Draw a
+line one inch in length
+with the straight of the material. Take two stitches<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
+one inch long over this line. At the extreme right
+of the stitches insert your needle, threaded with
+No. 40 cotton. Take a stitch about a sixteenth of
+an inch below the line. While the needle is still
+in the material&mdash;you are working from left to
+right&mdash;(<a href="#Fig70">Figure 70</a>), carry the thread under its
+point from the left, to the right side of the needle.
+The enlarged cut showing this stitch is very plain.
+The needle is then drawn through the material
+toward the chest and then straight from it. The
+next stitch and every other stitch must be identical
+with the first, the difference being that each stitch
+is then a little farther to the left. Every stitch
+must be the same length.</p>
+
+<p>Now let us prepare to make the stitch on a fold.
+Fold a band in three equal parts. Pass the needle
+between the folds and bring it out on the edge.
+Hold the end of the thread with the left thumb.
+Carry the needle to the back of the fold and insert
+the point through the fifth thread of the material
+from the edge. The double thread at the edge of
+the needle is brought around the point of the needle
+from left to right and drawn out. (<a href="#Fig71">Figure 71</a>).</p>
+
+<p>A tailor's buttonhole is made slightly different.
+The needle is placed in the same position as in the
+ordinary buttonhole. The thread is brought from<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
+the top of the stitch and the doubled thread is
+brought around under the point of the needle from
+right to left (<a href="#Fig72">Figure 72</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig71"></a><img src="images/i_076.jpg" width="500" height="331" alt="" />
+<div class="caption">Fig. 71. The position of the needle in buttonholing</div>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig72"></a><img src="images/i_076a.jpg" width="500" height="420" alt="" />
+<div class="caption">Fig. 72. A tailor's buttonhole</div>
+</div>
+
+<p>The corners of the buttonhole are worked in two
+ways, either barred or rounded. The round corners
+are worked in the same buttonhole stitch, only it<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span>
+is twice the depth of the buttonholing along the
+two edges. Five or seven stitches will be sufficient
+for a corner or the ridge of the buttonholing will
+be too crowded.</p>
+
+<p>The bar or braced end of the buttonhole is a
+little more difficult. It is necessary to bar a buttonhole
+for heavy woollen materials such as men's coats,
+or your own cloak, or outer wraps (<a href="#Fig72">Figure 72</a>).
+Generally the first end of the buttonhole is rounded
+and the last end barred
+(<a href="#Fig73">Figure 73</a>).</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig73"></a><img src="images/i_077.jpg" width="300" height="163" alt="" />
+<div class="caption">Fig. 73. The buttonhole with
+one end rounded and the
+other barred</div>
+</div>
+
+<p>Work around the buttonhole
+end when the last stitch
+has been made, turn the material
+so that the work lies
+across your forefinger. Pass the needle over the
+extreme left of the stitch, (<a href="#Fig74">Figure 74</a>). Work four
+stitches the same length as those of the two
+sides of the buttonhole, and then insert
+the needle through the ridge of the first
+buttonhole stitch. The ridge of the
+bar faces the buttonhole. This bar
+should be just the width of the buttonhole. Nine
+stitches are usually sufficient for it.</p>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig74"></a><img src="images/i_077b.jpg" width="200" height="127" alt="" />
+<div class="caption">Fig. 74. Barring
+the buttonhole</div>
+</div>
+
+<p>Tailors run two or three strands at the base of
+the buttonhole before working the nine stitches.<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
+The stitches are not taken through the material but
+only over the threads.</p>
+
+<p>A buttonhole is fastened off on the wrong side
+at the base of the stitch.</p>
+
+<p>The most important step is to cut the buttonhole
+straight. The buttonhole should be a trifle longer
+than the button. It should be cut in the opposite
+direction to which the strain will be. For instance
+on the back of the waist the buttonholes should
+run crosswise, for the movement of the shoulders
+spreads the buttonhole lengthwise. On the bands
+around the waist buttonholes are made lengthwise.</p>
+
+<p>A sharp pair of scissors or a penknife should be
+used for cutting the holes. Insert the point of the
+scissors or knife through the centre of the buttonhole.
+Cut one side, then the other, along a thread
+of the material.</p>
+
+<p>The thread is fastened securely on the wrong side
+of the left-hand corner. Use No. 40 sewing cotton
+for buttonholes, unless on very fine material, when
+No. 60 should be used. Sometimes it is well to
+over-cast the raw edges before working the buttonhole.
+A thread should always start at the extreme
+lower left-hand corner.</p>
+
+<p>The backs of yokes should be fastened with loops
+and fine buttons. To make a loop, span the thread<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>
+across the edge of the material in a loop large enough
+to slip the button through. Let the last stitch be
+on the right-hand side. Now place the threaded
+needle under the strands of thread letting the thread
+fall under the point of the needle. Repeat in this
+manner till the strands are entirely covered. The
+ridge or purled edge of this stitch will be on the outside
+of the loop.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig75"></a><img src="images/i_079.jpg" width="600" height="242" alt="" />
+<div class="caption">Fig. 75. Loops made of threads</div>
+</div>
+
+<p>Hooks are sometimes caught into loops, but they
+are made directly on the material instead of sewed on
+the edge. The strands of thread, however, are not
+as loose as the buttonloops. The diagram (<a href="#Fig75">Figure
+75</a>) of the two loops will convey a clear idea of
+how the threads are spanned and covered.</p>
+
+<p>The last step in sewing is cutting from a given
+pattern. An old garment that fits well, ripped
+apart makes an excellent pattern and requires very
+little fitting. Press the pieces before using them as
+a pattern. Lay the material so that the selvage
+runs lengthwise, that is, from head to foot. Only<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span>
+one half of the garment is necessary for a pattern,
+as the material is doubled or folded lengthwise
+(<a href="#Fig76">Figure 76</a>). The centre front of
+the skirt or waist is always placed
+on the fold of the material and
+either basted or pinned down before
+cutting.</p>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig76"></a><img src="images/i_080.jpg" width="200" height="345" alt="" />
+<div class="caption">Fig. 76. The centre
+front on fold</div>
+</div>
+
+<p>Collars, cuffs, bands, and sleeves
+are cut with the selvage running
+their length. Cut any part of a
+garment such as sleeves, waist, or
+skirt through two thicknesses of
+material so that both sides will be
+exactly alike. This does not refer to the front gore
+of a skirt. When the material has a right and wrong
+side the right sides should face each other before
+cutting the pattern.</p>
+
+<p>Handkerchiefs or frills should be cut along a
+thread so that the edges may be perfectly straight.</p>
+
+<p>Be sure that the material lies perfectly flat under
+the pattern. Pin the centre first to keep it from
+slipping before pinning the edges. Pin the entire
+garment before cutting anything, so that you can
+be sure that your material will be sufficient. This
+also gives you an opportunity to see where to put
+the smaller pieces and economize with the material.</p>
+
+<p><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span></p>
+
+<p>A large pair of scissors should be used in cutting.
+The blunt-pointed blade is next to the board or table.
+It is well to practise on paper and plan the pattern
+before using the pattern on the cloth.</p>
+
+<p>Bias bands should be cut on the bias of the material.
+Cut a square piece of material and fold it cat-a-corner.
+Cut along the fold and you will get a
+true bias.</p>
+
+<p>Bands to finish the necks of undergarments or
+around armholes should be cut on the bias. In
+fact, any curved edge that has to be faced should
+be faced with a bias instead of a straight band.</p>
+
+<p>Now suppose we make a real dress for Sally Ann
+that will be put together and finished just like one
+of your own dresses. The style we will select will
+be on the order of a French dress, that is, a long waist
+and short skirt. The pattern for the waist is in
+seven parts: they are the front, side front, back,
+side back, sleeve, collar, and cuff. The skirt is only
+one piece.</p>
+
+<p>Three quarters of a yard of material will be sufficient
+to make a dress for a doll from eighteen to
+twenty inches in height.</p>
+
+<p>In all patterns that are bought only one half is
+given; sometimes all the seams&mdash;which are a very
+important part of a dress&mdash;are given and sometimes<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span>
+they are omitted. Any pattern that is published
+by a reliable firm tells on the envelope whether you
+should allow for the seams or not.</p>
+
+<p>The pattern is usually of tissue paper and each
+piece has perforations or holes of different shapes.
+One shape means this side must be placed on the
+fold of the material, another shape or perforation
+the same shape only grouped differently, means that
+the pattern should be placed on a straight thread of
+the material. Still another means "gather here."
+If there are tucks in the pattern they are usually
+indicated. Where the seams join each other, little
+notches are made and corresponding notches are
+placed together and pinned after the pattern
+is cut.</p>
+
+<p>Let us suppose the material is forty-five inches
+wide. Place the centre of the skirt on the fold of
+the material and pin in place. Your pattern should
+be planned and pinned on a flat surface such as a
+sewing table. Place the pins through the tissue
+pattern and both thicknesses of the material, letting
+the head and the point of the pin be visible to the eye.
+Do not cut any piece of your pattern until you have
+planned and pinned every piece, as that is the only
+way you can economize on your material (<a href="#Fig77">Figure
+77</a>). Often a pattern cut before each piece is<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span>
+planned comes to grief if an over-supply
+of material has not been provided.</p>
+
+<p>The centre front is also placed on the
+fold of the material as well as the centre,
+back and collar. The sleeves are now
+fitted in, so that the perforations rest
+on the straight thread of the material.
+The side front and
+back and cuffs are
+also pinned to the
+material. The
+pattern now pinned,
+take a large
+pair of cutting
+scissors and holding
+the blunt part
+toward the table,
+cut close to the
+tissue pattern, or
+if no seams are
+allowed, the width
+stated in directions
+should be
+allowed for the
+seams.</p>
+
+<div class="figcenter" style="width: 252px;">
+<a name="Fig77"></a><img src="images/i_083.jpg" width="252" height="600" alt="" />
+<div class="caption">Fig. 77. The waist pattern pinned
+to the material</div>
+</div>
+
+<div class="figleft" style="width: 250px;">
+<a name="Fig78"></a><img src="images/i_084.jpg" width="250" height="318" alt="" />
+<div class="caption">Fig. 78. Notches of
+sleeve put together</div>
+</div>
+
+<p>Let us make the<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span>
+sleeve first. Take one sleeve and holding with the
+right side join notches together (<a href="#Fig78">Figure 78</a>).
+Baste the sleeves up on the seams
+one eighth of an inch from the edge.
+When the basting is finished make a
+row of fine running stitches. Turn the
+sleeves on the wrong side and baste
+them before working the combination
+stitches.   The sleeves are now
+ready to be banded.   The band is
+taken and sewed on the short side.   The seaming
+is taken on the wrong side of the material.   A little
+seam is taken on each of the long sides of the cuff.
+Fold the cuff in half. The turns or folds are opened
+out and now turn the cuff inside out.   Run a gathering
+thread at the lower edge of the main part of
+the sleeves starting the thread one half inch from
+each side of the seam.   Place the cuff around the
+sleeve so that cuff seam rests on the seam of the
+sleeve.   Pin into position.   It will probably be necessary
+to pull or adjust the gathering thread so that
+the lower part of the sleeve be just the size of the
+cuff. Baste the band on after it has been pinned satisfactorily
+before working the combination stitch.</p>
+
+<p>Turn the sleeve inside out and fold the cuff in
+the creases.   Hem the inner side of the cuff to the<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span>
+wrong side of the sleeve. On the upper side of the
+sleeves run another gathering thread about one
+inch and a half from the
+seam (<a href="#Fig79">Figure 79</a>). We have
+now finished with the sleeve
+until the waist proper is
+ready.</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig79"></a><img src="images/i_085.jpg" width="300" height="392" alt="" />
+<div class="caption">Fig. 79. Gathering the top of
+the sleeve</div>
+</div>
+
+<p>Now take the centre back
+and side back and baste them
+together. Join the pieces so
+that the notches correspond.
+Work the combination stitch
+three eighths of an inch from
+the edge. The side fronts
+are joined to the backs under the arm and on the
+shoulders. The front is then sewed to the right
+side of the waist only. It will be necessary to face
+the centre front piece and the left side front. Take
+a bias strip of material not more than three quarters
+of an inch wide and fold an eighth of an inch on each
+side of this strip. Join the shoulder seams together,
+one side of the back to the right side of the front and
+the other side to back. Sew with combination
+stitches, then make a felled seam as explained for
+the sleeve. Baste the turned fold to the right-hand
+side of the waist by opening out creased side and<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span>
+placing the two right sides together and stitching
+one eighth of an inch from the edge. Turn the
+bias over to the wrong side of the waist and slip
+stitch. Slip stitching, as I have explained before,
+is somewhat like hemming; only the stitches are
+taken back of the folded edge and catch one thread
+only of the material.</p>
+
+<p>The other bias band is basted in like manner to
+the left-hand side of the waist.</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig80"></a><img src="images/i_086.jpg" width="300" height="300" alt="" />
+<div class="caption">Fig. 80. The gathers on the
+upper part of the sleeve</div>
+</div>
+
+<p>The sleeves are ready to be put in. Measure one
+and one quarter inches from
+the under arm seam on the
+waist, which is the short
+seam near the front of the
+waist. Pin the seam of the
+sleeve to this point. Pin
+the rest of the sleeve so
+that the gathers are evenly
+distributed. Pin the right
+side of the sleeve to the
+right side of the waist. Baste securely. Remember
+that the gathers should be thickest on the
+upper part of the sleeve (<a href="#Fig80">Figure 80</a>). Stitch
+with fine back-stitching and then overcast. The
+neck may be bound or may have the collar attached.</p>
+
+<p>Turn and hem the outer edge of the collar; a<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span>
+ruffle of lace may be added if desired. Baste the
+collar to the waist, and try the waist on Sally Ann.
+If it is a satisfactory fit, stitch in place. It is well
+to cover the raw edges with a little bias fold. Hem
+the fold down on both sides.</p>
+
+<p>The long strip is not joined, but a half-inch hem
+folded on one side and then stitched. The skirt
+is plaited or kilted, as it is often called. A hem is
+made on each of the short sides of the strips. Now
+crease the material as if you were going to make a
+tuck three quarters of an inch deep. A box plait
+will next have to be planned; again crease your
+material as if you were going to make a tuck three
+quarters of an inch deep. These creases must be
+exactly three quarters of an inch from the double
+fold of each piece. Measure an inch and a half,
+then turn the material under so that a three-quarter
+inch piece is under the left side of the waist line.
+This completes the box plait.</p>
+
+<p>The plaits from there on are folded toward the
+left, while the first two were toward the right. Baste
+each plait down securely. When working on cotton
+materials that have a lot of dressing, the creases are
+likely to stay in without basting, but while working
+on it the edges are apt to get turned up. Basting
+(<a href="#Fig81">Figure 81</a>) is therefore the surer and safer way<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
+to keep the plaits in position, while for woollen or
+soft, sleazy materials it is the only way.</p>
+
+<p>When every plait has been basted lengthwise,
+take another thread and baste them crosswise three
+or four times.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig81"></a><img src="images/i_088.jpg" width="600" height="298" alt="" />
+<div class="caption">Fig. 81. Section of plaited skirt showing how it should be basted crosswise</div>
+</div>
+
+<p>Join the waist to the skirt, taking care that the
+centre of the box-plait is under the direct centre
+of the front of the waist.</p>
+
+<p>A sash will be needed to finish this dress. It can
+be tacked in place or little straps of ribbon may be
+stitched at intervals and the ribbon run through
+the straps (<a href="#Fig81A">Figure No. 81A</a>).</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig81A"></a><img src="images/i_089.jpg" width="300" height="589" alt="" />
+<div class="caption">Fig. 81A. Sally Ann's new
+dress</div>
+</div>
+
+<p>If this dress had been stitched on the machine
+it would have been better to make tailored seams
+on the waist; that is, a narrow seam is taken on the
+wrong side. The material is then turned back so<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span>
+that on one side of the seam it slightly overlaps
+the other. Baste in place and stitch on the edge.
+Tailored seams do not require any extra allowance
+of material. They should slant toward the right
+on the right side of the garment
+and toward the left on
+the left side. If the seams
+were stitched to run in one
+direction the garment would
+have a very one-sided appearance.</p>
+
+<p>Press all the wrinkles caused
+by handling the dress in
+sewing. It is best to lay a
+damp cloth over the material
+rather than place the iron
+directly on the material.
+You will need a small iron for
+this dress. Press each plait
+down carefully. Take out
+the basting threads before trying on the dress.</p>
+
+<p>There are good, bad and indifferent dressmakers,
+and I know you wish to be one of the former. Sew
+a row of buttons on the left front of the dress and
+make little buttonholes to correspond on the right
+side.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p>
+
+
+
+
+<h2><a name="VI" id="VI"></a>VI<br /><br />
+<small>A LESSON IN STENCILLING</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">What</span> is stencilling? Let us see. Stencilling
+is a branch of painting. Have you heard
+the story of the Baltimore belle in the time
+of the Revolution who was most anxious to go to
+the first big ball that was to be given after the war?
+The town had been divested of all the beautiful silks
+and satins that the great ladies were accustomed
+to wear. Our country had stopped importing these
+costly materials because there was no occasion to
+use them and no money to pay for them.</p>
+
+<p>An invitation had been sent to one of Baltimore's
+fairest daughters who was intending to go with her
+cousin. What were they to wear? Both needed
+the festive garments. At last, after a careful
+canvass of the town, the young man managed to
+borrow a pair of satin breeches and a flowered coat
+and all the other articles necessary to make a fine
+dandy of those days, except the silk stockings.</p>
+
+<p>The girl succeeded in finding a piece of white lawn
+of the coarsest kind that was sufficient to make a<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>
+frock. In no way discouraged this clever young
+lady, who luckily could paint beautifully, started
+and painted little sprays of rose buds on the fifteen
+or twenty yards required for the gown. This made
+a very dainty and pretty frock.</p>
+
+<div class="figcenter" style="width: 561px;">
+<a name="Fig82"></a><img src="images/i_091.jpg" width="561" height="600" alt="" />
+<div class="caption">Fig. 82. Stencilled curtains</div>
+</div>
+
+<p>Poor George, her cousin, was in despair in not
+being able to borrow or buy a pair of silk stockings,
+but clever Miss Betty hit on the plan of painting
+his legs with a thick coat of white and then decorating
+them with clocks on each side, so that no one
+at the dance even suspected that he didn't have on
+silk stockings.</p>
+
+<p><span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span></p>
+
+<p>Miss Betty's dress was voted to be the most
+charming dress of the evening.</p>
+
+<p>Ever since I have heard this story I have wished
+that Miss Betty had known how to stencil. What a
+lot of time she would have saved! I am sure you
+will agree with me when you know how to stencil.</p>
+
+<p>Have you noticed the flat gay decorations above
+the moulding in some houses? Well those are
+stencilled. A painter will cut out a design from a
+thin steel background; he lays this on the wall and
+paints over the open spaces in the design. It is
+the only true way in which he can keep his pattern.
+All free-hand designs are bound to show a difference
+in outline.</p>
+
+<p>Stencilling for home decoration is used on curtains
+(<a href="#Fig82">Figure 82</a>), porti&egrave;res, rugs, couch covers, table
+covers, lunch sets, pillow tops, (<a href="#Fig83">Figure 83</a>), bags,
+counterpanes, as well as for dresses, parasols, wraps,
+scarfs, and in fact almost every conceivable object
+that allows the use of decoration.</p>
+
+<p>You can get a stencil board from any artist supply
+shop, but the one you can make at home is cheaper
+even if it is not quite as durable.</p>
+
+<div class="figcenter" style="width: 449px;">
+<a name="PL2"></a><img src="images/i_093.jpg" width="449" height="600" alt="" />
+<div class="capr">Photograph by Mary G. Huntsman</div>
+<div class="caption">A Single Motif Being Used On a Stencilled Scarf</div>
+</div>
+
+<p>In many of the schools, stencilling in its simplest
+form is taught in the kindergarten. The children are
+taught to fold a heavy piece of drawing paper<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span>
+lengthwise and draw half a design so that the centre
+of it is on the fold of the paper. The design is then
+cut away, leaving the background intact.   This
+method is good for very simple motives. Sometimes
+when we do not wish our design to be so set, we will
+draw it without creasing the paper.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig83"></a><img src="images/i_095.jpg" width="600" height="571" alt="" />
+<div class="caption">Fig. 83.   A simple stencilled pillow</div>
+</div>
+
+<p>The stencil board that you can buy is very hard
+for little fingers to cut, besides being expensive.</p>
+
+<p>To make a stencil pattern, draw a design such as
+a bunch of violets. Let every petal be separated
+from the other and where the stems should intersect<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>
+leave a little space between. These little spaces
+or bridges are what keep the background together.
+Of course, as a usual thing, if you buy a stencil outfit,
+one pattern or more already cut comes with it.
+In many of the large shops stencil patterns can be
+bought separately, but if one has any idea of drawing
+it is an easy matter to make a pattern.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig84"></a><img src="images/i_096.jpg" width="600" height="367" alt="" />
+<div class="caption">Fig. 84. The cut stencil</div>
+</div>
+
+<p>The design can be traced and cut on a piece of
+heavy manilla paper: a coat or two of shellac makes
+the paper stiffer and somewhat waterproof. The
+advantage of using drawing paper is this, that it
+may be cut with a pair of scissors, while a stencil
+board requires a sharp penknife and lots of finger<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>
+strength to cut the pattern. White shellac is the
+best to use, as it dries quickly. It can be bought
+from any paint store.</p>
+
+<p>The pattern now cut (<a href="#Fig84">Figure 84</a>), you are
+ready to do a piece of real stencilling. Let us
+choose the cheapest thing we can get for our first
+attempt. A piece of cheese cloth for a sash-curtain
+appeals to me. Put in the hem so that the stencil
+will be sure to be straight. Lay a large piece of
+blotting paper over the board or table on which you
+are going to work. Place the cheese cloth on top of
+that. Try your stencil pattern and measure how
+many times you can repeat it. It is better to plan
+a pattern with a small space between each motif
+so that you will not have half or part of the design
+left over. Stick a pin where the centre of each
+motif should be.</p>
+
+<p>Lay the stencil pattern in position and thumbtack
+it down to the cheese cloth and blotting paper.
+Turpentine and oil are the most satisfactory for
+stencilling, though there are several patent mixtures
+sold that are good. The paint can be mixed with
+the turpentine till it is the consistency of a thick
+cream or the brush can be dipped into the turpentine
+and then into the paint. In either case the brush
+must be wiped quite dry, as the process is more of<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
+a rubbing in one than painting. Bristle brushes of
+four different sizes should be in your stencil outfit.
+They come round and flat, (<a href="#Fig85">Figure 85</a>). The
+frontispiece shows a child stencilling with the round
+brush.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig85"></a><img src="images/i_098.jpg" width="600" height="301" alt="" />
+<div class="caption">Fig. 85. The brushes</div>
+</div>
+
+<p>Dip the brush into the mixture and be sure you
+wipe it off on a soft rag before painting in the design.
+If the brush is too wet the result is a blurred stencil.</p>
+
+<p>Use a different brush for every colour. When the
+first motif is stencilled, move the pattern and place it
+over the next pin. If you want to reverse the pattern,
+clean it thoroughly with naptha on both sides and
+let it dry for a couple of minutes before using again.</p>
+
+<p>To make a stencilled piece washable it has to
+be steamed like printed dress goods. This can be
+accomplished in two ways: that is, by holding it
+over a steaming kettle, or by laying a wet cloth over
+the stencilling and pressing with a hot iron.</p>
+
+<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p>
+
+<p>Needless to say, a piece stencilled in water colours
+should not be treated like this.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig86"></a><img src="images/i_099.jpg" width="600" height="458" alt="" />
+<div class="caption">Fig. 86. A stencilled bag</div>
+</div>
+
+<p>Water colours or crayons can be used when a piece
+is not desired to be washed. The latter works in
+as smoothly as paints.</p>
+
+<p>Scrim, cheese cloth, linen, crash, burlap, monk's
+cloth, and Arras cloth can be used for curtains or
+porti&egrave;res. The cost of them varies from seven
+cents to one dollar a yard.</p>
+
+<p>Sometimes a small motif is taken and stencilled
+all over the material. This gives the effect of a
+printed pattern.</p>
+
+<p>Five tubes of paint will produce almost any shade<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span>
+under the sun. They should be blue, yellow, red,
+black, and white. Blue and yellow make green;
+blue and red, purple; lavender, yellow and red make
+orange. A little black will soften the colours while
+white lightens the shade. Other combinations can
+be made by mixing three colours together. Enough
+of the paint should be mixed at one time to stencil
+the entire piece, as it is extremely difficult to mix
+a new batch of colour that will be the exact shade
+as the first. Ultramarine blue is the shade of the
+deep sea. Crimson lake is a bright red. Venetian
+red is a terra cotta. Emerald green is a blue green.
+Sap green is yellow green. Ivory or lamp black are
+the two blacks to be had in oil paints; the former
+is shiny while the latter is dull. Flake white is
+the term for white in oil paints.</p>
+
+<p>Of course, you can buy ready mixed in tubes
+almost any shade you desire, but it is lots more fun
+to make your own colour combinations, as well as
+very much cheaper. Diamond dyes can be used
+for stencilling by letting one package of dye serve
+for one pint. The dyes will have to be boiled in
+the manner stated in their directions.</p>
+
+<p>You will find that stencilling is the most delightful
+of the home crafts. Those who are not fond of
+needlework will find this a real wholesome pleasure.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span></p>
+
+
+
+
+<h2><a name="VII" id="VII"></a>VII<br /><br />
+<small>WHAT CAN BE DONE WITH ONE SKIN; CUT LEATHER
+BAGS, BELTS, BOOK COVERS. ETC.</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">There</span> is nothing so handsome for a library
+table or cushion in a room of dark rich
+colouring as leather work. These articles
+are very expensive to buy and are sold in arts and
+crafts shops or women's exchanges and some of the
+department stores. You have doubtless seen the
+dyed whole skin used on a library table, but have you
+ever seen leather appliqu&eacute;? That is the design cut
+out of a leather background and lined, or pieces of
+leather applied to a background.</p>
+
+<p>Different kinds of leather may be used for this
+work. The cheapest and thinnest kind is sheepskin.
+Leather is usually sold by the square foot and one
+has to buy the entire skin. Sheepskin costs about
+sixteen cents a square foot; some stores charge more
+for it, while it is possible at a wholesale and retail
+shop to get it for less. The skins come dyed in all
+shades. Golden brown, dull gray or moss green
+are the most artistic for general use.   Many tailors<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span>
+like to trim ladies' suits with leather and for this
+purpose many beautiful odd shades are dyed. Goatskin
+ranks next to sheepskin and is a trifle dearer.
+Chamois is good for belts or dainty opera bags.
+It comes in white or cream only. Calf is a beautiful
+substantial skin, as is also Russia calf. Pebble
+calf is what its name implies, very rough with a
+glazed finish. The other side presents an undyed
+appearance.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig87"></a><img src="images/i_102.jpg" width="600" height="585" alt="" />
+<div class="caption">Fig. 87. A well-planned skin</div>
+</div>
+
+<p>If you get a skin you should not expect to get a
+sofa cushion as well as a large table mat out of it.
+A skin carefully cut will give you one large piece<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span>
+and the rest of it can be planned for smaller objects,
+such as card cases, pen wipers, blotter corners, belts,
+picture frames, possibly a magazine cover or a bag.
+The diagram of the skin shows how carefully to cut
+out and plan every part of it (<a href="#Fig87">Figure 87</a>).</p>
+
+<p>Let us take the sofa cushion first. A bold conventional
+design can be used in each corner. One that
+has each part separate like a stencil design is one that
+I have in mind.</p>
+
+<p>Cut each part out carefully so as not to impair
+the background. A cheaper grade of leather of a
+tone deeper or lighter can be laid under the design,
+though velvet is also in excellent taste for this work.
+Broadcloth, satin, and sometimes taffeta are also
+used. If a shaded effect is wanted a different
+coloured background can be pasted under each different
+section of the design. It is a better plan, however,
+for the amateur to restrict herself to one
+colour for the background as the finishing of different
+pieces is no easy problem (<a href="#Fig88">Figure 88</a>). Library
+paste is the best means of making the leather
+and background adhere, also it does not spot as
+mucilage does. The majority of leather workers
+consider that the pasting completes the piece, while
+others feel that it is necessary to machine stitch
+along the extreme edge of the cutting.   Yet again<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
+others prefer to work embroidery stitches such as
+open buttonhole or couching stitches. Both of
+these are explained at length in later chapters.
+A pen wiper can be made from a piece cut in circular,
+diamond, or triangular shapes. Cut two pieces of
+chamois leather the same shape. A plain piece of
+the leather also is needed to back the pen wiper.
+The chamois pieces serve as leaves on which the pen
+is wiped.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig88"></a><img src="images/i_104.jpg" width="500" height="577" alt="" />
+<div class="caption">Fig. 88. Leather appliqu&eacute; bag</div>
+</div>
+
+<p>A card punch will be needed to make a hole through
+the four pieces for the ribbon or cord which holds
+them together.</p>
+
+<p>It is most necessary to plan the design so that it<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
+will be appropriate to the object it is to be applied to.
+The leather should also harmonize with the colour
+of the room or gown with which it is used or
+worn.</p>
+
+<p>For those who are anxious to learn how to design,
+books on this subject can be obtained from the
+public libraries. You should bear in mind, however,
+that practice makes all things perfect.</p>
+
+<p>The different methods of applying the design had
+better be gone into before we proceed any further.
+Thick manilla paper or artist linen may be used on
+which to draw the design. The pattern is then
+thumb-tacked or pinned on a flat wooden surface,
+on the upper edge only, as it will be necessary to
+raise the paper off and on during the tracing.</p>
+
+<p>An orange stick such as used for manicuring or
+hard pencil will be needed for the tracing. Trace
+along the pencilled design with a very heavy pressure
+so that there will be an indented line on the leather.
+A line once impressed is almost impossible to remove,
+so great care must be taken to keep the design true.</p>
+
+<p>Every time you stop tracing there will be a deeper
+indentation; for that reason in tracing a curved line
+try to draw a full sweep without stopping. A ruler
+will be an aid in tracing straight lines.</p>
+
+<p>It may be found necessary to dampen the leather<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span>
+so that the tracing will be distinct. In that case
+dampen the entire piece of leather with a wet cloth.
+Dampening in sections only causes water rings.
+Once the whole leather is dampened, however, it
+can be redampened in sections without fear of
+marking.</p>
+
+<p>Designs for leather may also be applied by
+means of a perforated pattern and a stamping powder
+or paste or a transfer pattern may be also used.</p>
+
+<p>The leather for cut-work may be cut with sharp
+scissors and manicuring scissors for round or curved
+places or two sharp knives of different sizes. A
+board of soft wood is the best on which to work.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig89"></a><img src="images/i_106.jpg" width="600" height="93" alt="" />
+<div class="caption">Fig. 89. A belt of leather of appliqu&eacute; underlaid</div>
+</div>
+
+<p>The best kind of paste is one that has been
+recommended by a successful leather teacher and
+proves satisfactory to all who have tried it. "Bring
+to a slow boil a half-pound of flour in two quarts of
+water. Add to this mixture when cool, an ounce
+of nitric acid and a dram of boric acid and a few
+drops of clove oil." The nitric and boric acid, as
+well as the clove oil, can be obtained from the drug
+store.</p>
+
+<p><span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span></p>
+
+<p>If knives are used to cut out the design, thumbtack
+the leather before commencing.</p>
+
+<p>The paste is applied lightly on the wrong side of
+the leather, then the lining placed over it. Lay the
+article with the right side up and put it under weights
+until it dries. Any surplus paste that may happen
+to ooze through can readily be scraped off.</p>
+
+<p>A wide range of articles can be made from leather
+appliqu&eacute;, whether underlaid or overlaid, such as
+table covers, bags, belts (<a href="#Fig89">Figure 89</a>), medicine
+cases, card cases, mirror frames, book or magazine
+covers, portfolios, memorandum pads, waste baskets,
+pocket books, bill folders, chair covers, besides numerous
+other articles.</p>
+
+<p>Sometimes it will be necessary to have two tracings
+of the design, one on the leather and one on
+the other background. Leather is often applied
+to heavy crashes for porti&egrave;res, or pillow tops. A
+bold conventionalized poppy is an excellent design
+for porti&egrave;res.</p>
+
+<p>Paper is often used to line centerpieces or mats.</p>
+
+<p>Rough tinted cartridge paper can be treated the
+same as cut leather and the daintiest of candle or
+lamp shades can be made of them. The design is
+cut out as in leather and a thin China silk lines the
+whole. Each section of the design may then be<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span>
+coloured the right shade of the silk. For instance,
+a design of cherries can be painted with orange and
+red for the cherries and the leaves green, while the
+paper is of tobacco brown; a narrow gold braid
+finishes the shade at the top and bottom, while the
+shade is held together with four tiny gold rivets.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span></p>
+
+
+
+
+<h2><a name="VIII" id="VIII"></a>VIII<br /><br />
+<small>TOOLED LEATHER AND TOOLS NECESSARY</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Tooled</span> leather is one of the oldest and most
+beautiful of crafts. Instead of weakening
+the leather it simply makes it more beautiful.
+A handsome box is made of soft wood or cardboard
+and covered with tooled or embossed leather
+and is a possession that a queen might envy.</p>
+
+<p>Boxes containing tools for leather work can be had
+for from five to twenty-two dollars for the outfit.
+Twelve tools are in the box. Two modelling tools,
+a steel hammer, two embossing tools, a punch, an
+embossing ball tool, one cutting or trimming knife,
+and four chasing and pearling knives (<a href="#Fig90">Figure
+90</a>). Now I know that there are not many of
+you who would care to buy an outfit for five dollars,
+but for home use there is a simple little article that
+can be substituted and yet you can obtain very
+satisfactory results. A steel nut pick will work
+wonders and then, when you feel that you can do
+very much better work with other tools, invest in
+a case of them.</p>
+
+<p><span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span></p>
+
+<p>All leathers are not satisfactory for tooling. The
+best and most used is Russia calf in a heavy quality.
+One skin is usually the least a dealer will sell.</p>
+
+<p>Let us suppose we are working on a card case.
+The design is traced in the manner described in the
+last chapter, that is, by tracing over the dampened
+leather.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig90"></a><img src="images/i_110.jpg" width="600" height="365" alt="" />
+<div class="caption">Fig. 90. A case of tools</div>
+</div>
+
+<p>After the design has been traced remove the paper
+and holding the nut pick firmly in your right hand
+as you would a pencil, proceed to deepen the lines.
+The leather must be kept moist or the tool is apt
+to scratch and break the outer skin. It is a work
+over which you may become fatigued, but you can<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span>
+just lay it aside till the next day and then proceed
+again. The deeper the tooled line the handsomer the
+piece. It will take several hours to tool a card case.</p>
+
+<p>Another form of decorating leather is with the
+little geometrical die that was used so much in
+past winters for decorating the background of
+etched copper articles (<a href="#Fig91">Figure 91</a>). The little die
+is placed on the leather with its raised or embossed
+side downward and
+one knock from a
+steel hammer is
+sufficient to make
+an imprint on the leather. The entire background
+is filled out in this manner. Hammer
+with an even pressure otherwise the background
+will be bumpy.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig91"></a><img src="images/i_111.jpg" width="400" height="96" alt="" />
+<div class="caption">Fig. 91. The dies for backgrounds </div>
+</div>
+
+<p>Sometimes you may prefer to have your background
+pressed or modelled and the design to stand
+out in relief. In that case take the bowl or thick
+part of the nut pick or modeller and press the background
+in flat. If the leather wrinkles when rubbing
+it change the direction of working. When the work
+is completed it will be noticed that the modelled
+part of the leather is darker and quite shiny.</p>
+
+<p>Designs such as cherries, cat-tails, and most floral
+forms give a greater opportunity for elaborate<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
+working. They can be carried out in relief. This
+relief is a much more difficult work. In the first
+place the design is drawn on the finished surface of
+the leather and then, after another sponging with
+water, hold the leather up from the table. Holding
+the section to be modelled between the first finger
+and thumb, work the tool backward and forward
+under the section.</p>
+
+<p>Some workers prefer
+to hold the working
+side toward them, contending
+that a greater
+pressure can be brought
+to bear on a downward
+stroke than an upward
+one. In that case the
+design is stamped or
+traced on the wrong side
+of the leather.</p>
+
+<p>The oftener the rubbing
+is done and the
+leather is dampened the
+higher the design will
+stand forth. The parts
+to be worked in relief may be done before the
+background (<a href="#Fig92">Figure 92</a>).</p>
+
+<div class="figleft" style="width: 348px;">
+<a name="Fig92"></a><img src="images/i_112.jpg" width="348" height="600" alt="" />
+<div class="caption">Fig. 92. A magazine cover</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span></p>
+
+<p>To keep the leather from falling back to its natural
+shape some workers paste the relief parts. My
+teacher used a paste that we found quite stiff enough
+except for large heavy objects.</p>
+
+<p>To make this paste an ounce of dextrin is left
+soaking in water for about sixteen hours. Dextrin,
+by the way, is the only paste which will not stain
+silk. It is a white powder, and when used as a paste
+can be dissolved in boiling water till it is the consistency
+of a thick cream. When used as a modelling
+wax, however, it requires to be thicker than a cream.
+After the dextrin is dissolved mix in a pint of scrap
+leather that has been grated to shreds, and a few
+drops of turpentine. The scrap leather thickens the
+paste while water thins it.</p>
+
+<p>Before applying the paste to the leather the raised
+side is placed face downward upon the marble.
+Take some of the paste and press it into the hollow
+places until they are entirely filled. After every
+space has been filled lay a piece of paper over them
+and then a cardboard or a piece of board large
+enough to cover all the design.</p>
+
+<p>Turn the leather, paper, and board right side up
+on the working table. While the places are being
+filled in the design is apt to be pushed a little out of
+shape. With the finer modelling tool or your<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span>
+nut pick go over the flattened places again. Let
+the work remain on the table for four days without
+touching it so that it may be thoroughly dried.</p>
+
+<p>Sometimes you will see a beautiful tinted leather.
+This is usually done by the means of dyes, or
+chemicals. For the amateur the former is recommended.
+The dye is applied to the leather with
+soft cotton or a sponge. To deepen the shade wet
+the places desired to be darker two or three times
+with the dye.</p>
+
+<p>To obtain the brightly polished appearance so
+often seen in a handsome piece of leather rub the
+piece with your bare palms. A little wax rubbed on
+your hand greatly aids the work.</p>
+
+<p>In all leather work it is necessary to leave a margin
+about a half inch at least.</p>
+
+<p>Another paste which may be substituted for the
+formula given in this chapter is one made of equal
+parts of sawdust and rye flour with water.</p>
+
+<p>The cutting or shaving knife that comes with the
+outfit is good for cutting the leather. If a deeper
+indentation is desired than is obtained by tracing
+the pattern, a slight slit may be made with the
+shaving knife. Of course cutting the leather weakens
+it and it should only be done on a very heavy piece
+of skin.</p>
+
+<p><span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span></p>
+
+<p>The hammer is indispensable for stamping in
+the little dies. These dies are not usually included
+in the outfit.</p>
+
+<p>The difference between the modelling (Figures
+<a href="#Fig93">93</a> and <a href="#Fig94">94</a>) and embossing tools is that the embossing
+tools are a greater aid in achieving fine bas-relief
+work. The embossing ball tool is used to make the
+deep indentations.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig93"></a><img src="images/i_115.jpg" width="500" height="76" alt="" />
+<div class="caption">Fig. 93. A modelling tool</div>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig94"></a><img src="images/i_115a.jpg" width="500" height="90" alt="" />
+<div class="caption">Fig. 94. A modelling tool</div>
+</div>
+
+<p>The punch is to make holes for rivets or through
+which cords or ribbons may be passed to connect
+two or more pieces of leather together as on a pad
+or book. The punch and pearling knives are used
+in fine carved leather. As one becomes proficient
+in the art of simple leather work she is tempted
+to branch out and try more elaborate work. A
+great many books have been written on this subject
+which, though perhaps puzzling to a beginner, will be
+interesting and invaluable if the work is taken up as a
+serious occupation. The best specimens of this work
+can be seen at the different arts and crafts exhibitions.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span></p>
+
+
+
+
+<h2><a name="IX" id="IX"></a>IX<br /><br />
+<small>THE SIMPLEST STITCHES IN EMBROIDERY&mdash;CHAIN
+STITCHING, OUTLINING, HERRING-BONING, CROSS-STITCHING,
+SOUTACHE, CORONATION BRAIDING</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">It would</span> be hard indeed to say just how many
+stitches there are in embroidery, as so many
+are combinations of the others. The ones you
+will hear about are the simplest ones.</p>
+
+<p>Some years ago I had a large class in embroidery
+in a mission school. Every seat was taken and
+many applicants were refused admittance. The
+supervisor came in one day and said that there was
+a little girl who was very anxious to join the class
+and that she knew how to sew. I did not have the
+heart to refuse her, so in marched little Nellie. She
+was just seven years old and said that she attended
+sewing school every Saturday at her church and that
+her teacher had taught her <i>all</i> about embroidery.
+I gave her a little stamped design and told her to
+chain-stitch it and let me see how well she could do
+it. About five minutes later I happened to turn
+around and there was little Nellie frantically waving<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
+her hand. "Teacher, teacher," she said, "that is the
+only stitch the Lady didn't show me."</p>
+
+<p>Now, as I am most anxious that nothing like that
+will happen to you, I will start with chain-stitching
+as the simplest stitch (<a href="#Fig95">Figure 95</a>). It is also one of
+the oldest stitches in embroidery. Every museum
+that exhibits embroidered articles will have some
+elaborate designs carried out in fine chain-stitching.
+If the stitches are worked in filo silk or spool silk
+the effect is like machine work.</p>
+
+<div class="figright" style="width: 500px;">
+<a name="Fig95"></a><img src="images/i_117.jpg" width="500" height="369" alt="" />
+<div class="caption">Fig. 95. Chain-stitching, showing how
+to turn a corner</div>
+</div>
+
+<p>Draw a straight
+line on a piece of
+muslin and thread
+your needle with a
+piece of red cotton.
+No knots should be
+used in embroidery.
+Fasten the thread
+by taking three fine
+running stitches and one back stitch to insure firmness
+at the end of the line. Now with the needle
+in position at the beginning of the line, start by
+taking a straight stitch on the line. Bring the
+thread under and pull the needle through the
+material. You have made the first loop. Put
+your needle back into the last hole or as near as<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span>
+possible to it, take another stitch on the line, repeat
+until you come to the end of the design.</p>
+
+<p>Take the same length stitch every time or you
+will not have a good-looking chain. If you will
+look at the links in your chain bracelet, you will see
+that every link is the same size as the others. Suppose
+you wanted to chain-stitch a square or a triangle:
+when you come to the corner do not try to make one
+continuous line, but carry the needle down through
+the material at the end of the loop to fasten the link
+and start the next row at right angles to it. Chain-stitching
+can be put to many uses. It is a pretty
+stitch to cover a single line in a conventional design.
+It is also the quickest kind of padding for large
+designs. When it is used as a padding, the rows are
+worked close to each other. If the work is to be
+raised very high, the chain-stitching may be placed
+in rows one on top of the other. You will, however,
+hear more about padding in a later chapter.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig96"></a><img src="images/i_118.jpg" width="500" height="175" alt="" />
+<div class="caption">Fig. 96. Smooth outlining</div>
+</div>
+
+<p>The next stitch we will talk about is the outlining,
+(<a href="#Fig96">Figure 96</a>). Some people think it is<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span>
+simpler than chain-stitching. It was the first
+stitch I learned in embroidery, but it is not as pretty
+as chain-stitching. The first thing I did in fancy
+work when I was nine years old was a wonderful
+face cloth with a wild rose on the top, and under it
+my name and the motto, "<i>Cleanliness is Next to
+Godliness</i>," worked in red cotton. After that I
+made face cloths for every member of the family.</p>
+
+<p>Outlining makes one think of plain sewing. There
+are two kinds of outlining, rough (<a href="#Fig97">Figure 97</a>)
+and smooth, the difference being in how the
+thread is thrown. To make the rough outline, fasten
+the thread as directed in
+chain-stitching and on the
+line take a stitch about an
+eighth of an inch. Then work from left to right.
+Let the thread fall under the needle and be sure
+to keep it this way. A smooth outline is made
+by throwing the thread over the needle instead of
+under it; this outline can be used as stems for
+flowers unless a more elaborate kind is desired.</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig97"></a><img src="images/i_119.jpg" width="300" height="87" alt="" />
+<div class="caption">Fig. 97. Rough outlining</div>
+</div>
+
+<p>Either chain-stitching or outlining is an excellent
+way to decorate bureau scarfs, pillow tops, or table
+covers.</p>
+
+<p>Herring-boning is used for finishing seams on a
+flannel skirt, or it may be used above hems. The<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span>
+little flannel skirt you intend to make for Sally Ann
+this winter should be finished in this way. Here is a
+stitch for which we do not need guide lines, though
+while you are learning, the lines might be helpful.
+Draw two parallel lines a quarter of an inch apart.
+Take a stitch on the upper line, about an eighth
+of an inch long. Then make one on the lower line,
+letting the thread fall always to the right. When
+you have made a row between with the lines, try to
+work one without lines and see if you can keep the
+herring-boning straight (<a href="#Fig98">Figure 98</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig98"></a><img src="images/i_120.jpg" width="600" height="309" alt="" />
+<div class="caption">Fig. 98. Herring-boning or cat-stitching</div>
+</div>
+
+<p>A plain quilt or cover for the baby can be made
+very attractive, by working herring-boning around
+the edge. If the cover is woollen, use worsted or
+heavy silk for the stitchery, but if it is cotton material,
+a heavy lustre is recommended. The needle
+to use depends on the thread. A sewing needle
+will carry a round cotton thread such as D. M. C.,<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span>
+Madonna, Utopia, Royal Society, or Peri lustre.
+A crewel needle, which is a needle with a long eye,
+will be required for silk or worsted. An easy way
+to thread a No. 2 or No. 4 crewel needle with worsted
+is to hold the needle in the left hand and double
+the thread at one end and run the needle through
+it. Hold the thread between the thumb and first
+finger of the right hand so that the thread is just
+visible. Gently pull the needle out with the left
+hand and run the doubled thread through the eye.
+It sounds a great deal harder than it actually is, but
+it will require very little practice.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig99"></a><img src="images/i_121.jpg" width="500" height="430" alt="" />
+<div class="caption">Fig. 99. The first step in cross-stitching</div>
+</div>
+
+<p>When you went to kindergarten did you have little
+pierced cards on which you made designs in coloured
+silks or cottons?   Well they had these at my school<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span>
+and we made book-marks, needle-books and all
+sorts of funny little things. If you remember the
+cross-stitching of the kindergarten days, regular
+cross-stitching will be a simple matter. The nicest
+material for this work is Java canvas, which is very
+coarse and stiff. It is ideal for book covers or napkin
+rings. The holes in the canvas are so large that
+working on it is almost like play. As Java canvas
+is rather expensive you will find a coarse scrim a
+good substitute. A lot of boys that I once knew
+took up this work very enthusiastically, so simple
+is it.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig100"></a><img src="images/i_122.jpg" width="600" height="315" alt="" />
+<div class="caption">Fig. 100. The second step in cross-stitch</div>
+</div>
+
+<p>Do you know that you can make a gingham apron
+for mother and decorate it with cross-stitching that
+will last ever so long? Get a piece of gingham with
+squares about an eighth of an inch. Cross-stitch it
+in a shade darker than the gingham or in white or<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span>
+red. The stitches are taken on the diagonal as
+shown in the diagram (Figures <a href="#Fig99">99</a> and <a href="#Fig100">100</a>). If
+there is a great deal of cross-stitching to be done,
+the quickest way is to make all the stitches that run
+in one direction first, and then come back and cross
+them. Perhaps mother has a small piece of cross-stitching
+that you can use as a model. Simple
+triangles are easy to make. Begin the lower row
+with an uneven number, such as seven, nine, eleven,
+or thirteen. The next row make two stitches less,
+dropping one from each end, and so on till you have
+one at the top.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig101"></a><img src="images/i_123.jpg" width="600" height="558" alt="" />
+<div class="caption">Fig. 101. A good hand design in cross-stitching</div>
+</div>
+
+<p>Now suppose that you had a little linen or silk<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span>
+bag on which you would like to have a cross-stitch
+design, yet this material is not coarse enough for
+you to use as a guide for the cross-stitching. Do
+not think you cannot do it, for I will show you a
+way. Get a piece of scrim just as coarse as you can
+find, and baste it over the place you would like to
+cross-stitch. Work the design on it and when the
+cross-stitching is all finished pull out the scrim
+thread by thread. Sometimes you will have to snip
+the thread of the scrim if your needle accidentally
+gets caught in them. (Figures <a href="#Fig101">101</a>, <a href="#Fig102">102</a>,
+and <a href="#Fig103">103</a>.)</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig102"></a><img src="images/i_124.jpg" width="600" height="333" alt="" />
+<div class="caption">Fig. 102. A cross-stitch design</div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig103"></a><img src="images/i_125.jpg" width="600" height="376" alt="" />
+<div class="caption">Fig. 103. Another cross-stitch design</div>
+</div>
+
+<p>A very simple thing to do is to braid a dress for
+yourself. Now that all the large pattern houses
+are carrying transfer patterns you can get a design<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span>
+for braiding very cheap. A little girl I know braided
+a dress for herself and one for her mother last summer.
+She used light blue chambray and braided
+it with white. There are several kinds of braid, but
+the easiest to use is soutache, whether it is cotton
+or silk. It is a flat braid and varies in width from
+one to three eighths of an inch.   First stamp your
+design on the material, or if you have not a transfer
+pattern you can draw a design on tissue paper, making
+it as long as required and then baste the paper
+in right position on your dress. Take a stiletto,
+which is a little tool somewhat like a nail that is
+used in embroidery for piercing holes, and punch
+a hole on the line.   Push one end of your braid<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span>
+through this and fasten the end of it on the wrong
+side of your material. Thread your needle with
+sewing cotton or silk the colour of the braid and sew
+it down with little running stitches and an occasional
+back-stitch to fasten it firmly. When you come to
+the end of the line or of the braid, carry the end
+through as at the beginning and fasten.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig103A"></a><img src="images/i_126.jpg" width="600" height="186" alt="" />
+<div class="caption">Fig. 103A. A fourth design in cross-stitch</div>
+</div>
+
+<p>Coronation braid is beautiful, but oh, so very
+much harder to sew on than flat braid. There are
+two ways that coronation braid may be sewed on.
+The one that I give preference to is stamping the
+design on the wrong side of the material and holding
+the braid on the right. A stiletto hole is made on
+the line and the end of the braid brought through
+to the back and fastened securely so there will be
+no likelihood of its slipping. Then, holding the
+braid with the left hand, connect it to the material
+from the wrong side with fine running stitches. The
+stamped line on the wrong side will serve as a guide<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span>
+for the stitches. You can feel every time the needle
+touches the braid. Now perhaps many of you are
+wondering what coronation braid is. It is a braid
+that looks like fat grains of rice all strung together.
+There are different sizes of the braid, varying from
+the quarter inch to the three quarters of an inch size.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig104"></a><img src="images/i_127.jpg" width="600" height="72" alt="" />
+<div class="caption">Fig. 104. Coronation braid</div>
+</div>
+
+<p>The second way to sew it on is from the right side
+with little slip stitches. At the small end it would
+be wise to take a stitch over the braid to hold it
+firmly. Centre pieces, bureau-scarfs or even towel
+ends are handsome when decorated with coronation
+braid, and do you know it is a very easy matter to
+make designs for yourself, as there is nothing prettier
+than daisies or wild roses for coronation braid. If
+the petals are too fine to allow you to use the coronation
+braid, then you must use one grain for each
+petal, cutting off the grains as you require them.</p>
+
+<p>Coronation braid comes in white, Delft blue,
+bright green, or red. The braid is supple enough to
+turn sharp corners.</p>
+
+<p>The daisy, as I have stated before, is one of the
+principal designs used for coronation braid.   Braid<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span>
+the flower with one piece of the braid. It is not
+necessary to cut the braid but at the beginning and
+the ending of the daisy. The very largest width
+of coronation braid will be required for the daisy.
+Two grains will be sufficient for a petal. Bring
+the narrow ends to the centre and connect them to
+the material. In the centre make a cluster of French
+knots. The effect produced is a daisy embroidered
+heavily and yet quite different from satin stitch.
+(<a href="#Fig105">Figure 105</a>.)</p>
+
+<p>A belt decoration with five or six coronation daisies
+is very attractive when used on a light summer
+dress. Sometimes the owner prefers to couch the
+braid down with blue cotton and to work the centre
+of the daisy in the same colour.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="Fig105"></a><img src="images/i_128.jpg" width="400" height="402" alt="" />
+<div class="caption">Fig. 105. A daisy in coronation braid</div>
+</div>
+
+<p>A row of daisies is improved by working a fagotting
+stitch which is explained in "Simple Lace<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span>
+Stitches," between the petals. See that the braid is
+sewed on far enough apart that the lace stitches will
+not be crowded.</p>
+
+<p>Coronation braid is also used with crochet stitches
+for the borders of centre pieces and towels.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p>
+
+
+
+
+<h2><a name="X" id="X"></a>X<br /><br />
+<small>SMOCKING, FEATHER-STITCHING AND LAZY-DAISY
+STITCH</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Smocking</span> is such a fashionable trimming this
+year that I am sure you will not be contented
+till Sally Ann has a smocked dress. Why,
+one cannot take a walk in the park without seeing
+several little children and some grown-ups, too,
+wearing smocked dresses. Sometimes they are made
+of fine lawn or pique and then again they are China
+silk, cr&ecirc;pe de chine, or cashmere.</p>
+
+<p>Stamped patterns can be had for smocking but
+they are not at all necessary. Nearly every little
+English girl knows how to smock without buying
+a pattern and why should not you?</p>
+
+<p>The simplest form of smocking is the honeycomb
+or diamond (<a href="#Fig106">Figure 106</a>). It can be any size you
+wish. A good size for Sally Ann's dress is the
+half-inch diamond smocking. The beauty of the
+work lies in its regularity. To keep it so, the dots
+must be spaced evenly. A good way is to have
+a marking card.   Take a piece of heavy paper or<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
+thin cardboard about six inches long by an inch
+and a half wide. With a ruler draw a faint line
+one half inch down parallel with the long edge of
+the card. Draw four other lines below this at quarter-inch
+intervals. Be sure that the space between
+each two lines is a quarter inch, no more or no less.
+Along the top line measure in one half inch. From
+this point make dots at quarter-inch intervals all
+the way across. Each line is dotted in like manner,
+letting each dot come directly under the upper
+one in straight rows. If mother has a card punch
+ask her to lend it to you and where the dots are make
+holes. A stiletto will answer the same purpose
+as the punch; or an orange stick may be pressed
+into service. Your marking card is now ready.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig106"></a><img src="images/i_131.jpg" width="500" height="353" alt="" />
+<div class="caption">Fig. 106. Diamond smocking</div>
+</div>
+
+<p>Measure the length you wish to make Sally Ann's<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span>
+skirt. Select a piece of material that will show
+pencil marks, such as lawn, pique, China silk, or
+cr&ecirc;pe de chine. It will not be necessary to gore the
+skirt, as the smocking will form a sort of yoke for
+the dress. A little frock smocked in blue or red will
+be nice enough for all occasions. Take the material
+and smooth all the creases out after it is cut the right
+length. You must allow about the same amount of
+material for the width of the hem as you do for ordinary
+skirts. Place the smocking card so that the
+edge of it is on a line with the top edge of the goods.
+The smocking must be done before the belt is put
+on. Through each of the perforated holes make a
+dot in lead pencil. After every hole has been dotted,
+move the card so that there is only one quarter of
+an inch space before commencing to dot again. In
+other words, place the card so the dots have the appearance
+of being one continuous design.</p>
+
+<p>Thread a No. 6 sewing needle with a piece of red
+or blue cotton. Make a tiny knot at the end.
+Start from the topmost left-hand dot from the under
+side of the material. Draw the first and second
+dots together. Three stitches on the right side will
+suffice to hold them together. Between the second
+and third dots let the thread span the material on the
+wrong side without pulling it. The third and fourth<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
+dots are drawn together and then the thread spans
+the space between the fourth and fifth. Do you
+see how we are working? First a dot, then a space,
+a dot, then a space, until the entire line is finished.</p>
+
+<p>The second row is worked exactly the same only
+instead of starting on the first dot of the second row,
+start with the second. The third row corresponds
+with the first and now at last we have formed a
+diamond.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="Fig107"></a><img src="images/i_133.jpg" width="400" height="459" alt="" />
+<div class="caption">Fig. 107. Smocking in points</div>
+</div>
+
+<p>If a little more colour
+is wanted than just
+the dot alone, pass a
+thread along the edge
+of each diamond under
+the dots. A suggestion
+which may prove
+helpful to you if the
+material has starch in
+it is that it is easy
+to crease each line of
+dots before starting to smock. If the material is
+soft the smocking should be stroked or gauged.
+There is a new term to learn, "gauge." It is the
+same as stroking in sewing. The English women
+have all sorts of complicated patterns in smocking,
+but the one that is most popular is the diamond<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span>
+smocking I have told you about. After you know
+the principle you can make the smocking as deep as
+you wish and then try and smock in points. (See
+<a href="#Fig107">Figure 107</a>.)</p>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig108"></a><img src="images/i_134.jpg" width="200" height="301" alt="" />
+<div class="caption">Fig. 108. Single
+feather-stitching</div>
+</div>
+
+<p>Feather-stitching is almost as simple as smocking.
+It has various other names. Perhaps you know
+it by the name of "brier-stitch." The first and
+simplest form is the single feather-stitching. A
+thread as fine as No. 60 sewing cotton or a heavy
+Germantown wool can be used for it.
+Baby blankets or a blanket for yourself
+are pretty feather-stitched in wool.</p>
+
+<p>Like smocking, patterns can be had
+for feather-stitching. But the best
+embroiderers never use
+them, as their mechanical
+correctness makes the
+work too much like machine
+work. I do recommend,
+however, a faint line drawn so as
+to have something on which to guide
+your line and gauge your stitches.</p>
+
+<div class="figright" style="width: 200px;">
+<a name="Fig109"></a><img src="images/i_134a.jpg" width="200" height="383" alt="" />
+<div class="caption">Fig. 109. Double
+feather-stitching</div>
+</div>
+
+<p>Let us thread our needle with a piece
+of coarse blue thread. On a little piece
+of muslin draw a faint pencil line across it. Commence
+from the upper right-hand side of the line.<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span>
+Take a short stitch about three sixteenths of an inch
+on the right of the line, slanting to the line. Let the
+thread come under the point of the needle in each
+stitch. The second stitch is taken on
+the left side of the line the same distance
+over and the same in slant (<a href="#Fig108">Figure
+108</a>).</p>
+
+<div class="figright" style="width: 200px;">
+<a name="Fig110"></a><img src="images/i_135.jpg" width="200" height="366" alt="" />
+<div class="caption">Fig. 110. Triple
+feather-stitching</div>
+</div>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig111"></a><img src="images/i_135a.jpg" width="200" height="326" alt="" />
+<div class="caption">Fig. 111. Four on each
+side</div>
+</div>
+
+<p>Double feather-stitching is two
+stitches to the right, two to the left
+and so on till the line is finished (<a href="#Fig109">Figure
+109</a>). In fact you can make three,
+four (Figures <a href="#Fig110">110</a> and <a href="#Fig111">111</a>), or five
+stitches or even more if you wish on
+each side. The prettiest little border can be made
+of feather-stitching in circles. Take
+a quarter or a fifty-cent piece and
+draw a faint line around it on the
+material about one inch from the
+edge. Move the piece till it overlaps
+the pencilled circle and draw
+another circle. Repeat as many
+times as necessary to go around the
+skirt, sleeve, or section you are
+decorating. A row such as this
+makes a pretty decoration around the sleeves and
+neck of a night dress or the ruffles of drawers.<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>
+Marking cotton No. 20 or No. 25 should be used
+for feather-stitching underwear.</p>
+
+<p>Infants' dresses, bibs, or petticoats of lawn or
+any very sheer material of cotton or linen should
+be worked in fine marking cotton, either Nos. 25, 30,
+40, or 50.</p>
+
+<p>Just a word about threads. There are several
+different kinds. The most popular and best known
+are D. M. C., Madonna, Royal Society, and Utopia.
+The numbers run about the same. Some teachers
+recommend one certain kind, but the result obtained
+from using any of them is almost identical.</p>
+
+<div class="figleft" style="width: 150px;">
+<a name="Fig112"></a><img src="images/i_136.jpg" width="150" height="518" alt="" />
+<div class="caption">Fig. 112. Seaweed-stitch</div>
+</div>
+
+<p>There is a pretty little stitch that can be made
+with a foundation of double feather-stitching.
+We used to call it "seaweed-stitch"
+when we were youngsters. I
+remember I made a white cashmere coat
+for my doll and used the seaweed-stitch
+along the hem and above the opening,
+and on the cuffs and collar of the coat.
+It was embroidered in rose coloured filo
+silk. A row of double feather-stitching
+was worked in the usual way. At the
+end of each stitch a little Van Dyke
+point or V was worked. Try it yourself and see
+how dainty it is (<a href="#Fig112">Figure 112</a>).</p>
+
+<p><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></p>
+
+<p>A good way and something new for decoration is
+the feather-stitchery used like festoons on the hems.
+The way this is done is to take a compass and make
+a circle about two and a half inches in diameter.
+Cut it out in heavy paper or thin cardboard. Baste
+the hem in place and then trace one-third of the
+circle. Repeat in like manner till the hem has the
+appearance of large scallops. Along the lines work
+the single or double feather-stitching in No. 20
+marking cotton through the two thicknesses of the
+material. Pull out the basting threads from the
+hem and then carefully cut away the material
+within each scallop on the wrong side of the hem.
+In other words, the upper part of the under hem is
+cut close to the stitching. Cut right down to the
+feather-stitching.</p>
+
+<p>Only thin materials are pretty worked like this,
+as the doubled material gives a milk-white appearance,
+while the upper or single parts are transparent.
+A lazy-daisy stitch worked in the centre of each
+scallop adds further beauty to a feather-stitched hem
+such as has been just described. The lazy-daisy
+has been aptly called because it requires a stitch
+to connect each petal to the material.</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig113"></a><img src="images/i_138.jpg" width="300" height="333" alt="" />
+<div class="caption">Fig. 113. The lazy-daisy stitch</div>
+</div>
+
+<p>Another name for this lazy-daisy stitch is the
+"bird's-eye" stitch (<a href="#Fig113">Figure 113</a>).   It is used to represent<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span>
+clovers, daisies, or leaves. The stitch is
+made, if for a daisy, from a common centre. Bring
+your needle up from the
+centre of the daisy and
+take a stitch the length of
+the petal. Let the thread
+come from the left under
+the point of the needle.
+Pull the needle through the
+material on the right side.
+A short stitch at the end
+of the petal catches it
+down to the material. The needle is now brought
+back to the centre and the next petal made in the
+same manner. Any size daisy can be made like
+this from the quarter to a two-inch size. Remember
+that the larger your daisy is the more petals it should
+have. As fine thread should be used for the little
+flowers and the heaviest silk or lustre for the big
+ones, it is a wise plan to faintly mark in pencil the
+daisy. One line will be sufficient for each petal.
+If you do this, you can then be sure that each petal
+will be the same length as the last.</p>
+
+<p>A charming little yoke can be made of groups
+of fine tucks and rows of the daisies.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span></p>
+
+
+
+
+<h2><a name="XI" id="XI"></a>XI<br /><br />
+<small>COUCHING, SHADOW WORK AND TURKISH STITCH<br />
+HOW TO STAMP DESIGNS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">The</span> more one does of fancy work the more
+fascinating it becomes.   Every new piece
+presents an opportunity for new stitches
+and colours.</p>
+
+<p>We have talked a lot in the first chapters of this
+book as to the different implements necessary for
+sewing and by now I am sure you have a well-equipped
+sewing box or basket. Now it will be
+necessary to add considerably to your work box
+for embroidery.</p>
+
+<p>The crewel needle which I mentioned in the ninth
+chapter is the most important implement. Get
+a pack of assorted Nos. from 5 to 10. They will
+answer every purpose unless you need a large
+tapestry needle for couching. The most unfortunate
+thing about a crewel needle is that the eye has the
+bad habit of breaking. This is caused from the
+steel being so fine at the top that vigorous working
+snaps it off very quickly.</p>
+
+<p><span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span></p>
+
+<p>A tapestry needle is like a large crewel needle,
+only it is much stronger and the eye is very large.</p>
+
+<p>A stiletto of ivory, bone, or steel should also be
+in your box. An orange stick can be substituted
+for a stiletto in case of emergency.</p>
+
+<p>A small pair of scissors, too, should be included
+to cut the ends of silks or pare away the material
+after buttonholing or making an eyelet.</p>
+
+<p>I have kept the most important till the last.
+That is the embroidery hoop or rings. Really
+you would be surprised to see how many different
+kinds there are in this world. First there are the
+black celluloid ones that have their good points, but
+they do not stretch over the material. Then there
+are the common wooden ones that have sharp edges
+that catch and fray the silk on every turn. There
+are some wooden ones that have a felt lining and
+whose edges are an improvement on the cheaper
+kind, but they also do not stretch over thick fabrics.
+The kinds that have a spring and may be adjusted
+to any size desired have their advantage, but the
+spring catches the silk also and of course that will
+never do for fine work. The simplest, best, and
+cheapest kind is the pair that is made at home.
+Get two pairs of the cheapest rings, even if their
+edges are rough. One pair should be small enough<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span>
+to set inside of the other. They vary from the
+smallest to the largest circular kind, each one setting
+inside of the other. Select two pairs that come next
+in size to each other. The most convenient size
+and ones that can be used for all kinds of work are
+the six inch. Take the larger hoop of each pair for
+your work. Now cut a piece of canton flannel in
+half-inch strips, or if mother has the coloured selvage
+left from a piece of flannelette, get that. The
+largest hoops should be wound over and over like
+the hoops they use in schools for fancy drills. The
+other hoop should be padded before winding it.
+To pad, lay strips two or three thicknesses deep
+around the hoop and then wind thickly like the
+other hoop. Hoops like these never leave marks
+on the material, as often happens with the celluloid
+or wooden hoops. Another point is that the sheerest
+material, such as chiffon, can be used in them, while
+if a heavy burlap or crash is embroidered over them
+a little of the winding strips can be removed for the
+time being.</p>
+
+<p>There are other things you might find handy for
+your box, but it is no use getting them till you have
+occasion to use them.</p>
+
+<p>Now we are ready to make use of some of the things
+just described. The tapestry needle will be brought<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span>
+into use for our next stitch, which will be couching.</p>
+
+<p>It is a beautiful old stitch that is often used as an
+outline. It can be made as a heavy thick cord, or
+yet again it need only be the size of a fine string.
+The expression is often used, "Couch a cord on."
+Cord is used instead of threads and lustre on pieces
+where only the effect is wanted.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig114"></a><img src="images/i_142.jpg" width="600" height="292" alt="" />
+<div class="caption">Fig. 114. Couching</div>
+</div>
+
+<p>To couch with a number of silk or lustre threads
+select a No. 2 tapestry needle. Cut the skein of
+silk so that you will have the longest length of thread
+possible. Thread your needle with all the strands
+in the skein, if the eye will carry them. Make a
+stiletto hole in the cloth on the line of the design.
+Bring the tapestry needle through to the back
+(<a href="#Fig114">Figure 114</a>).</p>
+
+<p>A crewel needle is threaded with a single strand
+of silk, the same shade or lighter or darker if you<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span>
+desire. Fasten the silk ends down neatly on the
+back of the material with the single thread and
+bring it up one quarter of an inch from the hole and
+span the cluster of silk threads. The threads are
+caught down in this manner at quarter-inch intervals.
+When the end of the line is reached, the cluster
+of threads is again taken through to the back of the
+material.</p>
+
+<p>Couching is a stitch that you will hear more about
+in later chapters.</p>
+
+<p>The Turkish or Ismet stitch
+is another name for cat-stitching
+or herring-boning. See <a href="#Fig98">Figure
+98</a>. The stitch is taken
+vertically instead of horizontally,
+as in cat-stitch. Turkish
+stitch gets its name from the embroideries
+from Turkey (<a href="#Fig115">Figure 115</a>). It seems to be the
+favourite stitch of the Turkish ladies.</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig115"></a><img src="images/i_143.jpg" width="300" height="286" alt="" />
+<div class="caption">Fig. 115. Turkish stitch</div>
+</div>
+
+<p>Have you ever noticed how many pieces of Turkish
+embroidery are worked on coarse unbleached muslin
+or tan linen? The colours are generally bright
+green, blue, coral pink, chestnut brown, purple and
+then outlined in black or gold thread.</p>
+
+<p>Shadow work, is not that a funny name for embroidery?
+But you can understand why it is called<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span>
+that when you see a piece worked. It gives the appearance
+of a design under the cloth, as all the
+stitches are taken from the wrong side of the material.
+The design is drawn or stamped on the wrong side.
+Lawn is usually selected for the background of
+shadow work because of its transparency. A heavy
+cotton such as No. 16 or No. 20 marking cotton or
+D. fine lustre is necessary.</p>
+
+<p>Daisies or chrysanthemums are most popular
+for shadow work on account of the smoothness on
+their edges. Not that it is impossible to work
+an indented edge, but it is more difficult.</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig116"></a><img src="images/i_144.jpg" width="300" height="266" alt="" />
+<div class="caption">Fig. 116. The right side of
+shadow stitch</div>
+</div>
+
+<p>To work the shadow
+stitch, place your work
+over your embroidery
+hoop with the design side
+up. Start to work a
+petal from the heart of
+the flower. Do not use
+a knot. The stitch is
+like cat-stitching (see
+<a href="#Fig98">Figure 98</a>). First you take a stitch on one side
+of the petal, then you pass over to the other side.
+Be sure you take the same length stitch every time.
+The stems are worked in outline stitch. Shadow
+work from the right side looks like back-stitching<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span>
+(<a href="#Fig116">Figure 116</a>). It is used on aprons, shirtwaists, or
+bureau scarfs where a good effect is wanted with
+very little work.</p>
+
+<p>There are two ways of working the leaves of
+daisies or chrysanthemums in shadow work: First,
+and the best in my opinion, is to start and work
+from the top of the leaf to where the midrib commences
+in the design. Now work from the midrib
+to the outer edge on the right side of the leaf. The
+left-hand side is yet to be filled in. Start from the
+base of the leaf and instead, however, of putting
+the needle through the material by the midrib
+catch one thread upon the midrib and then take
+a stitch on the left-side edge of the leaf, up to where
+the midrib ends.</p>
+
+<p>The other way of working a leaf is to outline the
+midrib first. Then start from the base of the leaf
+and work across the entire leaf. The former way
+is the better, because there is not such a wide
+stretch of thread on the wrong side as in the latter
+method.</p>
+
+<p>Batiste, organdy, and lawn are the usual materials
+used in America for shadow work, but in England,
+where more substantial materials are generally
+liked, tea cloths of linen in shadow stitch are often
+seen. Tiger lilies are good for any large piece.</p>
+
+<p><span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span></p>
+
+<p>The effect of shadow work on linen is as if a padded
+design was placed on the material.</p>
+
+<p>White is the nicest for working shadow stitch on
+waists, especially as colour is apt to cheapen the effect.</p>
+
+<p>Remember that a design drawn out in pencil soils
+the cottons or silks and necessitates the article being
+washed before it is used. You can buy patterns
+for embroidery so cheap and in such excellent
+taste that it pays one in the end to use them instead
+of drawing on the material. There is the perforated
+design that can be had from five cents up. It is the
+oldest and in some ways the most expensive pattern.
+The perforated paper is laid, with the rough side
+up, over the material on the ironing table or any other
+flat surface. An especially prepared powder that
+embroidery shops sell for stamping designs is the
+best to use. A pouncet is several layers of felt rolled
+together, or a piece of wood covered with felt.
+Rub the pouncet in the powder. See that the pattern
+is weighted down so that it will not slip while
+you are working on it. Rub the powder in with a
+circular movement. Lift the weights from the
+lower edge of the paper, and gently raising the
+pattern see that the design is well on before removing
+the pattern. A hot iron will be necessary now to
+set the powder. Every time you use the iron just<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span>
+clamp it down on the design. Wipe it off on an
+old piece of cloth before you press it again on another
+section of the design. Each time the iron touches
+the powder, part of it adheres to the iron and the
+design would be spoiled if the iron was used again
+before wiping it. After the design has been set,
+the iron can be used freely over the whole work.</p>
+
+<p>There is another method of stamping with a
+perforated pattern, and that is placing the smooth
+side of the design face upward and using a blue paste
+that comes in cake form. The pouncet is dipped in
+kerosene or naptha and then rubbed on the paste.
+Apply to the paper as directed for the powder. This
+method requires no iron, but care must be taken not
+to get the pouncet too wet or the design will run.</p>
+
+<p>A third method for stamping is one that requires
+to be rubbed with the back of a spoon. The fourth
+and newest method of stamping is by the transfer
+designs. The patterns are in different colours.
+Place the transfers with the bright or raised surface
+next to your material and press with a heated iron.
+Some patterns require a very hot iron, while for
+others a moderately heated iron suffices.</p>
+
+<p>You can make a perforated pattern yourself by
+drawing a design on a piece of paper and using a
+sewing machine to perforate along the lines.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p>
+
+
+
+
+<h2><a name="XII" id="XII"></a>XII<br /><br />
+<small>BUTTONHOLING AND WALLACHIAN EMBROIDERY</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Embroidery</span> buttonholing is a little different
+from the buttonhole stitch used in
+sewing. It is a stitch that is most used
+to finish the edges of centre pieces, scarfs, and, in
+fact, any article where embroidery is wanted to finish
+the work. You know that it is possible to use a
+fancy stitch, such as the Turkish stitch described
+in the last chapter, but in that case the material
+will have to be turned back and hemmed. The
+twill or purl of buttonholing, as the little ridge on
+the edge is called, serves as a resistance for the
+material from fraying out.</p>
+
+<p>The buttonhole stitch is the most popular in
+embroidery. It is the foundation for many other
+stitches. Feather-stitching is really an open form
+of this stitch.</p>
+
+<p>As a usual thing it is necessary to pad before
+working buttonholing. It raises the work and makes
+it much more durable as an edge. The padding can
+be done in either running-stitch or chain-stitching.</p>
+
+<p><span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span></p>
+
+<p>Let us take for our first example the straight
+buttonholing. It is the simplest form. Cover the
+space between the lines with coarse, running stitches.
+Let the background be medium weight linen. The
+padding thread should be No. 16 or No. 20 marking
+cotton, or two strands of white darning cotton makes
+an excellent padding. The stitches can be fully
+one quarter of an inch in length. Take up a single
+thread of the background so that the padding will
+be all on the top of the material. This keeps the
+work well raised on the right side and perfectly
+flat on the wrong side. An extra row or two toward
+the outer edge of buttonholing raises the edge prettily.
+Chain-stitching is a more rapid way of padding,
+but should only be used for coarse work.
+Remember that the wider the buttonholing the more
+padding will be necessary.</p>
+
+<p>The padding should be worked over your embroidery
+hoops, keeping the work as near to your fingers
+as possible. The actual buttonholing gets a rounder
+effect if done over the finger, though it is possible,
+of course, to do it over the hoops.</p>
+
+<p>Again, no knots in buttonholing. Thread your
+needle with No. 25 marking cotton. Make three
+little running stitches and one back-stitch to insure
+firmness in the starting. Let your thread come up<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span>
+slightly under the lower line of the buttonholing.
+With your left thumb holding the thread down to
+the material draw your thread to the right, take a
+stitch over the padding, bringing the needle out
+slightly below the lower line. The thread should
+fall under the point of the needle in each stitch.</p>
+
+<p>The next thing we learn in buttonholing is a
+scallop. The deeper the scallop the more difficult
+it is to make a good corner and to keep the slant
+of the stitches right. When you buy a stamped
+piece of embroidery, select a pattern that has a
+shallow scallop and one where the points are not too
+sharp. In working a scallop the stitches should
+slant vertically in the direct centre, slanting the other
+stitches toward this point (<a href="#Fig117">Figure 117</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig117"></a><img src="images/i_150.jpg" width="500" height="294" alt="" />
+<div class="caption">Fig. 117. A simple scallop</div>
+</div>
+
+<p>The object in carrying the needle slightly beyond
+the stamped line is that all the stamping may be<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>
+well covered. A stitch that is taken directly through
+the line shows the stamping.</p>
+
+<p>The diagrams (Figures <a href="#Fig117">117</a> and <a href="#Fig118">118</a>) show
+how to work a simple
+scallop and one with
+a sharp scallop. A
+good deal has been
+written about the
+cutting of scallops,
+but the safest and
+wisest is to wash the
+piece before cutting
+out the scallops. A
+pair of small embroidery scissors should be used
+to cut the material away close to the twill of the
+buttonholing. If a scallop is cut before it is washed
+it frays so much that the edge has an untidy look.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig118"></a><img src="images/i_151.jpg" width="400" height="334" alt="" />
+<div class="caption">Fig. 118. A sharp scallop</div>
+</div>
+
+<p>Some women work a row of machine stitching
+close to the lower edge before padding it, as a
+preventive from fraying, while others insist on
+cutting the material to allow a hem on the wrong
+side only. Try the first way and see if you are not
+successful. Another point to bear in mind in buttonholing
+is that the stitches should be taken very
+close to each other. If a piece of buttonholing is
+well done it is hard to distinguish one stitch from<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span>
+the other, and yet they must not be made one on top
+of the other or the buttonholing will be rough.</p>
+
+<p>Wallachian work gets its name from a little
+community in Pennsylvania.
+It is a German word and is
+nothing more than coarse
+buttonholing. It is especially
+appropriate on heavy
+waists, centre pieces, pillow
+tops or work bags. A finer
+form of it looks well on sheer
+waists. The rings or circles are worked from a centre
+like the spokes in a cart wheel (<a href="#Fig119">Figure 119</a>).</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig119"></a><img src="images/i_152.jpg" width="300" height="300" alt="" />
+<div class="caption">Fig. 119. A Wallachian ring</div>
+</div>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig120"></a><img src="images/i_152a.jpg" width="300" height="296" alt="" />
+<div class="caption">Fig. 120. Wallachian stitch</div>
+</div>
+
+<p>The leaves or petals of a Wallachian figure are
+worked on the slant, and here is the difference from
+ordinary buttonholing and the distinctive feature
+of Wallachian embroidery.
+Usually the petals have an
+indented top and a line
+running through the centre.
+Begin at the lower
+right-hand section and take
+a short stitch on the line
+as for outlining. The next
+stitch is taken close to this
+from the midrib to the outer right-hand edge. The<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span>
+stitches need not be quite as close as in buttonholing
+and no padding is required. Continue in the same
+slant to where the centre line stops. The stitches
+from this point radiate till they are in a good slant
+to continue down the left side. Note the stitches
+in the diagram (<a href="#Fig120">Figure 120</a>).</p>
+
+<p>Some people do not slant their stitches and the
+result is that the work is
+not as pretty and loses
+its chief charm.</p>
+
+<p>Placing your thimble
+on a piece of material,
+make a little circle around
+it and in the centre make
+a little dot to practise the
+Wallachian ring on.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig121"></a><img src="images/i_153.jpg" width="400" height="571" alt="" />
+<div class="caption">Fig. 121. A whisk broom holder in
+Wallachian stitch</div>
+</div>
+
+<p>You will find that your
+thimble or spool is a great
+help to you also in making
+scallops. Draw a line
+with the ruler just below
+where you want your scallop to be. Inscribe half a
+circle with the aid of your thimble or spool on the
+straight line. Just within this half-circle draw another
+half-circle that will touch the upper line of the
+scallop. A ten-cent piece or in fact any coin can be<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span>
+used like this. Embroidered pieces should be washed
+by themselves, especially if they are worked in
+colours.</p>
+
+<p>A little girl I was teaching some years ago was
+very slow in working a centre piece. She finished
+the piece one day just before her term was over.
+Thinking that she would surprise me, little Daisy
+decided to launder the piece herself. Her mother
+knew nothing about embroidery, so was not able to
+tell her how to proceed. So Daisy washed the piece
+and having seen how mother bleached the linens,
+Daisy desired to give her piece a sun bath. She
+spread it out in the sun and when she went for it
+the colour was half out. Poor little Daisy was
+heart-broken. She would not have had this trouble
+had she observed the following directions:</p>
+
+<p>Put the piece to launder in warm water and rub
+it with a pure soap, such as castile. Ordinary
+laundry soaps are too strong of lye to be used. If
+the piece is very soiled let it soak a long time, several
+hours. Usually washing the piece out in water is
+sufficient. Rub with the hand only. Rinse in
+clean water and lay the piece on a thick cloth or a
+Turkish towel. Roll the towel up and leave until
+the piece is almost dry.</p>
+
+<p>Lay the embroidery, with the worked side down,<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
+over a heavy padded surface. Press with a hot iron
+quickly. If the centre of the piece puckers, dampen
+it again till you have pressed it out thoroughly.</p>
+
+<p>If you fear to put the iron directly on the piece
+lay a thin white cloth over it and then press. Many
+a really beautiful piece is spoiled in the laundering.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span></p>
+
+
+
+
+<h2><a name="XIII" id="XIII"></a>XIII<br /><br />
+<small>ROMAN CUT-WORK, FANCY BUTTONHOLING FOR
+BORDERS, WORK BAGS, BERMUDA FAGOTTING</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Roman</span> cut-work or Colbert embroidery is
+one of the prettiest forms of buttonholing.
+The right way to work it is to make the
+stitches so that each one is distinct from the other.
+Some people insist on crowding the stitches as in
+regular fine buttonholing, which is quite a mistake,
+as its distinctness lies in dissimilarity to the ordinary
+buttonholing (<a href="#Fig122">Figure 122</a>).</p>
+
+<p>The work is used for centre pieces, corners of
+lunch napkins, coat sets, as well as on heavy linen
+dresses. In Scotland the little girls make the entire
+yokes of their night gowns in cut-work as well as
+the top of their night gown case. These cases are
+placed on top of the bed pillows during the day and
+are marvels of fine handwork. This custom is
+not restricted to Scotland, but Italian, French, and
+German women are also proud of their night dress
+cases.</p>
+
+<p>The design for Roman cut-work should be bold<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span>
+and not too close together. It should be stamped
+directly on the material. The American way of
+working it is to run a line of fine stitches on the
+outline and then work a row of buttonholing. The
+stitches are a little less than an eighth of an inch
+deep. The background spaces between the design
+are then cut away close to the buttonhole edge.
+Do not neglect to wet and press the linen before
+cutting the buttonholing. Keep the twill of the
+buttonholing on the outer edge of the design so that
+the background will be bordered with the twilled
+edges (<a href="#Fig123">Figure 123</a>).</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="Fig122"></a><img src="images/i_157.jpg" width="400" height="423" alt="" />
+<div class="caption">Fig. 122. Roman cut-work</div>
+</div>
+
+<p>The European method of Roman cut-work is to
+run the thread first and then cut the material so<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>
+that there is an eighth of an inch extending beyond
+the running stitches. This is turned under till
+the running thread forms the edge and then the
+buttonholing is worked through both thicknesses
+of the material. This way prevents the linen from
+fraying. The design is basted over a piece of
+coloured paper, letting the basting stitches follow
+closely the buttonholing. The wide spaces are then
+filled in with a simple lace stitch such as the twisted
+bar, woven bar, or spiders. Sometimes the spider is
+used in conjunction with one of the former stitches,
+and it is an excellent stitch for filling in the corners.
+Marking cotton No. 20 or No. 25 should be used for
+Roman cut-work, as well as the lace stitches.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig123"></a><img src="images/i_158.jpg" width="500" height="492" alt="" />
+<div class="caption">Fig. 123. A Roman cut-work centre piece</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span></p>
+
+<p>To make the twisted bar, plan the open spaces
+so that they will be well filled and yet not too
+crowded. Span from one side of the space to the
+other with the thread, then return and whip the
+thread or stitch three or four times. The stitches
+may be connected and have the appearance of a
+series of points (<a href="#Fig124">Figure 124</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig124"></a><img src="images/i_159.jpg" width="500" height="203" alt="" />
+<div class="caption">Fig. 124. The twisted bar</div>
+</div>
+
+<p>The woven bars are made by working two threads
+across the space about one eighth of an inch apart.
+Start from one end and weave. Take up one thread
+on the upward and the other thread on the downward
+pass. Continue in this manner till the whole
+bar is woven. The bars are placed at equal distances
+apart (<a href="#Fig125">Figure 125</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig125"></a><img src="images/i_159a.jpg" width="500" height="185" alt="" />
+<div class="caption">Fig. 125. The woven bar</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span></p>
+
+<p>The spider is a little more complicated. It is
+made on an uneven number of threads, usually seven.
+They may be double or single. To make the whipped
+or double-thread spider, span the space with
+the thread and then whip back to the centre and
+connect the thread to the buttonholing again at
+some little distance from the first stitch. Whip
+back to the centre again and take a stitch directly
+opposite. Continue in this manner till there are
+five, seven, or nine threads around the centre,
+then proceed to weave under one and over the next
+thread until a good-sized spider is made. Do not
+make too large a spider, as it detracts from the
+work.   An illustration for the single spider is given
+in the chapter on lace
+stitches.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig126"></a><img src="images/i_160.jpg" width="400" height="246" alt="" />
+<div class="caption">Fig. 126. Blanket stitch</div>
+</div>
+
+<p>The blanket stitch is
+a favourite for working
+the edge of flannel
+skirts or quilted covers.
+Worsted or coarse silk
+can be used for it. It is made on the raw or folded
+edge of the material. Two stitches are long and two
+are short. Sometimes they are worked like a pyramid.
+Beginning at the base we increase each stitch
+till we reach the point and then decrease each stitch<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span>
+in length as we work back to the base on the other
+side (<a href="#Fig126">Figure 126</a>).</p>
+
+<p>The triangular buttonhole is a pretty stitch for
+a conventional design that has long narrow sections.
+It may also be used for working a very large
+simple scallop (<a href="#Fig127">Figure 127</a>). The way we were
+taught in school was
+to mark the section
+to be worked in deep
+points. The twill of
+the buttonholing
+must come on the
+lines. The stitches
+are not very close to each other. The stitches are
+taken on the line across to the next line. Begin at
+the longest opening and make every stitch shorter.
+When the line is covered, turn the work so that the
+twill of the buttonholing touches the top of the
+stitches just made. If this stitch is used on the
+outer scallop it will be necessary to hem the material,
+letting the triangular buttonholing form the edge.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig127"></a><img src="images/i_161.jpg" width="400" height="200" alt="" />
+<div class="caption">Fig. 127. The triangular buttonholing</div>
+</div>
+
+<p>Then there are fancy forms of buttonholing that
+are used especially in Mount Mellick work. The
+double buttonhole stitch is effective to fill in the
+large leaves. The stitches are taken in groups of
+two, then a little space and two more stitches. Continue<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
+in straight rows. Sometimes one will see a
+leaf worked one half in double buttonholing and the
+other half in a close stitch.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig128"></a><img src="images/i_162.jpg" width="600" height="393" alt="" />
+<div class="caption">Fig. 128. The honeycomb stitch</div>
+</div>
+
+<p>The honeycomb or mesh is a fancy name for
+another form of buttonholing. Work a row of
+buttonholing about a quarter of an inch apart.
+The distance may be changed to suit the design
+you are working on. In the second and all other
+rows, the needle is over the buttonhole loop directly
+above and a short stitch taken a quarter of an inch,
+or the distance you have decided on, below the loop.
+In starting each row bring the needle up a quarter
+of an inch, or more or less as you desire, below the
+previous row. The distance must be kept even
+to achieve satisfactory results. It is not necessary<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>
+to start from one side always. The first row is
+worked from left to right, the second from right to
+left and so on, back and forth, till the space is
+filled (<a href="#Fig128">Figure 128</a>).</p>
+
+<p>Bermuda fagotting is the name of a stitch that
+gives the effect of drawn work, when no threads
+have been drawn. It is used on scroll designs as
+well as to outline a simple floral pattern. Lawn,
+dimity, China silk, handkerchief linen, or nainsook
+are the prettiest materials for this stitch, as it demands
+a fine, transparent background to give the
+right effect.</p>
+
+<div class="figright" style="width: 200px;">
+<a name="Fig129"></a><img src="images/i_163.jpg" width="200" height="362" alt="" />
+<div class="caption">Fig. 129. Diagram of
+stitches</div>
+</div>
+
+<p>Sewing cotton No. 100 or 150
+and a special needle are the only
+requirements for this work. The
+needles can be bought from any
+art needlework shop for five cents
+each. It is like a large-sized
+carpet needle with a small eye.
+A carpet needle can be substituted
+if it is not possible to
+obtain the regular needle in your locality. Tie
+one end of the thread to the eye of the needle.
+While practising this stitch it will be necessary
+to make guide lines. On each side of the design
+line make a row of dots an eighth of an inch apart.<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
+The dots above the line must be directly over the
+lower dots. Note the diagram (<a href="#Fig129">Figure 129</a>) of this
+stitch. I have numbered the first six dots.</p>
+
+<p>Take a stitch from one to three and tie the end
+of the thread under this point. Make the stitch
+a second time from these points,
+pulling the material between
+them closely. Pass the needle
+underneath and connect one and
+two with two stitches. Then
+pass to point four and connect
+two. Three and four are connected
+in the same manner. It is only necessary to tie
+the thread when commencing the work or a new thread.
+The needle is so large that it makes quite a hole in the
+material and the thread is so fine that the manner of
+working is not clear to the average eye unless a detailed
+explanation is given (<a href="#Fig130">Figure 130</a>).</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig130"></a><img src="images/i_164.jpg" width="300" height="206" alt="" />
+<div class="caption">Fig. 130. An enlarged
+drawing of Bermuda fagotting </div>
+</div>
+
+<p>When working on a curved line or a corner it
+will be necessary to make an extra stitch on the outer
+or longer side only.</p>
+
+<p>The scroll lines or stems of a conventional shirtwaist
+design are more dainty when made in Bermuda
+fagotting. The corners of handkerchiefs or a design
+on underwear or yokes and collars lend themselves
+to this style of adornment.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span></p>
+
+
+
+
+<h2><a name="XIV" id="XIV"></a>XIV<br /><br />
+<small>SATIN-STITCH AND MARKING</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">The</span> more interested we become in embroidery
+the more we find how much more
+there still is to be learned about it.</p>
+
+<p>There may be embroiderers who are experts in
+one branch of the subject and yet who will do very
+unsatisfactory work in another. For instance, one
+girl may be very proficient in fancy stitches and yet
+may not do the simple stitches or vice versa. Few
+American girls excel in the satin-stitch, not because
+it is hard, but it must be perfectly accurate. The
+average German, Swiss or French child can do better
+satin-stitch at the age of twelve than
+the average American woman does.
+From the time the children in those
+countries can hold a needle in their
+hand they are taught to sew and embroider.</p>
+
+<div class="figright" style="width: 200px;">
+<a name="Fig131"></a><img src="images/i_165.jpg" width="200" height="242" alt="" />
+<div class="caption">Fig. 131. A letter
+in satin-stitch </div>
+</div>
+
+<p>Satin-stitch is a stitch that is taken
+over and over across a space. Sometimes it is quite
+heavily padded and at a first glance gives the appearance<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span>
+of a piece of material heavily raised.
+Fine designs should, however, be slightly padded.
+There are three ways in which padding may be
+done. There is the running or uneven
+darning, the chain, or the
+filling-stitch. A great deal depends
+on the smoothness of the
+padding. The chain-stitch should
+only be used for coarse work. The
+padding should not cover the
+stamped outlines, for they are
+needed as a guide for the satin-stitch.
+The padding is usually worked in a heavier
+thread than the outer stitches. Darning cotton
+that comes in four strands is often used. One or
+two strands is sufficient.</p>
+
+<div class="figleft" style="width: 250px;">
+<a name="Fig131A"></a><img src="images/i_166.jpg" width="250" height="369" alt="" />
+<div class="caption">Fig. 131A. Satin-stitch</div>
+</div>
+
+<p>The prettiest satin-stitch is taken straight
+across. The stitches should not be crowded,
+but should be worked so that when the
+embroidery is finished the stitches are hard
+to distinguish one from the other.</p>
+
+<div class="figright" style="width: 150px;">
+<a name="Fig131B"></a><img src="images/i_166a.jpg" width="150" height="140" alt="" />
+<div class="caption">Fig. 131B.
+Satin-stitch
+dot</div>
+</div>
+
+<p>The Old English letter "E" (<a href="#Fig131">Figure 131</a>) shows
+a good example of satin-stitch and outlining. The
+latter was used on the single lines. The entire
+letter may be carried out in satin-stitch by first
+running the single lines with uneven darning stitches<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span>
+and then covering these with fine satin-stitches.
+Make the padding stitches as close together as possible,
+or the satin-stitches will be uneven.</p>
+
+<p>The letter "C" (<a href="#Fig132">Figure 132</a>) offers an opportunity
+of combining two
+colours. After the satin-stitch
+has been done, a little back-stitch
+is worked through the
+centre of the heavily padded
+sections. This combination of
+stitches is pleasing when colour
+is used, as the satin-stitch is in
+one colour and the centre stitches in
+another. A great many of the regular
+sewing stitches can be used instead
+of the embroidery ones. For
+the very fine lines, back-stitching
+can be used, making the stitches
+finer than those used in ordinary
+sewing.</p>
+
+<div class="figright" style="width: 250px;">
+<a name="Fig132"></a><img src="images/i_167.jpg" width="250" height="266" alt="" />
+<div class="caption">Fig. 132. Satin-stitching
+and seeding </div>
+</div>
+
+<p>The letter "A" of <a href="#Fig133">Figure 133</a> shows a good combination
+of satin-stitch and back-stitching.</p>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig133"></a><img src="images/i_167a.jpg" width="200" height="242" alt="" />
+<div class="caption">Fig. 133. Satin-stitch
+and back-stitching </div>
+</div>
+
+<p>Satin-stitch can be worked straight across or on
+the slant. Most of the modern work is straight,
+though a great many Germans still prefer to slant
+their stitches. The work should be held toward<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span>
+you and the needle straight. The padding should
+be worked lengthwise on the design and the satin-stitch
+in the opposite direction.</p>
+
+<p>The Chinese do beautiful embroidery, usually
+in satin-stitch which is not padded and the finest
+of silks are employed for the work.</p>
+
+<p>Another way of marking is to make a row of
+French knots along the outline design. A single
+line script letter lends itself best to
+this kind of work.</p>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig134"></a><img src="images/i_168.jpg" width="200" height="221" alt="" />
+<div class="caption">Fig. 134. A simple letter
+in back-stitching </div>
+</div>
+
+<p>For bath towels an outlined letter
+is better than a padded one.
+The letter on a school bag or a
+heavy Turkish towel should be
+very simple as the wear they get
+does not warrant the spending of
+too much time on them. If there is a monogram
+to be made it is prettier if the initials of the Christian
+name be light and the surname heavy.</p>
+
+<p>We learned about outlining in the first chapter
+of embroidery stitches, but outlining in combination
+with outer stitches is a little surprise for you.
+We have the German to thank for most of the good
+combinations of stitches or letters. After the letter
+has been outlined in white, we will say, a thread of
+colour is taken. Starting from the upper left-hand<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span>
+side the needle is passed under the first stitch of
+the outlining, up through the second stitch and down
+again through the third,
+till every stitch has
+been taken up on the
+needle (<a href="#Fig135">Figure 135</a>).
+The   threaded   needle
+should not pass through the material
+except at the beginning and end of each
+line (<a href="#Fig136">Figure 136</a>).</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig135"></a><img src="images/i_169.jpg" width="400" height="158" alt="" />
+<div class="caption">Fig. 135. A pretty combination stitch</div>
+</div>
+
+<div class="figleft" style="width: 150px;">
+<a name="Fig136"></a><img src="images/i_169a.jpg" width="150" height="242" alt="" />
+<div class="caption">Fig. 136. A
+letter in fancy
+stitch </div>
+</div>
+
+<p>Another manner in which a letter may
+be embroidered, especially an old English
+letter, is to work it solid in white
+and outline it in colour. The Van
+Dyke point is good also where a
+broad space is to be filled. It is
+sometimes called the bird's-eye
+stitch.</p>
+
+<div class="figright" style="width: 200px;">
+<a name="Fig137"></a><img src="images/i_169b.jpg" width="200" height="101" alt="" />
+<div class="caption">Fig. 137. A simple
+way to work a letter </div>
+</div>
+
+<p>Start at the top and on the left
+side of the letter or space it is to
+fill. Insert the needle on the right side and take a
+stitch to the centre on a slant like a buttonhole
+stitch. Fasten to the material with a little short
+stitch. Bring needle out at the extreme left and
+repeat directions until the space is filled. Each
+stitch forms a V (note <a href="#Fig138">Figure 138</a>).</p>
+
+<p><span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span></p>
+
+<p>Sometimes you will find a very elaborate letter,
+the outline of which has been worked in satin-stitch
+or French stemming. Little eyelets or satin-stitch
+dots are worked
+between the lines.</p>
+
+<div class="figleft" style="width: 450px;">
+<a name="Fig138"></a><img src="images/i_170.jpg" width="450" height="855" alt="" />
+<div class="caption">Fig. 138. Van Dyke stitch</div>
+</div>
+
+<p>When two or more
+letters intertwine they
+are called a monogram.
+It is not every
+set of letters that
+will make good monograms.
+Letters that
+have a good swing
+should be selected so
+that though they intertwine
+each letter
+should stand forth
+clearly. It is permissible
+to use the surname
+initial a trifle
+larger than the Christian
+initial. When
+monograms are composed
+of three letters and one of the smaller letters
+is placed on either side of the larger one the effect
+is very pleasing. The smaller the letters, the finer<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span>
+the thread should be. No. 50 or 60 marking cotton
+can be used for letters one half-inch in size. A
+three-quarter inch letter should be
+carried out in No. 45 marking cotton.
+A one-inch letter requires No.
+35 cotton, while the two-inch letters
+take No. 30 and so on. The larger
+the letter the coarser the cotton.</p>
+
+<div class="figright" style="width: 200px;">
+<a name="Fig139"></a><img src="images/i_171.jpg" width="200" height="237" alt="" />
+<div class="caption">Fig. 139. A letter in
+Van Dyke stitch </div>
+</div>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig139A"></a><img src="images/i_171a.jpg" width="300" height="260" alt="" />
+<div class="caption">Fig. 139A. Seeding </div>
+</div>
+
+<p>The beauty of a monogram is to
+have something original. Perhaps
+you want to work your bag. Take a tea cup
+and place on the material in the position you desire
+the monogram. Run a faint pencil line
+around the cup. Draw a block letter in the centre
+so that it touches the upper and lower edges of
+the circle. Your two Christian
+initials are then placed
+one on each side of the
+centre letter. Try to fit the
+letters so as to keep the circle
+perfect. It may be you
+will not really draw block
+letters, but so much the better,
+as the monogram will be more original. If it
+is impossible to make a complete circle with the
+letters, embroider the sections of the circle between<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span>
+the letters in stem-stitch. Stem-stitch, you will
+remember, is an outline-stitch covered with the over-and-over
+or small satin-stitch.</p>
+
+<p>A monogram of this sort is especially appropriate
+for a man's handkerchief. A twenty-five-cent piece,
+or a fifty-cent piece if it is a very large handkerchief,
+should be used for the circle. Seeding (<a href="#Fig139A">Figure
+139A</a>) may be combined with satin-stitch in working
+monograms. Seeding is nothing more than a series of
+little back-stitches. A good effect is obtained by
+working one letter in satin-stitch and the other in
+seeding. It will be necessary to outline the outer
+edges of the seeded letter.</p>
+
+<p>You have probably noticed the gold emblems and
+lettering on the sleeves of army officers' regimentals.
+They are generally worked in bullion, though sometimes
+gold thread is used. Bullion comes in gold and
+silver and at the first glance looks like the Oriental
+gold or silver threads. The difference is, however,
+that bullion is tubular, while the threads are usually
+composed of two or three strands twisted together
+or over and over a thread of red cotton. The red
+cotton makes a strong foundation for the gold threads
+and, by the way, do you know that all silk that comes
+on spools has a fine thread of cotton running through
+the centre? The purer the silk the less cotton is<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span>
+used, but the latter is very necessary, as the threads
+will not stand very much strain if they are all
+silk.</p>
+
+<p>Now let us get back to emblems in bullion. It is
+necessary in bullion work to have a fine cardboard
+foundation which is called "the cartoon." Trace
+your design on the cardboard and then cut the design
+out. Baste the cartoon to the background, which
+may be of any material you desire. Broadcloths,
+silks, satins, and velvets are the materials usually
+selected for the work. Thread a fine needle with a
+piece of silk. Fasten the thread on the wrong side
+of the material and bring the needle up through the
+right side. Let us suppose that you are working the
+block letter A. Start from the apex of the letter.
+Cut a piece of the bullion just the size of a very small
+bead. Slip the needle through the cut piece of
+bullion and span the point of the letter. Continue
+in this manner till the cardboard is closely covered
+with the bullion. Each piece of bullion is cut to
+fit the space it is to cover.</p>
+
+<p>In working a five pointed star, start and pad each
+section lengthwise, if it is to be embroidered in silk
+or cotton. For bullion work the cartoon is always
+necessary.</p>
+
+<p>Work each section of the star from the point to<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span>
+the centre. Work from left to right, so that each
+section that is worked is to the left.</p>
+
+<p>Papier-mach&eacute; letters can be bought that may be
+used as a padding. They are very satisfactory for
+anything that is not to be laundered, but continual
+washings flatten the papier-mach&eacute;, while if the padding
+is made of cotton it lasts as long as the
+background.</p>
+
+<p>Handkerchiefs for yourself can be daintily marked
+in very fine feather-stitching in D. M. C. marking
+cotton No. 80. Remember to keep the stitches
+in a pretty slant.</p>
+
+<p>There are numerous places that a letter or monogram
+can be used. A girl I know who is at a boarding
+school has marked all her bed linen and towels.
+For each pair of sheets and two pillow cases she
+uses a different style letter or monogram so that her
+linen is in sets.</p>
+
+<p>Cross-stitching is appropriate for bath towels,
+although face towels are often very attractive worked
+in this stitch.</p>
+
+<p>The question often arises as to which is the
+right place to put a letter or monogram on a
+table cloth, napkin, pillow case, or sheet, and
+though you may not be interested in any of
+these articles at present, it is well to know these<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span>
+little points when helping to mark the household
+linens.</p>
+
+<p>Napkins are usually marked with the letter in
+the direct centre when folded. Of course, like
+many other things, there are fads for changing
+the position. One extreme style is to mark the
+letter in the direct centre of the napkin. This
+style necessitates folding the napkin in a fancy shape
+so that the embroidery will be seen at its best advantage.</p>
+
+<p>There are two good ways to mark a table cloth.
+One is to place the lettering midway between one
+corner of the table and the hem. When the cloth
+is on the table the letter is below the top. The
+second and newer way is to have the letter on the
+top of the table on a line with the plates. If two
+sets of letters or monograms are used place them at
+diagonal corners.</p>
+
+<p>On sheets the letters should be placed two and a
+half inches above the hem. The letter is worked so
+that when the sheet is folded back the base of the
+letter is toward the foot of the bed.</p>
+
+<p>Pillow cases or towels are marked in the centre of
+one side, two inches above the hem.</p>
+
+<p>Again let me impress upon you not to embroider
+white washable material in silk, thinking that because<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span>
+silks are more expensive they are better.
+Silks are apt to discolour in laundering. Cottons
+are now manufactured that have a high gloss like
+silk and yet they never discolour.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig140"></a><img src="images/i_176.jpg" width="600" height="424" alt="" />
+<div class="caption">Fig. 140. A handkerchief corner in satin-stitch </div>
+</div>
+
+<div class="figright" style="width: 200px;">
+<a name="Fig141"></a><img src="images/i_177.jpg" width="200" height="265" alt="" />
+<div class="caption">Fig. 141. A simple
+letter for towels </div>
+</div>
+
+<p>Another pretty and new way to mark letters
+on lawn or fine linen handkerchiefs is one that gives
+the effect of Bermuda fagotting and yet it is only
+hemming with a large needle (<a href="#Fig140">Figure 140</a>). Draw
+the letter in pencil on the handkerchief. Thread
+a large tapestry or chenille needle with a piece of
+No. 200 linen thread. Cotton thread may be used
+but it is very apt to break. Tie one end of the thread<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span>
+to the eye of the needle so that it does not slip out.
+Thread another needle with a strand of No. 8
+marking cotton and pass it to the back at the beginning
+of the letter. Unthread the needle, allowing
+a half inch to extend out of the back. Let the No. 8
+cotton follow the lines of the letter and
+take a stitch into the material with
+the large needle. Work from right
+to left, holding the No. 8 cotton
+from you. Pull the fine thread tight
+around the stitch you have taken.
+Now pass your needle around the
+same group of threads of the material, holding
+the stitch over the heavy cotton. Work around the
+entire outside of the letter, then turn and work the inner
+line. Stitch again through the hole already made,
+taking up the same group of threads. Sometimes
+this style is called ladder-stitch, as the heavy cotton
+gives the effect of the side of the ladder and the
+groups of threads represent the rungs. Any design
+that is uniformly narrow can be carried out in
+ladder-stitch.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span></p>
+
+
+
+
+<h2><a name="XV" id="XV"></a>XV<br /><br />
+<small>EYELETS AND FRENCH KNOTS, BULLION STITCH, AND
+OTHER FANCY STITCHES.</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">The</span> most beautiful of the embroidery stitches
+is the eyelet, and it is also one of the hardest.
+A piece of embroidery that is thickly
+covered with eyelet-work and possibly a little satin-stitch
+and buttonholing is commonly termed
+Madeira embroidery. One will often see a piece
+of the Madeira embroidery so closely covered that
+it is almost impossible to put another stitch in
+between the embroidered spots. About fifty years
+ago it was a matter of impossibility to buy machine
+embroidery, and eyelet-work was one of the last
+things made by machine. It was an easy matter
+to distinguish the hand-work from the machine-work
+up to about five years ago. A certain regularity
+of the stitches and the kind of thread used proclaimed
+it machine to even the amateur. Now-a-days
+the crafty manufacturers stamp the material
+to imitate the hand-made embroideries and use a
+thread of the same quality so that sometimes the<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span>
+professional embroiderers find it hard to distinguish
+it from the real.</p>
+
+<div class="figright" style="width: 500px;">
+<a name="Fig142"></a><img src="images/i_179.jpg" width="500" height="441" alt="" />
+<div class="caption">Fig. 142. Baby's bootees</div>
+</div>
+
+<p>If you should ask a boy who has watched his
+mother working one, what an eyelet is he will probably
+tell you that it is cutting holes in the material
+and sewing them up again. To his mind this is a
+great waste of time.</p>
+
+<p>Besides being ornamental,
+the eyelets
+often play an
+important part.
+They are used to
+run ribbon through
+in corset covers,
+night-gowns and
+other pieces of underwear,
+as well as
+on bags, baby bootees, (<a href="#Fig142">Figure 142</a>), caps and carriage
+covers. No machine beading can impart the
+elegance that a well-made eyelet does to a personal
+garment. Eyelets can be either round or oval. For
+a small round one run a tracing thread on the outline.
+Let each stitch take up but one or two threads of
+the material. Use No. 35 or finer marking cotton
+for small eyelets. With your stiletto pierce a hole
+in the outlined edge till it is just the size of the<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>
+stamped eyelet. Now with the same thread sew
+around the opening with close over-and-over stitches.
+The stitches should only be the width of the stamped
+line (<a href="#Fig143">Figure 143</a>). They must be even, else you
+will have a "Pig's-eye."</p>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig143"></a><img src="images/i_180.jpg" width="200" height="309" alt="" />
+<div class="caption">Fig. 143. The way to
+work an eyelet </div>
+</div>
+
+<p>For the large round eyelet, as
+well as the oval, in all sizes it will
+be necessary to cut the material
+within the outline which has first
+been traced with the running
+thread. The cuts should be made
+lengthwise and crosswise, right to
+the tracing thread. The cut material
+is turned under to the wrong
+side and the eyelet worked as just described.
+After the embroidery is finished
+turn the material over and any part of
+the cut cloth that extends beyond the
+stitches trim off. Your fine embroidery
+scissors should be used for the cutting.</p>
+
+<div class="figright" style="width: 150px;">
+<a name="Fig144"></a><img src="images/i_180b.jpg" width="150" height="136" alt="" />
+<div class="caption">Fig. 144. The
+round eyelet </div>
+</div>
+
+<p>Sometimes you might like to make an eyelet to
+represent a grape. Some embroiderers call it a
+shaded or padded eyelet. After the eyelet has
+been traced make another row of tracing or padding
+below the lower half of the eyelet. Start from the
+centre side of the eyelet and make the second<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span>
+tracing deeper on the lower portion of the eyelet.
+If any space is left between these two rows of
+tracings fill in with other rows of uneven
+darning (<a href="#Fig144A">Figure 144A</a>).</p>
+
+<div class="figcenter" style="width: 150px;">
+<a name="Fig144A"></a><img src="images/i_181.jpg" width="150" height="235" alt="" />
+<div class="caption">Fig. 144A.
+A padded
+eyelet </div>
+</div>
+
+<p>When eyelets are used on the outer
+edge of a design, they should be buttonholed.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig145"></a><img src="images/i_181a.jpg" width="500" height="476" alt="" />
+<div class="caption">Fig. 145. A simple centre piece in eyelets</div>
+</div>
+
+<p>The next stitch to claim our attention
+is French knots. In France they are
+known as the English knot. They are used to fill in
+the centres of flowers. When working a piece of
+golden rod the natural effect is best produced by
+using French knots very close to each other. A<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span>
+row worked on each side of a row of feather
+stitching makes a pretty decoration on babies'
+dresses, caps or even on yokes of dresses for yourself.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig146"></a><img src="images/i_182.jpg" width="600" height="498" alt="" />
+<div class="caption">Fig. 146. An eyelet design for a pillow</div>
+</div>
+
+<p>A heavy thread is good to practise making the
+knot. The actual size or kind of thread to use
+should depend partly on the kind of material and
+partly upon the other style of work or stitches that
+you intend combining with it.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="PL3"></a><img src="images/i_183.jpg" width="600" height="410" alt="" />
+<div class="capr">Photograph by Mary G. Huntsman</div>
+<div class="caption">Many a Happy Hour is Spent Embroidering</div>
+</div>
+
+<p>To work the knot, fasten the thread securely on
+the wrong side and bring the needle through to
+the right side. Now hold the thread down with
+your left thumb. With the right hand put the
+needle over and under the thread until there<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span>
+are three or four coils of the thread around the
+point of the needle. Now hold these coils down
+with the left thumb. Turn the needle so that its
+point will go down through the material as close as
+possible to the place through which it came
+(<a href="#Fig147">Figure 147</a>).</p>
+
+<div class="figright" style="width: 250px;">
+<a name="Fig147"></a><img src="images/i_185.jpg" width="250" height="379" alt="" />
+<div class="caption">Fig. 147. French knots</div>
+</div>
+
+<p>A pretty idea for making knots for dress trimmings
+is to thread the needle with two
+strands of silk, each of a different
+colour.</p>
+
+<p>Bullion stitch is an elongated
+French knot. It is used considerably
+in Mountmellick embroidery,
+to represent grains of wheat. Small
+leaves and daisies are oftentimes
+carried out in bullion stitch.</p>
+
+<p>To make the stitch we will say that we are working
+on the conventional daisy. Bring the thread
+up to the base of the petal. Insert the needle so
+that the length of the petal lies on top of it. (See
+<a href="#Fig148">Figure 148</a>.) Twine the thread around the
+needle point until there are as many coils as the
+length of the petal. The left thumb should hold
+the coils in place while you are twisting them. The
+needle is now drawn through the material. It is
+put through the same hole, or as near as possible<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
+to the one from which it came. Keep the left
+thumb holding down the coils until the stitch has
+been fastened.</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig148"></a><img src="images/i_186.jpg" width="300" height="390" alt="" />
+<div class="caption">Fig. 148. Bullion-stitch</div>
+</div>
+
+<p>Another way to accomplish
+bullion stitch, which has the
+same appearance, but which
+really is a very much slower
+method, is to lay a heavy thread
+the length of the stitch desired
+and then neatly wind the cotton
+over it. It requires a heavy
+cotton to work this successfully.</p>
+
+<p>An embroidery needle should not be used for
+either French knots or bullion stitch, as the eye
+is apt to stick when pulling it through the
+coils. A large sewing needle should be substituted.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig149"></a><img src="images/i_186a.jpg" width="600" height="229" alt="" />
+<div class="caption">Fig. 149. An elaborate piece of buttonholing and satin-stitch</div>
+</div>
+
+<p>Any girl can make dainty and original designs for
+eyelet work if she will invest in compasses. As<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span>
+has been stated before, eyelets vary in size. The size
+that is most effective for decorating heavy linen
+or cotton is an eyelet a little less than half an inch
+in diameter. A larger eyelet is often used, but it
+requires a good deal of patience and experience to
+keep it in shape.</p>
+
+<p>With the compass hundreds of designs may be
+used. The most popular as well as being the most
+attractive is the simple daisy. A circle is drawn to
+represent the centre. A quarter of an inch over
+from the centre circle, or less if you wish to, draw
+six other circles so that they form a ring around
+the centre dot.</p>
+
+<p>A design such as this can be used on a ruffle of a
+petticoat or between tucks on dresses while for a
+whole linen piece there is nothing handsomer for
+a scalloped or hemstitched centre piece, doily, bureau
+cover and many other articles on which a bold, open
+effect is appropriate.</p>
+
+<p>The Wall-of-Troy design is a good one for compass
+work, only it is suggested to faintly rule the
+design then inscribe the circles so that their centres
+are on the line. For instance, suppose you want to
+make a border design about an inch and a half deep.
+Take your rule and keeping on a straight thread of
+your material draw a two-inch line, then leave a<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span>
+space, then draw another line, so on to the end. An
+inch and a half above these lines draw another row of
+lines just over the spaces of the first row. Connect
+the ends of the lines together. Plan so that there is a
+circle at the points or corners of each line. Between
+these dots on the horizontal lines make two more
+circles, while on the vertical lines make only one.
+These instructions are for a circle the size described;
+for a smaller eyelet it will be necessary to add
+more circles to the lines.</p>
+
+<p>A still simpler design is one that is made on a
+square, that is, with a dot at each corner and one in
+the direct centre. The dots must be kept the same
+distance apart.</p>
+
+<p>The Italian girls will make the most elaborate
+designs of compass work on strips of firm, heavy
+muslin for ruffles for underwear. They are not
+like the American and French girls, who will only
+wear the sheerest kind of light material. The advantage
+the Italian girl has over her French and
+American sisters is that when she embroiders a
+garment it lasts for years, even if it is constantly
+used, while delicate embroidery is apt to have a
+very short life on account of the background. To
+the American girl this is no drawback, as she is
+always craving for new things.</p>
+
+<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p>
+
+<p>Sometimes a thimble, spool, or even a twenty-five
+cent piece is used instead of the compass when a
+large eyelet is required.</p>
+
+<p>An edge of eyelets is very handsome on a collar
+and cuff set or handkerchief. They should be placed
+so that after they are worked they touch each other.
+The entire eyelet may be carried out in buttonholing
+or the lower half may be buttonholed and
+the top worked in the regular way. After the work
+has been completed dampen the edge and press
+before cutting out the material from underneath
+the lower edge of the eyelet.</p>
+
+<p>It is possible to work the eyelet without any
+buttonhole stitches and yet use it for an edge. In
+that case a little padding is required and the stitches
+should be close together.</p>
+
+<p>A linen hat that has a simple scallop edge and a
+simple design on the brim and crown is a treasure
+that usually only the wealthy enjoy. It is nice
+to know how to embroider, but unless we put to use
+the things we know our knowledge is like a white
+elephant on our hands. After a careful study of
+the diagram of the stitches you desire to make and
+reading the description as to how to make it, a
+little child could almost work a hat, but the mounting
+of a hat is not so simple. Yet, what is the use of<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span>
+taking time to embroider one if you do not intend
+to make it up?</p>
+
+<p>Eyelet work is particularly dainty on a hat as
+it gives a lacy effect.
+The material should be
+a medium weight linen
+so as not to be too stiff.
+At one time butcher's
+linen was thought to
+be the only kind to
+be used, but of later years a softer linen is preferred.
+Lingerie hats have been used for years,
+probably long before you were born. Every year
+the shape varies a little. One year it is a narrow
+brim sailor, next year it is a wide brim, then again
+a high, next a Tam-o'-shanter crown. The last
+four years it has been the mushroom shape. For
+most faces there is nothing more becoming and
+girlish than the latter (<a href="#Fig150">Figure 150</a>).</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig150"></a><img src="images/i_190.jpg" width="400" height="250" alt="" />
+<div class="caption">Fig. 150. A lingerie hat </div>
+</div>
+
+<p>Sometimes the mushroom shape is covered with
+hand-embroidered ruffles, while again a circular
+piece having the crown cut out is used. The size
+of hat varies by what fashion dictates, so it is hard
+to say just how large your linen should be cut. A
+twenty-two or twenty-four inch circle makes a neat
+little shape.</p>
+
+<p><span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span></p>
+
+<p>After the embroidery has been worked as described
+in the first part of this chapter, the frame is prepared
+for mounting it. A wire frame is lighter and more
+satisfactory than a buckram frame.</p>
+
+<p>The first thing to decide is, how are we going to
+face the hat? Tucked ruffling, net, dotted swiss,
+or fine ruffles of Valenciennes lace may be used.
+Most people prefer to cover the entire frame with
+cheap, fine lawn before facing or covering the hat.</p>
+
+<p>This is done by placing the hat on the lawn, the
+brim touching the material, and cutting a circle a
+trifle larger than the brim. Cut a circle out for the
+crown and slip the lawn over the frame. If the
+crown is too large to allow the lawn to be slipped
+over it a wide bias band of the lawn can be used to
+cover the brim. The bias strip should be just the
+depth of the brim. For the crown, cut a circle large
+enough to cover the top and use a bias band around
+its sides.</p>
+
+<p>Tack the muslin to the frame by long basting
+stitches. It will be necessary to pass under the wire
+when taking a stitch to keep the material in place.
+The tucked ruffling can be bought by the yard,
+trimmed with a row of narrow lace. The entire
+thing is banded. To adjust a ruffling of this sort
+place the band around the edge of the crown and<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span>
+tack the ruffle in position at short intervals and at
+the extreme edge of the brim.</p>
+
+<p>Net or dotted Swiss is pretty shirred or corded
+or even put on plain. A strip three times the
+length that it would take to go around the brim
+plain is cut the depth of the brim. This band is
+cut on the straight of the goods. A shirring string
+is run on both sides. The strip is placed in
+position and pinned taking care to distribute the
+gathers evenly. The shirring string under the crown
+is pulled up first and the material over-handed to
+the frame. The gathering thread on the outer edge
+of the brim is also adjusted like this, only instead of
+over-hand stitches, fine running stitches are preferable.
+Then a small heading is made on one side
+of the strip that is to be shirred. The heading
+makes a pretty, soft finish at the edge and does not
+require any great length of time to do. Allow
+three quarters of an inch, or more, in the depth of
+your ruffle if it is to have a heading. Turn one
+edge of the material to the wrong side. The turn
+should be a little more than a quarter of an inch
+deep. The gathering thread is run a quarter of
+an inch from the folded edge of the material. When
+the thread is pulled up the heading is formed.</p>
+
+<p>If the material is to be corded, baste a narrow<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span>
+round cord like a corset lace inside the material.
+The cord is placed where it is desired and the material
+is folded over it as for a tuck. A running thread
+is worked close to the cord to keep the two pieces
+of material together. The threads are afterwards
+drawn up to bring the fulness of the ruffles to fit
+the outer edge of the hat.</p>
+
+<p>Three rows of cording are quite sufficient on the
+edge and the other two rows at equal intervals
+from the outer brim to the crown.</p>
+
+<p>The ruffles of Valenciennes lace are adjusted by
+pulling the drawing string on the edge of the lace,
+and basting the first row of lace on the extreme edge.
+The second row just touches the first, and so on,
+filling as many rows of lace in as required.</p>
+
+<p>The embroidered piece is then washed and the brim
+placed. The edge is tacked at intervals while around
+the crown the stitches are taken very close together.</p>
+
+<p>The Tam-o'-shanter crown is pulled in shape by
+a gathering thread, if it is cut in a circular shape and
+the gathering is all on the edge. Cut the circle large
+enough to make a pretty Tam-o'-shanter.</p>
+
+<p>The embroidery decoration may be in the direct
+centre of the crown. If the design is a small one
+it can be scattered over the crown to give an all
+over effect.</p>
+
+<p><span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span></p>
+
+<p>There are many ways that a lingerie hat may be
+trimmed and it is hard to say which is the prettiest.
+A black ribbon band and a bow is simple but severe.
+White taffeta ribbon may be used the same way if
+an all white hat is wanted. In fact any shade
+of ribbon is attractive used like this. The illustration
+shows a pretty way of trimming a lingerie hat
+for a girl of about fourteen. A narrow coloured
+ribbon is used around the crown and a rosette of
+leaves with rose buds and forget-me-nots is attractively
+placed on one side.</p>
+
+<p>Sometimes coloured linen is used for the hat and
+in that case the embroidery may be worked in the
+same shade as the linen; or white. The hat is then
+trimmed with white or black. A coloured hat is not
+as practicable as a white one, as the former is apt
+to fade and may not be as becoming as the white.</p>
+
+<p>A baby's buttoned hat is made of two circular
+pieces scalloped out at the edges, one piece being
+four or five inches smaller than the other. The
+large one is used for the brim. The head size is
+cut out of the direct centre and then bound in tape.
+Three inches from the crown opening sew a circular
+row of buttons, a half inch apart. Use a washable
+linen, lace, or crochet button for this purpose.</p>
+
+<p>One inch from the edge of the crown make as<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>
+many buttonholes as you have buttons. A pair
+of daintily hemstitched strings that are attached,
+one on each side of the crown opening, completes
+this charming little hat. It can be easily unbuttoned
+and laundered flat. These hats are made of duck,
+pique or heavy linen. They are the nicest thing
+you can make for your little sister for the summer
+when she wants to play in the sun.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span></p>
+
+
+
+
+<h2><a name="XVI" id="XVI"></a>XVI<br /><br />
+<small>LONG AND SHORT, KENSINGTON EMBROIDERY, AND RIBBON
+WORK FOR SIMPLE FLOWERS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">It is</span> the ambition of every one who starts to
+embroider to make a piece of flower work and
+though the floral designs are most fascinating
+to embroider they are by no means as artistic as
+the conventional.</p>
+
+<p>The way to embroider a piece of flower work and
+obtain an original colouring is to get a natural
+flower and place it in a vase in a position that you
+can clearly see the light and shadow. The best
+flower to start with is a daisy. Note that the
+petals are not a dead white, but there is a suggestion
+of green toward the centre of the flower. Get
+mercerized cotton to work with at first until you
+become accustomed to the stitch.</p>
+
+<p>There is no cut and dried rule in regard to the
+colouring, but the art of shading a piece naturally is
+a lesson that is very essential for the embroiderer.</p>
+
+<p>To many people the term embroidery means flower
+work and only after a course of instruction they<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span>
+discover for themselves how much more artistic
+and in keeping with most rooms is a conventional
+design.</p>
+
+<p>Flower work, however, is not to be despised as
+you will learn more about colour combination and
+Kensington stitch in one piece of this style than any
+kind of embroidery.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig151"></a><img src="images/i_197.jpg" width="600" height="485" alt="" />
+<div class="caption">Fig. 151. Long and short stitch </div>
+</div>
+
+<p>All flower work has long and short stitch on the
+edge of the petals or leaves that do not turn over.
+Daisies do not have turn over leaves as often as a
+double rose or chrysanthemum. Suppose we draw
+a very large daisy on a piece of white muslin. With
+your needle threaded with white lustre start from
+the right-hand side. Take one stitch on the line.<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span>
+Place your needle back near the same point from
+which you started. Take a short stitch that goes
+a wee bit outside of the stamped line past the first
+stitch. The object of going beyond the line, is that
+the stitch completely covers the stamping.</p>
+
+<p>The third stitch is taken at the same slant, only
+longer. The fourth is a short one and so on, first
+one short and then one long until the top of the petal
+is reached. Remember, though, these stitches are
+only on the edge. The left half is worked the same,
+but the stitches slant a little differently. A good
+rule to mention right here is, that all stitches should
+slant to the heart of the flower. In leaves they slant
+toward the base. The inside of the petal, when the
+long and short stitches are completed, should be
+irregular (<a href="#Fig151">Figure 151</a>).</p>
+
+<p>The Kensington stitch gets its name from an
+English school of embroidery. It is more like outlining
+than any other stitch.</p>
+
+<p>After the edge of the flower has been worked in
+long and short stitch, the Kensington stitch is used
+to give the solid effect.</p>
+
+<p>The piece must be held all the while in a tight
+fitting pair of hoops so that it can not sag in the
+least.</p>
+
+<p>If the petal is long, two or three rows of Kensington<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span>
+stitch will have to be worked to fill it in. If
+silk is desired, two strands are used for the edge
+and one strand for the
+Kensington stitch. The
+stitches are dovetailed into
+each other. Each row
+must have an irregular
+lower edge, else they will
+look like bricks laid one
+on top of the other. The
+stitches should be so
+worked that it is difficult
+to tell where one ends and the other begins
+(<a href="#Fig152">Figure 152</a>).</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig152"></a><img src="images/i_199.jpg" width="300" height="310" alt="" />
+<div class="caption">Fig. 152. The Kensington stitch </div>
+</div>
+
+<p>Three shades of green are sufficient for the leaves
+until you are quite expert. In working them embroider
+on the edge of the lower half of each leaf
+with the second shade and the upper part with the
+lightest. Work one side first using the second shade
+under the lightest and the third under the second.
+Work to the midrib only. It is not necessary to
+work in the veins, but if they are desired they
+are put in after the leaf has been worked. Do not
+hesitate to cover the stamped veining on the leaf
+you are working, as the next leaf will be a guide to
+where to place the veins. They may be in the lightest<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span>
+or deepest shade of green, while sometimes a
+reddish-brown is substituted.</p>
+
+<p>The centre of the daisy may be satin-stitch or a
+cluster of French knots. If the dot is worked from
+the centre to left and from the centre to right you
+are more apt to get a perfect outline than when
+starting from one side and working to the other.</p>
+
+<p>As a usual thing the lightest shade is on the outer
+edge of most flowers, but there are a few exceptions,
+like wild roses and some species of pansies in which
+the deepest shade is on the edge and toward the
+centre it is lightest.</p>
+
+<p>The stems may be worked in satin-stitch or
+Kensington in wood shades or deep greens, whichever
+give the more realistic effect to the flower.</p>
+
+<p>It is a great mistake to use white for the background
+of flower work. Cream or pale gray make
+a very much softer and more pleasing effect.</p>
+
+<p>Sometimes a little of the stem brown can be
+worked into the leaves.</p>
+
+<p>Have you ever seen a lace spread or centre piece
+with flowers embroidered on it? You might think
+that the worker was more than ordinarily clever, but
+really any one who can embroider flowers can do
+this. Baste a piece of fine lawn on the section you
+desire to embroider and stamp it with a spray.<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>
+Embroider in the usual way and when the spray
+is finished neatly cut away any of the lawn that
+extends beyond the flower without cutting the lace.
+The result is that the piece has the effect of a natural
+flower resting upon it.</p>
+
+<p>The finer the silk used the more delicate shading
+can be accomplished.</p>
+
+<p>There is another way to represent flowers that is
+particularly beautiful. It is known as ribbon work
+or rococo embroidery. The ribbons especially
+made for this work vary from slightly less than
+one quarter of an inch to a little more than a
+half inch in width. The colours do not range in
+such long lines as the silks. In fact it is rare to
+find a shop that carries more than ten colours.
+Sometimes the ribbons are shaded. They are soft
+and do not crease quite as readily as an ordinary
+ribbon.</p>
+
+<p>A No. 6 crewel needle is about the right size for the
+narrow ribbon, while the half inch ribbons need a No. 3.</p>
+
+<div class="figright" style="width: 250px;">
+<a name="Fig153"></a><img src="images/i_201.jpg" width="250" height="138" alt="" />
+<div class="caption">Fig. 153. Ribbon flowers </div>
+</div>
+
+<p>Forget-me-nots, conventionalized
+small asters, and little roses
+are suitable for the narrow ribbons.
+Satin, moire, broadcloth,
+or heavy silk are used for the
+background and the daintiest of needle cases, jewel<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span>
+cases, handkerchief bags, belts, and other little
+accessories may be evolved from a small piece
+of silk and a few yards of ribbon. The design is
+stamped on the background and all the single lines
+or stems outlined with filo silk. Let us imagine
+we are working on a spray of forget-me-nots.   The
+needle is threaded with six inches of the narrow
+green ribbon.   Slip your needle from the under side
+of the material drawing all the ribbon through but
+a quarter of an inch.   One stitch is generally
+sufficient for a leaf, though sometimes the leaves
+are wider and require two or possibly three stitches.
+The ribbon serves the same purpose as silk.   The
+one point to remember is that the ribbon should
+not be twisted.   Naturally in pulling it through the
+material several times it becomes so wrinkled that
+a short piece works to better advantage than a
+long one.   The flower is made in the same way, one
+stitch for each petal and when completed a French
+knot is made in the centre of the flower (<a href="#Fig153">Figure 153</a>).</p>
+
+<p>The ends caused from starting and finishing off
+are fastened or caught down with a piece of
+fine thread on the wrong side.</p>
+
+<p>Do not pull your stitches. The work is very
+much prettier when it lies soft and full on the
+background.</p>
+
+<p><span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span></p>
+
+<p>It is well to make use of every piece of fancy work
+you do and yet sometimes a new thing may strike
+your fancy and you would like to make a small
+piece.</p>
+
+<p>A card case is acceptable to every girl and it is
+a good plan to make them to match your visiting
+dresses.</p>
+
+<p>Take a piece of material five by ten inches long.
+Three inches from one of the short edges stamp a
+design that will not occupy a space larger than three
+inches long and two inches deep. The length of
+the design must run parallel with the short edge of
+the material. The bottom of the stamping must be
+five and a half inches from the short edge of the
+material.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="Fig154"></a><img src="images/i_203.jpg" width="400" height="148" alt="" />
+<div class="caption">Fig. 154. A card case</div>
+</div>
+
+<p>A little spray of lilies of the valley on a green silk
+background makes a dainty case (<a href="#Fig154">Figure 154</a>).</p>
+
+<p>Get a piece of stiff tailor's canvas and cut it to
+measure eight and three quarters inches by four
+inches wide. A piece of china silk the same size
+as the satin will be needed for the lining.   It is<span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span>
+best to select the shade of silk that harmonizes with
+the outside material. With a green cover a lining
+lighter or darker is suggested. The latter is preferred
+as the constant fingering of a light colour is apt to
+soil it.</p>
+
+<p>Cut all three pieces so that they are true oblongs;
+two and a quarter inches from the short edge make
+a crease. Two and a half inches from the first crease
+or four and three quarters inches from the outer edge
+make another crease and cut along it, thus separating
+the stiffening in two.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig155"></a><img src="images/i_204.jpg" width="500" height="237" alt="" />
+<div class="caption">Fig. 155. The foundation of the card case </div>
+</div>
+
+<p>Two and a half inches on both sides of the now
+short edges of the piece that is not creased draw a
+line from side to side and crease.</p>
+
+<p>On the extreme right-hand side measure down
+one and a half inches from the corner and make a dot;
+measure up from the lower corner and make another
+dot. The space between the dots should measure
+one inch. Take a twenty-five cent piece and place<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span>
+on the space between the dots so that the edge of
+the material is under the direct centre of the quarter.
+Make a semicircular curve on the canvas around the
+quarter. Cut along the pencil lines (<a href="#Fig155">Figure 155</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig156"></a><img src="images/i_205.jpg" width="500" height="268" alt="" />
+<div class="caption">Fig. 156. The canvas interlining </div>
+</div>
+
+<p>The stiffening now ready, baste it to the lining.
+See that all creases have been smoothed out of the
+China silk lining before basting. Place the two
+pieces of canvas so that there is an equal margin on
+all four sides. The cut edges of the canvas must be
+placed one eighth of an inch apart as shown in the
+diagram (<a href="#Fig156">Figure 156</a>). On one side is the
+four and three-quarter inch piece and the other is
+the four inch. Pin or baste the canvas through
+the centre to keep it in position. With a threaded
+needle cat-stitch the silk to the canvas, care being
+taken to see that the stitches do not appear on the
+silk side. Cat or catch-stitching is another name
+for herring-boning, which is explained in the chapter
+on feather-stitching.</p>
+
+<p><span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span></p>
+
+<p>Before turning a corner, cut off a small piece of
+material to prevent the corner from being bulky.
+Treat each corner in like manner: when you come
+to the little curved part, slash the material so that
+when it is folded over the canvas
+it will fit perfectly smooth.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig157"></a><img src="images/i_206.jpg" width="400" height="365" alt="" />
+<div class="caption">Fig. 157. The inside of the
+card case </div>
+</div>
+
+<p>Fold the canvas and lining
+along the creases originally made
+in the canvas. An iron pressed
+over them will help to make
+them stay in position.
+The embroidered piece
+is then placed over the
+wrong side of the canvas.
+A half-inch turn is made on all sides. Turn this half
+inch toward the wrong side of the canvas. Sometimes
+a layer of cotton batting is laid under the embroidery
+between the canvas and satin. The satin piece is
+basted to the canvas. The folded edge of the satin
+and the folded edge of the silk are overcast with tiny
+stitches. Fold back the two sections of the case and
+over-cast each side (<a href="#Fig157">Figure 157</a>). Your card case
+is now completed.</p>
+
+<p>A bill folder is made in the same way, only that
+the ends are not stitched together to form pockets
+as in the card case.</p>
+
+<p><span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span></p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig158"></a><img src="images/i_207.jpg" width="400" height="294" alt="" />
+<div class="caption">Fig. 158. The way to make an
+envelope </div>
+</div>
+
+<p>It is always well to know how to make pretty,
+attractive pieces of needlework that will make acceptable
+gifts for Christmas or a birthday.</p>
+
+<p>Nearly everybody has a hobby. Sometimes it is
+saving receipts, sometimes keeping newspaper clippings,
+and then again it may be keeping theatre
+programmes. It is well to consider what gift is
+most suitable for the one that is to receive it; to
+make for the faddist an
+envelope to keep her
+clippings will be just
+the thing.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig159"></a><img src="images/i_208.jpg" width="400" height="237" alt="" />
+<div class="caption">Fig. 159. The envelope</div>
+</div>
+
+<p>Take a piece of brown
+linen ten and a half inches
+by nine and a half inches.
+Fold it in half so that it
+measures five and a quarter inches by nine
+and a half inches. Stamp a spray of daisies
+or wild roses on one side and mark what the envelope
+is supposed to hold, such as receipts or clippings.
+Brown linen does not soil as easily as white.
+Embroider the flowers and the lettering, then dampen
+the linen thoroughly and press on the wrong side.
+Now take two pieces of cardboard that measure
+eight and a half inches by four and three quarters.
+Cover the cardboard with the linen, use long stitches<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span>
+as described in the needle case, except that two
+pieces of the cardboard are placed side by side on
+the brown linen. Now take two pieces of brown
+paper the same size as
+the cardboard and cover
+the stitches. Paste
+should be used to make
+the paper stick to the
+linen.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig160"></a><img src="images/i_208a.jpg" width="600" height="512" alt="" />
+<div class="caption">Fig. 160. The case completed </div>
+</div>
+
+<p>Make six envelopes by taking six pieces of paper
+nine by thirteen inches and cut a two and a half
+inch square from each corner (<a href="#Fig158">Figure 158</a>). One
+inch over from where the squares are cut make
+a star. There are eight such points as you note.<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span>
+Connect the dot to the corner by a line. Cut the
+paper along the lines. Fold the ends in, then fold
+the bottom flap over these and paste. Fold the
+top flap over without pasting (<a href="#Fig159">Figure 159</a>).</p>
+
+<p>Now, holding these six envelopes in the case with
+bottom edges touching the space between the two
+cardboards, punch three holes through linen, cardboard,
+and envelopes.</p>
+
+<p>Take a half a yard of ribbon and run through the
+holes and tie the ends in a bow on the corner.</p>
+
+<p>Take another half a yard of ribbon and cut in
+two. Fasten a piece on each side of the cover
+(<a href="#Fig160">Figure 160</a>). These two pieces are tied in a bow
+and keep the base of the case closed.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span></p>
+
+
+
+
+<h2><a name="XVII" id="XVII"></a>XVII<br /><br />
+<small>HARDANGER EMBROIDERY FOR SQUARES, PIN
+CUSHIONS, AND SPREADS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">We have</span> to go back to the foreign embroideries
+to find those that are beautiful and
+yet substantial enough to last beyond the
+usual life of a piece of fancy work. There is nothing
+we have originated in embroidery on this side of
+the world as rich as Hardanger work, and yet it is
+comparatively little known. The background for
+this work is a loosely woven material like scrim or
+basket weave materials such as Java canvas or the
+regular Hardanger canvas which is imported.</p>
+
+<p>It is lots of fun working Hardanger in wool on
+Java canvas as it goes so quickly, and after we have
+learned the stitches we can work it on as fine a
+canvas as we desire.</p>
+
+<div class="figright" style="width: 200px;">
+<a name="Fig161"></a><img src="images/i_211.jpg" width="200" height="235" alt="" />
+<div class="caption">Fig. 161. The block </div>
+</div>
+
+<p>The simplest stitch is the block. Thread a large
+tapestry needle with a piece of heavy wool. On
+your piece of Java canvas work a little block. The
+worsted is on the right side of the canvas, and then
+taking a stitch over four threads of the canvas bring<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span>
+the needle up on the next opening to the right on the
+same line as the first. Five stitches constitute a
+block; a space of four threads is then
+left and the next block started, (<a href="#Fig161">Figure
+161</a>). A great deal of Hardanger
+has these blocks running at
+right angles to each other with no
+space between the blocks. Mistakes
+cause a great deal of trouble and
+sometimes it is necessary to rip out quite a lot of
+stitches before they can be rectified and for that reason
+you must be very accurate in your counting.</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig162"></a><img src="images/i_211a.jpg" width="300" height="267" alt="" />
+<div class="caption">Fig. 162. The star</div>
+</div>
+
+<p>The star is another favourite figure in Hardanger
+work (<a href="#Fig162">Figure 162</a>). Four stitches are taken
+over four threads of the material,
+side by side, then five
+stitches over eight threads of
+the material and then four
+again. This forms one side
+of the star. The second side
+is made exactly the same only
+that at the base of the thirteenth stitch the first stitch
+of the second side starts forming a right angle. The
+star has four sides as you will note in the diagram
+of this stitch. Now count and see if there are twelve
+threads on each of the inner sides of the star. If<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span>
+you find any mistake go over it and straighten it
+out. There must be twelve threads on each side.
+Cut four from each corner. This will leave four
+threads directly in the centre of each side. With
+a piece of embroidery cotton about the weight
+of a thread of your canvas weave the bars. The
+weaving is very simple, over one and under the next
+till the bars are woven. Some of these bars have
+little knots on the outer centre edge of each.
+They are called picots (pronounced pe-co) and they
+are made somewhat like a French knot. The
+bar is woven half way across and laying the needle
+on the bar the thread is wound around the
+needle point. Hold each twist down with the left
+thumb (<a href="#Fig163">Figure 163</a>). The needle is drawn through
+and the result is a little
+knot on the thread near
+the stitches. A little
+stitch is taken into
+the woven part of
+the bar and the thread
+carried over to the
+other side of the
+bar and another picot
+made.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig163"></a><img src="images/i_212.jpg" width="400" height="362" alt="" />
+<div class="caption">Fig. 163. The picot</div>
+</div>
+
+<p>For an ornamental stitch to be used on the material<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span>
+between the stars or blocks make a diagonal
+stitch like the first stitch in cross stitching
+(<a href="#Fig164">Figure 164</a>).</p>
+
+<p>Pin cushion tops are easy to make and the following
+instructions are given for cushions about four or
+five inches square. Take a square of scrim or Hardanger
+canvas eight inches large. It will be necessary
+to pull a thread so that the material will be
+quite straight on the edges. Pull out four threads
+about one and a quarter inches from the edge on
+each side of the material. Turn a quarter-inch fold
+on one side and crease the material again so as to
+make a half-inch hem. Baste it down so that it
+just touches the drawn threads. Repeat on the
+four sides. Be sure that at the corner the double
+thickness of drawn threads are exactly over each
+other. We are now ready to hemstitch the hem.
+Thread the needle with No. 90 sewing cotton.
+Run the thread under the hem and holding the
+double part of the hem toward you take up four
+threads of the material. Pass the needle again
+around this group and now into the hem. Continue
+in this manner around the four sides. At
+the corners it will be necessary to take up both
+thicknesses of the material.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig164"></a><img src="images/i_214.jpg" width="400" height="143" alt="" />
+<div class="caption">Fig. 164. A simple ornamental stitch </div>
+</div>
+
+<p>Crease the finished square in four. Count sixteen<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span>
+threads upon the crease from the hemstitching
+and with lustre No. C or heavy linen thread "aa"
+make a little block of
+four strands of floss over
+four threads of the material.
+Make a flight of
+eight blocks each at right
+angles to the other. Now instead of continuing
+in the same direction turn and work seven more
+groups down and to the left. Turn again to the
+left and work seven blocks for the third side of the
+square. Six groups to the right of the third row
+completes the square.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig165"></a><img src="images/i_214a.jpg" width="400" height="397" alt="" />
+<div class="caption">Fig. 165. A good arrangement of picot</div>
+</div>
+
+<p>Now with your fine embroidery scissors cut close
+to the stitches of the three blocks at each corner.
+The cut threads are
+drawn out. Four
+more cuttings will be
+necessary on each
+side. They should be
+made against the
+stitches only; that is,
+the threads that are
+running in the same direction
+as the stitches
+should be cut. <a href="#Fig165">Figure 165</a><span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span>
+shows where the cuts were made and the
+threads drawn out. The remaining threads are
+woven. A mercerized or dull finished marking
+cotton is used for the weaving. It may be either
+the plain weaving or may have picots on each
+side of the bar. Another pretty arrangement of
+picots is to place them on one side of the bars so that
+they appear in groups of four each facing the other
+(<a href="#Fig165">Figure 165</a>).</p>
+
+<p>Sometimes a lace stitch is used such as the spider
+or simple loop stitch. Directions for making a
+spider will be found in the chapter on lace stitches.
+The loop stitch is made by taking a stitch in the
+centre edge of each bar. Take a stitch just as if
+you were buttonholing.</p>
+
+<p>Buttonholing the edge is preferred by many to
+hemstitching.</p>
+
+<div class="figright" style="width: 150px;">
+<a name="Fig166"></a><img src="images/i_215.jpg" width="150" height="295" alt="" />
+<div class="caption">Fig. 166. The
+pyramid stitch </div>
+</div>
+
+<p>A pretty stitch often seen bordering
+a row of drawn work is made in
+pyramid form. It can be as deep as
+desired. First take a stitch over two
+strands of the material then three, then
+four, then five and down again to two
+(<a href="#Fig166">Figure 166</a>). This stitch must be
+worked of course before any of the threads are
+drawn.</p>
+
+<p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p>
+
+<p>If a little larger and more elaborate square is
+wanted, take a piece of material nine or ten inches
+square. Make a star, skip four threads and work the
+open squares described for the smaller pin cushion.</p>
+
+<p>On the opposite side of the square, directly across
+from the first star, skip four threads and make another
+square. At the other two corners of the
+square make a star (<a href="#Fig167">Figure 167</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig167"></a><img src="images/i_216.jpg" width="600" height="624" alt="" />
+<div class="caption">Fig. 167. The Hardanger square pin cushion</div>
+</div>
+
+<p>The German peasant girls are proud of their
+aprons with a border of Hardanger embroidery.<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span>
+It is a common thing for them to have a border
+fifteen or eighteen inches deep. Often they will
+make yards and yards of a pattern, say four inches
+wide, and they will insert it above the hems on sheets
+and towels and cut out the background material.</p>
+
+<p>There is no nation on earth as thrifty as the
+Germans. A German girl I know who is only nineteen
+years old has her entire bedroom fitted up with
+Hardanger articles that she has made herself.
+First there is the bedspread and bolster, each most
+elaborately embroidered with an all-over design.
+Then there is a round pillow (the edge buttonholed)
+and a square pillow as well as the bureau scarf and
+pin cushion. If she bought the articles already
+worked she would have paid hundreds of dollars for
+the outfit, while the actual cost was only a few dollars.
+Nearly all the best of fancy-work shops sell
+small pamphlets on Hardanger work that are not expensive
+and after one is familiar with the foundation
+stitches it is an easy matter to follow the designs
+they give.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span></p>
+
+
+
+
+<h2><a name="XVIII" id="XVIII"></a>XVIII<br /><br />
+<small>APPLIQU&Eacute; ON LINEN AND OTHER MATERIALS
+AND HEDEBO EMBROIDERY</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Appliqu&eacute;</span>, or laying one material on another
+and stitching or embroidering
+them together is one of the simplest forms
+of embroidery that even the Indians years ago knew
+how to do. How many of you have not seen on an
+Indian woman queer shapes cut out of leather and
+ornamented with beads used for a border on her skirt?</p>
+
+<p>There are two kinds of appliqu&eacute;, underlaid and
+overlaid. Most of the work is the latter kind. The
+underlaid is a little more difficult to do. It will
+be explained at greater length later in this chapter.</p>
+
+<p>Appliqu&eacute; is such easy work that you will almost
+think it a mistake not to have heard about it before,
+but after all it is really necessary that we should
+know the simpler embroidery stitches before we
+attempt an appliqu&eacute; piece, so that we can decorate
+it in the manner to suit ourselves.</p>
+
+<p>The European peasants work some of the crudest
+specimens of appliqu&eacute;, yet their colour schemes and<span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span>
+choice of material are good. For instance, Russian
+crash, which is sold at the towel department of
+many of our large department stores, from twelve to
+twenty cents a yard, and which is very narrow,
+usually about sixteen inches wide, is often employed
+as the background of their porti&egrave;res.</p>
+
+<p>Before the Russo-Japanese War it was possible to
+get Russian crash as wide as forty inches. It is made
+by the peasants in their homes from the waste ends
+left from weaving linens. You have no doubt read of
+how poor Russian peasants live in hovels in the same
+room with the cow, if they are fortunate enough to
+possess one, and their pigs. Necessarily the work
+they do is not very clean but the artistic qualities
+of the crash overcomes the fact of the dirt.</p>
+
+<p>The better class of peasants will take three strips
+of crash and connect them together with coarse
+sewing or lace stitches and then apply circles of
+broadcloth, or coloured linens on them. Other
+geometrical figures are often applied.</p>
+
+<p>I heard of a Southern family the other day who
+are so thrifty that they allow nothing to go to waste,
+not even the old coats and trousers that have played
+the double r&ocirc;le of clothing the father and then have
+been cut down for Johnny. After Johnny has had
+all the wear possible out of them Grandma again<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span>
+cuts them, this time in the shape of leaves, and
+sews them on a large muslin circle, one overlapping
+the other. This forms a mat for the dining room.
+I am telling you this story not that you may
+imitate it, but rather to let you know that after all
+we have women here that are as clever and thrifty
+with their needles as the European women.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig168"></a><img src="images/i_220.jpg" width="600" height="480" alt="" />
+<div class="caption">Fig. 168. A pillow in Hedebo embroidery </div>
+</div>
+
+<p>For appliqu&eacute; work the design is cut out and the
+wrong side covered almost to the edge with a paste
+made of starch and water.</p>
+
+<p>When a complicated piece of appliqu&eacute; is to be
+worked, stamp your design on the background.
+Then on the right side of the material to be appliqu&eacute;d,
+or on the wrong side of velvet, lay a piece of transfer<span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span>
+paper. Place the design on them. With a blunt
+pointed instrument go over the line firmly till you
+have a tracing of the design. If the lines are not
+quite clear go over them with a pencil.</p>
+
+<p>Cut out each piece and paste it to the background.
+The edges may be machine stitched or satin-stitched
+or outlined. A cord, also the couching stitch, makes
+a good finish.</p>
+
+<p>Very clever representations of animals can be
+made by appliqu&eacute;. Take a duck, for instance.
+The breast can be white felt, the head dark green
+velvet. The wings dark brown and the back
+and tail a lighter brown broadcloth. The legs and
+the bill should be canary-coloured taffeta silk. Cut
+each section so that it slightly laps over the
+other.</p>
+
+<p>Appliqu&eacute; underlaid is accomplished by stamping
+the design on the wrong side of the material and
+then cutting it out. The background is left intact
+like a stencil. A piece of material of a different
+colour is laid under the cut piece of material. The
+raw or cut edges may be treated in many ways.
+The material may be turned back and stitched by
+machine or the edges may be finished with buttonholing
+stitches, couching, fine satin-stitch or chain
+stitch. The turning back of the cut edges requires<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span>
+that they be neatly done or the embroidery will not
+show to its best advantage.</p>
+
+<p>Hedebo embroidery is in no way connected with
+appliqu&eacute; work, but like the latter it is a branch of
+needlework that few people in America understand.
+Without exception it is the most elaborate form of
+white work. The stitches give the effect of being
+very difficult, but this is not so. The work requires
+a lot of time and careful planning of the stitches for
+which buttonhole stitch is usually the foundation.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig169"></a><img src="images/i_222.jpg" width="600" height="377" alt="" />
+<div class="caption">Fig. 169. An elaborate design in Hedebo </div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig170"></a><img src="images/i_223.jpg" width="600" height="531" alt="" />
+<div class="caption">Fig. 170. Part of a Hedebo collar</div>
+</div>
+
+<p>Hedebo is worked on a finely woven linen. The
+design is stamped directly on the material. A
+thread of D.M.C. No. 25 or spool linen thread outlines
+the figures. Within the design, the linen is cut<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span>
+one eighth of an inch from the running thread.
+This eighth-inch extension is then turned under the
+stitches and basted down. A small piece of dark
+green oilcloth is then laid under the figure to be
+worked and basting stitches hold the material and
+oilcloth together. The oilcloth protects the fingers
+and it is often used by foreigners in making eyelets.
+A small piece is used and it is moved as many times
+as necessary. A large piece is too clumsy to hold.
+On the extreme double edge of the opening of the
+design fine buttonholing stitches are taken. The
+stitches are about one thirty-second of an inch apart.</p>
+
+<p><span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span></p>
+
+<p>A section of a design suitable for a collar is shown
+here and the stitches will now be explained that have
+been used on it (<a href="#Fig170">Figure 170</a>).</p>
+
+<p>A bar is formed by laying two or three threads
+so that they span the opening from side to side.
+Over these threads fine buttonholing is worked.</p>
+
+<p>The little triangles are worked by making seven
+or nine stitches into as many of the buttonhole
+stitches. The second row is worked into the first,
+one stitch from each end is omitted. Continue in
+this way to the point (<a href="#Fig171">Figure 171</a>).</p>
+
+<p>The three large loops that separate the pyramids
+or triangles from each other in the two outer circles
+are worked by making two loops that will each take
+up half the space between the triangles. These
+loops are whipped two or three times to make them
+heavier and then they are covered with buttonholing.
+Work the first and half of the second and then make
+the loop for the third or last and work it also in buttonholing,
+then finish the second (<a href="#Fig172">Figure 172</a>). The
+centre of the circle is made by connecting the opposite
+triangles and loops together. Gently distribute
+the threads from the centre to allow a small opening.
+Put a thread around this opening and neatly
+buttonhole the threads.</p>
+
+<p>The middle figure is made by working a row of<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span>
+open buttonholing then running a drawing thread
+into the loops and buttoning this band with tiny
+stitches.</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig171"></a><img src="images/i_225.jpg" width="300" height="270" alt="" />
+<div class="caption">Fig. 171. Triangle in Hedebo
+embroidery </div>
+</div>
+
+<p>The stitches of the middle circle are somewhat
+simpler than the ones just
+described. A circle of open
+stitches is made directly
+under the buttonhole stitches
+on the material. Divide
+this circle in eight parts and
+make a large loop at alternate
+eighths. A connecting
+thread at the centre base of
+each loop connects each opposite
+pair of loops. The
+triangles are worked from
+the centre to the outer
+edge.</p>
+
+<p>The open triangles are
+made by working a row of
+open loops around the
+three sides. The loops
+are drawn slightly together with another thread.</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig172"></a><img src="images/i_225a.jpg" width="300" height="294" alt="" />
+<div class="caption">Fig. 172. Buttonholed loops </div>
+</div>
+
+<p>There are many pretty edges that can be used as
+finishes for work. The linen pieces, however, have
+to be hemmed first and then the fancy edge put on.<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span>
+An edge of pyramids is attractive. An edge of buttonholed
+loops with a picot in the centre of each bar
+as described on Hardanger is also good. Sometimes
+the loop or pyramid may need stretching in
+shape. Take a pin in the lower centre and pull
+the edges out the desired size.</p>
+
+<p>In turning curves an extra little loop may have to
+be worked so as not to crowd the large points.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span></p>
+
+
+
+
+<h2><a name="XIX" id="XIX"></a>XIX<br /><br />
+<small>HEMSTITCHING FOR HANDKERCHIEFS AND COLLAR
+AND CUFFS SETS, ALSO SIMPLE DRAWN-WORK
+STITCHES</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Drawn</span> work is another of the fascinating
+branches of fancy work and when used in
+combination with embroidery it greatly
+enriches the piece. Suppose now that you wanted
+to make a handkerchief and yet did not want to
+take the time to buttonhole the four edges. Well
+there is nothing more appropriate than hemstitching.
+The very expensive handkerchiefs only have two
+threads drawn before hemstitching them but it
+will be easiest to
+hemstitch when
+more threads are
+pulled.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig173"></a><img src="images/i_227.jpg" width="400" height="318" alt="" />
+<div class="caption">Fig. 173. Hemstitch </div>
+</div>
+
+<p>Handkerchief
+linen that can be
+bought from one
+dollar up per yard
+is of course the<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span>
+correct thing to use, but lawn or fine china silk is
+often substituted.</p>
+
+<p>A third of a yard of linen thirty-six inches wide
+will make three handkerchiefs. A thread will have
+to be drawn so that the squares will be perfectly
+straight. A twelve-inch square of linen will make
+a nice little handkerchief. Narrow hems not more
+than one-quarter inch wide are more generally used
+at present so we will plan our handkerchief for that.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig174"></a><img src="images/i_228.jpg" width="400" height="311" alt="" />
+<div class="caption">Fig. 174. Hemstitching, second step</div>
+</div>
+
+<p>Measure up from the edge of one side five eighths
+of an inch and draw
+out four threads one
+at a time. The other
+three sides must also
+be treated in like
+manner. After measuring
+the first side
+with the tape measure
+the other sides
+are more accurately measured by turning up one
+corner of the side that has the thread drawn so
+that it forms a right angle. The upper edge of the
+angle must just touch the drawn threads. Crease
+firmly along the diagonal as shown in the diagram.
+Now with the piece still folded over pull the first
+thread of the second side of the handkerchief so<span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span>
+that the corner when turned back forms a perfect
+square (<a href="#Fig173">Figure 173</a>).</p>
+
+<p>When the threads of the four sides have been
+drawn fold back one eighth of an inch, then make a
+double fold so that the hem is just one-quarter inch
+wide. Baste it down so that the folded edge lies
+right under the drawn threads. With your needle
+threaded with a piece of No. 100 sewing cotton,
+start from one corner. Let the end of your
+threaded needle fall between the two thicknesses
+of the material. Bring the needle through the
+edge of the hem. Work from right to left; pass
+the needle under four of the upright threads. Now
+pass again under the same group of four threads,
+but this time carry the needle through the edge.
+Hem directly on a line with the fourth thread of
+the group (<a href="#Fig174">Figure 174</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig175"></a><img src="images/i_229.jpg" width="500" height="348" alt="" />
+<div class="caption">Fig. 175. Another way to hemstitch </div>
+</div>
+
+<p><span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span></p>
+
+<p>Another way is to hold the material with the
+hem toward you and work from left to right. Pass
+the needle under four threads letting the thread in
+the needle fall under the point of the needle. Pull
+the needle through, thus forming a loop and taking a
+stitch into the hem in the usual way (<a href="#Fig175">Figure 175</a>).</p>
+
+<p>If your thread gives out or breaks, start the next
+thread by working over two or three of the stitches.</p>
+
+<p>In hemstitching the corners take up four of the
+double threads.</p>
+
+<p>When hemstitching on coarser material more
+threads can be drawn and also a greater number of
+threads can be taken up
+when working.</p>
+
+<p>Dainty little collar and
+cuffs sets can be made by
+hemstitching the hems:
+and a quarter of an
+inch above this work
+make a row of French
+knots or feather-stitching.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig176"></a><img src="images/i_230.jpg" width="400" height="281" alt="" />
+<div class="caption">Fig. 176. Double hemstitching </div>
+</div>
+
+<p>Sometimes when a very open effect is desired it
+is necessary to double hemstitch the threads. This
+is very simple. Hemstitch in the usual way, then
+turn the work and take up each group on the other
+side of the drawn threads (<a href="#Fig176">Figure 176</a>).</p>
+
+<p><span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span></p>
+
+<p>Drawn work is worked to perfection in Mexico.
+There they have large classes for the mountain
+children who do most elaborate pieces on frames.</p>
+
+<p>Hemstitching is not always necessary in doing
+drawn work. Many beautiful borders can be made
+with simple stitches.</p>
+
+<p>The sheaf stitch (<a href="#Fig177">Figure 177</a>) is made by pulling
+the threads for a space of a quarter of an inch or
+more. Decide the width that you desire and then
+cut the threads perpendicularly. Draw the first
+and last thread to the distance desired, and then cut
+opposite end to match the first slash. After the
+threads have been drawn out neatly buttonhole the
+cut edges with narrow buttonhole stitches. Now
+place your work in your embroidery
+hoops, or, better still,
+if it is possible, buy a pair of
+oval ones that are especially
+made for drawn work. Fasten
+thread in the centre of one
+of the buttonholed sides.</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig177"></a><img src="images/i_231.jpg" width="300" height="176" alt="" />
+<div class="caption">Fig. 177. The sheaf stitch</div>
+</div>
+
+<p>The number of threads to take up will depend on
+the coarseness of the weave of the material. For
+medium weight linen take up either six or eight
+threads using a stitch like that shown in the first
+step of the second method of hemstitching. Pass<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span>
+on to the next stitch and when the row is finished
+fasten in the second buttonholed side. The
+thread that passes from sheaf to sheaf should lie
+straight enough so as not to sag between each group
+or pucker the material.</p>
+
+<p>Another pretty stitch that reminds one of a fish
+bone is worked
+somewhat like
+feather-stitching.</p>
+
+<p>Prepare the
+space as for the
+sheaf stitch.
+Connect the
+thread in the same way. Take up six threads on
+the left hand side placing the thread under the point
+of the needle as it comes through. Now on the
+right hand side divide the group made by the first
+stitch in half and take the last three threads and the
+three next to it that are not worked (<a href="#Fig178">Figure 178</a>).</p>
+
+<div class="figleft" style="width: 500px;">
+<a name="Fig178"></a><img src="images/i_232.jpg" width="500" height="289" alt="" />
+<div class="caption">Fig. 178. A simple stitch in drawn work </div>
+</div>
+
+<p>A simple stitch is the twist stitch (<a href="#Fig179">Figure 179</a>).
+Prepare the material in the same way as for the
+last two stitches and securely fasten your needle
+in the centre of the bar, skip the first three threads.
+Take up the next three on your needle; pass the
+needle back under the first three. Continue like
+this till the end of the row is reached.</p>
+
+<p><span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span></p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig179"></a><img src="images/i_233.jpg" width="400" height="232" alt="" />
+<div class="caption">Fig. 179. The twist-stitch</div>
+</div>
+
+<p>A dainty all-over effect suitable for yokes or
+corners of handkerchiefs, cloths, etc., is made by
+drawing the threads out so that the material left
+forms squares. Pull a quarter inch of threads then
+leave a half inch of
+material. Repeat in
+this manner until the
+space is covered.
+Cross the lines, forming
+squares of the material
+(<a href="#Fig180">Figure 180</a>).</p>
+
+<p>The double hemstitching, sheaf-stitch, fishbone,
+or twist stitch can be worked on the drawn
+threads. You will note that you will have at each
+corner of the solid squares an open quarter-inch
+square. They will require an extra stitch such as
+the spider described in the lace stitches or the loop
+stitch described in the Hardanger chapter.</p>
+
+<p>Sometimes it is hard pulling the threads of linen.
+If the threads are soaped they come out very easily.
+Do not wet the soap but just rub it dry on the
+material.</p>
+
+<p>Some of the finest examples of hand embroidery
+or drawn work are found in the convents. Perhaps
+you are under the impression that drawn work must
+be done right with the hem, but that is not so<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span>. I
+want to describe a beautiful handkerchief to you
+that I once saw in a convent. It was made of the
+sheerest handkerchief linen and one thread only had
+been pulled for the hemstitching. A quarter of
+an inch above the hem another thread was drawn,
+but this time, instead of letting it extend to the hem,
+a thread was cut one quarter of an inch from the
+hem at the beginning and ending. Six threads
+were drawn like this at eighth of an inch spaces.
+The four sides were treated in like manner.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig180"></a><img src="images/i_234.jpg" width="600" height="595" alt="" />
+<div class="caption">Fig. 180. The threads pulled to form squares </div>
+</div>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig181"></a><img src="images/i_235.jpg" width="400" height="101" alt="" />
+<div class="caption">Fig. 181. Cat-stitch over the tape</div>
+</div>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig182"></a><img src="images/i_235b.jpg" width="400" height="165" alt="" />
+<div class="caption">Fig. 182. Five rows of tape cat-stitched </div>
+</div>
+
+<p>Where the threads intersected at the corner, the
+squares were hemstitched all around, two stitches
+being allowed to each side of the square.   The<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span>
+stitches were taken through to the centre of each
+square. Beyond where the lines intersected the
+six long lines were treated quite differently. A
+piece of fine braid not more than an eighth of an
+inch wide was taken on the space between the first
+two rows of drawn threads. A regular cat-stitch was
+worked over this. First a stitch was taken on the
+drawn threads above the braid, then, one below it
+(<a href="#Fig181">Figure 181</a>). When the braid was entirely covered
+with stitches on the first row, a second piece of tape
+or braid was placed over the space between the
+second and third rows of drawn threads. This
+time instead of catching the
+thread of both rows, the
+stitches are taken into
+those of the previous row on one side of the tape
+and into the third row of drawn threads on the other
+side of the tape. Five rows of tape complete
+the band between the stitches. Of course all this
+work is on the wrong side of the handkerchief. On
+the right side, a
+totally different effect
+is produced.
+At first glance you
+would think that
+there are five rows<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span>
+of tiny tucks with hemstitching on each side,
+until you look again closely and see that it is
+padded hemstitching (<a href="#Fig182">Figure 182</a>).</p>
+
+<div class="figcenter" style="width: 424px;">
+<a name="Fig183"></a><img src="images/i_236.jpg" width="424" height="600" alt="" />
+<div class="caption">Fig. 183. A handkerchief for an ambitious little girl </div>
+</div>
+
+<p>A section of a drawn work handkerchief for some
+ambitious little girl to own is shown in the illustration
+on this page (<a href="#Fig183">Figure 183</a>).   It is like a cobweb.<span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span>
+A piece of handkerchief linen twelve inches square
+is selected. Starting from the outer edge of the
+four sides an eighth of an inch wide space is left, then
+the threads drawn for an eighth of an inch. Repeat
+this seventeen times. At the corners the space and
+drawn threads form squares.</p>
+
+<p>Now the rest of the space should be divided
+up in like manner, so starting from one corner of the
+solid square in the centre, draw the threads for an
+eighth of an inch, then leave a space the same length
+and then draw again. Continue in this manner
+on the four sides of the centre square. Pull out all
+the cut threads and you find that you have a deep
+border of little squares. Buttonhole around the
+four sides of the centre square with tiny stitches, thus
+keeping the linen from fraying.</p>
+
+<p>To get the pointed edge as shown in the handkerchief,
+buttonhole over the line of horizontal
+threads and four of the vertical. The little filling
+stitch I am going to suggest to you is so simple
+that really after you have buttonholed the handkerchief
+your task is almost completed.</p>
+
+<p>Start in the first point under the solid square and
+work diagonally across the open space. Pass your
+thread around the centre of the little square also
+on the diagonal. Continue across till you reach<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span>
+the buttonholed edge around the linen square in
+the centre.</p>
+
+<p>Skip the next point and work the same stitch
+in every other point. This stitch and in fact all
+the rest of the handkerchief should be carried out in
+No. 200 sewing cotton.</p>
+
+<p>In between the worked points make another
+stitch which is very similar to the one just described.</p>
+
+<p>It is started from the edge and a stitch is taken
+on the diagonal across four of the squares and half
+way across the solid squares at the corner of each
+group.</p>
+
+<p>Having reached the buttonholing next the linen
+you turn your work and repeat the stitch over the
+same square. The stitches now form the figure 8.</p>
+
+<p>The design of drawn work in the centre of the
+square is simple as well as being particularly
+pleasing. Draw the threads for a half-inch space,
+one quarter of an inch above the buttonholing.
+This must be done on the four sides of the square.
+The corners must be buttonholed before beginning
+the drawn work. Start the first thread for the drawn
+work in the centre of one of the buttonholed corners.
+Work the sheaf stitch all the way across. Now
+start a second thread, knotting the first sheaf in
+three, the next in two; so on to the end. These<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span>
+stitches are taken quite close to the linen. Both
+sides of the sheaf stitch are treated the same.</p>
+
+<p>The daisy in the corner completes the pattern.
+The daisy is made on the foundation of cross-stitches
+caused by the sheaf stitch. A Maltese cross is
+made thus forming twelve stitches catching all
+these together in the centre. Now weave a thread
+around in a circle, one eighth of an inch from the
+centre. To form the petals of the daisy start a
+thread from one of the threads that connect with
+the buttonholing and catch on the woven circle
+as you would if you were doing fagotting.</p>
+
+<p>Wherever threads are drawn so that they intersect
+at right angles, as in the case of this handkerchief,
+a space is left vacant which is very unsightly if not
+filled in with some figure. Here it was with the
+daisy which is extremely easy but in the majority
+of cases it is with the Maltese cross.</p>
+
+<p>The wide strip of drawn work shows a pretty
+pattern for linen scarfs. It is nothing but right that
+every girl should take an interest in her bedroom.
+She may not be fortunate enough to have one entirely
+by herself but that does not excuse her from
+trying to make it as attractive as possible. The
+key-note to beauty and elegance is simplicity.
+Better have a dainty bureau scarf hand made and<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span>
+a few necessary toilet articles than a bureau beribboned
+and with a lace scarf, crowded with old visiting
+cards, dance orders, and dainty nothings that
+only catch the dust and give one a bewildered feeling
+when one looks at them. The scarf should be worth
+displaying if it is hand work, for remember what is
+worth doing is worth doing well.</p>
+
+<p>The butterfly pattern of drawn work (<a href="#Fig184">Figure
+184</a>) is simple and pretty enough to please the
+most exacting and as has been said before is most
+appropriate for bureau scarfs. The material of
+the scarf may be linen, lawn, or scrim. It is quite
+unnecessary that the drawn work extend around
+the whole scarf&mdash;three sides, one long and the two
+short, being quite sufficient.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig184"></a><img src="images/i_240.jpg" width="600" height="199" alt="" />
+<div class="caption">Fig. 184. The butterfly pattern in drawn work </div>
+</div>
+
+<p>Draw the threads out for an inch, then hemstitch
+the cloth on both sides of the space; be sure to
+take up the group of threads already hemstitched
+when working on the second side. Fasten the<span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span>
+thread in the direct centre of one end of the drawn
+work and catch eight groups of threads to form the
+sheaf stitch. An eighth of an inch above the centre
+thread start another thread. Divide the sheaf
+in thirds and knot each section of the first sheaf.
+Pass the thread to the second sheaf and repeat the
+same thing, this time under the centre instead of
+above it. Alternate sheaves are divided above
+the centre line and the remaining sheaves
+under.</p>
+
+<p>A third thread is started beginning an eighth of
+an inch below the centre and the other side of the
+sheaf is divided in three.</p>
+
+<p>A fourth thread is started one eighth of an inch
+from the solid material. This time the sheaf is
+divided in four, in groups of two. First the top
+of one sheaf is woven like this, then the bottom of
+the next. Continue in this manner till the end
+of the strip is reached.</p>
+
+<p>The fifth thread knots the groups on the side of
+each sheaf that was omitted by the fourth thread.</p>
+
+<p>You will notice now that the four threads cross
+each other in the centre of the space between each
+sheaf. Knot the threads in the centre and weave
+across the lower four threads until you have made
+as large a fan as the space will allow. The remaining<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span>
+threads are divided in two, three on each side,
+and two other fans are woven on them.</p>
+
+<p>In the next space the fan of four is reversed and
+is made in the opposite direction to the first group.
+This pattern is commonly termed the butterfly
+pattern.</p>
+
+<p>Drawn work should be worked on frames, though it
+is not necessary to use the large square one of the
+Mexicans. The nicest kind of frame and one easy
+to handle is the oval form, which comes in different
+sizes. They are particularly convenient to hold
+a long, narrow piece, which can be worked to
+better advantage than on the round rings.</p>
+
+<p>Every once in awhile one sees specimens of a
+new kind of drawn work. There is the Mexican
+of which we have had a few of the simplest
+stitches, there is the Hardanger or Swedish drawn
+work, which is described in another chapter, the Porto
+Rico drawn work which is very intricate and also very
+trying to the eyes, but after all none compares in
+simplicity to the Bulgarian drawn work. It is so
+substantial that often after the material of the article
+on which the work is done has worn out, the drawn
+work is as good as new and can be transferred to
+another piece of material.</p>
+
+<p>Bulgarian drawn work instead of weakening the<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span>
+material as Mexican work usually does strengthens
+it considerably.</p>
+
+<p>The work is done in spaces varying from a half
+inch to three inches in width. It can be done on
+linen, huck or lawn backgrounds, though sometimes
+scrim is used. Personally I do not think it pays
+to work elaborate patterns on scrim as the background
+is not substantial enough.</p>
+
+<p>We will take for example the first towel end shown
+in this work.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig185"></a><img src="images/i_243.jpg" width="600" height="210" alt="" />
+<div class="caption">Fig. 185. A towel in Bulgarian drawn work </div>
+</div>
+
+<p>Draw threads out of an inch and a half space.
+It is not necessary that the cloth should be hemstitched,
+though till you are quite familiar with the
+work it may be easier for counting. The hem is
+then turned over and hemstitched. Make the
+double hemstitch on the other side as described in
+the first part of this chapter.</p>
+
+<p>I have found that though there are many threads
+that may be used for weaving there is nothing quite<span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span>
+as satisfactory as Electro in its finest number.
+Start from the extreme lower left hand corner.
+Weave back and forth over three of the groups with
+a blunt pointed crewel needle for one quarter of
+the distance from the hem. Now omitting the first
+group weave across three. You will see that you
+dropped the first group and took up the fourth.
+Weave to the middle of the space. Now drop the
+second group and weave across to the fifth group
+until you are three quarters across the space. Now
+drop the third group and weave across to the sixth.
+Weave until the space is filled. Without breaking
+your thread weave the seventh, eighth and ninth,
+then the eighth, ninth and tenth, next the ninth,
+tenth and eleventh, then the tenth, eleventh and
+twelfth. Weaving the eleventh, twelfth and thirteenth
+brings you back again to the hem.</p>
+
+<p>The woven threads will look somewhat like an
+arch of blocks. Between the arch there are six
+groups of threads. Let us weave that in pyramid
+effect. Start at the hem and weave across the six
+for a little more than a quarter of an inch. Then
+dropping the first and last groups of threads of the
+proposed pyramid weave over four threads for
+another quarter of an inch. Again dropping the
+first and last threads of the four you were weaving,<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span>
+work across two. Fasten your thread by bringing it
+through the woven stitches into the hem. A new
+thread is started in like manner. You are now
+ready to start another arch, close to one just
+made.</p>
+
+<p>A little more elaborate design is shown in the
+second towel end, a detail of which is also given
+(Figures <a href="#Fig186">186</a> and <a href="#Fig187">187</a>.)</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig186"></a><img src="images/i_245.jpg" width="600" height="353" alt="" />
+<div class="caption">Fig. 186. Detail of Fig. 187</div>
+</div>
+
+<p>After the threads have been prepared as has
+been just described for the first towel start from the
+lower left hand side and weave across the threads
+eight times. The weaving is very simple. First
+you take two groups with needle pointing to the
+left and then you take the one group that you didn't<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span>
+take up the first time. You work back and forth
+as it were.</p>
+
+<p>Now drop the first thread and weave across to the
+fourth group as in the first towel. Each set of three
+groups will only have eight lines however. Continue in
+this manner till you are one space from the solid material,
+then weave across four instead of three. Start to
+weave down on the right side over the three groups
+under the block of four. Now continue weaving over
+groups of three until the hem is almost reached then
+weave the last block over four (See detail of <a href="#Fig187">Figure 187</a>).</p>
+
+<p>On each side of these blocks weave a row working
+over two groups.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig187"></a><img src="images/i_246.jpg" width="600" height="151" alt="" />
+<div class="caption">Fig. 187. A more elaborate design in Bulgarian drawn work</div>
+</div>
+
+<p>The groups of thread within the woven rows are
+woven into a triangle.</p>
+
+<p>Bulgarian drawn work is used on pillow cases, handkerchiefs,
+towels, dresses, scarfs, or small square cloths.</p>
+
+<p>Sometimes coloured threads are used and the
+result is very effective. Use cottons and if they
+are coloured boil them in salt and water before
+working with them.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span></p>
+
+
+
+
+<h2><a name="XX" id="XX"></a>XX<br /><br />
+<small>EASY LACE STITCHES, FAGOTTING, SINGLE MESH,
+DOUBLE MESH, SPIDERS, FAN, MALTESE CROSS,
+TWISTED AND BUTTONHOLED BARS,
+PICOTS FOR SIMPLE EDGES</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">One</span> of our best authorities on lace has said
+that there are over one hundred different
+stitches used in lace. Now there are
+various kinds of laces; there are crochetted, bobbin,
+as well as needle point laces. It is about two
+branches of needlework laces&mdash;Renaissance and
+point&mdash;that we will talk about in this chapter.</p>
+
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig187A"></a><img src="images/i_248.jpg" width="400" height="641" alt="" />
+<div class="caption">Fig. 187A. Fagotting and feather-stitching
+on a cap </div>
+</div>
+
+<p>Renaissance lace is made by basting a flat braid
+on a given pattern and filling the spaces between
+with simple lace stitches. Point lace is made of
+very fine plain braid with much finer thread and
+more elaborate stitches.</p>
+
+<p>The basting of the braid is extremely important.
+Sometimes only a single line is given to indicate
+where the braid will be, while again a double line
+is shown. The braid must not be wider than the
+double lines. It may be basted so that the side<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span>
+held toward you will be the right side of the lace
+or <i>vice versa</i>. Start from one corner of the design,
+turn over one end of the braid an eighth of an
+inch. For coarse work one row of basting stitches
+through the centre of the braid is sufficient but for
+fine work baste
+along both edges of
+the braid.</p>
+
+<p>In basting around
+a loop the inner
+edge of the braid
+will have to be gathered.
+This may be
+done in two ways:
+the first by pulling
+a thread or by running
+a thread on the
+edge. At a sharp
+point the braid will
+have to be turned.</p>
+
+<p>The preferred
+method of working
+the lace is to have
+the right side facing you. In starting to braid
+turn up one eighth inch of braid and start from
+a point so that the end may be covered later.</p>
+
+<p><span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span></p>
+
+<p>The braids vary from one cent to fifteen cents per
+yard.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig188"></a><img src="images/i_249.jpg" width="500" height="237" alt="" />
+<div class="caption">Fig. 188. Fagotting</div>
+</div>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig189"></a><img src="images/i_249a.jpg" width="400" height="527" alt="" />
+<div class="caption">Fig. 189. Single Brussels stitch </div>
+</div>
+
+<p>A simple stitch in lace that greatly resembles the
+Turkish stitch in embroidery is fagotting. It is a
+stitch that is often used by dressmakers to connect
+bias bands together for yokes and sleeves. For this as
+well as other lace stitches
+the beginning of the
+thread should be fastened
+so as to be unobserved
+by the average eye.
+If the braid is neatly
+over-casted the end will
+be quite secure. Starting
+from the extreme
+left of the section to
+be fagotted take a
+stitch through the braid
+on the opposite side of<span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span>
+the opening, letting the thread fall to the right.
+The stitches are taken from side to side. This
+stitch is best suited to long narrow spaces
+(<a href="#Fig188">Figure 188</a>).</p>
+
+<p>The foundation stitch of lace is the single mesh or
+net stitch. It is a stitch that may be used in almost
+any shape opening. It is a good thing when working
+a piece of lace to pick out one stitch for filling in the
+background; then
+the design proper
+can be as fancy
+as desired.</p>
+
+<div class="figleft" style="width: 500px;">
+<a name="Fig190"></a><img src="images/i_250.jpg" width="500" height="488" alt="" />
+<div class="caption">Fig. 190. A handkerchief in simple lace
+stitches </div>
+</div>
+
+<p>The mesh or net
+stitch is good for
+a filling stitch. A
+blunt pointed
+needle is the best
+for working lace
+as you are not so
+apt to stick yourself.
+Make a row
+of open buttonholing, not however through the
+background. The second row is worked slightly
+below the first row. Each stitch is taken into a loop
+of the upper row. If the spaces decrease in size
+drop one stitch from each end for as many rows as<span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span>
+necessary. To finish the stitches overcast them
+to the braid. To many lace makers this stitch is
+known as single Brussels (<a href="#Fig189">Figure 189</a>).</p>
+
+<p>Double Brussels or the knot is worked like the
+single only that there is a second stitch taken in the
+same position as the first.
+The last must be short
+and drawn tightly (<a href="#Fig191">Figure
+191</a>).</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig191"></a><img src="images/i_251.jpg" width="400" height="477" alt="" />
+<div class="caption">Fig. 191. Double Brussels stitch </div>
+</div>
+
+<p>Another pretty filling-in
+stitch is the spider.
+It can be as large as desired
+allowing the space
+it is to be used in to determine
+the size. A thread
+is spanned across the
+space and the braid
+whipped for a short distance, say a quarter of
+an inch. The space is spanned again so that the
+threads cross. Pick up all the threads on the
+needle through the centre and make a little stitch
+to bind them. Now begin to weave over one leg
+or strand and under another, so on till a good-sized
+body is formed to the spider. In weaving
+be careful not to skip one of these little legs
+(<a href="#Fig192">Figure 192</a>).</p>
+
+<p><span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span></p>
+
+<p>Another way to work a spider, to make it a little
+stronger is to whip each leg as it is spanned.</p>
+
+<p>A third and more
+elaborate spider is one
+made with the foundation
+thread as described
+for the first
+spider and then instead
+of weaving
+straight around make
+a stitch back over one
+leg and forward under two until the body is the
+desired size. This is called the spider in its web
+(<a href="#Fig193">Figure 193</a>).</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig192"></a><img src="images/i_252.jpg" width="400" height="296" alt="" />
+<div class="caption">Fig. 192. The simple spider </div>
+</div>
+
+<p>It is easier to weave on an uneven number of
+threads, and the number of
+these should depend on the
+space. A large space requires
+a large spider with lots of legs.</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig193"></a><img src="images/i_252a.jpg" width="300" height="385" alt="" />
+<div class="caption">Fig. 193. The woven spider </div>
+</div>
+
+<p>A fan (<a href="#Fig194">Figure 194</a>) is made by
+spanning three or five threads so
+that they come to a common
+centre on one side and on the
+other they are arranged in ray
+effect. The weaving is started from the base under
+one thread and over the other on the first row if<span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span>
+there are only three. The second row is like the
+first, only the threads skipped in the first row are
+taken up. Alternate
+rows agree.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig194"></a><img src="images/i_253.jpg" width="400" height="321" alt="" />
+<div class="caption">Fig. 194. The fan</div>
+</div>
+
+<p>A Maltese cross looks
+like four fans caught together.
+The threads are
+crossed lengthwise and
+crosswise and the stitches
+taken to gather the
+threads in the centre. The weaving is the same as
+the fans. In weaving the fans or crosses do not
+work much more than half way up (<a href="#Fig195">Figure 195</a>).
+A twisted bar is
+nothing more than a
+thread overcasted
+(see illustration, <a href="#Fig124">Figure
+124</a>).</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig195"></a><img src="images/i_253b.jpg" width="400" height="377" alt="" />
+<div class="caption">Fig. 195. A Maltese cross </div>
+</div>
+
+<p>A buttonholed bar
+is made by laying two
+or three threads and
+buttonholing over
+them (<a href="#Fig196">Figure 196</a>).</p>
+
+<p>In this age of machine
+work there are all sorts of braids that may
+be procured for lace work. Little edges that<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span>
+were impossible to buy are now made by machinery.</p>
+
+<p>A little edging makes a dainty finish to a straight
+braid and also enhances the beauty of the fancy
+braids.</p>
+
+<p>To make a simple edging, work a row of picots on
+the edge of the braid which forms the edge of the
+design.</p>
+
+<p>Dainty yokes, collars, baby caps, and tie ends
+can be made of a few yards of braid and two or three
+different kinds of stitches.</p>
+
+<p>Another decoration I would like to tell you a
+little about is Limerick darning. It is often used
+with fine lace work on a background of fine net.</p>
+
+<p>The lace thread is used for the darning. The most
+common of the stitches is the plain darning taken
+up over one hole and under the next of the net.
+The next row is
+worked close to
+the first.</p>
+
+<div class="figleft" style="width: 500px;">
+<a name="Fig196"></a><img src="images/i_254.jpg" width="500" height="218" alt="" />
+<div class="caption">Fig. 196. A buttonholed bar </div>
+</div>
+
+<p>Darning on net
+is a decoration
+that is often used
+by itself. Smart little turn-over collars and cuffs
+are most attractive darned in heavy white floss or
+colour if preferred. Pin cushion covers and other<span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span>
+dainty articles that every girl loves to have in her
+bedroom may be darned to good effect.</p>
+
+<p>One of the most simple forms of lace work is
+Connemara lace. It gets its name from the Irish
+county of that name.</p>
+
+<p>The materials required are Brussels net of any size
+desired, lace braid of a width to correspond with the
+net, heavy lace rings, a ball of Renaissance thread
+No. 60 or linen spool thread No. 25, as well as a
+spool of coloured cotton.</p>
+
+<p>Connemara lace is used extensively for curtains,
+bed spreads and in fact, on any large piece, when
+the effect is desired and yet not much work. A good
+design for Connemara
+lace is shown
+in <a href="#Fig197">Figure 197</a>.</p>
+
+<div class="figright" style="width: 500px;">
+<a name="Fig197"></a><img src="images/i_255.jpg" width="500" height="463" alt="" />
+<div class="caption">Fig. 197. A good design for Connemara lace </div>
+</div>
+
+<p>The net can be
+white, ecru, or black.</p>
+
+<p>Draw a simple yet
+bold design on a
+piece of stiff paper
+or better still a piece
+of pink or blue paper
+muslin.</p>
+
+<p>The rings can be bought all ready for applying,
+for a couple of cents per dozen but they can also<span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span>
+be made at home. Take a pencil and wind around
+one end of a thread about as many times as you
+would judge from the illustration of the
+button or ring half worked (<a href="#Fig198">Figure
+198</a>). Slip the threads from the pencil
+and carefully and closely go over them
+with buttonhole stitches till all the loose
+threads are completely covered.</p>
+
+<div class="figleft" style="width: 150px;">
+<a name="Fig198"></a><img src="images/i_256.jpg" width="150" height="166" alt="" />
+<div class="caption">Fig. 198
+Button half
+worked </div>
+</div>
+
+<p>Baste your net over the design, then baste the
+braid along the design. With a fine thread secure
+the braid on the extreme edge to the net only with
+fine running stitches. Sew one side of the braid entirely
+around the design then sew the other side
+down.</p>
+
+<p>The rings are buttonholed to the net.</p>
+
+<p>If a very elaborate piece is wanted, lace stitches
+may be inserted in spaces that are bound on all
+sides with braid. The stitches, however, should be
+of the simplest, such as the twisted bar or spider.</p>
+
+<p>Honiton braid which is an egg-shaped braid is
+much more beautiful than the plain Renaissance
+braid employed in Connemara.</p>
+
+<p>The dearest of baby caps, handkerchief tie ends,
+and other dainty little articles on which a fine decoration
+is desired can be made from fine net and
+Honiton braid.   Each section of braid can be cut<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span>
+and made to form petals for a flower or to represent
+a leaf. Honiton is of course more expensive than
+Renaissance braid but a yard of Honiton goes a good
+way.</p>
+
+<p>There is a thread that can be bought by the yard,
+called picot or purling thread. It has a loop at
+short intervals each side of it. The needle can be
+threaded with it and can be used for stems, tendrils,
+or other parts of a design where a fine single line
+is desired.</p>
+
+<p>The centre of a flower in Honiton appliqu&eacute; may
+be in worked various ways. A small ring or button
+may be used or spiders may be woven in the centre.
+Again the single Brussels or mesh stitch is worked
+in a little circle in the centre. Use a very small
+ring, if you decide on rings for centre, as a large ring
+spoils the effect of a flower. Any child can make
+designs for Honiton appliqu&eacute;.</p>
+
+<p>The background for Honiton is the fine Brussels
+net. Sometimes a double thickness of net is basted
+over the pattern and the Honiton sewed on or appliqu&eacute;d
+to the net. The double thickness of net
+gives a moire effect. Each section of the braid is
+sewed to the net only. Sometimes two widths of
+braid are used, one size for the flowers and another
+for the leaves.</p>
+
+<p><span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span></p>
+
+<p>The braids at most art shops can be had in black,
+cream, or white. If, however, you are not fortunate
+enough to get cream, the white can be dyed at home
+to be as light or deep as you desire. I use cold
+tea diluted in water for a light cream, and coffee
+for the deeper cream. Put the lace to soak in the
+tea or coffee for a couple of hours. Rinse in cold
+water and let dry. If it is not a deep enough shade
+put more tea or coffee in the water and soak the
+lace again. Another way to dye lace, chiffon or
+any delicate fabric is to get a tube of oil paint the
+colour you desire and dilute it in gasolene. Of
+course the gasolene makes the paint light, so test
+the solution by dipping a small piece of cloth in and
+see if it is the right shade. A quart of gasolene is
+sufficient unless the article is very large.</p>
+
+<p>I know a girl who dipped her white hat all trimmed
+with flowers and tulle that was quite soiled into a
+mixture of gray paint and gasolene and the result
+was a pretty dove gray that everybody thought
+was new.</p>
+
+<p>Teneriffe or Brazilian point lace is such a simple
+form of lace making that I am going to stop
+and tell you a few words about it before we proceed
+to the next chapter.</p>
+
+<p>Little forms which look like a large spool with<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span>
+pins stuck in them can be bought in many art shops,
+but you can easily make a foundation yourself for
+Teneriffe lace.</p>
+
+<p>Draw a circle two inches in diameter on a stiff
+piece of cardboard. Sometimes the circle is drawn
+on white muslin and fastened securely to an embroidery
+hoop or frame. Divide the circle into
+halves, then quarters, then eighths and each eighth
+divide into six equal parts. Make a dot at each
+division. Thread a needle with a piece of coarse
+thread. Insert the needle one quarter inch beyond
+the circle and bring it up on a dot. Continue in
+this manner all around the circle. Fasten securely.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig199"></a><img src="images/i_259.jpg" width="400" height="387" alt="" />
+<div class="caption">Fig. 199. The first step in Brazilian
+point lace </div>
+</div>
+
+<p>Now thread a needle
+with a long thread of
+No. 80 linen thread.
+Let it be extra length.
+Pass the needle under
+each loop from side to
+side until each little
+stitch has a thread passing
+through it. (<a href="#Fig199">Figure
+199</a>). Knot the
+threads in the centre
+and weave four or five rows, over and under the
+strands close to the centre. Skip a quarter inch<span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span>
+then carry a thread around and knot each thread
+as you pass it. Count the threads and divide the
+number by six; on this number weave a little pyramid.
+Repeat the little pyramid five times, each
+time letting it be woven on the same number of
+threads as the first. Take a thread and catch
+every two threads above the centre figure. An
+eighth of an inch above this work another row, this
+time dividing the two threads previously caught and
+taking one of them and one of the next row together.
+An eighth of an inch above the row make another
+row, catching the same threads as were taken in the
+first row from the central figure (<a href="#Fig200">Figure 200</a>).</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig200"></a><img src="images/i_260.jpg" width="500" height="478" alt="" />
+<div class="caption">Fig. 200. A motif in Brazilian lace</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span></p>
+
+<p>Sometimes a pin cushion is used to make Brazilian
+lace. The pins are stuck in and the threads wound
+over them.</p>
+
+<p>Brazilian or Teneriffe lace can be used for borders
+on handkerchiefs or other fine articles, while again
+they may be used as medallions on waists or other
+thin clothes. The material from under them is
+cut out so that a lacy effect may be produced.</p>
+
+<p>Other patterns may be readily made. Remember
+that the stitches are very similar to those used in
+the corners of drawn work borders.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span></p>
+
+
+
+
+<h2><a name="XXI" id="XXI"></a>XXI<br /><br />
+<small>SIMPLE BASKETS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Basketry</span> is so easily done and at such a
+small cost that almost any one, even a
+very little child, can master it without very
+much difficulty. With very few tools some beautiful
+gifts and other useful articles may be made.</p>
+
+<p>In this chapter it is my intention to tell little
+children just how to make some pretty things with
+materials that they can obtain from nature's storehouse
+and otherwise.</p>
+
+<p>In making baskets a great deal of rattan is used.
+I suppose that some of my little readers will wonder
+what rattan is. Well, I will tell you. It is a kind
+of grass or leaf which grows in forests of foreign
+countries, twining about the tress, hanging from
+branch to branch sometimes hundreds of feet in
+length but hardly ever over an inch thick. The
+people over there in those countries send this material
+to us so that we can make many pretty things.
+For little boys and girls living in the country there
+are materials which they can get from the fields<span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span>
+and river banks that may be substituted for
+rattan.</p>
+
+<p>For instance the water willow when peeled
+proves a very good material. Reed, which is a
+sort of grass that grows on the banks of rivers, may
+also be used after it is dried and peeled. Raffia is
+another material which is commonly used for this
+work. It is a sort of soft substance generally pale yellow
+and can be bought by the pound at any large store.</p>
+
+<p>Dried grass is sometimes substituted for raffia
+and the results are often just as pretty as those obtained
+by the original material.</p>
+
+<p>Grass twine is used. It is something like rope,
+and rope is often substituted for it. Raffia is generally
+used to cover it in making baskets.</p>
+
+<p>A few tools will be necessary for our work such as
+a strong pair of shears, a tape measure or ruler, a
+vessel for water, and some very coarse, blunt-edged
+needles.</p>
+
+<p>Simple baskets of rattan are very interesting to
+make and I will tell you how to make a small round
+basket without a cover.</p>
+
+<p>For this basket you will need four fourteen-inch
+pieces of rattan or spokes as we are going to call
+them, one eight-inch piece and two or three longer
+pieces for weavers.</p>
+
+<p><span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span></p>
+
+<p>Before starting the work, the rattan should be
+soaked in water until it becomes soft enough to bend
+easily. Then two of the pieces are placed side by
+side in a vertical position and the other two in a
+horizontal position crossing the vertical pieces at the
+centre.   Between the two horizontal pieces and to
+the right of the centre the half spoke is placed.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="Fig201"></a><img src="images/i_264.jpg" width="400" height="416" alt="" />
+<div class="caption">Fig. 201.   Weaving the bottom </div>
+</div>
+
+<p>These are held in position by the left hand, while
+the right hand does the work.</p>
+
+<p>One end of the long piece called the weaver is
+placed at the centre, back of the horizontal spokes,
+with the end toward the right. The first finger of
+the right hand presses the weaver across the vertical<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span>
+spokes, under the horizontal on the left, over the
+vertical, and behind the horizontal again. Repeat
+twice so as to fasten well.</p>
+
+<p>Separate the spokes evenly, and it is now ready
+for the weaving (<a href="#Fig201">Figure 201</a>).</p>
+
+<p>If there is any of the winding piece left, it may be
+used as a weaver.</p>
+
+<p>The weaving is done by pressing the weaver under
+one spoke and over the other until the bottom of the
+basket is about two and one half inches across.</p>
+
+<p>Soak it in water for a few minutes and then bend
+the spokes upward to form the sides of the basket.</p>
+
+<p>In order to make the weaving of the sides of the
+basket easier, rest the work on the knee, holding the
+spokes with the left hand and press the weaver under
+and over the spokes with the first finger of the right
+hand. If the weaver comes to an end join a new
+piece by crossing them behind a spoke about an
+inch from the end of each.</p>
+
+<p>When the sides of the basket have been woven,
+leaving about an inch and a half of the spokes extending,
+it is ready for the border.</p>
+
+<p>Cut the spokes to an even length with a slanting
+cut, so that the points may be easily pushed down
+between the weaves. Hold the spokes in water
+for a few minutes and then push one of the spokes<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span>
+down beside the next spoke at least three quarters
+of an inch below the edge. Do this with every
+spoke until the border has been completed. Now
+our little basket is finished and ready for use.</p>
+
+<p>Sometimes little girls like to have their baskets
+brightened up. A pretty lining of silk or other
+material would do this very nicely.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig202"></a><img src="images/i_266.jpg" width="600" height="322" alt="" />
+<div class="caption">Fig. 202. The basket </div>
+</div>
+
+<p>Perhaps some children would like to know how
+to make a basket with a cover. It only requires
+a little more time but it will prove very interesting.</p>
+
+<p>The material for this basket consists of six sixteen-inch
+spokes, one spoke nine inches long and three
+or four weavers.</p>
+
+<p>The bottom of this basket is made in the same
+way as the one previously described. After
+this much has been done, wet the spokes and proceed
+to turn them up and weave the sides of<span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span>
+the basket. The weaving is done rather loosely
+until you have used three of the weavers. The
+last weaver is drawn more tightly so that the basket
+will assume the shape of an apple with the top cut
+off. The edge is finished off with a flat border which
+may be made by soaking the spokes in water until
+they become quite soft. Each spoke is brought
+behind the next one to the right of it, and out over
+the front of the basket. Then the end of each spoke
+which is lying over the front of the basket is brought
+up over the next spoke to the right and is pressed
+down inside of the basket. When it is dry the
+ends of the spokes
+may be cut off.</p>
+
+<div class="figright" style="width: 500px;">
+<a name="Fig203"></a><img src="images/i_267.jpg" width="500" height="498" alt="" />
+<div class="caption">Fig. 203. A mat </div>
+</div>
+
+<p>The cover is made
+like the bottom of
+the basket, only the
+spokes are bent
+gradually upward
+from the centre.
+The material for this
+cover consists of six
+fourteen-inch spokes,
+one spoke seven or
+eight inches long and two long pieces for weavers.</p>
+
+<p>When the cover is nearly as large around as the<span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span>
+top of the basket it is finished off with a border like
+the one described for the top of this basket. The
+cover has to be fastened to the basket and the easiest
+way of doing this is by making rings of rattan.</p>
+
+<p>A piece of rattan about twelve inches long is
+tied into a ring, the ends being twisted in and out
+of the ring. Three rings are necessary, none of
+them measuring more than a half or three quarters
+of an inch across. One ring is attached to the cover
+on the front between the border and the last row of
+weaving, the ends being sewed under a spoke. Another
+ring is attached in the same way at the back
+of the cover and the third is fastened across a spoke
+in the front of the basket between the fourth and
+fifth rows of weaving. The cover is placed on the
+basket so that the ring at the back will be just over
+a spoke of the basket. A small piece of weaver is
+then placed between the third and fourth rows of
+weaving, below the border and to the left of the spoke
+mentioned. It is brought through the ring on the
+cover and drawn just tightly enough to allow the
+cover to close easily. The ends are crossed and
+brought through to the inside and sewed down,
+as the rings were. When this is done the basket
+is complete.</p>
+
+<p>There are many other pretty articles that can be<span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span>
+made easily, such as a mat for a teapot or lamp and
+trays for other purposes (<a href="#Fig203">Figure No. 203</a>).</p>
+
+<p>A very simple way to make a mat would be to
+cut four fourteen-inch spokes of rattan, one eight-inch
+spoke, and two weavers. The mat is started
+in the same way as the first basket in this chapter.
+When the end of the first weaver is reached, a second
+is joined to it. By the time the second weaver has
+been used, the mat is large enough for a border.
+The mat has to be bound. The binding may be
+done by passing the weaver under the last row of
+weaving just before it reached the next spoke. It
+then goes behind that spoke, in front of the next
+and under the last row of weaving. The spokes
+should then be soaked in water, and when soft take
+spoke No. 1 and cross No. 2 and push it down beside
+No. 3 and so on around the mat. A number of
+these mats may be made and joined together for
+various purposes. Two mats joined by ribbon make
+a very pretty whisk-broom holder.</p>
+
+<p>In nearly all this work weaving is the principal
+thing. By changing the weave we can obtain very
+interesting and pretty results. The simple over and
+under weave may be changed by using two weavers
+and twisting once, twice or three times between the
+spokes according to the size of the article.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span></p>
+
+
+
+
+<h2><a name="XXII" id="XXII"></a>XXII<br /><br />
+<small>RAFFIA BASKETS AND NAPKIN RINGS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Raffia</span> is so soft and strong that it is very
+well fitted for the work of children's fingers.</p>
+
+<p>So many different things can be made
+with raffia that it is just as precious to the little
+ones as the same amount of gold.</p>
+
+<p>Little baskets made of raffia are dainty and easily
+made. For example a work basket, a candy basket,
+or a basket for handkerchiefs, collar buttons, and
+many things are interesting.</p>
+
+<p>For one of these baskets we need one long piece
+of rattan, a bunch of raffia and a blunt-pointed needle.
+Soak the piece of rattan in water until it is soft
+enough to work with. Wind the end into the smallest
+possible ring and with the needle full of raffia start
+in the middle of the ring and sew over and over from
+left to right until the end is firmly fastened. The
+next row is brought around at a little distance from
+the first and the raffia is brought down through the
+centre, up and once around the coil, thus holding
+the first coil to the second.</p>
+
+<div class="figcenter" style="width: 458px;">
+<a name="PL4"></a><img src="images/i_271.jpg" width="458" height="600" alt="" />
+<div class="capr">Photograph by Mary G. Huntsman</div>
+<div class="caption">It is Jolly to Make a Raffia Work Bag</div>
+</div>
+<p><span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span></p>
+
+<p>Wind the raffia around the rattan until the coil
+has been brought half way around the second time,
+when it is again sewed through the centre. At
+quarter distance all the way through the basket
+these joinings are made and they must be made to
+the right of the one below and joined to the previous
+row. The joinings form a pattern.</p>
+
+<p>As the basket grows larger the number of joinings
+increase. New needlefuls of raffia are always started
+at a joining, the old strand being brought from left
+to right through the upper part of the joining. The
+new strands being brought from right to left through
+two twists of raffia and drawn through so as to leave
+the short end lying next to the rattan.</p>
+
+<p>Begin to wind again and soon both ends are covered.
+When you have made about ten rows, which
+will form the bottom of the basket, bring the rattan
+above the last row and proceed as before. Each new
+row is brought above the previous one so as to form
+the sides of the basket. When the basket is about
+eight rows high, the ninth row is brought just a little
+inside of the eighth so as to have something for the
+cover to rest upon. When about three inches from
+the point where the rattan was brought up to make
+the sides of the basket, it should be cut long enough
+to finish the row and then shaved off to a flat point<span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span>
+which is sewed closely to the last row. For this
+basket we will have to make a cover.</p>
+
+<p>The cover is made in the same manner as the
+bottom of the basket. When you have nine rows
+complete, a border is made to finish off the cover.
+The tenth row is sewed to the ninth by a fancy
+stitch which is made by winding once around the
+ninth from left to right and once around the tenth
+from right to left and so on alternately until the row
+is completed.</p>
+
+<p>The end of the rattan is shaved off and sewed to
+the last row. A pretty lining would beautify this
+article very much.</p>
+
+<p>One of the very simple things which a very
+small child could easily make is a napkin ring
+(<a href="#Fig204">Figure 204</a>).</p>
+
+<div class="figright" style="width: 500px;">
+<a name="Fig204"></a><img src="images/i_275.jpg" width="500" height="358" alt="" />
+<div class="caption">Fig. 204. The napkin ring </div>
+</div>
+
+<p>Cut a piece of cardboard or stiff paper about an
+inch and a half wide and eight or nine inches long.
+Paste the ends together forming the ring. Take
+two strands of raffia and knot them. Place the
+knot inside the ring holding it with the first two
+fingers of the left hand. The strand on the right
+is brought up and across the ring on the top, the
+end hanging over the left side. The strand on the
+left is brought around the right strand under again
+through the ring and out on the right through the<span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span>
+loop made by the right strand in turning and crossing
+the ring. Pull both ends. The strand on the
+left is brought across the ring, the right strand
+placed over it through the ring and out through
+the loop on the opposite side. Pull both ends. The
+little knot formed
+on the edge is called
+"Solomon's Knot"
+and it makes a very
+desirable edge.</p>
+
+<p>Different colours
+may be used in raffia
+which brighten
+the ring very much
+and make the work more interesting.</p>
+
+<p>When the strands of raffia come to an end, a new
+one is joined by placing the end over the old one
+about an inch or an inch and a half, and working with
+them as one. The ends may be cut off after the ring
+is finished. Sometimes a small bunch of raffia
+about an inch long is tied to the outside of the
+ring. The ends are frayed out to add to the effect.</p>
+
+<p>There is one article which proves to be most
+delightful and interesting to make (that is, to the
+girls) a doll's hat (<a href="#Fig205">Figure 205</a>).</p>
+
+<p>I think that nearly every little girl knows how to<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span>
+braid raffia and after you have learned how to sew
+this braid together you can make any size or shape
+in hats.</p>
+
+<p>Braid some raffia, say about two or three yards.
+Have several loose strands and a needle and scissors.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig205"></a><img src="images/i_276.jpg" width="600" height="380" alt="" />
+<div class="caption">Fig. 205. A doll's braided hat </div>
+</div>
+
+<p>Just as in making large hats we begin with the
+centre of the crown. A needle is threaded with a
+fine strand of raffia and the work is begun by winding
+the end several times with the end of the strand
+threading the needle.</p>
+
+<p>A coil is then started with the edge of the braid
+up, not the face, and it is sewed through at least
+two braids at a time, in stitches which run in the
+direction of the braid. The needle is put in slanting
+down from right to left and up in the opposite
+direction. The crown is coiled round and round<span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span>
+until it is about two or two and a half inches large.
+The coil is then brought round with the upper edge
+just below the centre of the last row. The following
+rows are sewed in the same way until the crown is
+completed or high enough to suit you. Have care
+in sewing the braid so as to show as little of the
+stitches as possible. The brim is made by flattening
+out the braid and sewing it so that it overlaps the
+centre of the braid of each preceding row.</p>
+
+<p>When the brim is wide enough one or two rows
+are sewed more tightly than the others and the end
+of the braid is sewed under the brim very flatly.
+Now the hat is ready to be trimmed.</p>
+
+<p>I would like to tell a little about the handles of
+baskets in this chapter. In most of the baskets
+already described a cover has been made. Some
+people would rather have a handle to the basket, so
+let us see if we cannot learn how to make some
+handles. The twisted handle of rattan is made by
+using one spoke of rattan of suitable length, and a
+weaver. A knitting needle or something similar will
+be necessary for the work.</p>
+
+<p>The needle is pushed down beside a spoke of the
+basket and then drawn out again to make room for
+the end of the rattan to be pushed in, about three
+inches below the top of the basket. The other<span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span>
+end is inserted in the same way on the opposite
+side. This makes the foundation handle. The
+end of the weaver is inserted under the third row of
+weaving to the left of the spoke and pushed up
+between the weaving. It is twisted around the
+foundation about an inch apart. When the opposite
+side is reached, the weaver is pushed in under
+the third row of weaving on one side of the handle
+spoke and brought out on the other side. The
+weaver is then laid across the first twist and each
+of the following ones, to the other side where it goes
+under the third row as on the opposite side. About
+five or six times across will cover the handle. The
+weaver is fastened off by bringing it inside the
+basket across a spoke, in again, and then cut off.</p>
+
+<p>The braided handle is made by using six pieces of
+rattan braiding using two pieces in each strand.</p>
+
+<p>While weaving the basket, three pieces are pushed
+in on each side of a spoke and the weaving is continued
+over the spokes.</p>
+
+<p>The double ring handle is made by twisting rattan
+into rings and sewing the rings to the weaving of the
+basket on opposite sides.</p>
+
+<p>In sewing baskets or other articles, different
+kinds of stitches are used. To put a hat together
+the braids are sewed together with a plain stitch,<span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span>
+whereas in putting a basket together a fancy stitch
+is employed.</p>
+
+<p>The Indians are famous for the various kinds of
+fancy stitches, which they have used in making
+basketry articles.</p>
+
+<p>The skip stitch which is used in sewed baskets is
+made by enclosing two spokes at a time or enclosing
+one spoke between every two.</p>
+
+<p>Another useful and decorative stitch which is
+often used is the split stitch. The spokes are
+twined with raffia for a certain distance and then are
+split in two and the right spoke of one is joined to
+the left spoke of the other and twined with raffia as
+one.</p>
+
+<p>Sometimes in making a cover for a hanging jar
+the spokes radiating from the centre are brought
+diagonally across each other and joined together by
+the winding stitch.</p>
+
+<p>Many of the simple lace stitches described in a
+preceding chapter prove very useful in basketry work.</p>
+
+<p>To make the melon-shaped basket shown in
+<a href="#Fig206">Figure 206</a> a six-inch pair of embroidery hoops will
+be needed. One hoop is placed inside of the other.
+The inside hoop is perpendicular while the other one
+is horizontal. Tie the two rings together at the point
+of intersection.</p>
+
+<p><span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span></p>
+
+<p>From basket splint one sixteenth of an inch thick,
+cut six strips which are ten inches in length. They
+should be one inch and three quarters in the centre
+and taper to points at both ends.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig206"></a><img src="images/i_280.jpg" width="600" height="611" alt="" />
+<div class="caption">Fig. 206. A melon-shaped basket </div>
+</div>
+
+<p>Select raffia in two shades.   The natural and
+brown were used for this basket. With a strand of
+the brown start to weave at the point of intersection.</p>
+
+<p>Wind around the four pieces of hoop until a
+square about one and a half inches is made. Repeat
+on the opposite side of the hoops.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="PL5"></a><img src="images/i_281.jpg" width="600" height="408" alt="" />
+<div class="capr">Photograph by Mary G. Huntsman</div>
+<div class="caption">Sewed Raffia Baskets Make Attractive Gifts</div>
+</div>
+
+<p>Take two of these pieces of prepared basket
+splints and insert them in the centre of both squares.<span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span>
+First one side of the pieces is inserted in the square
+and then the other end of the ribs is inserted in
+the other square. The natural colour raffia is now
+used to weave over the hoops and ribs. The weaving
+is done over and under and back and forth from side
+to side until there are a dozen rows of weaving.
+The other side of the basket is treated in like manner.</p>
+
+<p>The other four ribs are inserted two on each side
+of those previously placed. Now begin and weave
+all the way across. Weave several rows of brown
+then the natural raffia. You will put in more or
+less of the brown raffia as you desire, only the
+pattern on each side of the centre must agree.</p>
+
+<p>Instead of weaving from one side and then across
+to the other, it is a better plan to weave a little
+first on one side of the basket and then on the other.
+In this way you are sure of
+your pattern.</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig207"></a><img src="images/i_283.jpg" width="300" height="294" alt="" />
+<div class="caption">Fig. 207. The cover</div>
+</div>
+
+<p>If the raffia is threaded in
+a large needle it is easier to
+weave.</p>
+
+<p>Another strand or more is
+wound around the handle. A
+basket such as this makes an
+attractive fruit basket and is just the thing to give
+to sick friends or to use when going berrying.</p>
+
+<p><span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span></p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig208"></a><img src="images/i_284.jpg" width="300" height="430" alt="" />
+<div class="caption">Fig. 208. Buttonholing the cardboard </div>
+</div>
+
+<p>Raffia can be used in many ways as you have
+already seen. A pretty box for jewellery is one that
+is almost as easy to make as
+the napkin ring. Get a
+sheet of thin white cardboard.
+The brown cardboard
+is a very weak material and
+easily bends and breaks.
+Cut two circles of cardboard
+five inches in diameter. Use
+compasses to inscribe the circle,
+so that it may be perfect.
+Then cut a strip seventeen
+inches long by two inches
+wide. From the centre of
+one of the circles cut a two-inch circle. This piece
+will be the top of the
+box. Now thread your
+needle with a strand of
+the raffia which has
+been soaked in water
+and buttonhole in raffia
+over the cardboard.
+When the cardboard
+has been entirely covered with the raffia stitches
+(<a href="#Fig207">Figure 207</a>) take the other circle of cardboard and<span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span>
+cut a half-inch circle from the centre. Cover this
+piece of cardboard like the top. (<a href="#Fig208">Figure 208</a>).
+The raffia should be wiped before using it; if not
+the water will spoil the cardboard.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig209"></a><img src="images/i_284a.jpg" width="400" height="277" alt="" />
+<div class="caption">Fig. 209. A simple basket box</div>
+</div>
+
+<p>The centre opening on the cover will be filled with
+a spider-in-its-web. Make four strands of raffia
+across the space. We now have eight spokes.
+Take the threaded needle back to the centre and
+having passed under a spoke go back and pick it up.
+The idea is to go back over one and forward under
+two. Continue in this manner till the spider is the
+size you desire.</p>
+
+<p>The long strip of cardboard is sewed together and
+is worked like the napkin ring. With a strand of
+raffia, cast or bind the bottom of the box to the side.
+The top is fastened on one side with two strands of
+raffia which are tied in a bow. The extra ends are
+cut off.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span></p>
+
+
+
+
+<h2><a name="XXIII" id="XXIII"></a>XXIII<br /><br />
+<small>RAFFIA HATS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Many</span> of our little girls have made any
+number of dolls' hats by just braiding
+raffia and sewing the braids together.</p>
+
+<p>If you were to make a large hat (by this I mean
+a hat large enough to wear yourself) by sewing braids
+of raffia together, it would be entirely too heavy and
+also would fall into any shape, perhaps not a very
+desirable one.</p>
+
+<p>The only thing to do would be to procure a wire
+frame and to make the raffia hat on it.</p>
+
+<p>In order to do this we will have to braid enough
+raffia for the whole hat before doing anything else.</p>
+
+<p>For this kind of braiding the raffia will have to
+be soaked in water and then rolled out so that the
+strands will look like pieces of ribbon about three
+quarters of an inch wide.</p>
+
+<p>You may use a five, seven, or nine strand braid
+for this hat. Take one long strand of raffia and place
+it horizontally on a flat surface. Tie seven long
+pieces to the horizontal piece as shown in <a href="#Fig210">Figure 210</a>.</p>
+
+<p><span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span></p>
+
+<p>Begin with the last strand on the right-hand side
+and weave it over the next, under the following one,
+etc., toward the left side letting it hang out to the
+left. Take the next strand on the right and weave
+it in the same manner as the preceding one.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig210"></a><img src="images/i_287.jpg" width="500" height="471" alt="" />
+<div class="caption">Fig. 210. Weaving the raffia </div>
+</div>
+
+<p>When the left-hand side is reached, drop the first
+left-hand one with the rest and let the new weaver
+hang out till the next is brought over. The first one,
+when it reaches the left side, is always turned over
+the last weaver just brought over before dropping it
+(the first one) into place with the others.</p>
+
+<p>When the first set of strands are used, replace them
+one at a time by using the new and old together about
+two inches from the end of each.</p>
+
+<p><span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span></p>
+
+<p>It will take about eighteen or twenty yards of braiding
+to cover the frame. When the braiding is ready
+to sew on the hat, begin with the centre of the crown.
+When the crown is entirely covered, start with the
+brim and begin sewing the coils together to the
+frame at the base of the crown. The under side
+of the brim may be covered with silk or material
+of a similar kind, or if you prefer to have it, covered
+with braid sewed on in the same manner as the
+outside, beginning at the base of the crown.</p>
+
+<p>When the whole hat frame has been covered with
+the braiding, you may roll it in the front or on the
+side, or in fact any place to suit yourself. A nice
+large bow of ribbon placed on the hat in a becoming
+fashion would make it very attractive, or for those
+who prefer flowers and ribbon the hat trimmed in
+this manner would be equally charming.</p>
+
+<p>A woven raffia hat made on a wire frame is a very
+charming and neat creation.</p>
+
+<p>It takes time and patience and skill to make the
+hat, but when it is finished you are doubly repaid
+for your work and the time spent on it.</p>
+
+<p>The crown is woven first and then fitted to the
+crown of the wire frame. Take a small strand of
+raffia to make a ring of very small dimensions, say
+about one quarter of an inch in diameter. To this<span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span>
+ring, knot eight strands of raffia as shown in <a href="#Fig211">Figure
+211</a>. Eight more strands are tied around each of
+the eight strands, using the very pretty and effective
+"Solomon's Knot."</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig211"></a><img src="images/i_289.jpg" width="500" height="496" alt="" />
+<div class="caption">Fig. 211. The crown of the hat</div>
+</div>
+
+<p>This knot is a very simple twist and may be tied
+either with a double or single strand. The strand
+which is tied on is laid first under the main double
+strand and then both ends are crossed over each
+other. The right one goes first under the end of the
+left-hand one and over the double middle strand and
+then again under the loop of the left-hand one.</p>
+
+<p>It would be well to practise with strands of raffia
+other than those used in making the hat so as to
+become quite familiar with the knot before using it
+on the hat. Counting the eight strands tied to the<span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span>
+ring and the sixty-four strands that are Solomon-knotted
+to the original eight we have seventy-two
+strands in all. They start from a common centre
+and are brought down and outward through the
+pattern and are knotted one by one onto the main
+strands as they cross.</p>
+
+<p>If you were to trace any one of the seventy-two
+strands you will find that it comes to the outside
+edge of the square through a very simple course.
+The last or eighth strand, knotted to the main strands,
+is used to tie up the bunch of strands coming from
+the sides of the diamond. It falls into place with
+the other strands and is tied up in turn as the
+others are. The larger knot tying up the bunch of
+raffia in the centre of the diamond is the same kind
+of knot as the smaller ones. It may look slightly
+different in composition, but that is due to the fact
+that it is being tied around a larger bulk.</p>
+
+<p>After the knots have been all tied at the edges of
+the diamonds, the ends are woven under and over
+making a sort of a square design as shown in the
+illustration.</p>
+
+<p>The finishing of the crown is done by taking four
+strands, two from each of the squares at the centre,
+and knotting them together with a simple knot.
+Two from each side are knotted together.</p>
+
+<p><span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span></p>
+
+<p>If you find that the strands do not come out in
+sets of four, make an extra strand by splitting in
+two one of the other strands.</p>
+
+<p>The brim of the hat is not so tedious to make as
+the crown and having a larger surface on which to
+work you will find that the progress is more rapid
+and requires less time and energy.</p>
+
+<p>Knot on the outer wire of the frame as many
+strands of raffia as will fit very closely but easily
+side by side and then tie them into loops such as
+were used on the edge of the crown of the hat.
+This loop is the same as that used in making the
+shopping bags and hammocks described in the next
+chapter.</p>
+
+<p>You may use your own judgment in designing
+the brim. The outer edge may be made of the same
+loops that we have just spoken of. On the next
+row the strands of raffia are drawn down tightly
+and tied around the wire with a simple knot.</p>
+
+<p>Alternate these two designs and you will have a
+very pretty brim.</p>
+
+<p>To finish off the edge on the brim, cut the ends off
+to about three quarters of an inch in length and sew
+them in under the wire with a needle threaded with
+fine raffia. A tapestry needle or a darning needle
+would do for this purpose.</p>
+
+<p><span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span></p>
+
+<p>The trimming for this hat could be easily made of
+raffia. I will leave it to the maker to decide what
+would be most suitable to the taste. I might
+suggest such articles as buckles made of raffia
+or rattan or perhaps quills made of raffia.</p>
+
+<p>If you do not care to have the hat trimmed with
+its own material, velvet ribbon, satin, flowers,
+quills, etc., would make a desirable trimming.</p>
+
+<p>A very bewitching hat of a plain, three-strand
+braid of raffia can be easily made with very little
+trouble.</p>
+
+<p>The raffia has to be soaked in water until it is
+soft. Unroll each strip and it will probably be
+about three quarters of an inch wide. In order to
+make the braid thick enough it will be necessary to
+use three or four pieces in one strand of the braid.
+Braid about nineteen or twenty yards before beginning
+to make the hat.</p>
+
+<p>Choose a wire frame of a low rounded crown and
+a broad flat brim. If you wish to change the shape
+of the frame after the braid is sewed on, it will be a
+very trifling matter.</p>
+
+<p>The end at which the braid is begun forms the
+centre of the crown. It is bent over at about five
+eighths of an inch from the tip and the long end is
+coiled around in a second row, the edge of which<span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span>
+comes an eighth of an inch under the edge of the
+centre. It is generally sewed on with a darning
+needle, threaded with a very fine strand of raffia.
+Use the back-stitch bringing the strand all the way
+through on the right side and then all the way
+through underneath.</p>
+
+<p>The crown is made entirely by sewing the plaits
+together, separately from the wire frame, but it
+will be well to try it on the frame occasionally so that
+it will securely fit. When about six or seven rows
+have been sewed together and the crown is four or
+five inches high, the brim is begun. The coil of
+braiding is brought around more loosely and flattened
+out as it is sewed.</p>
+
+<p>When six or seven rows have been completed, the
+brim at the back will be large enough. Each succeeding
+row will have to be cut as it gets near the
+back and the end fitted in under the previous row
+until the sides near the back are about nine or ten
+rows wide and the front twelve rows. It would be
+well to pull the coil slightly tighter as it draws nearer
+the outer edge so that the last rows may roll a little.</p>
+
+<p>If you care to have the under brim of braided raffia
+it can be made in the same way, except that it is one
+row wider at the front and sides, to allow it to roll
+over the edges of the brim. It is pressed on the<span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span>
+wrong side and attached to the under brim of the
+wire frame, with very small stitches of raffia. The
+outer edge of the under brim should not be fastened
+until the crown and the top brim are on the wire
+frame, as the top brim should come over the edge of
+the under brim.</p>
+
+<p>The crown and the upper brim are now pressed
+on the inside and put on the frame to which they are
+caught with a stitch of raffia here and there.</p>
+
+<p>The centre of the crown particularly should be
+firmly attached with stitching to the centre of the
+wire frame. A row of braiding is brought around
+to cover where the upper and under brims join inside
+the rolled brim and is sewed on either edge with small
+stitches of raffia.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig212"></a><img src="images/i_294.jpg" width="400" height="228" alt="" />
+<div class="caption">Fig. 212. A braided hat for yourself </div>
+</div>
+
+<p>A hat like this would
+be very pretty trimmed
+with a satin ribbon
+or silk bow. A
+large bow at the side or
+the back would make it
+very attractive if the bow is of a contrasting colour.</p>
+
+<p>Some people prefer leaves and flowers, with a
+little touch of silk; others quills or feathery materials.
+In fact it may be trimmed with material of any kind.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span></p>
+
+
+
+
+<h2><a name="XXIV" id="XXIV"></a>XXIV<br /><br />
+<small>KNOTTING FOR DOLLS' HAMMOCKS, SHOPPING BAGS,
+AND OTHER PURPOSES</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Knotting</span> of raffia for dolls' hammocks,
+shopping bags, belts, coverings for hanging
+jars, and many other things proves to
+be a very interesting part of the basketry work.</p>
+
+<p>Little girls could easily make some very pretty
+belts to be worn with some of their dainty frocks,
+and I don't know what could be more delightful
+than a hammock for dolly to sleep in.</p>
+
+<p>First let us see how we can make dolly's hammock.
+We will have to have two small brass rings about
+three quarters of an inch in diameter, twelve pieces
+of raffia, and a pair of scissors.</p>
+
+<p>Place one of the rings on a table or other flat
+surface and tie each of the twelve pieces of raffia
+on the ring, leaving an end about an inch long.
+Begin and tie simple knots three inches from the
+ring and one inch apart, knotting the strands two
+and two until nine or ten rows have been completed.
+Finish the hammock by fastening the ends three<span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span>
+inches from the last row of knots, to the other ring.
+The hammock is ready for Sally Ann to have a nap.</p>
+
+<p>The next thing to do is to make a shopping bag,
+to carry all the small bundles when you go down
+town to buy dolls' clothes.</p>
+
+<p>This little bag is made with the same kind of
+knotting, only the number of strands and the arrangement
+of them differ (<a href="#Fig213">Figure 213</a>).</p>
+
+<p>Twenty-two strands of raffia and a pair of scissors
+are necessary. Arrange twenty of the strands in
+pairs, and tie each pair in the centre. Place them
+on a table with the knots side by side, leaving a
+little less than ten inches on each side of the knots.
+Begin on one side of the centre knots, and tie one
+strand from one knot to the next strand from the
+next knot. They must be an inch from the first knots.
+Tie the same two strands an inch from the centre
+on the opposite side. In the same way tie the outside
+strands of this group to form the corners. Tie
+them one inch from the first centre knot. Make
+ten rows of knots an inch apart. When these have
+been completed, the bag is ready for the handles.</p>
+
+<p>Separate the strands on one side of the bag from
+those on the other. Divide the group on one side
+in half. Fasten each group one and a half inches
+beyond the last row of knots. Braid the strands<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span>
+about six inches. Do the same with each group,
+making four braids in all. Hold the two braids
+from one end of the bag together so that the loose
+ends of one braid overlap
+the other. Beginning
+at the middle point
+make a binding one
+and a half inches to
+the right and a similar
+one to the left. Cover
+the binding with "Solomon's
+Knots." Keep
+the lines of knotting
+straight. Finish the
+opposite handle in the
+same way.</p>
+
+<div class="figleft" style="width: 372px;">
+<a name="Fig213"></a><img src="images/i_297.jpg" width="372" height="600" alt="" />
+<div class="caption">Fig. 213. A shopping bag </div>
+</div>
+
+<p>Some day when you
+have shopping to do
+for your mother, take
+your bag along and see how handy it will be.</p>
+
+<p>In the beginning of the chapter I spoke of a belt
+to wear with a pretty frock. A belt made of a six
+strand braid proves to be very serviceable to some
+little girls. You may use plain white raffia or a
+plain colour but oftentimes two colours add to the
+attractiveness of the belt.</p>
+
+<p><span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span></p>
+
+<p>Take three long pieces of raffia, that is, if the raffia
+is very thick; if not, six or twelve pieces using two
+or four pieces as one strand. Hold the strands at
+the centre in the left hand. Put the strand on the
+extreme right over and under the next two strands.
+The strand on the extreme left is put under, over
+and under the other strands. This forms a braid.
+Continue doing this braiding until the belt is long
+enough to suit you. To finish the ends tie the
+remaining loose strands close to the braid and cut off
+the ends. Turn the knots under and sew over the ends
+with the loop-stitch described in a preceding chapter.</p>
+
+<p>In working with raffia many times an article
+will need something to put a finishing touch to it,
+I would suggest using a fringe or tassel according
+to the kind of work in question. In my experience
+they have proved to be just the thing for such purposes.
+For example, in knotting raffia for a work bag,
+the ends of the raffia may be left hanging and when
+cut to an even length provide a very plain finish for
+the bottom of the bag. Fringing or tassels would,
+I think, add considerably to the appearance of the
+article. To make fringe on the bottom of such a
+bag it is necessary to cut the ends an even length
+after the last knot has been made, and with a pin
+or needle fray out the ends very finely.</p>
+
+<p><span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span></p>
+
+<p>The way to make tassels for a finish is to wind a
+strand of raffia over a cardboard about two or three
+times, or if the tassel is to be quite thick, wind five
+or six times. Slip it off and bind it several times
+near the top with the end strand of the bag. Sew it
+fast with a tapestry needle.
+Cut through the centre of
+the loops. A row of these
+across the bottom of a bag
+are very effective.</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig214"></a><img src="images/i_299.jpg" width="300" height="508" alt="" />
+<div class="caption">Fig. 214. A whisk broom </div>
+</div>
+
+<p>A very dainty little article
+for a very small child to
+make is a little clothes brush
+or whisk broom. Secure a
+brass ring about one inch in
+diameter and cover the
+ring with the loop stitch.
+Fold twelve strands of raffia
+twice and slip the bunch
+through the ring bending it in the middle.
+Make a binding one inch below the ring and one
+inch long; cover the binding with "Solomon's
+Knots." Fringe the ends well and trim off evenly
+(<a href="#Fig214">Figure 214</a>).</p>
+
+<p>Knotting in silks, cotton or linen strands should
+be mentioned in this chapter. It is a difficult thing<span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span>
+to find a piece of fringe that will just match the
+colour of silk you have but it is an easy matter to
+make the fringe yourself. The simplest kind is the
+knot fringe. It can be made of filo, rope, twisted,
+or heavy floss when used in connection with a silk,
+satin, or velvet background. For cotton or linen
+background, cotton floss or fine cord can be
+used.</p>
+
+<p>Let us suppose that you wish to make the fringe
+into a hem. Take a cluster of six or eight strands
+of rope silk, ten inches in length, and draw them
+through the extreme edge of the hem. If the other
+kind of silks are used, more strands will be necessary.
+Knot the cluster close to the hem. At a little less
+than a half inch distance over make another cluster
+and repeat in this manner across the space on which
+you want the fringe.</p>
+
+<p>Now take the first cluster and divide it in half.
+Hold the half nearest the next group in your left
+hand and divide the second group. Taking the
+half close to first group, knot the strands together
+one half inch from the hem. Continue like this
+all the way across. Do not pucker the material
+when knotting.</p>
+
+<p>A third row of knots is now made below the second.
+This takes up the first half of the knot previously<span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span>
+used and half of the next group. In this way you
+form a diamond. If a deeper fringe with more knots
+is desired cut the strands of silk three inches longer.
+For every inch of fringe allow three inches of
+strands.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span></p>
+
+
+
+
+<h2><a name="XXV" id="XXV"></a>XXV<br /><br />
+<small>SIMPLE BEAD CHAINS ON SINGLE STRINGS, A
+HOME-MADE LOOM, WOVEN CHAINS,
+BELTS AND PURSES</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Have</span> you ever taken pop corn and made a
+chain of it for Christmas trees, or perhaps
+you have strung cranberries? Maybe it
+was the first time that you ever held a needle. I
+remember when we were youngsters living in the
+South, our nurse used to take us out under trees and
+we would string "Job's Tears" for hours. Many
+drug stores sell these seeds on strings for infants
+to cut their teeth on.</p>
+
+<p>The simplest form of bead work is just as easy as
+stringing pop corn or berries. Beads come in all
+sizes from the tiny ones that are no bigger than a
+top of a pin to the large ones the size of a marble.
+Sometimes you can get odd-shaped beads, flat on
+one side and curved on the other. A string that is
+pretty enough to wear on state occasions can be
+made of heart-shaped and round beads.</p>
+
+<p>The regular bead needle is very fine and long.<span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span>
+It is better when stringing a single strand to double
+the thread. Use linen thread No. 100 or 150. Thread
+the needle with a piece of thread eight inches longer
+than double the length of the necklace. Bring the
+two ends together and make a knot three and a
+half inches from the ends of the thread. The
+thread will be very much stronger if you wax it.
+Now thread seven small round beads then an odd
+shaped one. Repeat in this manner till you have
+the length of chain desired. Cut off the needle and
+tie the remaining thread in a tight knot close to the
+beads. Ribbons are sometimes used to fasten the
+chain or necklace together but the little clasps that
+you can buy for a few cents are neater and do not
+get soiled as ribbon does. Fasten on the clasp with
+the thread that extends beyond the knots.</p>
+
+<p>A sweet little daisy chain can be made on two
+threads. Thread two bead needles with two long
+threads. Bring one end of each thread together and
+make a knot as described above. Fasten the knot to
+a table with a pin so that one needle is on the right
+and the other one on the left. Thread two white
+beads on your right hand needle. Put your left
+hand needle down through the white bead so that
+you have a thread coming from each side of the
+beads.   Your needles will have changed position.<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span>
+Thread the right hand needle with one yellow bead.
+Pass the left hand needle down through this and
+again the needles are reversed. Thread two more
+white beads like the first two and do the same thing.
+Now take the right hand needle and thread two
+more white beads and carry the needle through the
+first two white beads from right to left. Thread
+two more white beads on the same needle and carry
+it through the second or top group of white beads
+from left to right. Thread ten green beads on each
+of the needles and now we are ready to make another
+daisy (<a href="#Fig215">Figure 215</a>). Continue in this manner till
+the necklace is complete.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig215"></a><img src="images/i_304.jpg" width="600" height="72" alt="" />
+<div class="caption">Fig. 215. A daisy chain </div>
+</div>
+
+<p>Another and more elaborate daisy chain is made
+on one needle. Make a knot in the thread and
+string four green beads. Hold this down between
+the thumb and forefinger of the left hand. Thread
+one green bead and pass through the third of the
+four beads. Thread another green bead and pass
+through the first bead. Thread one white bead and
+pass through the green one on the left. Thread
+another green bead and pass through the green one
+to the left (<a href="#Fig216">Figure 216</a>).</p>
+
+<p><span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span></p>
+
+<p>Third row&mdash;Thread a green, pass into a green to
+the left. Now thread a white bead and pass in
+through the first white bead.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig216"></a><img src="images/i_305.jpg" width="400" height="278" alt="" />
+<div class="caption">Fig. 216. A woven daisy chain </div>
+</div>
+
+<p>Fourth row&mdash;Thread a yellow bead and pass
+through last white,
+and a green bead
+through the green.</p>
+
+<p>Fifth row&mdash;A green
+bead through the last
+green, a white through
+the yellow.</p>
+
+<p>Sixth row&mdash;A white
+bead through the last white, a green through the
+last green.</p>
+
+<p>Seventh row&mdash;A white through the last green,
+a green through the last white of the sixth row.</p>
+
+<p>Then three white beads on the needle and pass
+through the first white on the second row. Carry
+the thread through the daisy thus formed till you
+have it again in same position as it was before you
+threaded the three beads.</p>
+
+<p>Eighth row&mdash;One green into the last green, one
+white into the last white. (Note that you are now
+starting another daisy on the left-hand side).</p>
+
+<p>Ninth row&mdash;One yellow into last white, one green
+into last green.</p>
+
+<p><span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span></p>
+
+<p>Tenth row&mdash;One green into last green, one white
+into yellow.</p>
+
+<p>Eleventh row&mdash;One white into last white, one
+green into green.</p>
+
+<p>Twelfth row&mdash;One white into last green, one
+green into white.</p>
+
+<p>Repeat the directions from the second row.
+Note that though the chain is four beads wide there
+are only two beads that you work on in each row.</p>
+
+<p>If the thread breaks, start the new one, two or
+three rows back and go through the different beads.</p>
+
+<p>The above directions are for a chain that is worked
+without a loom. Now-a-days it is quite possible
+to buy a little loom for about fifty cents, but you
+can make one at home that will not cost you a penny.
+The size of the loom will depend on what you are
+working but we presume that it is a chain. Should
+you ever make a purse it would pay you to buy
+a loom.</p>
+
+<p>To make the home-made loom get a piece of card
+and a wooden meat skewer such as butchers use.
+Fasten the skewer down on both ends to the cardboard
+about two inches from the upper edge. One
+inch above the skewer in the direct centre make a hole
+and one inch from the bottom edge of the cardboard
+make another hole. Cut six pieces of No. 90 linen<span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span>
+thread, thirty-six inches long. This measurement
+is sufficient for a chain twenty-seven inches or under.
+Tie one end of each thread to the skewer. Now
+holding the six threads together, carry them down
+through the bottom hole across the back of the cardboard
+and tie in a loose knot to the top hole.</p>
+
+<div class="figcenter" style="width: 460px;">
+<a name="Fig217"></a><img src="images/i_307.jpg" width="460" height="600" alt="" />
+<div class="caption">Fig. 217. A home-made loom </div>
+</div>
+
+<p>Thread a bead needle with a thread of No. 100<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span>
+linen thread that has been well waxed. Tie the
+thread to the extreme right hand thread of the warp.
+Now we are ready to make the chain (<a href="#Fig217">Figure 217</a>).</p>
+
+<p>First row&mdash;Thread the needle with five yellow
+beads. Pass the needle toward the left under the
+warp threads, letting one bead slip in every space.
+On the left hand side bring the needle up to the right
+side and slip it through the five beads.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig218"></a><img src="images/i_308.jpg" width="600" height="150" alt="" />
+<div class="caption">Fig. 218. The design for the chain described </div>
+</div>
+
+<p>Second row&mdash;Thread five blue beads and fasten
+them in the same way.</p>
+
+<p>Third row&mdash;Thread five yellow beads.</p>
+
+<p>Fourth row&mdash;Five red beads.</p>
+
+<p>Fifth row&mdash;Five red beads.</p>
+
+<p>Sixth row&mdash;Two red, one blue and two red.</p>
+
+<p>Seventh row&mdash;One red, three blue, one red.</p>
+
+<p>Eighth row&mdash;Five blue.</p>
+
+<p>Ninth row&mdash;One red, three blue, one red.</p>
+
+<p>Tenth row&mdash;Two red, one blue, two red.</p>
+
+<p>Eleventh row&mdash;Five red.</p>
+
+<p>Twelfth row&mdash;Five red.</p>
+
+<div class="figcenter" style="width: 442px;">
+<a name="PL6"></a><img src="images/i_309.jpg" width="442" height="600" alt="" />
+<div class="capr">Photograph by Mary G. Huntsman</div>
+<div class="caption">The Fascinating Task of Making Bead Chains</div>
+</div>
+<p><span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span></p>
+
+<p>Continue in this manner for as many inches as
+needed (<a href="#Fig218">Figure 218</a>). When you have used up all
+the warp threads on the upper side of the cardboard
+roll the finished chain over the skewer and fasten
+the remaining threads in the lower hole.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig219"></a><img src="images/i_311.jpg" width="500" height="110" alt="" />
+<div class="caption">Fig. 219. Another design for chains </div>
+</div>
+
+<p>To make a belt or purse the larger loom will be
+necessary. Designs used for cross stitch are
+suitable for bead work.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig220"></a><img src="images/i_311b.jpg" width="500" height="141" alt="" />
+<div class="caption">Fig. 220. A third design for a chain </div>
+</div>
+
+<p>Before I tell you how to make any more bead
+chains and the other articles that may be made
+with beads, I want to tell you how to make a dainty
+purse that is illustrated in this chapter. It is made
+of gold and rose-coloured glass beads and it belongs
+to a bright little girl I know who has been using it
+for the past three years. A spool of heavy buttonhole
+twist of a colour to correspond to one of the
+coloured beads is needed (<a href="#Fig221">Figure 221</a>).</p>
+
+<p><span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span></p>
+
+<p>Take eighteen strands of silk, each a yard long.
+See that the ends are all even. Tie a tight knot
+through the centre of the threads. Thread a bead
+needle with one of the strands of silk. Put on two
+pink beads then three yellow, five pink,
+three yellow, five pink, three yellow,
+five pink, three yellow, five pink, five
+yellow, one pink, seven yellow, one
+pink, seven yellow, one pink, seven
+yellow, one pink, five yellow, five pink,
+three yellow, five pink, three yellow,
+five pink, three yellow, five pink, three
+yellow, seven pink. This completes
+the first string. Do not allow any
+beads to drop, which they are very apt
+to do while you are working on another
+row. It is suggested that the strand
+of silk on the left of the beads should
+be knotted closely to the beads to
+prevent them from slipping.</p>
+
+<div class="figleft" style="width: 136px;">
+<a name="Fig221"></a><img src="images/i_312.jpg" width="136" height="600" alt="" />
+<div class="caption">Fig. 221. The
+bead bag described </div>
+</div>
+
+<p>Unthread your needle and take the
+next strand; thread two pink, one yellow,
+then slip your needle through the second yellow
+bead of the first row, thread one yellow, five
+pink, one yellow, now slip your needle through the
+middle yellow bead of the first row or in other words<span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span>
+slip your needle through every eighth bead on the
+first row. The colouring remains the same.
+I will start the instructions again for the second
+row which is to be threaded, two pink, one yellow,
+slip needle through bead on first row, one yellow,
+five pink, one yellow, slip needle through bead,
+one yellow, five pink, one yellow, slip needle
+through, one yellow, five pink, one yellow, slip
+needle through bead, one yellow, five pink, one yellow,
+slip needle through bead, three yellow, one pink,
+three yellow, slip needle through, three yellow, one
+pink, three yellow, now slip needle through bead, three
+yellow, one pink, three yellow, slip needle, three yellow,
+one pink, three yellow, slip needle, one yellow,
+five pink, one yellow, slip needle, one yellow, five
+pink, one yellow, slip needle, one yellow, five pink,
+one yellow, slip needle, one yellow, five pink, one
+yellow, slip needle, one yellow, six pink, slip needle
+into last bead of first row and knot the two threads
+close to the bead. Be sure that the knot is large
+enough not to slip through the hole of the bead.</p>
+
+<p>Thread your needle with the third strand. Put
+on two pink, three yellow, two pink, slip needle
+through third bead of first group of five pink of
+the second row. (For the rest of the row "slip
+needle" means slip the needle through the fourth<span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span>
+bead below the one slipped through on the second
+row) two pink, three yellow, two pink, slip needle,
+two pink, three yellow, two pink, slip needle, two
+pink, three yellow, two pink, slip needle, two pink,
+five yellow, slip needle, seven yellow, slip needle,
+seven yellow, slip needle, seven yellow, slip needle,
+five yellow, two pink, slip needle, two pink, three
+yellow, two pink, slip needle, two pink, three yellow,
+two pink, slip needle, two pink, three yellow, two
+pink, slip needle, four pink.</p>
+
+<p>The fourth row is the same as the second. Every
+other row from the third is also worked like the third.</p>
+
+<p>The last row which joins the bag&mdash;Two pink,
+slip needle into fourth bead of next to last row,
+thread three more beads, slip into centre bead of the
+group of sevens of the first row. The pattern is
+diamond-shaped as you will note, therefore after
+threading your needle with three beads of the shade
+to correspond with the previous row slip your needle
+in the centre bead of the groups of seven of the preceding
+row and the first row. Work first to the right
+and then to the left.</p>
+
+<p>Every two strands of silk must be knotted together
+to keep the beads from slipping off. Braid
+the threads extending beyond the bead work in
+groups of three.   A large bead or slide will be<span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span>
+necessary to make the purse a practical money bag.
+Get two big beads that have openings large
+enough to pass all the silk threads through. Take
+a knot on the silk thread after the first large bead
+is in position. This knot should be two inches at
+least from the beads. The silk threads may now
+be cut quite close to the knot or they may be cut
+one inch from the knot to form a tassel.</p>
+
+<p>If the little purse was left without any further work
+it would look quite top heavy and unfinished, for
+that reason a bead tassel is suggested as shown in
+the illustration of the bead purse.</p>
+
+<p>Thread your needle with a long strand of the buttonhole
+twist. String about two and a half inches
+of pink beads. Before commencing to string the
+beads fasten the thread in the heavy knot at the
+bottom of the purse. Catch the thread with the
+beads also in the knot. Make two pink strings
+this length and two yellow. Then make four
+strings, two pink and two yellow, that are not more
+than an inch and a half long. Fasten off the threads
+securely and the bag is complete.</p>
+
+<p>Three bunches of pink beads and two bunches of
+yellow will make two purses as have just been
+described. The beads vary in price from six cents a
+bunch to twenty-five cents. Sometimes the more<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span>
+expensive kind have only half the number of beads
+that the cheaper bunches have. Do not get too
+small a bead or the work will become very tedious.
+The large beads for the slides are more expensive.
+They cost four cents apiece or more.</p>
+
+<p>Of course other colour combinations can be made,
+also other patterns. Silver and blue is another
+pretty combination for a bead purse.</p>
+
+<p>Now while we are on the topic of beads, I would
+like to tell you about some sensible porti&egrave;res and
+cushion tops that I recently saw at an Arts and
+Crafts exhibition made of an inexpensive background
+and beads. Monk's cloth was used for
+one of the porti&egrave;res. Monk's cloth is somewhat
+like burlap but the weave is coarser and more even.
+A hem was turned on one short side and one of the
+long sides and the thread drawn out for a space
+of about two inches. The threads were hemstitched
+and then a design of beads worked between the groups
+of threads. To accomplish this the design was well
+planned out before commencing the work. The
+number of beads needed to fill out the space can be
+judged by placing the beads in the opening and
+testing that for yourself. After the design has
+been selected make a pencil copy of it. It is better
+to restrict yourself at first to just two colours.<span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span>
+Fasten your sewing thread securely to the threads
+of the material. Use carpet thread for the weaving.
+Let us suppose that you have selected a pattern
+that is seven rows of beads deep and you have chosen
+tan as the background and red and chalk white
+beads for the decoration:</p>
+
+<p>First row&mdash;Thread one red bead, six white, one
+red, six white. As we will only work a section at
+a time, let us secure the beads. Slip your thread
+under the hemstitching. Now let each bead come
+between two consecutive groups of hemstitching.
+Bring your thread to the right side. Be careful
+not to disturb your beads. Now carry the thread
+through the beads again. The thread should be
+drawn tight but not so as to pucker the hem.</p>
+
+<p>Second row&mdash;Work this by stringing one white,
+one red, four white, one red, one white, one red,
+four white, one red. Fasten as described in the
+first row.</p>
+
+<p>Third row&mdash;One red, one white, four red, one
+white, one red, one white, four red, one white.
+Fasten.</p>
+
+<p>Fourth row&mdash;One red, one white, one red, four
+white, one red, one white, one red, four white.
+Fasten.</p>
+
+<p>Fifth row&mdash;One red, one white, four red, one<span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span>
+white, one red, one white, four red, one white.
+Fasten.</p>
+
+<p>Sixth row&mdash;One white, one red, four white, one
+red, one white, one red, four white, one red. Fasten.</p>
+
+<p>Seventh and final row&mdash;One red, six white, one
+red, six white. Fasten.</p>
+
+<p>After this section is worked slip your needle
+through the beads to the last one on the first row
+and continue to weave.</p>
+
+<p>The beads to use for porti&egrave;res or large pillows
+are round ones that are three eighths of an inch
+in diameter.</p>
+
+<p>For curtains, table covers or any article where the
+weight of the large bead is not desirable use a smaller
+bead that is not more than a quarter-inch in size.</p>
+
+<p>Scrim curtains with a single row of the smaller
+beads add a pretty touch of colour to the otherwise
+plain window. Almost any shade can be had in
+the beads, but the trouble is that they can not be
+bought at every store. A bead supply house is the
+one from which to get them. They cost only one-quarter
+as much as when bought in a department store.</p>
+
+<p>Ecru scrim with a row of turquoise blue, canary
+yellow and sage green beads and the simple
+twist stitch such as described in the chapter on
+"Simple Stitches in Drawn Work," makes a curtain<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span>
+suitable for a simple room. The way to accomplish
+this work, is to take a stitch on the drawn thread,
+in the regular way for the twist stitch, then slip a
+bead on, then take another stitch, then a bead, so
+on to the end.</p>
+
+<p>If a skeleton square of beads is desired on a sofa
+cushion it is advisable not to draw it out in the same
+manner as for a curtain.</p>
+
+<p>For a two-inch border to be set in four inches from
+the edge, crease the cushion through the direct
+centre. Measure four inches from the edge and
+cut the material on the crease for two inches.
+Treat each side like this. Draw the threads out
+on each side of the cut, stop when you get four
+inches from the edge. Of course the material must
+be in a perfect square and just the size you want for
+the pillow before you begin any of the work. Place
+the beads as explained for the porti&egrave;re. Do not cut
+the threads you drew out but, threading a needle
+with two or three at a time, carry them through the
+beads. In this way there is no necessity for cutting
+and buttonholing the corners where the border
+intersects, as in drawn work. Loose woven materials
+such as monk's or arris cloth are extremely hard to
+buttonhole and even after very careful work they
+are apt to fray.</p>
+
+<p><span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span></p>
+
+<p>If a fancy edge is desired for the pillow one made
+of beads is far more appropriate than anything
+else. After the pillow is complete and made up,
+put on the bead edge by catching a bead to the
+material at a short distance from each other.</p>
+
+<p>For a canoe or porch pillow there is nothing more
+durable than bead pillows of a dark colour worked
+with gay coloured beads.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span></p>
+
+
+
+
+<h2><a name="XXVI" id="XXVI"></a>XXVI<br /><br />
+<small>BRAIDING AND WEAVING FOUR AND SIX STRANDS<br />
+WEAVING ON LOOMS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Braiding</span> or plaiting can be done in any
+materials and may be used for shopping
+bags or circular rugs.   Raffia, corset laces,
+heavy silk floss or rags can be utilized for the braiding.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig222"></a><img src="images/i_321.jpg" width="400" height="218" alt="" />
+<div class="caption">Fig. 222. The strands crossed </div>
+</div>
+
+<p>It is extremely difficult to conceal the ends when
+three strands are used so for that reason I have
+selected four strands to commence with.</p>
+
+<p>When working with cords or very long strands
+of material, knot the
+four ends together. Pin
+the knot to your knee
+and proceed to weave.
+Take the extreme left-hand
+strand and weave
+under the next strand. At the same time weave
+the extreme right-hand strand over the next.
+Cross the two strands in the centre. (See <a href="#Fig222">Figure
+222</a>.) If a knot is not desired at the start the
+cords may be commenced as shown in the <a href="#Fig223">Figure 223</a>.</p>
+
+<p><span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span></p>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig223"></a><img src="images/i_322.jpg" width="200" height="467" alt="" />
+<div class="caption">Fig. 223. The way
+to commence braiding
+without a knot</div>
+</div>
+
+<p>To braid with six strands take the extreme left-hand
+strand and weave under and over to centre
+and with the right-hand strand weave over and
+under to centre and cross the left-hand strand (see
+<a href="#Fig224">Figure 224</a>).</p>
+
+<p>After the braid has been made it can be sewed
+together for a mat. In joining a
+strand insert the new piece so
+that it extends a little beyond the
+braid. If a long braid is desired it
+is best to have the strands of different
+lengths so that the joinings will
+not be all in one place (<a href="#Fig225">Figure 225</a>).</p>
+
+<p>When braiding or weaving with
+rags cut the strips about three
+quarters of an inch wide. Old rags
+can be used for this, cutting out
+the weak parts. Cheap cotton fabrics
+when new make excellent mats.</p>
+
+<p>Weaving on frames is very interesting and not
+such a difficult task as you imagine. There are hand
+and treadle looms. The following instructions will
+be for the former. A stretcher such as artists use
+for painting can be used or four pieces of board
+twenty-four inches long by four inches wide and one
+inch thick. Take the four pieces to form a frame.</p>
+
+<div class="figcenter" style="width: 405px;">
+<a name="PL7"></a><img src="images/i_323.jpg" width="405" height="600" alt="" />
+<div class="capr">Photograph by Eddowes Co.</div>
+<div class="caption">A Cushion Top Can be Woven on a Simple Hand Loom</div>
+</div>
+<p><span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span></p>
+
+<p>Buy three half-inch dowels or long round sticks;
+which may be bought from a hardware shop; and
+sand-paper till they are quite smooth. Screw in
+four large picture rings two on
+each side of the frame, one at
+each end. Slip one dowel
+through the rings at each end
+and tie to picture ring.</p>
+
+<div class="figright" style="width: 250px;">
+<a name="Fig224"></a><img src="images/i_325.jpg" width="250" height="543" alt="" />
+<div class="caption">Fig. 224.   Braiding with six
+strands </div>
+</div>
+
+<p>The warp may be cord which
+is sold by the pound or a
+heavy soft twine. A wholesale
+cord or rope house will
+be the best from which to buy
+the warp.</p>
+
+<p>A thin board such as you
+have in your window shades
+and to which the string is
+attached   makes a   good
+shuttle.   Cut it so that it is twenty-two inches
+long and wind the warp on it lengthwise.</p>
+
+<p>Tie one end of the warp thread to the lower left-hand
+picture ring.</p>
+
+<p>Lay the warp threads over the lower dowel, up
+through the frame and over the upper dowel. Remember
+always to lay the thread outside and over
+each dowel.   The first six threads are placed very<span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span>
+close to each other. After that the threads are
+laid half an inch or a little more than a quarter of
+an inch apart. The finer the weaving the more
+warp threads will be needed.
+The usual allowance is from four
+to eight threads to an inch.</p>
+
+<div class="figleft" style="width: 250px;">
+<a name="Fig225"></a><img src="images/i_326.jpg" width="250" height="580" alt="" />
+<div class="caption">Fig. 225. The way to
+join a braid </div>
+</div>
+
+<p>Two plain boards that are as
+long as the dowels and three
+inches wide by a quarter of an
+inch deep will be required now.
+Slip into one of these boards at
+each end between the warp
+threads and bring the boards
+to the centre and tie together
+to keep them from slipping.</p>
+
+<p>Take a piece of cord nine
+inches longer than a dowel and
+tie to the throat of the lower
+left-hand screw. Make a knot
+at first warp string and slip it over dowel. Twist
+the double thread two, three or four times. Repeat
+slipping over dowel and twisting between
+every two warp strings until you reach the right hand
+screw. Tie the threads to the screw. This is called
+pairing the threads. Repeat the pairing at the
+other dowel. When the pairing is finished slip the<span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span>
+lower dowel out of the rings and tie the dowel again
+to the screws.</p>
+
+<p>To space the warp threads an upholsterer's needle
+and carpet thread will be needed.</p>
+
+<p>If the weaving occupies the full size of the frame,
+hitch or tie the carpet thread to the lower left-hand
+screw, while if the warp threads do not extend very
+far over place an extra screw on the outside of the
+frame where the warp threads begin.</p>
+
+<p>Buttonhole stitch over the dowel keeping the
+lower thread down and the upper thread on top.</p>
+
+<p>Hold the warp threads apart with finger of the
+left hand while buttonholing. Pull your stitches
+tight. Two or three stitches should be made between
+each two warp threads. The stitches must be
+an eighth of an inch apart.</p>
+
+<p>Now we are ready for the bridge.</p>
+
+<p>Two feet, as they are called, will be necessary to
+support the bridge. A carpenter will make them
+for a small amount. They should be seven inches
+high by three inches wide at the base (<a href="#Fig226">Figure 226</a>).
+One foot is placed in the centre of opposite sides of
+the frame and the third dowel run through the holes.</p>
+
+<p>Loosen the two boards at the centre and place
+them close to the dowel. Place the bridge over the
+set of threads nearest you. Take a six-inch piece<span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span>
+of cord and catch up first warp thread. Tie thread
+to bridge. All knots should be made like a weaver's
+knot. The loop should not extend lower than two
+inches below the bridge.</p>
+
+<div class="figleft" style="width: 200px;">
+<a name="Fig226"></a><img src="images/i_328.jpg" width="200" height="367" alt="" />
+<div class="caption">Fig. 226. The foot </div>
+</div>
+
+<p>This completes the setting up of the loom. To
+weave, the material may be cut as
+stated before or raffia or Indian fibre
+may be used. If the weaving is to
+be in one colour only, it is well
+to join the pieces together and
+wind on a long shuttle. If short
+pieces are used a hook will be required.
+It can be made of a strip
+of wood taken from the hem of window
+shades. Notch one end of it.</p>
+
+<p>A selvage will be necessary at the beginning and
+the end of the weaving and is done in a fine cord.</p>
+
+<p>Start at left-hand corner and tie the thread to
+warp. Pass the shuttle to right-hand side between
+the threads. Lower the bridge and pass the shuttle
+back again between the threads to left-hand side.
+Raise the bridge again and repeat as just explained.
+It will be best to comb down the woof to keep it
+straight and regular. A regular weavers' comb can
+be bought, but a coarse hair comb may be substituted.
+Six rows will be sufficient for the selvage. The<span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span>
+regular weaving is worked the same only in coarse
+warp. Remember the bridge must be lowered every
+other time.</p>
+
+<p>In weaving a new thread or strand commence a
+little way back from where the last strand stopped.</p>
+
+<p>Learn to weave and you get much more artistic
+effects in rugs than ordinary rug or porti&egrave;re weavers
+obtain.</p>
+
+<p>Beautiful cushions and other useful articles can
+be made by weaving.</p>
+
+<p>It is a great mistake to think that all cast off
+clothing can be woven into handsome rugs or
+porti&egrave;res. True it is possible to weave them, but
+it is almost a hopeless task to get artistic effects
+from old coats or a lot of dark articles.</p>
+
+<p>The modern rug weavers get a few yards of cheap
+muslin in two or three shades and make a rug
+that can be sold for two or three dollars. Silk is
+not like old woollen materials, it can be utilized to
+the last thread because it is soft and works to good
+advantage.</p>
+
+<p>Two old silk petticoats will make two pillow tops
+that are artistic as well as useful. One of the most
+beautiful examples of silk weaving was a cushion
+I saw made from two old silk petticoats; one was sage
+green and the other Delft blue. The strips were<span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span>
+about one inch wide. All the worn parts were cut
+out. No piece was considered too small to use.</p>
+
+<p>Every pattern of rug has a name given it by the
+weaver. The most common pattern is the hit-and-miss.
+The name aptly describes it. There are
+never two hit-and-miss patterns that are exactly
+alike. To look at a collection of hit-and-miss rugs
+one is reminded of the Croton shrub which has no
+two leaves alike. As children, we used to call them
+Match-me-if-you-can trees.</p>
+
+<p>A hit-and-miss pattern is a good one to learn on.</p>
+
+<p>Do not weave first one green strip then one blue
+and so on, because you will get a jumble of blue
+that is neither interesting nor pleasing. Decide on
+which colour you would like for the background,
+then use most of that shade.</p>
+
+<p>I have heard an old weaver say that when she
+works the hit-and-miss pattern she will carry first
+one stripe of the background the entire way across
+and probably start the second row. A little strip of
+the second colour is then used and then the background
+again. The good worker never cuts her
+strips all the same length but strives to get the
+effect of little slashes of colour against a solid background.
+A rug made of medium blue and white
+rags suggests the sea with white caps on it.</p>
+
+<p><span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span></p>
+
+<p>When an Indian weaves a rug, he sits on the
+floor and weaves, till he has to stand to work.</p>
+
+<p>Tapestry is woven almost the same as described
+for rugs; instead of the loom having a bridge that
+has to be moved by hand to regulate the threads,
+a treadle is used.</p>
+
+<p>The wrong side of weaving is always facing you
+on the loom and all ends are fastened afterward with a
+needle and thread. Perhaps you would be interested
+to know how a weaver makes a set design in tapestry.
+Usually an artist designs a piece, say a design for the
+back of a chair. Often the artist is the weaver himself.
+He will make two sketches in colour one to put under
+the warp threads and the other to keep in sight. He
+then starts to weave the design in as many colours as
+desired, then the background is worked.</p>
+
+<p>A piece of hand-made tapestry is a possession that
+only the very wealthy can buy for it is indeed exceptional
+to find an ordinary weaver who can make
+tapestry. To the French is given the honour of
+being the most clever weavers in the world. As
+a general thing in France weaving is an inherited
+trade. You will find, if you ask the weaver what
+his mother, his father and his grandfathers were,
+he will tell you&mdash;weavers. The hands of the men
+are almost as small and soft as the women's.</p>
+
+<p><span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span></p>
+
+<p>I have seen a beautiful screen that represented a
+pansy field, if you can imagine such a thing worked
+in over two hundred shades of silk. Every conceivable
+kind of pansy was worked in it. It was
+made for a man who loved pansies. It took four
+weavers three months in which to make it, working
+eight hours each day.</p>
+
+<p>Too much thought can not be given to the right
+colour for your rugs or whatever you intend to weave
+on your simple loom. Study to get harmonizing
+effects rather than contrasting ones. Gray is probably
+the most pleasing of backgrounds and can be
+combined to advantage with almost any other
+shade. Remember that a dark room needs a cheerful
+colouring while a bright airy room can stand
+subdued shades.</p>
+
+<p>Red excites the nerves. Lavender is depressing.
+Blue is a cold colour and should be combined with
+other colours to be effective. Green is restful to
+the eyes in any shade, while yellow seems to reflect
+light and for that reason is to be highly recommended
+for use in a dark room. One of the prettiest rooms
+I know, which is ordinarily a very dark one, is one
+that has bright yellow and chestnut brown for its
+decoration. The minute you enter that room you
+are impressed with its cheerfulness and warmth.</p>
+
+<p><span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span></p>
+
+<p>No matter how pretty and beautiful are the hangings
+and other dainty touches of a room, a rug remains
+the chief attraction. It is to a room what a vase is
+to a flower. A rug is not absolutely necessary, but
+unless it is the right kind your room looks patchy.</p>
+
+<p>As in everything else practice makes perfect and
+as soon as you become accustomed to weaving you
+will plan regular designs that will make the work
+more fascinating. If you have a large quantity
+of undefinable shades of silk or wool or cotton rags
+I would recommend that you dye them all one shade.</p>
+
+<p>One ten-cent package of a dye will colour a couple
+of pounds of rags. Get a dye that is good for all
+three kinds of material as sometimes a dye that
+changes the colour of silk may not affect cotton at all.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span></p>
+
+
+
+
+<h2><a name="XXVII" id="XXVII"></a>XXVII<br /><br />
+<small>SIMPLE CROCHETING, STITCHERY FOR EDGES AND
+SHAWLS</small></h2>
+
+<p class="ph3">CROCHETING ABBREVIATIONS.</p>
+<div class="left">
+<table border="0" cellpadding="0" cellspacing="0" summary="Crocheting Abbreviations">
+<tr><td>1.</td><td class="tpl">Slip stitch (sl st)</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td>2.</td><td class="tpl">Chain stitch (ch)</td><td class="tpl">(Figure</td><td class="tpl">No. <a href="#Fig227">227</a>)</td></tr>
+<tr><td>3.</td><td class="tpl">Single crochet (s c)</td><td class="tpc">"</td><td class="tpl">No. <a href="#Fig228">228</a>)</td></tr>
+<tr><td>4.</td><td class="tpl">Double crochet (d c)</td><td class="tpc">"</td><td class="tpl">No. <a href="#Fig229">229</a>)</td></tr>
+<tr><td>5.</td><td class="tpl">Treble crochet (tr c)</td><td class="tpc">"</td><td class="tpl">No. <a href="#Fig230">230</a>)</td></tr>
+<tr><td>6.</td><td class="tpl">Shell (sh)</td><td class="tpc">"</td><td class="tpl">No. <a href="#Fig231">231</a>)</td></tr>
+<tr><td>7.</td><td class="tpl">Stitches (sts)</td><td>&nbsp;</td><td>&nbsp;</td></tr>
+</table>
+</div>
+
+<p class="drop-cap"><span class="smcap">The</span> beginner in crochet will have very little
+trouble in learning the work as the stitches
+used are comparatively few in number
+although the various combinations in which they may
+be used are almost unlimited. It is wise to become
+accustomed to the stitches and especially with the
+abbreviations, which are used so extensively throughout
+all crochet work. No doubt the beauty and
+variety of the patterns one can execute, also the
+durability of the work are the chief causes for its
+popularity at the present time.</p>
+
+<p>The implement used is a crochet hook which
+varies in size according with the quality of the<span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span>
+thread used. The steel hook with the bone handle
+is to be preferred.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig227"></a><img src="images/i_335.jpg" width="600" height="275" alt="" />
+<div class="caption">Fig. 227. Chain stitch </div>
+</div>
+
+<p>Too much emphasis cannot be placed upon the importance
+of the position of the hands when working,
+and the firmness of the stitches, as the work is,
+at once, better and more even when the proper
+position is maintained. The crochet needle should
+be held lightly between the first finger and the thumb
+of the right hand; the hook horizontal and parallel
+with the first finger of the right hand, that part of
+the work which is in course of construction being
+held closely between the thumb and third finger of
+the left hand. The thread is wound once around the
+first finger, passes under the second and third fingers
+of the left hand, and is wound around the small
+finger. It is now held in position by bending the
+fourth and small fingers toward the palm of the
+hand.</p>
+
+<p><span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span></p>
+
+<p>The foundation stitch of all crocheting is the chain
+stitch (ch) (see <a href="#Fig227">Figure 227</a>) which is begun by making
+a slip knot around the needle. Draw the thread
+through this loop, and you have a chain. Again
+draw the thread through this second loop, continue
+until the chain is of desired length.</p>
+
+<p>Another stitch is the slip stitch (sl st). Insert
+the hook in the foundation work. Draw loop
+through the work and another through the loop on
+the needle.</p>
+
+<p>Single crochet (s c). See <a href="#Fig228">Figure 228</a>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig228"></a><img src="images/i_336.jpg" width="600" height="332" alt="" />
+<div class="caption">Fig. 228. Single crochet </div>
+</div>
+
+<p>Insert hook in work, make a loop on the hook and
+draw through, making two loops on the needle.
+Throw thread again over hook. Draw thread
+through both loops.</p>
+
+<p>Double crochet (d c). See <a href="#Fig229">Figure 229</a>.</p>
+
+<p>Before inserting the hook in the stitch to be<span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span>
+worked, put the thread around it. Throw thread
+around hook and draw the thread through the
+stitch and you will have three loops on hook. Throw
+thread again around hook and draw thread through
+two loops. Throw thread again around hook and
+draw through the remaining two loops.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig229"></a><img src="images/i_337.jpg" width="500" height="184" alt="" />
+<div class="caption">Fig. 229. Double crochet </div>
+</div>
+
+<p>Treble crochet (tr c). See <a href="#Fig230">Figure 230</a>.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig230"></a><img src="images/i_337a.jpg" width="500" height="245" alt="" />
+<div class="caption">Fig. 230. Treble crochet </div>
+</div>
+
+<p>Put the thread around the hook twice, insert
+in the work. Draw a loop through work, making
+four loops upon needle. Draw the thread or loop
+through two loops on needle, then again through<span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span>
+two loops and the third time through the remaining
+two loops.</p>
+
+<p>Shells (sh).   See <a href="#Fig231">Figure 231</a>.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig231"></a><img src="images/i_338.jpg" width="600" height="244" alt="" />
+<div class="caption">Fig. 231. Shells </div>
+</div>
+
+<p>Shells are formed by making groups of either
+single, double or treble stitches worked into the
+same space or stitch.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig232"></a><img src="images/i_338a.jpg" width="600" height="99" alt="" />
+<div class="caption">Fig. 232. Tiny insertion </div>
+</div>
+
+<p>Edging and insertions are very much in use and
+are often applied to blouses, collars and cuffs, towels,
+centre pieces, handkerchiefs, belts and various other
+articles.</p>
+
+<p><i>Tiny Insertion</i> (<a href="#Fig232">Figure 232</a>).</p>
+
+<p>Ch 7 catch into a ring and into one side of ring
+work 5 s c *ch. 7 catch in next to last s c, 5 s c in<span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span>
+new ring. Repeat from * for length desired and
+fasten off.</p>
+
+<p><i>Tiny Edging</i> (<a href="#Fig233">Figure 233</a>).</p>
+
+<p>1st row&mdash;Ch. 9 turn.</p>
+
+<p>2nd row&mdash;1 s c in each 9 ch, turn.</p>
+
+<p>3rd row&mdash;ch 9 work 1 d c in first s c made, turn.</p>
+
+<p>4th row&mdash;* Over ch work 9 s c Work ch of 9
+turn.</p>
+
+<p>5th row&mdash;1 d c over the d c of preceding row.
+Turn.</p>
+
+<p>Repeat from * until you have length desired.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig233"></a><img src="images/i_339.jpg" width="600" height="120" alt="" />
+<div class="caption">Fig. 233.   Tiny edging </div>
+</div>
+
+<p>For the edging made:</p>
+
+<p>1st row&mdash;Over each d c on one side and each
+empty ch on the other work 4 s c.</p>
+
+<p>2nd row&mdash;Work 1 d c into first s c then * 2 ch,
+miss 2 s c and work 1 d c into next.   Repeat
+from * along both sides of insertion.</p>
+
+<p><i>Loop Edging</i> (<a href="#Fig234">Figure 234</a>).</p>
+
+<p>Work 29 s c over a padding cord, then catch
+in 7th stitch made to form a ring. Again work 29
+s c and catch in the 7th stitch to form another<span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span>
+ring. Continue until the edging is the required
+length.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig234"></a><img src="images/i_340.jpg" width="600" height="122" alt="" />
+<div class="caption">Fig. 234. Loop edging </div>
+</div>
+
+<p>For the edge, begin at the first end for the picots
+and work as follows: make 1 s c into 8th stitch
+of first ring, ch 5, skip 1 s c&mdash;1 s c in next stitch.
+Repeat for three picots. Ch 2, begin in 8th stitch
+of next ring and make 3 picots there and so continue
+to the end of edging.</p>
+
+<p><i>Loop Insertion</i> (<a href="#Fig235">Figure 235</a>).</p>
+
+<p>Ch 10 and catch in a ring into one side of ring
+work 6 s c, ch 10, catch in the last s c forming a ring,
+and into new ring work 6 s c. Continue in this
+way for length desired. Then work down the
+other side of rings 6 d c in each.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig235"></a><img src="images/i_340a.jpg" width="600" height="133" alt="" />
+<div class="caption">Fig. 235. Loop Insertion </div>
+</div>
+
+<p>Now work down each side of insertion 1 s c in<span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span>
+the centre point of each side of the ring and 5 ch
+between. In these ch loops work 6 s c each and
+fasten off.</p>
+
+<p><i>Narrow Crochet Edging</i> (<a href="#Fig236">Figure 236</a>).</p>
+
+<p>Ch 14.</p>
+
+<p>1st row&mdash;1 d c in 10th ch from needle, ch 3, 1 d
+c in same st. Ch 3, 1 d c in next st, ch 3, 1 d c
+in same st. 3 stitches on foundation will stand beyond
+the row.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig236"></a><img src="images/i_341.jpg" width="600" height="160" alt="" />
+<div class="caption">Fig. 236. Narrow crochet edging </div>
+</div>
+
+<p>2nd row&mdash;Ch 6 turn * 1 d c in centre loop of
+cluster of three, ch 3 repeat from * 2 times. 1 d c
+in same space, ch 2-1 d c in third ch of turning loop.</p>
+
+<p>3d row&mdash;Turn ch 5 * 1 d c in centre of loop of
+clusters, ch 3 repeat twice from * 1 d c in same
+space * ch 1-1 d c in 6 ch loop, repeat from * 7
+times ch 1-1 s c in end of foundation.</p>
+
+<p>4th row&mdash;Turn ch 6-1 sl st in fourth ch from
+needle ch 1-1 d c in next space between d c, ch
+5-1 sl st in fourth ch from needle, ch 1-1 d c in
+next space.   Repeat from * 5 times.   Ch 3-1 d c<span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span>
+in centre loop of 7 ch clusters, repeat from * three
+times more ch 2, 1 d c in third ch on turning loop.</p>
+
+<p>5th row&mdash;Turn ch 5, make clusters in centre loop
+as with other row.   Repeat from 2nd row.   On
+each repetition of 3 row the final s c is taken up in
+the loop of 3 ch of the former scallop.</p>
+
+<p><i>Cone Insertion</i> (<a href="#Fig237">Figure 237</a>).</p>
+
+<p>1st row&mdash;Ch 15 turn 1 d c in ninth ch from needle,
+ch 3 skip 2-1 d c in next, ch 3 skip 2-1 d c in last
+stitch.</p>
+
+<p>2nd row&mdash;4 s c in first space, ch 1 in second space
+work 2 d c&mdash;1 tr c, ch 3, 1 tr c, 2 d c, ch 1, in
+third space work 4 s c.</p>
+
+<p>3d row&mdash;Ch 10, one sl st over 3 ch&mdash;ch 5, 1 tr c
+in last s c of preceding row.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig237"></a><img src="images/i_342.jpg" width="600" height="109" alt="" />
+<div class="caption">Fig. 237. Cone insertion </div>
+</div>
+
+<p>4th row&mdash;4 s c in first space, 1 s c in same space
+with sl st, 4 s c in next space.</p>
+
+<p>5th row&mdash;Ch 6, skip 2 s c of preceding row, 1 d c
+in next stitch. Ch 3, skip 2-1 d c in next stitch. 3
+ch, skip 2-1 d c in final st. Repeat from beginning of
+second row.</p>
+
+<p><span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span></p>
+
+<p><i>Crochet Insertion with Ribbon</i> (<a href="#Fig238">Figure 238</a>).</p>
+
+<div class="figcenter" style="width: 509px;">
+<a name="Fig238"></a><img src="images/i_343.jpg" width="509" height="600" alt="" />
+<div class="caption">Fig. 238. Insertion with ribbon </div>
+</div>
+
+<p>Make a ch of 35 stitches: 1 d c in 7 st from end
+of ch, 3 ch, 1 d c in next 3 rd st of ch, 3 ch, 1 d c
+in next 3d stitch of ch, 3 ch, 3 d c in 5th of ch, 3 ch,
+3 d c in same st as last 3 d c to join shell, 4 ch, 3
+d c in next 5th st of ch, 3 ch, 3 d c in same stitch
+as last three, 3 ch, 1 d c in next 5th of ch, 3 ch, 1 d c in
+next 3d of ch, 3 ch, 1 d c in last stitch of ch, 8 ch;
+turn.   Work the next and every succeeding row the<span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span>
+same. Run narrow ribbon under and over 3 ch. in
+centre. This trimming is very pretty when used on
+a blouse waist.</p>
+
+<div class="figcenter" style="width: 511px;">
+<a name="Fig239"></a><img src="images/i_344.jpg" width="511" height="600" alt="" />
+<div class="caption">Fig. 239. Rainbow shawl </div>
+</div>
+
+<p><i>Rainbow Shawl</i> (<a href="#Fig239">Figure 239</a>).</p>
+
+<p>Either Saxony or floss may be used, about six<span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span>
+skeins of white and half a skein of each of the colours
+used being necessary.</p>
+
+<p><i>To form main part of Shawl.</i></p>
+
+<p>Ch 68 sts of white.</p>
+
+<p>1st row&mdash;Turn and work back thus: Draw out
+st on hook about three-fourths of an inch, pass hook
+under the single thread of wool, draw through st,
+pass it under wool, work a sl st, 1 ch (in the way
+you work first st of every row). To make second st*
+pass hook through second, draw up to three fourths
+of an inch, catch the wool and make 2 close ch: repeat
+from * to end of chain. Turn and repeat from first
+row till you have worked 76 rows in the white wool.</p>
+
+<p><i>To make the Rainbow Stripe on either end of white.</i></p>
+
+<p>Fasten in the pink wool and work two rows, then
+in the order named&mdash;yellow, orange, light green,
+dark green, indigo, light blue, violet.   Finish the
+end with two or more
+rows of white.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="Fig240"></a><img src="images/i_345.jpg" width="400" height="246" alt="" />
+<div class="caption">Fig. 240. Cross stitch </div>
+</div>
+
+<p><i>To make Fringe.</i></p>
+
+<p>*Chain 35, fasten
+down in next st with
+a sl st, repeat from
+* to end of row.
+Finish both edges of
+scarf with a row of knot stitches.</p>
+
+<p><span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span></p>
+
+<p><span class="smcap">Crochet Scarf</span> (<a href="#Fig241">Figure 241</a>).</p>
+
+<p>Material, 8 skeins Shetland Floss.</p>
+
+<div class="figcenter" style="width: 570px;">
+<a name="Fig241"></a><img src="images/i_346.jpg" width="570" height="600" alt="" />
+<div class="caption">Fig. 241. Shawl in cross stitch </div>
+</div>
+
+<p>Directions for Cross Stitch (see <a href="#Fig240">Figure 240</a>).</p>
+
+<p>Make a chain the desired length: work 1 tr c in
+the fourth stitch of ch. Now stitch back into the
+first and second of ch and make a tr c in each.
+(This forms a cross stitch.) Repeat to end of chain.</p>
+
+<p><span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span></p>
+
+<p><i>To make Scarf.</i></p>
+
+<p>Ch 139 stitches.</p>
+
+<p>Work 34 cross stitch on ch; continue working
+back and forth with cross stitch until scarf measures
+1&frac12; yards in length. Finish ends with a fringe.
+Each strand is 6 inches and 8 strands of wool are
+knotted to each cross stitch to form fringe.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span></p>
+
+
+
+
+<h2><a name="XXVIII" id="XXVIII"></a>XXVIII<br /><br />
+<small>PATTERN DIRECTIONS FOR MAKING DOLL CAPS AND
+CAPES, JACKETS AND CHILD'S BEDROOM
+SLIPPERS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Having</span> become well acquainted with the
+stitches and patterns described in the previous
+chapter, you are competent to go on
+with the more intricate ones described in this chapter.</p>
+
+<p>A pretty doll's cap is made of silk.   Without
+a silk padded lining the cap will be just the thing
+for the warmer months.</p>
+
+<p><i>Doll's Cap.</i></p>
+
+<p>Begin by winding silk around a lead pencil 12
+times: make 24 s c over this.</p>
+
+<p>2nd row&mdash;Make 2 s c in every s c on first row.</p>
+
+<p>3rd row&mdash;S c in every s c on 2nd row.</p>
+
+<p>Continue widening often enough to keep the work
+nearly flat (to do this two s c instead of one are
+worked upon the one of the preceding row). This
+completes the solid work of the crown.</p>
+
+<p>4th row&mdash;Ch 3, make 3 d c in same stitch, skip
+4 d c in next st. Continue around entire crown.</p>
+
+<p><span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span></p>
+
+<p>5th row&mdash;Make a shell of 6 d c in centre of
+each shell of 4 d c, leaving off within 7 shells of
+last row.</p>
+
+<p>6th row&mdash;Make a ch of 5 st and s c in middle
+of next shell. Ch 5, s c in middle of next shell.
+Continue around entire crown.</p>
+
+<p>7th row&mdash;* 5 s c on each ch of 5 of previous
+row. Turn s c for entire row around to where
+the shells of 4 were left. This begins the front of
+cap. Turn and repeat from * 2 more rows. Next
+make a row of shells of 4 st in every 5th st.</p>
+
+<p>8th row&mdash;Make shell of 5 d c in middle of
+each shell of 4 d c. Repeat these 2 groups of 4
+rows of s c and 2 rows of shells twice more.</p>
+
+<p>9th row&mdash;A row of 5 ch in middle of each shell,
+then a row of s c. Finish the cap with a row of
+shells of 7 d c around the entire cap. Finish shells
+with a row of picots made by a ch of 3 caught in
+every st with a s c. This completes the cap.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig242"></a><img src="images/i_350.jpg" width="600" height="524" alt="" />
+<div class="caption">Fig. 242. Doll's Hug-me-tight </div>
+</div>
+
+<p><i>Doll's Hug-Me-Tight</i> (<a href="#Fig242">Figure 242</a>).</p>
+
+<p>1 skein of Saxony white.</p>
+
+<p>1 skein of Shetland floss, blue.</p>
+
+<p>1&#8531; yards of narrow white ribbon.</p>
+
+<p>Make a ch of 20 st., take up each ch with a s c.</p>
+
+<p>Turn 19 s c in slipper stitch (slipper stitch is s c
+taken up on the back thread of the row below).<span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span>
+Crochet back and forth in this manner until you
+have 8 ribs or 16 rows which form the back. Then
+take up 5 s c and crochet back and forth until you
+have 9 ribs or 18 rows, which forms the one front.
+Then count nine stitches for the neck, taking up
+the remaining 5 sts for the other front and make 9
+ribs or 18 rows for the other front. Finish with a
+border all around of s c taking up the whole stitch,<span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span>
+alternating the colours, 1 row blue and 1 white until
+you have four blue and four white, finish the whole
+with a blue picot.</p>
+
+<p>Cut the ribbon into six pieces, sew one piece in
+each of the outer edges to form the armhole and
+front as illustrated. This jacket can be made for a
+child by commencing with 45 ch, 25 ribs for back
+and 25 ribs for fronts.</p>
+
+<p><i>Jacket</i> (<a href="#Fig243">Figure 243</a>).</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig243"></a><img src="images/i_351.jpg" width="600" height="330" alt="" />
+<div class="caption">Fig. 243. Jacket in star stitch</div>
+</div>
+
+<p>Pompadour wool through which a thread of silk
+runs, was used for making this pretty jacket.
+Three skeins of the wool are required.</p>
+
+<p>The body of the sacque is of star stitch (<a href="#Fig244">Figure
+244</a>).</p>
+
+<p><span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span></p>
+
+<p>Ch 95 on which work 11 stars, widen with 2 ch.</p>
+
+<p>For sleeve make 11 stars, and back, 25 stars.</p>
+
+<p>One front 11 stars. For the first 4 rows of front work
+11 stars, widen with 2 ch work across sleeve, widen
+2, work across back, widen 1 star every other row; at
+sleeve widen 2, across sleeve widen 2, then 11 stars
+from the front. After the 4th row continue as
+before, only widening 1 star at the four sleeve points
+for 10 rows. In 15th row work 11 stars for the
+sleeve, now drop out the entire sleeve, including the
+widening points, work across back alone, leave out
+sleeve as before then 11 stars for the second front;
+work 12 rows across sacque widening under arms
+as in centre back. Tie wool at point under arm and
+work 13 rows around sleeve joining each row as
+made. For border, work 4 rows of knot stitch.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig244"></a><img src="images/i_352.jpg" width="500" height="151" alt="" />
+<div class="caption">Fig. 244. Star stitch </div>
+</div>
+
+<p><i>Slippers in single crochet</i> (<a href="#Fig245">Figure 245</a>).</p>
+
+<p>One skein of each of two contrasting colours of
+Germantown wool, one pair of soles. For making
+these slippers in mercerized Perle cotton, which is<span class="pagenum"><a name="Page_325" id="Page_325">[325]</a></span>
+very cool for warmer
+days, two balls will be
+required.</p>
+
+<p>In making slippers
+it is very essential for
+the work to be as tight
+as possible to prevent
+it from stretching.</p>
+
+<div class="figcenter" style="width: 235px;">
+<a name="Fig245"></a><img src="images/i_353.jpg" width="235" height="600" alt="" />
+<div class="caption">Fig. 245. Slipper in single crochet </div>
+</div>
+
+<p>The following directions
+are for slipper
+size 3. Ch 11 sts.
+Make 11 s c in slipper
+stitch, described in
+doll's hug-me-tight
+(<a href="#Fig246">Figure 246</a>) widen
+in the centre by making
+3 s c in 1 ch.
+Make two rows like
+last widening in centre,
+then a row
+without widening.
+When the work reaches
+from the toe to
+the hollow part of the
+sole (about 12 ribs) the
+front is long enough.<span class="pagenum"><a name="Page_326" id="Page_326">[326]</a></span>
+(Alternate two rows one colour and two in the
+other.) Turn and work 15 s c. Continue in the
+slipper stitch until the work will reach around the
+sole by stretching. Join the end to the front by
+overcasting on the wrong side. Beginning at the
+corner where the end is joined make a row of crazy
+stitch around to the other side. Make 3 more
+rows of crazy stitch.   Finish with a row of shells.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig246"></a><img src="images/i_354.jpg" width="500" height="156" alt="" />
+<div class="caption">Fig. 246. Slipper stitch </div>
+</div>
+
+<p>Directions for crazy stitch&mdash;Make a ch of 4 sts;
+then throw the thread once over the needle, take
+up the third nearest stitch to the needle, and pull
+it through the loop; throw the thread over again
+and pull it through the nearest two loops on needle
+and crochet the remaining two loops off in the same
+manner. This completes the d c described in
+<a href="#Fig229">chapter 27</a>. Make two more d c in the same loop,
+skip 3 stitches, fasten with a sl st in next st 3 ch.
+4 shells in next st. and continue for length desired.</p>
+
+<p><i>Slippers in Star Stitch</i> (<a href="#Fig247">Figure 247</a>).</p>
+
+<p>4 balls of mercerized crochet cotton.</p>
+
+<p><span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span></p>
+
+<p>Star stitch is made by a ch of the required length.
+Insert hook in 2nd ch from it, draw wool through,
+keeping both sts on hook, insert hook in 3rd ch and
+draw wool through keeping this st also on the hook,
+skip the next ch and take up the 4th and 5th in same
+manner, making 5 sts on hook; now drop the strands
+of wool from which these sts were made, and take up
+wool of contrasting colour, double end into a loop
+with short end about one inch in length, draw this
+through all the sts on hook, being careful not to let
+this short end slip through, ch 1 to hold sts in place.
+Now with this new strand work a star by drawing it
+through the eye of star, it being the tightest stitch
+near the ch on hook keeping both sts on hook as
+before.</p>
+
+<p>Draw wool also through long st down the side of
+star, then through next 2 ch which gives 5 sts on
+hook, then dropping the strand from which this star
+was made pick up the wool of 1st star and loop it
+through these 5 sts and ch 1 to hold the star in place.
+This ch should be worked tight so it will draw the
+sts together and form the star, which should be
+almost square. In the second row place the contrasting
+colour over the star underneath, tying in
+the wool, ch 3 on which take up 2 sts; this gives
+you 3 sts on hook, the next 2 loops are drawn through<span class="pagenum"><a name="Page_328" id="Page_328">[328]</a></span>
+the long and short
+stitches of star underneath,
+taking up back
+stitch of the long and
+both strands of the
+short or eye of star.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig247"></a><img src="images/i_356.jpg" width="400" height="1090" alt="" />
+<div class="caption">Fig. 247. A slipper in star stitch </div>
+</div>
+
+<p><i>For the slipper proper.</i></p>
+
+<p>Ch 9, on which make
+3 stars, 2 ch at end then
+work 3 stars down the
+other side of ch, taking
+up the other thread.</p>
+
+<p>2nd row&mdash;4 stars, 2
+ch, 4 stars.</p>
+
+<p>3d row&mdash;without
+widening.</p>
+
+<p>Widen 2 stars every
+other row until you
+have 10 rows 2 rows
+without widening, then
+widen in the next.</p>
+
+<p>There will be 13 rows
+in all, and 20 stars in
+this last row, now divide
+front and work
+20 stars on either half<span class="pagenum"><a name="Page_329" id="Page_329">[329]</a></span>
+for the sides; fit around sole by stretching and
+sew up the back on the wrong side. The wool or
+thread should be broken at the end of each row.
+(Crochet should not be worked backward and forward
+unless directions are given to that effect.)</p>
+
+<p>For a frill around the slippers work groups of
+6 ch st two more rows of the same. I always sew
+my slippers onto the soles after being finished, by
+overcasting with wool of the same shade on the
+right side, which saves stretching the slippers all
+out of shape when turning them.</p>
+
+<p><i>Jacket in Shell Stitch</i> (<a href="#Fig248">Figure 248</a>).</p>
+
+<p>Material: 5 skeins of white Germantown and 1
+skein of colour for edge. No. 7 bone needle.</p>
+
+<p>Ch 127, with 3 extra sts for turning.</p>
+
+<p>1st row&mdash;Skip 2 ch and make 4 d c in the next.
+* Skip 3 ch, 1 s c in next, ch 3, 4 d c in same st with
+s c and repeat from * ending with a final s c.</p>
+
+<p>2nd row&mdash;Turn 1 s c in s c below * 2 d c in same
+st, 1 s c in next s c below and repeat from * ending
+with a s c in top of turning ch.</p>
+
+<p>3rd row&mdash;Turn ch 3, 4 d c in s c below * 1 s c
+in next s c, ch 3, 4 d c in same st repeat from * to
+end of row.</p>
+
+<p>Repeat 2nd and 3rd rows 9 times, then repeat
+the 2nd row once more.   This gives a depth of work<span class="pagenum"><a name="Page_330" id="Page_330">[330]</a></span>
+sufficient for the back part of sleeves. At the end
+of the last row fasten off.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig248"></a><img src="images/i_358.jpg" width="600" height="485" alt="" />
+<div class="caption">Fig. 248. Half of a jacket in shell stitch </div>
+</div>
+
+<p>The lower part of the back is now to be made.
+Count 8 shells (sh) along from the end of the last row
+and begin to crochet there, working as with 3rd row
+until within 8 sh of each other end of last long row.</p>
+
+<p>Crochet in pattern upon this row until 11 rows in
+all have been worked. Upon the 12th row increase
+1 sh in the 2 s c from each end by making 2 sh in
+those st instead of one.</p>
+
+<p><span class="pagenum"><a name="Page_331" id="Page_331">[331]</a></span></p>
+
+<p>Work without increasing for 13 rows more, then
+fasten off.</p>
+
+<p>Go back to the foundation and upon the other
+side of it, beginning where the first row ended, crochet
+13 sh as in 1st row. This is the commencement
+of the left shoulder and front.</p>
+
+<p>Upon this row work 3 rows more in the usual way.
+At the end of the last row drop the loop temporarily
+from the needle, tie in an extra ball of wool at the
+top of the very beginning of the last row, ch 12 and
+fasten off. With this ch the extra width for the
+centre of the front is secured.</p>
+
+<p>5th row&mdash;Again take the dropped loop upon the
+needle and crochet as usual making 3 sh upon the
+extra ch. The row is now 16 sh wide. Work in
+pattern for 17 rows more, the last row ending at the
+wrist.   Fasten off.</p>
+
+<p>On the 1st short row of lower front count 8 sh
+along from end of last row, begin there, work as
+usual to the other end, then crochet back and forth
+until the front is as long as the back, increasing 1 sh
+on the 13th row in the 2 s c from the underarm
+seam. The second front is made exactly like the
+first. The 3rd pattern row now is worked up the
+fronts around the neck, across the lower edge of
+jacket and sleeves, then finished with a scalloped<span class="pagenum"><a name="Page_332" id="Page_332">[332]</a></span>
+edge worked as follows: Make 1 s c in space
+preceding st where s c was made on row below,
+ch 5, 1 s c on top of 1st d c below, ch 4, 1 s c in same
+space, ch 5 and repeat from beginning around all
+the edges, fasten off.</p>
+
+<p>Shape the jacket by crocheting the sleeves and
+underarm seams together.</p>
+
+<p>Crochet should be carefully washed and should
+not be put in the general laundry. Make suds of
+warm water and a little borax. Put the article, if of
+cotton or linen thread in and let it soak for a little
+while, then squeeze the water out of the article
+between the hands. Rinse in several waters in this
+manner always using warm water.</p>
+
+<p>Put the piece in a white bag and hang on the line.</p>
+
+<p>This way keeps the piece from stretching out of
+shape. Keep it on the line till the article is perfectly
+dry.</p>
+
+<p>Knitted articles should also be treated in like
+manner when washing for if a knitted piece was
+pinned on a line to dry the article would be
+stretched out of shape.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_333" id="Page_333">[333]</a></span></p>
+
+
+
+
+<h2><a name="XXIX" id="XXIX"></a>XXIX<br /><br />
+<small>IRISH CROCHET LACE</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">Irish Crochet</span> lace is one of the most durable
+of laces and is suitable to be worn for all
+occasions. It especially recommends itself
+for pick-up or porch work. It looks well and
+does not take an endless while to make, as almost
+every motif is made separately thus giving a variety.
+And although one may not have more than a few
+minutes to devote each day to the work, it is surprising
+how many articles can be completed with
+little effort and little time.</p>
+
+<p>The materials necessary are a steel crochet hook,
+considerably finer than for ordinary crochet work,
+as the work must be very firm, even and close.
+Irish Crochet Thread, numbers 36 to 50 or D. M. C.
+cotton numbers 70 to 100 inclusive and number
+10 for the padding cotton will be needed. All
+laces look better if pressed before making up, this
+is especially true of Irish Crochet. And when slightly
+soiled it can be washed in soap suds, made from any
+good laundry soap; rinse thoroughly in several<span class="pagenum"><a name="Page_334" id="Page_334">[334]</a></span>
+waters, starch slightly and iron on the wrong side
+on a heavy blanket. These simple directions help
+to make the lace look like new. In Irish Crochet
+the motifs are made separately mostly worked over
+a padding cotton.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig249"></a><img src="images/i_362.jpg" width="600" height="586" alt="" />
+<div class="caption">Fig. 249. Doily with crochet edge </div>
+</div>
+
+<p>Then these motifs are basted on a pattern of
+cambric, or paper muslin which has been cut to the
+desired shape. A row of chainstitching is worked
+and basted to the edge of the pattern, then the filling
+in background is worked, joining the different motifs
+together with rows of chainstitching and picots or
+any other background stitch desired.</p>
+
+<p><span class="pagenum"><a name="Page_335" id="Page_335">[335]</a></span></p>
+
+<p><i>Doily with Irish Crochet Edge</i> (<a href="#Fig249">Figure 249</a>).</p>
+
+<p>This can also be used for a bread plate.</p>
+
+<p>1st row&mdash;around a 24 inch circle of linen work
+a row of single crochet.</p>
+
+<p>2nd row&mdash;5 chain, miss 3 single crochet and
+fasten with a single crochet in the 4th stitch; continue
+around mat.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig250"></a><img src="images/i_363.jpg" width="600" height="305" alt="" />
+<div class="caption">Fig. 250. The design for the belt </div>
+</div>
+
+<p>3rd row&mdash;Into each group of chains work 3
+single crochet, 1 picot, 3 single crochet.</p>
+
+<p>4th row&mdash;6 ch fasten in the picot loop.</p>
+
+<p>5th row&mdash;3 single crochet, picot, 3 single crochet,
+1 picot, 3 single crochet, 1 picot; continue all around.
+This completes the mat.</p>
+
+<p><i>Belt of Irish Crochet</i> (<a href="#Fig250">Figure 250</a>).</p>
+
+<p>This belt is very useful, especially as it is mounted<span class="pagenum"><a name="Page_336" id="Page_336">[336]</a></span>
+upon a foundation, which is the ordinary cotton
+waist belting, one inch wide sold at all notion counters
+for a few cents. The crochet belt is basted upon
+this belting after being stretched and starched.</p>
+
+<p>To make the belt:</p>
+
+<p>1st row&mdash;Chain 26, turn.</p>
+
+<p>2nd row&mdash;1 double crochet in 6th stitch of
+chain, chain 2, miss 2 stitches and work 1 double
+crochet in 9th stitch of chain, chain 2, miss 2, chain
+and work 1 double crochet in 12th stitch of chain,
+chain 5, skip 5, chain, 1 double crochet into 17th
+stitch of chain, chain 2, 1 double in 20th stitch of
+chain, chain 2, miss 2 chain, 1 double crochet into
+23rd stitch of chain, chain 2, miss 2 and work 1
+double crochet in 26th stitch.</p>
+
+<p>3rd row&mdash;Chain 5, 1 double crochet in top of double
+crochet of preceding row, chain 2, 1 double crochet
+in top of double crochet, chain 2, 1 double crochet in
+top of double crochet, chain 2, 1 double crochet in top
+of double crochet, 5 double crochet over chain of 5, 1
+double crochet in top of double crochet, 2 chain,
+1 double crochet in top of double crochet, 2 chain, 1
+double crochet in top of double crochet, chain 2,
+1 double crochet in 2nd stitch of chain of 5 at the
+end; turn and repeat from 2nd row for length required.
+For the edge, work on both sides of the<span class="pagenum"><a name="Page_337" id="Page_337">[337]</a></span>
+belt into every chain loop 3 single crochet, 1 picot
+3 single crochet.</p>
+
+<p><i>Rose Tie with lawn facing</i> (<a href="#Fig251">Figure 251</a>).</p>
+
+<p>This bow has an under facing of lawn with a
+simple crochet edging of double crochet and chain
+stitch with picots, worked at even intervals. For
+the crochet tie:</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig251"></a><img src="images/i_365.jpg" width="600" height="306" alt="" />
+<div class="caption">Fig. 251. Rose tie with lawn facing</div>
+</div>
+
+<p>1st row&mdash;Work rose the same way as the one
+in the wheel tie. Now crochet around the rose
+in this manner * chain 3, 1 single crochet caught in
+the 1st double crochet of the rose petal, 5 chain,
+1 double crochet in 5th stitch of petal, chain 5, 1
+double in 8th stitch of petal, 5 chain; repeat from *
+five times more.</p>
+
+<p>2nd row&mdash;5 chain, 1 single crochet in each previous
+group of 5 chain, continue around entire rose.</p>
+
+<p><span class="pagenum"><a name="Page_338" id="Page_338">[338]</a></span></p>
+
+<p>3rd row&mdash;6 chain 1 single crochet in each preceding
+loop of chain.</p>
+
+<p>4th row&mdash;* 6 chain, 9 double crochet in first
+space, 6 chain, 1 single crochet for next 4 spaces,
+6 chain, then 9 double crochet in 5th space; repeat
+from * twice more.</p>
+
+<p>5th row&mdash;* 6 chain, 1 single crochet in 1st
+double crochet of group, 6 chain, 1 single crochet
+in 5th double, 6 chain, 1 single crochet in 9th
+double; repeat from * all around.</p>
+
+<p>For the next two rows work 6 chain, 1 single
+crochet in each previous group of chain. Finish
+the edge with a row of chain and picot.</p>
+
+<p>Work two sections like the one described and fasten
+together in the centre. Sew this upon the lawn
+facing and the tie is complete.</p>
+
+<p>If the tie shows any tendency to cap in the course
+of construction add an extra chain in the group of
+chain stitches every now and then.</p>
+
+<p><i>Wheel Tie with Rose and Straps with Shamrock</i> (<a href="#Fig252">Figure
+252</a>.)</p>
+
+<p>Wind padding cotton 6 times around the crochet
+needle. Over this ring work:</p>
+
+<p>1st row&mdash;50 double crochet.</p>
+
+<p>2nd row&mdash;Chain 5, miss 2 double crochet, * in the
+third stitch, work 1 double crochet, 2 chain, miss<span class="pagenum"><a name="Page_339" id="Page_339">[339]</a></span>
+2 double crochet repeat from * 24 times. Work
+a spider in the centre of the ring, with a needle
+and thread.</p>
+
+<div class="figright" style="width: 284px;">
+<a name="Fig252"></a><img src="images/i_367.jpg" width="284" height="600" alt="" />
+<div class="caption">Fig. 252. Wheel tie with rose and
+straps with shamrocks</div>
+</div>
+
+<p>Make 8 of these
+wheels for the tie.
+Join together with filling
+stitch (3 chain and
+a single crochet). After
+working 3 chains and
+a single crochet around
+the edge of the tie, work
+1 single crochet in first
+space, 3 chain, 1 single
+crochet in second
+space, 3 chain * 1 double
+crochet, 7 chain in
+third space (catch
+back into second chain
+from needle to form
+a picot chain) repeat
+from * 4 times more,
+chain 3, 1 single crochet
+in next space, chain 3, 1 single crochet in second
+space. Continue in this manner all around tie.</p>
+
+<p><i>For rose in centre of tie.</i></p>
+
+<p>1st row&mdash;Chain 6, join in a ring.</p>
+
+<p><span class="pagenum"><a name="Page_340" id="Page_340">[340]</a></span></p>
+
+<p>2nd row&mdash;Chain 6 * 1 double crochet into ring,
+4 ch 1 double crochet, 4 chain repeat from * twice
+more and join.</p>
+
+<p>3rd row&mdash;Over first 4 chain work * 1 single
+crochet, 5 double crochet, 1 single crochet; repeat
+from * 5 times.</p>
+
+<p>4th row&mdash;Work a row of 7 chain loops fastening
+at back of first row of single crochet (this is what
+helps to form the rose petals and makes them stand
+one above the other).</p>
+
+<p>5th row&mdash;Over these loops work * 1 single
+crochet, 7 double crochet, 1 single crochet, repeat
+from * all around.</p>
+
+<p>6th row&mdash;A row of 9 chain loops.</p>
+
+<p>7th row&mdash;Into these loops work 1 single crochet,
+9 double crochet, 1 single crochet; this completes the
+rose.</p>
+
+<p>Let me mention here that roses can be substituted
+for the shamrocks worn on the ends of the straps.</p>
+
+<p><i>For straps.</i></p>
+
+<p>Work 27 single crochet over a padding cord,
+join in a ring. Work 9 single crochet over padding
+cord, 1 chain, 9 single crochet, 1 single crochet, over
+padding cord into the chain stitch. Continue
+working 9 single crochet, 1 chain, 9 single crochet
+over padding cotton and fastening each time in the<span class="pagenum"><a name="Page_341" id="Page_341">[341]</a></span>
+chain stitch with a single crochet. One strap is
+6 inches long and the other is 7 inches long.</p>
+
+<p>For the edge of straps work 2 chain, 1 double
+crochet, in first single crochet of previous row, 2
+chain, 1 double crochet in 3rd stitch, 7 chain count
+back 5 chains and slip stitch (to form a picot) 1
+double crochet in 5th stitch, 2 chain, 1 double
+crochet in 7th stitch, 2 chain, 1 double crochet
+in 9th stitch. Continue on both sides of straps.</p>
+
+<p><i>For the shamrocks.</i></p>
+
+<p>Wind padding cotton over the end of crochet
+hook 6 times. Over this ring work 30 single
+crochet. * Over 3 strands of padding cotton work
+11 single crochet. Twist padding cotton in a
+downward loop and work 1 single crochet over
+crossing of padding cotton, continue 15 single
+crochet over the loop, draw padding cotton to pull
+loop up close and then work 11 single crochet over
+padding cotton alone. Miss 2 single crochet on
+ring and work 2 single crochet over padding cotton
+into next 2 stitches of ring.</p>
+
+<p>Turn, leave padding cotton, 12 chain, 1 single
+crochet into top of crossing loop, 12 chain, 1 single
+crochet into ring just before beginning of arch.
+Turn, over 12 chain work 4 single crochet, 1 double
+crochet, 1 treble crochet. Work 1 treble crochet<span class="pagenum"><a name="Page_342" id="Page_342">[342]</a></span>
+into single crochet over crossing of loop. Continue
+over next 12 chain, 14 treble, 1 double and 4 single
+crochet. Work 4 single crochet over padding cotton
+into next 4 single crochet on ring, repeat from * twice
+more leaving out the 4 single crochet over padding
+cotton into the ring the last time. Turn, work a
+row of single crochet over padding cotton. Between
+petals take the needle out, insert in stitch half way
+between the petals, and pull loop through, this will
+give a better shape to the petals. Then continue
+with single crochet.</p>
+
+<p>For stem work 3 single crochet over padding cotton
+into ring. Then 40 single crochet over padding
+cotton alone, turn and work 40 single crochet over
+padding cotton into the previous row of single crochet
+to the ring. To shape the stem to the right pull
+the padding cotton before working the second row
+of single crochet.</p>
+
+<p><i>Long Jabot</i> (<a href="#Fig253">Figure 253</a>).</p>
+
+<p>Over a padding cotton work 50 single crochet,
+turn, and work down other side, 41 single crochet
+over padding cotton into previous row of single
+crochet (leaving one-half of stem still to be worked).</p>
+
+<p>1st arm&mdash;Now twist the padding cotton under
+the stem, fasten with a slip stitch, over the loose
+padding cotton work 18 double crochet, turn and<span class="pagenum"><a name="Page_343" id="Page_343">[343]</a></span>
+work over padding cotton into each double crochet,
+18 trebles, fasten with a single crochet in the 5th
+single crochet of centre
+stem.</p>
+
+<p>2nd arm&mdash;Turn work
+over padding cotton, 10
+double crochet into double
+crochet of previous
+row. Now work 8 double
+crochet over padding
+cotton alone, turn and
+work 18 treble crochet
+over padding cotton into
+the double crochet of previous
+row. Fasten in
+10th stitch, this completes
+the second arm.</p>
+
+<div class="figright" style="width: 300px;">
+<a name="Fig253"></a><img src="images/i_371.jpg" width="300" height="650" alt="" />
+<div class="caption">Fig. 253. Long jabot </div>
+</div>
+
+<p>Now work 8 arms more
+in the same way, then
+finish the stem with 9 single
+crochet over padding
+cotton into the other single crochet of stem.</p>
+
+<p>For the centre work over 2 strand padding cotton
+6 double crochet and fasten into the single crochet
+which connects the arms to the stem, continue all
+around centre and fasten off.</p>
+
+<p><span class="pagenum"><a name="Page_344" id="Page_344">[344]</a></span></p>
+
+<p>Work 36 chain, into these work 36 double crochet
+with 6 double on each end. Continue working until
+there are 4 rows of doubles. Connect the leaf to
+this with slip stitch, baste on paper and work 3
+rows of the filling stitch all around.</p>
+
+<p>1st row&mdash;For the edge, work 6 chain loops into
+every loop of previous row.</p>
+
+<p>2nd row&mdash;Over 6 chain loops work 7 single crochet.</p>
+
+<p>3rd row&mdash;6 chain loops caught into every 4th
+single crochet.</p>
+
+<p>4th row&mdash;Into 6 chain loops work 4 single
+crochet, picot, 4 single crochet, then into 2nd or
+next loop work 4 single crochet, picot, 4 single
+crochet, into 3 loop work 4 single crochet. 5 chain
+turn and fasten in the 4th double crochet over
+2nd loop, turn and over chain work 4 double
+crochet, picot, 4 double crochet, then into the 3rd
+loop finish with the other 4 single crochet; repeat
+from * all around jabot.</p>
+
+<p><i>Baby Irish Lace, with Rose Leaf and Grapes</i> (<a href="#Fig254">Figure
+254</a>).</p>
+
+<p><i>For roses.</i></p>
+
+<p>Chain 12. Into chain work * 1 double crochet,
+3 chain repeat from * for 6 times more. Into each
+group of 3 chain work 1 single crochet, 6 double
+crochet, 1 single crochet making seven petals to a rose.</p>
+
+<p><span class="pagenum"><a name="Page_345" id="Page_345">[345]</a></span></p>
+
+<p><i>For the leaves.</i></p>
+
+<p>Chain 8, join in a ring. Over this ring work 32
+single crochet without breaking the thread, chain
+8 and form another to the right and a little above
+the other ring, work 32 single crochet into this one
+also, again chain 8 and form a ring to the left of the
+first ring, fill this ring with 32 single crochet.</p>
+
+<p><i>For grapes.</i></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig254"></a><img src="images/i_373.jpg" width="600" height="204" alt="" />
+<div class="caption">Fig. 254. Baby Irish-lace edging </div>
+</div>
+
+<p>Chain 3, join. Fill chain with single crochet,
+continue working around, widening as needed for
+3 rows. Decrease by missing a stitch occasionally
+to shape grapes. Just before finishing stuff with
+cotton, make 3 grapes for each cluster and fasten
+into centre of leaf. Baste all motifs on muslin and
+fill with background stitch. For edge of scallop
+work groups of 6 chain caught down with a single
+crochet then * 4 single crochet into first space,
+2 single crochet into next space, 6 chain, turn, fasten<span class="pagenum"><a name="Page_346" id="Page_346">[346]</a></span>
+into single crochet, turn, 3 single crochet over
+chain, picot, 5 single crochet, 2 single crochet into
+same space, 4 single crochet into next space, 6 chain,
+turn, and catch down beside first loop, turn, 4 single
+crochet over chain, 6 chain turn, catch down in
+centre of first loop, turn, 4 single crochet, picot, 4
+single crochet, into chain, 1 single crochet into next
+loop, picot, 3 single crochet, 4 single crochet into
+next space and repeat from * all around edge of lace.</p>
+
+<p><i>Dutch Collar</i> (<a href="#Fig255">Figure 255</a>).</p>
+
+<p>Begin the rose with a small thick ring made by
+winding the padding cotton ten times around the
+end of the crochet needle. Cover this ring with
+single crochet, cutting off the end of the padding
+cotton when the ring is three quarters covered.
+*Chain 6, catch down into the ring; repeat from *
+5 more times, dividing the spaces as evenly as possible
+so the last chain is caught down beside the first
+one.</p>
+
+<p>Over the chain loop work * 1 single crochet 7
+double crochet, 1 single crochet, repeat from *
+all around.</p>
+
+<p>*Chain 7, catch down at back in the same stitch
+as that in which the chain loops of the preceding
+row was caught, repeat from * all around.</p>
+
+<p>Over chain loop * 1 single crochet, 9 double<span class="pagenum"><a name="Page_347" id="Page_347">[347]</a></span>
+crochet, 1 double crochet. Repeat from * all
+around.</p>
+
+<p>*Chain 8 catch down in back same place as before.
+Repeat from * all around.</p>
+
+<p>*Over chain loops work repeat from * 1 single
+crochet, 11 doubles, 1 single crochet, this finishes the
+rose centre.</p>
+
+<p>*Now begin the first row around the rose * 7 chain
+3 picot, (catch back into third stitch) chain 7, picot,
+3 chains, catch down in first petal in outer row, repeat
+from * 12 times more, spacing these picot loops
+evenly all around, catching the last one into the
+centre of the first.</p>
+
+<p>*Next work one picot loop catching in into centre
+of loop of row below, then a loop of 6 chains, repeat
+from * caught into centre of next picot loop.</p>
+
+<p>Turn and over this loop work 9 single crochet,
+turn, work 9 double crochet over the single crochet
+3 chain, catch down into same stitch as the 6 chain
+loop was caught. Work 2 rows of picot loops, then
+repeat from * all around finishing the row in the
+corner of the first 9 double crochet ornament.</p>
+
+<p>9th row&mdash;Work a row of plain picot loops.</p>
+
+<p>10th row&mdash;Work a row of plain picot loops.</p>
+
+<p>11th row&mdash;Another row of plain picot loops.</p>
+
+<p>Five roses are required for the collar.</p>
+
+<p><span class="pagenum"><a name="Page_348" id="Page_348">[348]</a></span></p>
+
+<p><i>For the wheels.</i></p>
+
+<div class="figcenter" style="width: 526px;">
+<a name="Fig255"></a><img src="images/i_376.jpg" width="526" height="600" alt="" />
+<div class="caption">Fig. 255. An Irish-lace Dutch collar</div>
+</div>
+
+<p>Over a padding cotton ring, work single crochet.
+Over a single strand of the padding cotton crochet
+into every single crochet, a single crochet, work 4<span class="pagenum"><a name="Page_349" id="Page_349">[349]</a></span>
+rows the same way only add a picot in every 4th
+single crochet in the last row. Now begin the first
+row around the wheel * chain 7, catch into the last
+single crochet of the wheel, chain 7, picot, chain 7,
+chain 3, skip 2 stitches of the wheel and catch down
+into the 3rd with a single crochet, repeat from * all
+around.</p>
+
+<p>Next work 1 picot loop, catching it into the centre
+of loop in row below, then a * loop of 6 chain caught
+into centre of next picot loop. Turn, and over
+this loop work 9 single crochet, turn and work 9
+double crochet over the single crochet, 3 chain stitch
+down into same stitch as the 6 chain loop was caught.
+Work 2 more picot loops, then repeat from * all
+around finishing the row in the centre of the first
+ornament.</p>
+
+<p>Work a row of plain picot loop. Another row
+of plain picot loops. Make four wheels for the
+collar.</p>
+
+<p>Sew the roses and wheels firmly on the cambric
+pattern (the size and style having been cut out of
+the cambric).</p>
+
+<p>Placing them so as to leave room for a single
+row of picot loops to be worked between to join them,
+crochet a chain of chain stitches and baste them
+upon the edge of the cambric pattern. Fill the<span class="pagenum"><a name="Page_350" id="Page_350">[350]</a></span>
+work out to the desired shape with the picot loops,
+which should contain the same number of chain
+stitches as the loops in the roses and wheels, 3 chain,
+1 double crochet, 3 chain, work a row all around
+collar, then begin the border or edge. Work around
+the inner edge and fronts of collar 4 single crochet
+into each loop, then around the lower edge * 4 single
+crochet in the first space, 4 single crochet in the
+second space, 2 single crochet in the third space;
+chain 6 down at the beginning of second space.
+Over the loops thus formed make 3 single crochet,
+picot, 7 single crochet, 2 single crochet into same
+(third) space, 4 single crochet into next space.
+Turn, 6 chain catch down into next to the last loop,
+turn, 5 single crochet over the loop, chain 6, turn,
+and catch down into centre of first loop. Turn,
+5 single crochet, picot, 5 single crochet over this
+last loop, 2 single crochet into the next loop,
+picot, 3 single crochet, repeat from * all around edge.
+Take the collar up from the cambric and press
+upon the wrong side over a blanket or heavy flannel.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_351" id="Page_351">[351]</a></span></p>
+
+
+
+
+<h2><a name="XXX" id="XXX"></a>XXX<br /><br />
+<small>KNITTING, PLAIN AND PURLING, WASH RAGS, AND
+FANCY STITCHES FOR SHAWLS</small></h2>
+
+
+<p class="drop-cap"><span class="smcap">There</span> are certain terms used in knitting
+that are peculiar to the work. Until
+these terms are studied and practised,
+the instructions are as bad as trying to read a
+foreign language that you know nothing about.</p>
+
+<p>Knitting is usually done on two needles though
+there are times when more needles are used, for
+instance, in knitting stockings.</p>
+
+<p>Thread, silk or worsted can be used for the work.
+The latter is best for practising the first stitches
+or pieces.</p>
+
+<div class="figleft" style="width: 400px;">
+<a name="Fig256"></a><img src="images/i_380.jpg" width="400" height="335" alt="" />
+<div class="caption">Fig. 256. Casting-on </div>
+</div>
+
+<p>The first term we learn in knitting is "to cast
+on stitches" (<a href="#Fig256">Figure 256</a>). Select a pair of medium-sized
+wooden needles. Your worsted should be
+wound into a ball. "Casting on" is the foundation
+for the work. Take a knitting needle in each hand
+between the thumb and first finger. Make a loop
+of the worsted over the left-hand needle near the
+end. Put your right-hand needle through this loop<span class="pagenum"><a name="Page_352" id="Page_352">[352]</a></span>
+under the left needle. Holding the needles in this
+position, throw the worsted around the point of the
+right-hand needle
+and draw the right-hand
+needle through
+the first loop. There
+is now a loop on each
+needle. Slip the last
+loop made over the
+left needle. * Both
+needles are in the one
+loop, the left on top
+of the right. Again throw the worsted over the
+point of the right-hand needle and draw the
+needle through with the loop on it. Slip this loop
+over the left-hand needle and repeat from *, till the
+number of stitches desired are cast on.</p>
+
+<p>The * indicates from which point the directions
+are to be repeated.</p>
+
+<p>The German method of knitting is to hold the
+work in the left hand and the worsted over the
+first finger, under the second and third and then
+over the little finger.</p>
+
+<div class="figright" style="width: 500px;">
+<a name="Fig257"></a><img src="images/i_381.jpg" width="500" height="452" alt="" />
+<div class="caption">Fig. 257. Knitting (K) </div>
+</div>
+
+<p>To knit, the right-hand needle is in the first loop
+from the point of the other needle. * Throw the
+worsted over point of the right-hand needle and<span class="pagenum"><a name="Page_353" id="Page_353">[353]</a></span>
+draw it through the loop. Slip the first stitch off the
+left needle and insert the right needle into the next
+stitch and repeat
+from *, till all the
+stitches have been
+transferred to the
+right-hand needle
+(<a href="#Fig257">Figure 257</a>).</p>
+
+<p>Remember to
+hold the work in
+the left hand when
+starting to knit
+each needle or row.</p>
+
+<div class="figleft" style="width: 500px;">
+<a name="Fig258"></a><img src="images/i_381a.jpg" width="500" height="456" alt="" />
+<div class="caption">Fig. 258. Purling (P) </div>
+</div>
+
+<p>To purl (<a href="#Fig258">Figure 258</a>). The work is held in the
+left hand. The
+worsted is brought
+in front of the
+work. The right-hand
+needle is inserted
+through the
+stitch from right
+to left in front of
+the left needle.
+Pass the point of
+the right needle
+over the worsted and draw the loop through. Slip<span class="pagenum"><a name="Page_354" id="Page_354">[354]</a></span>
+off the stitch on the left needle as in knitting. Repeat
+in this manner until all the stitches are transferred.</p>
+
+<p>Sometimes it is necessary to get rid of some of
+the stitches. In that case the needle is slipped
+through two stitches instead of one and the new
+stitch formed in the usual way. There are two
+abbreviations for purling two together. They are
+p. 2 tog. or p-n.   The latter means purl narrow.</p>
+
+<p>When knitting, two stitches can also be taken
+together. The abbreviation for this is n. K. 3 tog.
+means knit three stitches (sts) together as one stitch.</p>
+
+<p>To slip-stitch means to take a stitch from the
+left-hand to the right-hand needle without knitting
+it, and its abbreviation is sl.</p>
+
+<p>To bind or cast off means to slip the stitches from
+the needle so that you have a chain edge. Slip
+the first stitch and knit the second. You now have
+two loops on the right-hand needle. * Put the point
+of the left needle (from left to right) through the
+first stitch on the other needle. Hold the worsted
+tight. Slip the right-hand needle through the loop
+formed as described above and then slip the loop
+from the left needle. There is only one loop on
+the right-hand needle. Knit the next stitch and
+repeat from *.
+</p>
+
+<p><span class="pagenum"><a name="Page_355" id="Page_355">[355]</a></span></p>
+
+<p>Casting off must be done loosely or the work
+will have a puckered appearance.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig259"></a><img src="images/i_383.jpg" width="600" height="548" alt="" />
+<div class="caption">Fig. 259. A little girl's first piece of knitting</div>
+</div>
+
+<p>It may be that you desire to widen the row of
+stitches. Both widening and decreasing is done at
+the end of needle or row. Knit as usual till there
+remains but one loop on the left-hand needle. Insert
+the left-hand needle through the loop at the base
+of the last stitch.   Bring worsted around the point<span class="pagenum"><a name="Page_356" id="Page_356">[356]</a></span>
+and make a stitch as usual. The last stitch is
+knitted in the usual way.</p>
+
+<p>After you have practised the stitches with wool,
+it is well to buy a ball of coarse knitting cotton and
+a pair of steel needles. The cotton makes excellent
+wash cloths. Cast on 50 stitches then knit
+or purl the same amount of rows as stitches. To
+make a fancy cloth knit three rows then purl three
+rows until you have the fifty rows.</p>
+
+<p>The long straight shawls are the most popular
+at present.</p>
+
+<p>A little one for yourself that would be quite
+pretty is made in pop corn stitch (<a href="#Fig260">Figure 260</a>).
+It requires five skeins of worsted and a pair of wooden
+needles.</p>
+
+<div class="figcenter" style="width: 464px;">
+<a name="PL8"></a><img src="images/i_385.jpg" width="464" height="600" alt="" />
+<div class="capr">Photograph by Mary G. Huntsman</div>
+<div class="caption">Her First Knitted Shawl</div>
+</div>
+
+<p>
+Cast on 59 stitches on your needle.</p>
+
+<p>1st row&mdash;K 1st, then knit two stitches together
+(2 K tog) the rest of the way. You now have 30
+stitches on your needle (<a href="#Fig260">Figure 260</a>).</p>
+
+<p>2nd row&mdash;K first stitch, then knit the loop
+which is formed between the double stitches of
+the first row. Continue in this manner till you
+have again on the needle the same number you cast
+on&mdash;59.</p>
+
+<p>3rd row&mdash;K plain all the way across.</p>
+
+<p>4th row&mdash;P plain all the way across.</p>
+<p><span class="pagenum"><a name="Page_357" id="Page_357">[357]</a></span></p>
+<p>5th row&mdash;K 2 together all the way across to the
+last stitch, then k that by itself.</p>
+
+<p>6th row&mdash;Same as second row.</p>
+
+<p>7th row&mdash;K plain.</p>
+
+<p>8th row&mdash;P plain.</p>
+
+<p>Continue in this manner till you make a scarf
+about one yard long.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig260"></a><img src="images/i_387.jpg" width="600" height="393" alt="" />
+<div class="caption">Fig. 260. The popcorn stitch </div>
+</div>
+
+<p>The popcorn pattern affords good practice for
+the different stitches explained before.</p>
+
+<p>If a longer shawl is desired continue in the same
+manner. To make it broader it will be necessary
+to cast on more stitches at the beginning.</p>
+
+<p>A shawl may be finished in many ways. Sometimes
+a little crochet edge is worked around it, or<span class="pagenum"><a name="Page_358" id="Page_358">[358]</a></span>
+a chain stitch fringe can be made. The plain fringe
+is the one most used however. This is made by
+cutting the wool about ten inches long. Take four
+lengths and slip them through and knot them into
+the border edge at each end of the shawl. This
+makes a fringe about five inches deep.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig261"></a><img src="images/i_388.jpg" width="600" height="301" alt="" />
+<div class="caption">Fig. 261. The basket stitch </div>
+</div>
+
+<p>The basket stitch makes a thick shawl (<a href="#Fig261">Figure
+261</a>.)</p>
+
+<p>To make a wide shawl in this stitch 10 skeins of
+Germantown wool will be required.</p>
+
+<p>Cast on 120 stitches.</p>
+
+<p>1st row&mdash;Knit plain.</p>
+
+<p>2nd row&mdash;* K 3, p 7, k 3, p 7, repeat from *
+to end of needle.</p>
+
+<p>3rd row&mdash;* K 7, p 3, k 7, p 3, repeat from *
+to end of needle.</p>
+
+<p><span class="pagenum"><a name="Page_359" id="Page_359">[359]</a></span></p>
+
+<p>4th row&mdash;* K 3, p 7, k 3, p 7 repeat from *
+to end of needle.</p>
+
+<p>5th row&mdash;P the entire row.</p>
+
+<p>6th row&mdash;* P 7, k 3, p 7, k 3, repeat from *
+to end of needle.</p>
+
+<p>7th row&mdash;* P 3, k 7, p 3, k 7 repeat from * to end
+of needle.</p>
+
+<p>8th row&mdash;Like 6th row.</p>
+
+<p>9th row&mdash;P entire row.</p>
+
+<p>Nine rows form the pattern, repeat from second
+row until you have a shawl two yards long.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_360" id="Page_360">[360]</a></span></p>
+
+
+
+
+<h2><a name="XXXI" id="XXXI"></a>XXXI<br /><br />
+<small>DOLL'S CAPE, HOOD, LEGGINGS AND JACKETS</small></h2>
+
+<p class="ph3">DOLL'S CAPE.</p>
+
+<div class="blockquot">
+Material&mdash;3 Fold Saxony, 2 Steel Knitting Needles No. 10,
+1 Steel Crochet Hook No. 6.</div>
+
+
+<p class="drop-cap"><span class="smcap">Commence</span> with 1 stitch. Knit plain, increasing
+1 stitch beginning of each needle
+until there are 30 stitches on needle. Increase
+1, knit 12 stitches, bind off 6 stitches, knit
+12 stitches. Increase 1 stitch beginning of needle,
+knit to end of row; turn, knit 1 row plain. Repeat
+until there are 15 stitches on needle. Now increase
+1 stitch at the neck and decrease 1 stitch at end of
+row, 1 row plain. Repeat 3 times more. Knit
+plain without increasing at front and 2 together at
+end of needle, until 1 stitch is left on needle, fasten
+off. Finish the right side same as left. Crochet
+a row of holes for ribbon, 1 chain, 1 double all around.
+With blue yarn crochet 1 row, 3 chain, 1 single.</p>
+
+<p><i>Doll's Jacket</i> (<a href="#Fig263">Figure 263</a>).</p>
+
+<div class="blockquot">Material&mdash;3 Fold Saxony, 2 Steel Knitting Needles No. 16,
+3 Steel Knitting Needles No. 13, 1 Steel Crochet Hook No. 6.</div>
+
+<p><span class="pagenum"><a name="Page_361" id="Page_361">[361]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig262"></a><img src="images/i_391.jpg" width="600" height="356" alt="" />
+<div class="caption">Fig. 262. Doll's knitted cape</div>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="Fig263"></a><img src="images/i_391a.jpg" width="600" height="330" alt="" />
+<div class="caption">Fig. 263. Doll's knitted jacket</div>
+</div>
+
+<p>Cast on steel needles No. 13, 64 stitches, 1 plain
+1 purl for 26 rows, Knit 16 stitches; turn. Take
+another needle, knit the 16 stitches for 5 rows with
+No. 16 needles knit plain for yoke, decreasing 1 stitch<span class="pagenum"><a name="Page_362" id="Page_362">[362]</a></span>
+at the neck until there are 12 stitches on needle,
+knit plain until there are 7 ridges, bind off. From
+the 48 stitches left on needle, knit 32 stitches for 14
+rows; bind off.   Finish left front same as right.</p>
+
+<p>Sleeves&mdash;Cast on steel needles No. 16, 26 stitches.
+Knit plain for 6 ridges. With steel needles No. 13
+knit 1 plain, 1 purl for 20 rows. Bind off 3 stitches
+beginning of each needle until 8 stitches are left on
+needle; bind off. Sew up seam and shoulder seams.
+Crochet a row of holes around neck for ribbon, 1
+chain, 1 double. With blue yarn crochet one row,
+3 chain, 1 single all around.</p>
+
+<p><i>Doll's Cap</i> (<a href="#Fig264">Figure 264</a>).</p>
+
+<div class="blockquot">Material&mdash;2 Fold Saxony, 2 Steel Knitting Needles No. 16,
+2 Steel Knitting Needles No. 13, 1 Steel Crochet Hook No. 6.</div>
+
+<p>With blue yarn cast on
+No. 16 steel needles 45
+stitches. Knit plain for 6
+ridges. With white yarn
+and No. 13 needles, 1 plain,
+1 purl for 17 rows.</p>
+
+<div class="figleft" style="width: 300px;">
+<a name="Fig264"></a><img src="images/i_392.jpg" width="300" height="297" alt="" />
+<div class="caption">Fig. 264. Doll's cap</div>
+</div>
+
+<p>Crown&mdash;Knit 29 stitches,
+knit 2 together; turn, knit
+14 stitches, knit 2 together.
+Repeat until all side stitches have been worked up and
+the crown is complete. Then pick up stitches on both<span class="pagenum"><a name="Page_363" id="Page_363">[363]</a></span>
+ends, first on one side; turn, knit them plain, also
+the crown stitches, then pick up the stitches on that
+side and knit them. Make a row of holes for ribbon,
+yarn over needle twice, then knit 2 together to end
+of row. 1 row plain, knitting only 1 of the stitches
+cast on. With blue yarn crochet 1 row, 3 chain, 1
+single.</p>
+
+<p><i>Doll's Leggings</i> (<a href="#Fig265">Figure 265</a>).</p>
+
+<div class="blockquot">Material&mdash;3 Fold Saxony, 2 Steel Knitting Needles No. 13,
+1 Steel Crochet Hook No. 6.</div>
+
+<p>Cast on 32 stitches. 1 plain, 1 purl for 21 rows.
+Decrease beginning and end of needle.
+Knit for five rows. Decrease continuously
+1 stitch beginning and end of
+needle every 6th row, until there are
+22 stitches on needle. Knit for 15
+rows. Bind off 6 stitches, knit 10,
+take another thread, bind off the remaining
+stitches. Knit the 10 stitches
+for 4 rows. Decrease beginning and
+end of each needle, until there are 4
+stitches on needle. Bind off and sew
+up seam. With blue yarn crochet
+3 chain, 1 single around top of legging.</p>
+
+<div class="figright" style="width: 200px;">
+<a name="Fig265"></a><img src="images/i_393.jpg" width="200" height="440" alt="" />
+<div class="caption">Fig. 265.
+A doll's legging</div>
+</div>
+
+<p><i>Infant's Knitted Bootees</i> (<a href="#Fig266">Figure 266</a>).</p>
+
+<div class="blockquot">
+<p>Material&mdash;2 Skeins White Wool, 1 Skein Pink or Blue, 1
+Pair Knitting Needles No. 16.</p></div>
+
+<p><span class="pagenum"><a name="Page_364" id="Page_364">[364]</a></span></p>
+
+<p>1st row&mdash;Cast on 53
+stitches in coloured wool.</p>
+
+<p>2nd row&mdash;Knit plain
+to the end of row.</p>
+
+<p>3rd row&mdash;Slip 1, make
+1, knit 25, make 1, knit 1,
+make 1, knit 25, make 1,
+knit 1.</p>
+
+<p>4th row&mdash;Knit plain
+to the end of row.</p>
+
+<p>5th row&mdash;Slip 1, make
+1, knit 27, make 1, knit 1,
+make 1, knit 1, knit 27,
+make 1, knit 1.</p>
+
+<p>6th row&mdash;Knit plain
+to end of row.</p>
+
+<p>7th row&mdash;Slip 4, make
+1, knit 29, make 1, knit 1,
+make 1, knit 29, make 1,
+knit 1.</p>
+
+<p>8th row&mdash;Knit plain
+to the end of row.</p>
+
+<p>9th row&mdash;Slip 1, make
+1, knit 31, make 1, knit 1,
+make 1, knit 31, make 1,
+knit 1.</p>
+
+<div class="figleft" style="width: 205px;">
+<a name="Fig266"></a><img src="images/i_394.jpg" width="205" height="600" alt="" />
+<div class="caption">Fig. 266. Infant's knitted bootee</div>
+</div>
+
+<p><span class="pagenum"><a name="Page_365" id="Page_365">[365]</a></span></p>
+
+<p>10th row&mdash;Knit plain to end of row.</p>
+
+<p>11th row&mdash;Slip 1, knit 33, make 1, knit 1, make 1,
+knit 34.</p>
+
+<p>12th row&mdash;Knit plain to end of row.</p>
+
+<p>13th row&mdash;Slip 1, knit 34, make 1, knit 1, make 1,
+knit 35.</p>
+
+<p>14th row&mdash;Knit plain to end of row.</p>
+
+<p>15th row&mdash;Slip 1, knit 35, make 1, knit 1, make 1,
+knit 36.</p>
+
+<p>16th row&mdash;Knit plain to end of row.</p>
+
+<p>You must now have 75 stitches on your needle.
+Knit now 8 plain rows then knit 43 stitches, now
+knit 2 together. Turn your needles and continue
+this until you have 25 stitches on each side of needle.
+You must now tie on the white wool then knit 12
+plain, then knit 2 together as above, you are beginning
+now to make the part that forms the little sock.
+Knit 2 together 7 times, turn your needle, knit 1,
+pick up the stitch that you will see between the two
+stitches that you have knitted, two together,
+next row knit plain. Next row purl 1, then you have
+four rows complete. Commence 2 together again
+7 times continue this until you have 5 pattern rows.</p>
+
+<p>Always remember to take 2 stitches together after
+you have knitted the 12 stitches. There should
+be 14 stitches on each side needle. Tie on the<span class="pagenum"><a name="Page_366" id="Page_366">[366]</a></span>
+coloured wool again and knit plain to end. Knit
+1 row plain then make 1, knit 2 together to the end
+of row. Then make 1, pick up the stitch already
+explained. Tie on white wool, knit 1 row plain.
+Begin the pattern again by knitting 2 together.
+Remember you must always begin a row on the
+right side of the bootee. Do 7 rows of the pattern,
+then 12 rows ribbed. Rib is to knit 2 plain rows
+and purl 2 rows. After knitting 12 rows cast off on
+the right side and sew the bootee up neatly at the
+back and run some ribbon in to finish it off.</p>
+
+<p><i>A warm hood for the baby</i> (<a href="#Fig267">Figure 267</a>).</p>
+
+<p>This hood requires an ounce and a half of Shetland
+wool and one pair of fine bone needles No. 7.</p>
+
+<p>Cast on 21 stitches, knit 6 rows or three ridges
+plain.</p>
+
+<p>Second row&mdash;Knit one * wool over needle twice,
+knit 2 together, repeat from *.</p>
+
+<p>Knit 3 more rows plain. Cast on 21 stitches at
+one end and knit back and cast on 20 more at the
+other. Knit on these 62 stitches that are on the
+needle for 30 more rows. Now start a new pattern
+by knitting 1 for the edge * wool over, slip the next
+stitch on the right-hand needle, knit the next two,
+pass the slipped stitches over these two. Note the
+two loops remain on the right-hand needle and the<span class="pagenum"><a name="Page_367" id="Page_367">[367]</a></span>
+wool cast over. There knit from * to the end of
+row, knitting last stitch plain, purl back. Repeat
+these 2 rows 20 times. Cast off the 20 and 21
+stitches at the end. Knit on the original 21 stitches
+for 30 rows.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig267"></a><img src="images/i_397.jpg" width="500" height="547" alt="" />
+<div class="caption">Fig. 267. A knitted hood</div>
+</div>
+
+<p>Next row&mdash;Knit 1 * wool across the needle
+twice, knit 2 together, repeat from *.</p>
+
+<p>Knit 6 rows.</p>
+
+<p>Cast off.</p>
+
+<p>Your knitting is now finished and somewhat<span class="pagenum"><a name="Page_368" id="Page_368">[368]</a></span>
+in the shape of a cross. Join the X's to the X's on
+the wrong side. Sew right up to the corner.</p>
+
+<p>Join the dashes to the dashes, the O's to the O's, the
+diamonds to the diamonds in like manner (<a href="#Fig268">Figure 268</a>).</p>
+
+<p>You will have a piece of knitting that looks like
+a box cover. Turn it so the wrong side is in the
+right position. Fold the backs over the other so
+that the 2 rows of holes correspond. Sew along the
+bottom edge.</p>
+
+<p>Turn back a
+little corner from
+the plain knitting
+and sew it down.</p>
+
+<p>Run a ribbon
+through the holes
+and tie in a bow
+in front.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig268"></a><img src="images/i_398.jpg" width="500" height="440" alt="" />
+<div class="caption">Fig. 268. Diagram of hood</div>
+</div>
+
+<p><i>Knitted Vest for
+Baby.</i></p>
+
+<div class="blockquot">
+<p>Materials required, 10 oz. of Shetland Wool, a pair of Bone
+Knitting Needles No. 12 and 2 yds. of Ribbon.</p></div>
+
+<p>Cast on 140 stitches.</p>
+
+<p>1st row&mdash;Knit plain.</p>
+
+<p>2nd row&mdash;Knit 2 purl 2 all the way across.
+Continue knitting 2 and 2 ribs for 5 inches.</p>
+
+<p>To form the armholes work backward and forward<span class="pagenum"><a name="Page_369" id="Page_369">[369]</a></span>
+on the 1st 40 stitches for two and three quarter
+inches. Cast off all but 12 stitches for the shoulder
+strap. Work 12 rows on these 12 stitches and cast off.</p>
+
+<p>For back&mdash;Continue from where you divide it
+for the armhole for 60 stitches leaving 40 for the
+second front.</p>
+
+<p>Work two and a quarter inches on the 60 stitches.
+Cast off. Make second front the same as first.
+Sew up on shoulders.</p>
+
+<p>A pretty little crochet edge around the neck and
+armhole will complete this comfortable little vest.</p>
+
+<p>A simple crochet edge is made by working one
+double crochet, * 4 chain, 1 double crochet in first
+chain, miss 2 stitches, 1 double crochet, repeat from *
+sew the two small pieces of ribbon that have been
+cut in half to the vest. Tie in a bow. The bows
+hold the little garment together.</p>
+
+<p><i>Pine Pattern Lace.</i></p>
+
+<p>Cast on 28 stitches and knit across plain.</p>
+
+<p>1st row&mdash;Slip 1, knit 2 together, make 2, knit 2
+together, knit 10, knit 2 together, make 2, knit 2
+together, knit 1, make 2, knit 2 together, make 4
+(thread four times round needle) knit 2 together,
+knit 2 together, make 2, knit 2 together.</p>
+
+<p>2nd row&mdash;Knit plain, but work twice (knit 1
+and purl 1) in each of these make 2 loops. In the<span class="pagenum"><a name="Page_370" id="Page_370">[370]</a></span>
+2nd row work 6 times (knit 1, purl 1, knit 1, purl 1,
+knit 1, purl 1,) all in the 4 made stitches.</p>
+
+<p>3rd row&mdash;Slip 1, knit 2 together, * make 2, knit 2
+together, knit 2, knit 2 together, make 2, knit 2
+together; repeat from * once, knit 2, make 2, decrease
+2 (by working slip 1, knit 2 together, draw the
+slipped stitch over), knit 5, decrease 2, make 2,
+knit 2 together.</p>
+
+<p>4th row&mdash;The same as second row.</p>
+
+<p>5th row&mdash;Slip 1, * knit 2 together, make 2, knit 2
+together, knit 1, repeat from * three times, knit 2,
+make 2, decrease 2, knit 3, decrease 2, make 2,
+knit 2 together.</p>
+
+<p>6th row&mdash;The same as second row.</p>
+
+<p>7th row&mdash;Slip 1, knit 2 together, make 2, knit 2
+together, knit 2, knit 2 together, make 2, decrease 2,
+make 2, knit 2 together, knit 2, knit 2 together,
+make 2, knit 2 together, knit 4, make 2, knit 2 together,
+knit 2 together, draw the first two together;
+stitch over the second thus decreasing again, decrease
+2, make 2, knit 2 together.</p>
+
+<p>8th row&mdash;The same as second row.</p>
+
+<p>9th row&mdash;Slip 1, knit 2 together, make 2, knit 2
+together, knit 4, knit 2 together, knit 5, knit 2 together,
+make 2, knit 2 together, knit 6, make 2,
+decrease 2, make 2, knit 2 together.</p>
+
+<p><span class="pagenum"><a name="Page_371" id="Page_371">[371]</a></span></p>
+
+<p>10th row&mdash;Knit 2 together, drop the second loop
+of the "make 2," knit 1, draw the first stitch on the
+right-hand needle over the knitted one, thus decreasing
+again; knit 1, purl 1, knit 8, purl 1, knit 13, purl
+1, knit 2. Repeat from first row.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_372" id="Page_372">[372]</a></span></p>
+
+
+
+
+<h2><a name="XXXII" id="XXXII"></a>XXXII<br /><br />
+<small>EMBROIDERY SUGGESTIONS FOR BOARDING
+SCHOOL GIRL</small></h2>
+
+<p class="drop-cap"><span class="smcap">A girl</span> who has to make a home of her
+boarding school should try and make her
+room and little personal articles as attractive
+as possible. Her room is her citadel where
+only her bosom friends and cronies meet. One
+likes to feel when they enter their room that it is
+a place where everything is hers and every object
+in sight means something to her.</p>
+
+<p>A girl might not like to embroider, yet there are
+hundreds of things that can be done without any
+needlework decoration, such as stencilling, cut
+leather or simple appliqu&eacute;. It always amused me
+to hear a girl say, "I don't like to embroider."
+I always feel like asking her, if we are acquainted,
+if she knows how to embroider. You will find that
+in nine cases out of ten she does not. Embroidery
+is like anything else, you have got to know
+it to like it. It may be you prefer one branch to
+others. Some branches of this work may be tedious<span class="pagenum"><a name="Page_373" id="Page_373">[373]</a></span>
+to you but when you stop and think what simple
+things are classed under embroidery you will find
+that you have a wide field from which to select.</p>
+
+<p>It is not my object to go into details in regard
+to stitchery in this chapter but rather to give you
+some helpful suggestions in regard to knowing what
+to make and what colours to use. The stitches
+to be used are fully described in the previous
+chapters.</p>
+
+<p>The first thing to consider is, are you going to have
+a bedstead or a couch in your room? Make it the
+latter unless you have a broad window seat that you
+can heap up with pillows. No room at a boarding
+school or college is complete without a half a dozen
+pretty pillows. When the chairs give out you can
+use the cushions, Japanese fashion, on the floor.
+Some girls like to carry their whole room out in
+cretonne, which is very pretty and dainty if you can
+afford it. Cretonne covers last about a year and
+then they get faded and dusty, while a linen background
+embroidered will last for many years. It may
+need laundering but it will stand any amount of that.
+If the embroidery fades a little that also is no drawback
+as it takes the effect of newness from the room.
+A room ought to look as if people lived in it and
+enjoyed it and not as if it were an exhibition room<span class="pagenum"><a name="Page_374" id="Page_374">[374]</a></span>
+in some department store. Don't think I am trying
+to encourage untidiness but let the things be used
+and enjoyed.</p>
+
+<p>When I was about your age for several weeks
+I spent my spare time embroidering a centre piece
+for my auntie's dining room table taking care to
+get just the right colours that would look well with
+her every day china. It nearly broke my heart
+when it was finished to have her use it only for state
+occasions. If my cousins do not use it any more
+than auntie did it will last for hundreds of years,
+or be thrown into the rag bag by the next generations
+if they don't like it. Enjoy all the pretty
+things that you possess if they are appropriate for
+the use you intend them for.</p>
+
+<p>Have you ever heard the story of the little dirty
+boy of the slums who was given a new white tie
+by his teacher? He had first to wash his hands before
+he touched it and then he washed himself to wear it
+and asked his mother for a clean shirt so that everything
+would go with the tie? Do you know that if
+you have one beautiful thing in your room of
+which you are very proud you too will see that all
+the things around it set off its beauty?</p>
+
+<p>For the girl who has a window seat in a room and
+wants to keep her room dainty and bright there is<span class="pagenum"><a name="Page_375" id="Page_375">[375]</a></span>
+nothing as pretty as the lingerie pillow. It may be
+made of heavy white linen or lawn as you desire
+and can be oblong, round or square. The cushion is
+covered in any colour that you prefer and the white
+top embroidered with large eyelets, Roman cut
+work, Hardanger or drawn work so that the colour
+will appear through the openings. Some of the
+handsomest imported pillows have motifs of real
+Filet, Irish Crochet or Cluny lace. These motifs
+are very expensive and not really necessary. The
+back and front of the linen cover are scalloped on
+the edges and half an inch above this scalloping a
+row of large eyelets is worked at intervals. The
+back and front are laced together with ribbons the
+same shade as the coloured covering. For a pink
+and blue room the cushion can be covered with
+pink and the lingerie slip laced with blue. For a
+square pillow plan the design on a square and arrange
+one in each corner and one in the direct centre.</p>
+
+<p>These slips will require frequent laundering.</p>
+
+<p>The lithographed pillow is a thing to be avoided
+by a girl of refined taste. You would not hang
+lithograph posters in your bedroom so why feel that
+it is all right to buy a lithograph pillow?</p>
+
+<p>The chief point to remember in getting little
+accessories for your room is to keep the colouring<span class="pagenum"><a name="Page_376" id="Page_376">[376]</a></span>
+as harmonious as possible. Avoid getting the
+popular things of to-day which are apt to be an
+eyesore to you to-morrow.</p>
+
+<p>Do not decide quickly to carry out your room in
+school colours, there will probably be a dozen of the
+girls who will do this very thing and you will be
+tired of it before your course is through. A fraternity
+pillow is to be expected as there are dozens of
+ways that it may be treated and look quite different
+from the other girls' pillows.</p>
+
+<p>The general way in which a school or fraternity
+pillow is made is to cut out of felt the letters, figures
+and any design that is to be placed on it. The
+background may be broadcloth, ladies' cloth or
+felt. Use one of the school or fraternity colours
+for the appliqu&eacute; and the other for the background.</p>
+
+<p>One of the handsomest fraternity pillows I ever
+saw, was one belonging to a Hamilton College
+man. Hamilton's colours are buff and bright deep
+blue. The fraternity's colours were black and
+gold. A handsome piece of Hamilton blue broadcloth
+was selected for the background. The fraternity
+pin was reproduced in colour in fine filo silk.
+The gold silk was a perfect match to the gold in the
+pin. Even the background of the pin, which was
+black enamel, was represented by very fine Kensington<span class="pagenum"><a name="Page_377" id="Page_377">[377]</a></span>
+stitches. The rope-like edge of the pin was
+reproduced on the pillow by little rope-like sections
+heavily padded and worked in gold silk. On the
+back of the pillow were his initial and his class year
+below. No beruffled ribbons or gaudy cord detracted
+from its richness. It was a square cushion
+and its only finish was a large button in each corner
+where the end was gathered and tucked in to give
+a round effect.</p>
+
+<p>The school girl of to-day is learning to eliminate
+the unnecessary trumpery things that cheapen the
+room and serve as dust gatherers. Outside of
+the pillow, bed or table covers and an occasional
+bag for fancy work, laundry or gloves there is no
+ornate display of handwork. Even the walls are
+left bare with the exception of a framed print or a
+few family photographs.</p>
+
+<p>Try if possible and see if you can get a plain paper
+for your wall. More than one really charming room
+is spoiled by having an atrocious paper on it. It
+is really impossible to try to be artistic with an
+ugly wall paper.</p>
+
+<p>Since stencilling has become so popular, it is not
+an uncommon thing to have the entire room stencilled.</p>
+
+<p>Suppose you had planned to have your room in<span class="pagenum"><a name="Page_378" id="Page_378">[378]</a></span>
+lilac, green and light gray. White can be substituted
+for the gray but it soils more readily than the
+latter. The floor should be polished and a couple
+of small rugs or one larger one be used on the floor.
+The lilac shade should predominate in the rug.
+The covers should be of the gray or white with a
+stencilled design in green and lilac. A pretty way
+to treat the pillow is to get inexpensive lilac material
+of a coarse texture. Cut a square about fourteen
+or fifteen inches. Cut four strips of white or gray
+five inches wide by twenty-five inches long. These
+strips should be finer than the lilac or of a different
+weave. Baste one strip on each side of the lilac
+square. Mitre the strips at the corners. A design
+is then stencilled on the four strips in lilac and
+green. The backing of the pillow should be in
+plain lilac.</p>
+
+<p>If preferred a striped lilac and white piece of
+material can be used for the centre and back.</p>
+
+<p>For the girl who is fond of initials or monograms
+I would suggest that the cover be hemstitched and
+a wreath selected in different sizes appropriate to
+the article on which it is to be used. These wreaths
+can be carried out in colour or the background may
+be coloured and the wreaths white. Inside of the
+wreath work your monogram or initial. If you<span class="pagenum"><a name="Page_379" id="Page_379">[379]</a></span>
+desire a Dutch room, carry out this scheme in Delft
+blue material and have a dark set of Mission
+furniture.</p>
+
+<p>Nile green linen with wreaths of conventionalized
+rosebuds or daisies, worked in shades of pink, or
+white and yellow, suggests a French room, with a
+brass bedstead. As I have stated in the chapter
+on initials, the stem stitch is pretty for working
+single lines of a design that is carried out in satin-stitch.</p>
+
+<p>Stem stitch is too slow a method however to embroider
+school linens, and I would suggest using a
+substitute that has the effect and yet does not
+require the time. A row of outlining is made, and
+then turn the work back in the same manner, this
+time instead of working through the material, catch
+the places where the two successive stitches of the
+first row overlap (<a href="#Fig269">Figure 269</a>.)</p>
+
+<p>Another wrinkle you might be glad to hear of
+and possibly want to put in practice is how to clean
+a daintily embroidered piece without washing it,
+such as a pincushion or pillow top. School is not
+like home where you can be sure a piece sent to
+the laundry will have proper attention. Another
+drawback is that all extras have to be well paid
+for. If the piece is thickly covered with white<span class="pagenum"><a name="Page_380" id="Page_380">[380]</a></span>
+talcum powder and allowed to stand without disturbing
+it for forty-eight hours, the embroidery
+will emerge almost as clean as if it had been
+laundered.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="Fig269"></a><img src="images/i_410.jpg" width="500" height="206" alt="" />
+<div class="caption">Fig. 269. A substitute for stem stitch</div>
+</div>
+
+<p>Now then there are the curtains for your room.
+You may be fortunate enough to have a room with
+dainty dotted swiss or dimity curtains that will
+go very nicely with the things you are planning and
+then again you may be inflicted with a pair of cheap
+imitation lace curtains. If you can possibly afford
+it change them as soon as possible. Personally I
+would rather have no curtains than the wrong ones.
+Dimity, dotted swiss, scrim, plain net or grass
+linen are materials that are inexpensive as well as
+artistic. Of course you can make them as fancy as
+you wish. Any of the above mentioned materials
+can be stencilled. Rick-rack braid, which is a wavy
+braid, can be used to edge the net curtains or a
+Connemara lace design is also appropriate.</p>
+
+<p><span class="pagenum"><a name="Page_381" id="Page_381">[381]</a></span></p>
+
+<p>A narrow crochet edge can be used on the edge
+of the scrim curtains or a narrow border of drawn
+work can be used.</p>
+
+<p>Shadow work is effective on dimity or dotted
+swiss curtains. Another pretty stitch very similar
+to the shadow stitch is the skeleton stitch. Instead
+of the work being on the wrong side it all
+appears on the right. Work a row of very fine
+running stitches on the right side. Fagot stitch
+from side to side catching the thread into the running
+stitches. The work is done from the centre
+of the flower to the tip of the petal. Do not end
+your thread but weave over and under the fagotting
+stitch to the end of the petal, leaf or space on which
+you are working.</p>
+
+<p>The curtains may be sash lengths or may be the
+full length of the window but do not make them
+longer than to reach the sill.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_382" id="Page_382">[382]</a></span></p>
+
+
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_412.jpg" width="200" height="196" alt="" />
+<div class="caption"><span class="smcap">The Country Life Press<br />
+Garden City, N. Y.</span></div>
+</div>
+
+<div class="transnote">
+<h2>Transcriber's Notes:</h2>
+<p>Obvious punctuation errors repaired.</p>
+<p>Obvious typos and errors repaired:</p>
+
+<ul><li>  Maderia -&gt; Madeira</li>
+<li>  bottonholed -&gt; buttonholed</li>
+<li>  pading -&gt; padding</li>
+<li>  diferent -&gt; different</li>
+<li>  faggotting -&gt; fagotting</li>
+<li>  neccessary -&gt; necessary</li>
+<li>  separarely -&gt; separately</li>
+<li>  woolen -&gt; woollen</li>
+<li>  It is not necessary to to work -&gt; It is not necessary to work</li>
+<li>  about an an inch -&gt; about an inch</li>
+</ul>
+
+<p>Hyphenation is inconsistent and has been left in that state where there
+was a balance of with and without spellings e.g. chain-stitching and
+chainstitching, handwork and hand-work and over-cast and overcast.</p>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Library of Work and Play:
+Needlecraft, by Effie Archer Archer
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+</body>
+</html>
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@@ -0,0 +1,8132 @@
+The Project Gutenberg EBook of The Library of Work and Play: Needlecraft, by
+Effie Archer Archer
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Library of Work and Play: Needlecraft
+
+Author: Effie Archer Archer
+
+Release Date: January 26, 2014 [EBook #44766]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NEEDLECRAFT ***
+
+
+
+
+Produced by Chris Curnow, Chris Jordan and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+book was produced from images made available by the
+HathiTrust Digital Library.)
+
+
+
+
+
+
+
+THE LIBRARY
+OF WORK AND PLAY
+
+    CARPENTRY AND WOODWORK
+               By Edwin W. Foster
+
+    ELECTRICITY AND ITS EVERYDAY USES
+               By John F. Woodhull, Ph.D.
+
+    GARDENING AND FARMING
+               By Ellen Eddy Shaw
+
+    HOME DECORATION
+               By Charles Franklin Warner, Sc.D.
+
+    HOUSEKEEPING
+               By Elizabeth Hale Gilman
+
+    MECHANICS, INDOORS AND OUT
+               By Fred T. Hodgson
+
+    NEEDLECRAFT
+               By Effie Archer Archer
+
+    OUTDOOR SPORTS, AND GAMES
+               By Claude H. Miller, Ph.B.
+
+    OUTDOOR WORK
+               By Mary Rogers Miller
+
+    WORKING IN METALS
+               By Charles Conrad Sleffel
+
+
+
+
+[Illustration: Photograph by Mary G. Huntsman. The Last Step is Making
+the Buttonholes]
+
+
+
+
+                              NEEDLECRAFT
+
+                        BY EFFIE ARCHER ARCHER
+
+      _Needlework Editor of well-known magazines. Connected with
+                 New York Public Schools, Y. W. C. A.,
+                       and Arts and Crafts Club_
+
+[Illustration: Title Page]
+
+                       GARDEN CITY      NEW YORK
+                       DOUBLEDAY, PAGE & COMPANY
+                                 1916
+
+
+
+
+    ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION INTO FOREIGN
+                 LANGUAGES, INCLUDING THE SCANDINAVIAN
+
+             COPYRIGHT, 1911, BY DOUBLEDAY, PAGE & COMPANY
+
+
+
+
+                               CONTENTS
+
+
+  CHAPTER                                                  PAGE
+
+  I. What You Should Have in Your Work Box--Sewing
+  on Buttons--Basting--Darning                               3
+
+  II. Back-stitching--Over-casting--Creasing a
+  Hem and Hemming--Rolling a Hem--French
+  Hemming--Sewing on Tapes and
+  Hooks and Eyes                                            12
+
+  III. Gathering--Sewing on Bands--A Practical
+  Sewing Apron--Hemmed Patches--Gussets
+  and Tucks                                                 26
+
+  IV. A Doll's Skirt--Sewing Case--Bindings--Doll's
+  Bed Linen--Pin Case                                       41
+
+  V. Making Buttonholes--Cutting from a Pattern--A
+  Doll's Dress                                              58
+
+  VI. A Lesson in Stencilling                               74
+
+  VII. What Can Be Done with One Skin--Cut
+  Leather Bags, Belts, Book Covers, etc.                    83
+
+  VIII. Tooled Leather and Tools Necessary                  91
+
+  IX. The Simplest Stitches in Embroidery--Chain-stitching,
+  Outlining, Herring-boning, Cross-stitching,
+  Soutache, Coronation Braiding                             98
+
+  X. Smocking--Feather-stitching--Lazy-daisy
+  Stitch                                                   112
+
+  XI. Couching--Shadow-work--Turkish Stitch--How
+  to Stamp Designs                                         121
+
+  XII. Buttonholing and Wallachian Embroidery              130
+
+  XIII. Roman Cut-Work--Fancy Buttonholing for
+  Borders--Bermuda Fagotting                               138
+
+  XIV. Satin-Stitch and Marking                            147
+
+  XV. Eyelets and French Knots--Bullion Stitch,
+  and Other Fancy Stitches                                 160
+
+  XVI. Long and Short--Kensington Embroidery--Ribbon
+  Work for Simple Flowers                                  176
+
+  XVII. Hardanger Embroidery for Squares, Pin
+  Cushions, and Spreads                                    190
+
+  XVIII. Applique on Linen and Other Materials--Hedebo
+  Embroidery                                               198
+
+  XIX. Hemstitching for Handkerchiefs and Collar
+  and Cuff Sets--Simple Drawn Work
+  Stitches                                                 207
+
+  XX. Easy Lace Stitches--Fagotting, Single Mesh,
+  Double Mesh, Spiders, Fan, Maltese Cross,
+  Twisted and Buttonhole Bars, Picots for
+  Simple Edge                                              227
+
+  XXI. Simple Baskets                                      242
+
+  XXII. Raffia Baskets and Napkin Rings                    250
+
+  XXIII. Raffia Hats                                       262
+
+  XXIV. Knotting for Dolls' Hammocks, Shopping Bags
+  and Other Purposes                                       271
+
+  XXV. Simple Bead Chains on Single Strings--A
+  Homemade Loom--Woven Chains--Belts
+  and Purses                                               278
+
+  XXVI. Braiding and Weaving Four and Six Strands--Weaving
+  on Looms                                                 295
+
+  XXVII. Simple Crocheting--Stitchery for Edges and
+  Shawls                                                   306
+
+  XXVIII. Pattern Directions for Making Doll Caps
+  and Capes, Jackets, and Child's Bedroom
+  Slippers                                                 320
+
+  XXIX. Irish Crochet Lace                                 333
+
+  XXX. Knitting, Plain and Purling--Wash Rags--Fancy
+  Stitches for Shawls                                      351
+
+  XXXI. Doll's Cap, Hood, Leggings, and Jackets            360
+
+  XXXII. Embroidery Suggestions for Boarding School
+  Girl                                                     372
+
+
+
+
+                             ILLUSTRATIONS
+
+
+  The Last Step is Making the Buttonholes             _Frontispiece_
+
+                                                       FACING PAGE
+
+  The Right Way to Darn                                     10
+
+  A Single Motif Being Used on a Stencilled Scarf           76
+
+  Many a Happy Hour is Spent Embroidering                  164
+
+  It is Jolly to Make a Raffia Work Bag                    250
+
+  Sewed Raffia Baskets Make Attractive Gifts               258
+
+  The Fascinating Task of Making Bead Chains               284
+
+  A Cushion Top Can be Woven on a Simple Hand Loom         296
+
+  Her First Knitted Shawl                                  356
+
+
+
+
+                              NEEDLECRAFT
+
+
+
+
+I
+
+WHAT YOU SHOULD HAVE IN YOUR WORK BOX, SEWING ON BUTTONS, BASTING,
+DARNING
+
+
+You will find that you are happiest when doing things for those you
+love; and what greater help can you give than by learning to do things
+for yourself that now those who love you best do for you? The little
+everyday things that appear to be so simple, yet take so much of the
+mother's time should be the things first to learn. There are so many
+things that one could do if one only knew how, that it seems a shame to
+waste time. Dolly needs new clothes, mother always needs help with her
+sewing; and then, too, the numerous birthdays and Christmases follow so
+quickly one on top of another, that there is hardly a chance to save
+up for one before the next is here. Many a hard problem for the little
+mother will be solved in this book.
+
+It is lovely to have a little work-box fixed up with thread, needles,
+and scissors, all of your own, and if you ask mother, I am sure she
+will give some of her threads to help you start one. If you take a
+card and shape it like a Maltese cross you will have space for four
+colours of threads. You will need a card for the white alone because
+you will find you use so much more of it. You must have a little
+thimble and always use it or your finger will look cramped when
+working. Have you noticed how pretty ladies look when sewing? Well, you
+must do as they do, tap your needle with the thimble to send it through
+the material (Figure 1).
+
+[Illustration: Fig. 1. The way to use your thimble]
+
+Have you ever wondered and wondered why it is that buttons have the
+horrid habit of dropping off just when you wanted to dress quickly or
+take Sally Ann walking? Well, I will whisper the reasons for this:
+the first is, that the thread might have been worn out from active
+service; or the thread used might have been weak; or lastly, which is
+probably the true cause, the button might have been sewn too close to
+the material and came off the first time it was used. Mother may not be
+around to help you when the accident happens, and would you not feel
+proud to sew it on for yourself?
+
+To sew a button on securely you should make a pin-hole where the
+button is to be placed. A four-hole white button is the easiest to work
+on. Thread a No. 7 needle with a length of No. 40 white sewing cotton,
+bring the ends together and make a knot. The right length thread is
+measured from the tip of the thimble finger to the elbow. When a thread
+is used double it should be twice the length of this. A neat knot is
+made by holding the threaded needle in the right hand and by taking the
+end or ends, as the case may be, between the thumb and first finger of
+the left hand. Keep the thread tightly stretched, wind it around the
+top of the first finger, then move the finger down the thumb, carrying
+the thread with it about half an inch. Now with the nail of the second
+finger bring the knot thus formed to the end of the thread.
+
+A large ungainly knot is a disfigurement to a piece of sewing. You are
+now ready to adjust the button; place the knot on the upper or right
+side so that it will be concealed; after adjusting the button put a
+pin across the top and sew securely through the holes, crossing the
+threads. Sew not less than three times through each hole. Remove the
+pin. Insert the needle from underneath, then bring it out between the
+button and cloth close to the centre of the button. Wind the thread
+tightly around the neck of the button three or four times. (The neck
+is the threads between the button and material.) Wrapping the threads
+around protects the stitches and allows room for the buttonhole to lie
+under the button. Take the thread through to the wrong side and take up
+three stitches, make a short stitch on the material and cut the thread
+close (Figures 2 and 3).
+
+[Illustration: Figs. 2 and 3]
+
+When a three-hole button is used the stitches form a triangle on the
+top of the button. A shoe-button should be sewed with a No. 2 needle
+and coarse black thread. The stitches are taken through the shank of
+the button. Fasten off the thread after sewing on two buttons, for if
+they are all on one continuous string or thread and that breaks, all
+the buttons are apt to come off. If each button is securely fastened
+the thread may be passed, however, from one to the other.
+
+[Illustration: Fig. 4. Even basting]
+
+[Illustration: Fig. 5. Uneven basting]
+
+Now I know you want to do some real sewing; it must not be big or
+you will get very tired and think sewing is not as pleasant as you
+fancied. The simplest stitch in sewing is basting. This is used to
+hold materials together until you are ready to make firmer stitches.
+In the following illustration the even and uneven basting stitches are
+shown (Figures 4 and 5). They must be straight. Even basting stitches
+should be taken about a quarter of an inch apart and in the running
+stitch which is fine basting about an eighth or a sixteenth of an inch.
+Pretty huck pillows can be made of even and uneven basting or running
+stitches. A leaf, star or a figure cut out and traced on a piece of
+muslin will make a nice design for running stitches (Figure 6).
+
+[Illustration: Fig. 6. A simple design in running stitch]
+
+If you will examine different kinds of materials before they are cut,
+you will note that the threads run in two directions. The threads
+running lengthwise must be the stronger, as they have more strain on
+them. They are called the warp. The warp is set up first before the
+weaving begins. The threads running crosswise are called the woof. It
+is the weaker thread and forms the edge or selvage.
+
+If you will take a card three inches square and prick a line of dots
+half an inch from the top and bottom edges and prick a line a quarter
+of an inch apart you will have a little loom. The dots must be directly
+under each other. A piece of coloured worsted and a large-eyed crewel
+needle No. 2 will be required. Make a knot at the end of your thread
+and start from the upper right hand hole on the wrong side. Bring your
+thread up through the hole and down through the lower right-hand dot.
+The needle must now come up through the next hole at the bottom and the
+thread be again stretched across the card.
+
+When every hole has been filled and you have several rows of straight
+lines, fasten off the worsted in the back. Another shade of wool should
+be selected so that you can distinguish the warp from the woof. The
+thread you are now going to use is the woof; commence at the top and go
+straight across to the left line, up over and down under each thread
+and so on till the row is completed. In weaving the next row, pick up
+the threads of the warp that you went over last time. Alternate rows
+agree (Figure 7). When finished, the little piece can be used as a
+doll's mat.
+
+To darn your stockings is almost as simple a matter as this weaving.
+Instead, however, of starting the thread of the warp on an even line,
+as on the card, start some higher than the others. The reason for this
+is that an even line will be apt to make an uncomfortable seam in
+your stocking. The woof threads are always connected to the stocking.
+A darning ball should be used under the hole. In darning cashmere or
+woollen stockings it is best to allow the warp to be very slack as
+wool shrinks considerably in washing. Wool should be used for darning
+woollen stockings.
+
+[Illustration: Fig. 7. Weaving with worsted]
+
+[Illustration: Fig. 8A. The first step in darning]
+
+[Illustration: Photograph by Mary G. Huntsman. The Right Way to Darn]
+
+Have you ever belonged to a sewing club? If not, try to start one
+and see how much fun there is in it. The club should meet either on
+Friday or Saturday afternoon, after the school work is finished. Every
+girl should bring her stockings to darn and another piece of work, so
+that when the darning is over she will have something to work on. If
+there are more than four in the club it is a very hard thing to keep
+up. Three is the ideal number for it. It is better to have a small
+number--three, for instance. A large club is apt to be distracting, but
+three or four little girls, with the right helpful spirit, will find
+such meetings very instructive and entertaining.
+
+[Illustration: Fig. 8B. The second and last step in darning]
+
+
+
+
+II
+
+BACK-STITCHING, OVER-CASTING, CREASING A HEM AND HEMMING, ROLLING A
+HEM, FRENCH HEMMING, SEWING ON TAPES AND HOOKS AND EYES
+
+
+[Illustration: Fig. 9. The right way to hold your scissors]
+
+"Stitching is witching," the song book says, and it is true, for after
+we know that stitch there are a hundred and one things we can do. Some
+people call it back-stitching and we must try to remember that, so that
+we shall understand of what they are talking. Get mother to give you a
+piece of material to practise on that has a stripe in it. Now take your
+scissors (Figure 9) and cut out two three-inch squares. Baste the two
+squares together a quarter of an inch from the edge. Hold the square
+over the first finger of the left hand ready for the back-stitching.
+Let the basting run up and down over your finger. Start from the top
+and make a small stitch backward, on the right side of the material,
+instead of forward as you did in running (Figure 10). Pass the needle
+under until you have a stitch twice as long on the wrong side as that
+on the right. Take the next stitch backward close to the end of the
+last one on the right.
+
+[Illustration: Fig. 10. Back-stitching]
+
+Remember that the stitch you take backward is only half as long as
+the one you take forward. Stitching always looks very different on
+the wrong side, but on the right side it ought to look like machine
+stitching. This stitch might be called the lion stitch, because it is
+so strong. It is used to join two edges together, as for the seams in
+bean-bags or cushion covers.
+
+In places where there will not be much strain we use a quicker stitch,
+which is called the half-back stitch (Figure 11). This is very much
+like the stitching of which I have been telling you. The wrong side
+will look about the same, but on the right side instead of the
+stitches touching there will be a space, then a stitch of equal length.
+
+[Illustration: Fig. 11. The half-back stitch]
+
+The next stitch to learn is the combination-stitch, which is made up of
+both the running and the back-stitch (Figure 12). It is a stitch that
+is greatly used for sewing long seams, as on underwear. By this stitch
+we can cover the distance in about half the time that back-stitching
+would take.
+
+[Illustration: Fig. 12. The combination running and back-stitch]
+
+Whenever you can avoid making a knot, do so, because it spoils the
+look of your work on the wrong side. You can start your work, if it
+is a seam, for example, by making two or three stitches on top of
+each other. Follow the thread of the warp or woof of the material as
+much as possible. After fastening your thread, make two fine running
+stitches forward and one back. Keep the stitches the same length.
+
+[Illustration: Fig. 13. Over-casting]
+
+Over-casting is used on unfinished or cut edges to keep them from
+fraying (Figure 13). The stitches all slant from right to left. Take
+the stitches one eighth of an inch deep and one quarter of an inch
+apart.
+
+[Illustration: Fig. 14. Over-handing]
+
+Over-handing is fine over-casting and used to connect two finished
+edges together (Figure 14), as when sewing lace on ruffles, or joining
+selvages. What is the selvage? It is the edge of the warp. The next
+time mother goes shopping ask her to take you with her. When she tells
+the salesman she wants so many yards of goods, whether it is for
+kitchen towels or a dress for herself or for you, notice how the goods
+is measured. The salesman will measure along one of the finished sides
+of the goods. These finished edges are called selvages.
+
+[Illustration: Fig. 15. The seam opened]
+
+Make the stitches in over-handing as small as possible, keeping the
+stitches even. Sew through both pieces of the material. Hold your work
+between your thumb and first finger. Here again it is not necessary to
+make a knot. Let a half-inch of the end of your thread lie on top of
+the material toward the left side; the over-handing stitches will cover
+this end. When the over-handing is finished run your thumb-nail along
+the stitches on the right side. If your stitches are too deep there
+will be a seam on the wrong side, whereas if the instructions have
+been followed carefully the material will lie perfectly flat (Figure
+15).
+
+Now we are ready to help mother hem the new kitchen towels. First see
+that the edge you are to hem is straight. If it is not, pull out a
+thread so as to mark a line to cut by. You must take a thread that runs
+the entire way across the end of the towel. Cut carefully along the
+space out of which the thread came. Get a piece of card that has two
+smooth or straight edges and make a notch one-half inch from the corner
+(Figure 16). A half-inch hem is the one commonly used on a towel.
+
+[Illustration: Fig. 16. A notched card]
+
+If mother likes to have her towels with a wider or narrower hem, notch
+the card the size she wishes. Turn the material back one-quarter inch
+and crease it down with your thumb-nail. A second fold is made the
+width of the hem. Take your measuring card and, placing the end of it
+on the double edge, see if your hem is exactly the width desired. Baste
+along the first folded edge to hold the material together for hemming
+(Figures 17 and 18). Hold the edge to be hemmed toward you. Do not knot
+your thread. Insert the needle at the extreme right of the hem. Pull
+the needle through, leaving a little end, as in over-handing, to be
+fastened down with the hemming itself.
+
+[Illustration: Fig. 17. The first step]
+
+[Illustration: Fig. 18. The second step]
+
+Your needle should slant as shown in the diagram (Figure 19). Take a
+stitch right through all the thicknesses of the material. Be sure that
+it goes through to the other side. The fewer the threads taken on the
+needle at the same time, the neater the result will be. The stitches
+should slant from right to left. The stitches must be close together if
+we want fine hemming. Let each stitch be the same size as the other and
+slant in the same direction. The right side of the hem looks like a row
+of short dashes.
+
+[Illustration: Fig. 19. The way the needle should slant]
+
+If your needle gets "sticky" when you are sewing, you should pass it
+through your emery-bag till it is shiny and sharp again. The needle is
+apt to get that way if your hands perspire. Ladies who like to keep
+their sewing looking fresh and white, as if hands had never touched it,
+find it a good plan to wash their hands in a little vinegar, or lemon
+and water.
+
+It is very necessary to sit so that the light falls over your left
+shoulder. A little straight-back chair is another good help in sewing.
+Do you know that many of our English great-grandmothers had very
+straight backs? When they were little girls they had to sit on a very
+straight, tall chair, an hour or two every day. A foot-stool was placed
+under their feet, and their shoulders strapped against the chair. Of
+course they did not sit there idle, but a piece of fine sewing was
+given them to work. You see they did not have the opportunity to run
+around and play as you have. Their chief recreation was their dancing
+lesson.
+
+[Illustration: Fig. 20. A corner basted ready for hemming]
+
+The towel finished, the next thing to learn is how to turn a corner and
+hem it. Shall we make a cover for Sally Ann's bed or a dust-cloth for
+mother? In either case cut a piece of material eighteen inches square
+and turn a hem and baste it as you did for the towel. The next side is
+folded the same as the first. The corner should form a perfect square
+(Figure 20). Sometimes the material is very thick and the hem wide; in
+that case it is wise to cut a little oblong piece out of the corner as
+shown in the illustration (Figure 21).
+
+[Illustration: Fig. 21. The material cut from a corner]
+
+Napkins and table-covers should be sewed with a French hem. Make a turn
+about a sixteenth of an inch deep. The second turn should be about
+three sixteenths of an inch wide. Fold the hem back so that it touches
+the right side of the material. The hem is connected to the material
+with tiny over-hand stitches. Open the hem, when finished crease with
+the thumb-nail till it lies perfectly flat.
+
+[Illustration: Fig. 22. Whipping]
+
+A pretty new way of finishing a handkerchief is to roll the material
+for the edge instead of folding it. Over-cast or, as we sometimes say,
+whip it with delicate-coloured cotton, (Figure 22). The nicest material
+for handkerchiefs is fine linen, but lawn is cheaper for practice
+work. Hold the wrong side of the material to you. Then roll about one
+eighth of an inch between the thumb and first finger of your left hand.
+Do not roll more than an inch of the hem at a time. Take a needle
+and thread it with a piece of coloured cotton. In this case it is
+permissible to make a knot. Insert the needle at the beginning of the
+roll. Over-cast or whip the rolled edge. The stitches should encircle
+the roll and not go through it. When the rolled inch is over-casted,
+roll another inch and repeat in this manner till the whole handkerchief
+is worked. If you desire, when you have finished one side, you can whip
+in an opposite direction toward the point at which you started, thus
+forming a cross with each return stitch (Figure 23).
+
+[Illustration: Fig. 23. A pretty finish for handkerchiefs]
+
+Lace is sewed to raw edges by rolling and whipping the material and
+connecting the lace at the same time.
+
+[Illustration: Fig. 24. A rolled hem]
+
+[Illustration: Fig. 25. One end creased one quarter of an inch]
+
+[Illustration: Fig. 26. The tape open flat on material]
+
+Tapes should be on all towels and on all your skirts and dresses that
+are to hang on nails or pegs. Take a piece of fine tape about five
+inches long. Crease one end down one quarter of an inch (Figure 25). If
+the tape-loop is to be sewed on a towel find the direct centre of the
+top edge of the towel. Lay the tape with the creased end open flat on
+the towel (Figure 26). Sew along the creased line with back-stitching.
+Fold the other end of the tape over, baste it down so that it entirely
+covers the stitches already made and with small hemming stitches
+connect the tape to the material (Figure 27). There should be two
+tape-loops on your dress or separate skirt. There is usually too much
+weight for only one loop. Place a loop in each armhole of the waist or
+dress. For the skirt, measure the waist-band and place the loops so
+that the band is divided in thirds.
+
+[Illustration: Fig. 27. The tape finished]
+
+Do you know that very few people sew on hooks and eyes properly? Yet
+there is no difficulty in sewing them correctly and they look much
+nicer. Take the eye, connect it to the material with two stitches that
+make a cross. With the same thread pass the needle to the left-hand
+loop. Insert the needle in the material so that the eye of the needle
+is within the loop and the point of the needle comes just outside. See
+that the thread passes from left to right _under_ the point of the
+needle. Draw the needle through and repeat in this manner until the two
+loops of the eye are firmly connected to the material. Sometimes it is
+necessary to cover the upper part of the eye. In that case cover the
+metal with fine over-and-over stitches as shown in (Figure 28B).
+
+[Illustration: Fig. 28A. The eye firmly sewed]
+
+[Illustration: Fig. 28B. A covered eye]
+
+The loop of the hook is sewed on in a very similar manner at the
+base, while the top of the hook is caught with eight or nine
+over-and-over-stitches (Figure 29). These stitches are taken under the
+hook portion and connect the under side only. Measure accurately just
+where every eye goes and place the hook so that when it meets the eye
+it will be straight. A sixteenth of an inch out of the way spoils the
+appearance and is apt to pull the material crooked. Another point to
+remember is that it is not a good plan to place the eyes on the extreme
+edge. A margin of some size is most necessary to extend beyond the
+eyes. Sometimes it is necessary to sew a piece of material so that it
+extends one inch beyond the eyes if the eyes are sewed on the extreme
+edge of the finished garment. This piece is called the fly piece.
+
+[Illustration: Fig. 29. The hook]
+
+
+
+
+III
+
+GATHERING, SEWING ON BANDS, A PRACTICAL SEWING APRON, HEMMED PATCHES,
+GUSSETS AND TUCKS
+
+
+Though I know you don't like making samples, I am going to ask you to
+make a little apron for a doll, as a model, before we make a real big
+one.
+
+Get a piece of muslin five by nine inches and a No. 9 sewing needle.
+Thread it with a piece of No. 70 cotton. Baste an eighth of an inch hem
+on both of the five-inch sides, and a three-quarter of an inch hem on
+one of the nine-inch sides.
+
+The basting of the three sides being finished we will now start to
+gather the fourth side. Thread a No. 8 needle with No. 50 thread. Use a
+thread a trifle longer than nine inches. Make a good-sized knot in the
+thread so that the end cannot slip through the material. Start from the
+right-hand side of the piece and insert the needle on the under side.
+Let the knot come on top of the narrow hem about one quarter of an inch
+from the raw edge.
+
+The needle is now in position on the right side of the material. Take
+up several stitches on the needle before pulling it through (Figure
+30). The stitches are nothing more than running stitches. When the
+running has been worked across the nine inches of the material, take
+the needle out and make a knot in the thread.
+
+[Illustration: Fig. 30. Gathering the apron]
+
+Put a pin, vertically, close to the last stitch. Take up only a few
+threads of the material on the pin. Draw up the running thread so that
+you have about three and a half inches of gathering. Wind the thread
+that extends beyond the gathering over the top and under the point of
+the pin a number of times, crossing the thread at the middle of the pin
+so that it forms an eight (Figure 31).
+
+To allow the gathering to fall evenly, it will be necessary to stroke
+it. Use a No. 2 needle for this purpose. With the right side of the
+work toward you begin at the left-hand edge. Hold the work between
+the left thumb and forefinger, keeping the thumb below the gathering
+thread. Put the point of the No. 2 needle under the gathering thread,
+holding it obliquely. Press the needle toward the thumb, bringing the
+little plait under the thumb and drawing the needle downward. Pinch
+the little plait down lightly with your thumb. Continue in this way,
+putting the needle under each stitch (Figure 32).
+
+[Illustration: Fig. 31. Gathers ready for stroking]
+
+Let us now put a band and strings on our apron. Cut two strips of
+material ten inches long by two inches wide. These are for the strings.
+Baste an eighth of an inch hem on the two long sides of each strip.
+Make a three-quarter of an inch hem on each string.
+
+Over-hand the ends of the broad hem. All the hems that are basted on
+the strings and the material itself should be hemmed with fine stitches.
+
+[Illustration: Fig. 32. Gathering Strokes]
+
+Cut another strip two and a half inches wide by five inches long. This
+is the band. Turn down one eighth of an inch of the material all around
+the band. Crease the band in half, lengthwise, so that the edges, just
+folded, are inside.
+
+Find the centre of the gathered material and the centre of the opened
+band. Holding the wrong side of the apron toward you, pin the middle of
+the apron to the middle of the band. Pin the gathered side of the apron
+to the band, three quarters of an inch from each end of it.
+
+Wind the gathering thread around the left-hand pin, drawing the thread
+up to fit the band. With the point of the needle adjust the gathers
+so that the fullness is evenly distributed along the band. Holding
+the gathers toward you, baste with small stitches a little above the
+gathering thread.
+
+Turn up the band and on the right side of the apron hem the band in it,
+catching up a gather with each stitch. Some people prefer to stitch
+along the basting line instead of hemming (Figure 33).
+
+[Illustration: Fig. 33. Taking up a gather with every stitch]
+
+Baste the other side of the band down, and hem as on the right side.
+Insert the strings in the band. Hem in the same way as on the band,
+first the right side and then the left side, and now your little apron
+is completed (Figure 34).
+
+Would you not like to have a sewing apron that you can use as a bag
+when you are not wearing it? It is such an easy thing to make that
+after you have one for yourself you will be making them for your
+friends for Christmas.
+
+[Illustration: Fig. 34. The apron completed]
+
+Get mother to measure you from the waist to the knees. The material for
+the apron should be one and a half this measurement. Turn one third of
+the material back. Baste the double edges together and sew with fine
+combination stitches.
+
+Turn this piece inside out. Crease back one eighth of an inch edge of
+this pocket, as it were. Baste a piece of beading over this raw edge
+right around the back of the apron. Be careful not to sew up the pocket.
+
+The beading on the back must be the same distance from the bottom as
+the beading in front; that is, we must keep a straight line. Sew on the
+extreme edges of the beading with fine running stitches, to connect it
+to the material. Now as the ribbon we are to run in the beading must
+serve as a draw string, as well as for decoration, it will be necessary
+to put two pieces in. So get a narrow ribbon about one half the width
+of the openings in the beading. Each piece of ribbon must be long
+enough to go once around the apron and enough of the ends left to tie
+double bows--one for each side. Start one piece of the ribbon at the
+right-hand side of the apron and the other at the left.
+
+The top of the apron or single piece is finished with a piece of
+beading which is sewed on, as on the pocket. A ribbon long enough to
+go around your waist and to tie a bow in the back is run through the
+beading (Figure 35).
+
+[Illustration: Fig. 35. The apron]
+
+When the apron is not being worn your work can be placed in the large
+pocket and the single section folded within the pocket. The ribbons
+are then drawn up tight and "bravo!" you have a work bag fit for a
+queen (Figure 36).
+
+[Illustration: Fig. 36. The work bag]
+
+There are so many kinds of rents or holes that may happen to your
+clothes that it is worth the while to know how to mend the various
+kinds. There is an old adage that says, "Waste makes want," and we
+would spend a small fortune in clothes if every time a wee hole made
+its appearance we discarded the garment.
+
+If it is a circular hole in a dress or underbody, as often happens,
+under the arms, we will use the square patch. Cut a piece of the same
+kind of material, three inches square, or larger if necessary. Turn a
+fold of one eighth of an inch on the four edges of this square. Crease
+it lengthwise and crosswise.
+
+[Illustration: Fig. 37. The patch hemmed to the material]
+
+Crease the material on which the patch is to be laid lengthwise and
+crosswise through the tear. Pin the small piece or patch on the wrong
+side of the large piece, or garment, so that the creases run in the
+same direction. The warp must run the same way in both pieces. One
+sixteenth of an inch from the edges run a basting thread. Hem the four
+sides on the patch to the material (Figure 37).
+
+[Illustration: Fig. 38. The pin in each corner of the patch]
+
+On the garment side make a crease half an inch wide, from the hemming,
+on the four sides. Four little squares will be formed in the corners.
+Crease along the diagonal of each square. Place a pin one eighth of an
+inch from each corner, within the patch (Figure 38). Cut the garment
+from the centre of the tear to the pins. Repeat this on each side,
+cutting along the crease which you made, one half inch from the hemming.
+
+Turn in one eighth of an inch and baste. Hem all around (Figure 39).
+
+[Illustration: Fig. 39. The garment side of the patch]
+
+In patching material such as checked or striped ginghams, percales, or
+other materials, the stripes or the checks must match so that the patch
+is not too apparent (Figure 40).
+
+[Illustration: Fig. 40. Matching the stripes]
+
+Have you ever noticed how the slit or placket of a petticoat or side
+opening of drawers is finished? A piece of material is put in of an
+odd shape to strengthen the openings. This is called a gusset. Suppose
+that you were making a petticoat. Join the skirt up the back from the
+bottom, but leave eight inches open at the top. This top opening is the
+placket. But let us take a small piece of material and practise making
+the back of a skirt. We will put a hem and a few tucks at the bottom of
+the material first.
+
+[Illustration: Fig. 41. Basting the tuck]
+
+Make a measuring card of a straight strip with an eighth, three
+eighths, and three quarters of an inch notches.
+
+Crease and fold a wide hem (three quarters of an inch), using the
+measuring card as a guide.
+
+Over-hand each end of the hem. Now baste along the hem. The
+over-handing must be done before the basting. Now hem this wide hem.
+
+Again, using the cardboard measure, on the right side of the model
+fold a crease three quarters of an inch above the hem. Begin at the
+right-hand side to crease and baste (Figure 41).
+
+With a fine, even, running stitch, an eighth of an inch below the
+crease, make the tuck (Figure 42). Measure every few stitches to keep
+the seam straight.
+
+[Illustration: Fig. 42. Making the tuck]
+
+If a second tuck is desired, measure from the tuck instead of the hem.
+
+Now we are ready for the slit which is in the centre top. On the wrong
+side start at the top with an eighth of an inch hem, but decrease it to
+almost nothing right to the bottom (Figure 43). Fold the other side in
+the same manner. In hemming the two sides, start at the top.
+
+[Illustration: Fig. 43. The placket hemmed]
+
+Now let us practise making gussets on a piece of paper. Cut a piece
+of paper three inches square. Fold it from corner to corner and cut
+(Figure 44). Turn the straight or short edges of the paper one eighth
+of an inch and fold along the two shorter edges (Figure 45).
+
+[Illustration: Fig. 44. The triangle]
+
+Hold the paper with the straight edge down, measure it from the two
+points one quarter of an inch. Now cut a piece of material the size of
+the paper and fold like model.
+
+[Illustration: Fig. 45. The short edges folded]
+
+Cut off the two points one quarter inch from each corner on the thread
+of the goods (Figure 46). Turn these two straight ends and the bias
+edge of paper one eighth of an inch (Figure 47). Turn point of paper
+down one eighth of an inch from bias hem and crease (Figure 48).
+
+[Illustration: Fig. 46. With points cut off]
+
+Now cut the muslin gusset and fold just like the paper one.
+
+[Illustration: Fig. 47. All sides are now creased.]
+
+[Illustration: Fig. 48. The point folded over]
+
+Hold the model or skirt with right side toward you, and turn up point
+of gusset. Holding the wrong side of the skirt toward you, twist left
+side of gusset to left side of placket and over-hand to creased line,
+half way up the gusset (Figure 49).
+
+[Illustration: Fig. 49. The gusset over-handed half way]
+
+Over-hand right side. Turn bias edge of gusset over to right side, pin,
+having straight edges parallel to warp and woof threads and then hem
+(Figure 50).
+
+Gather the top of the skirt and put on a band on each side of opening
+about the same width as the one used on the apron (Figure 51).
+
+[Illustration: Fig. 50. Gusset hemmed]
+
+[Illustration: Fig. 51. The gusset model completed]
+
+
+
+
+IV
+
+A DOLL'S SKIRT AND SEWING CASE, BINDINGS, DOLL'S BED LINEN AND A PIN
+CASE
+
+
+Let us suppose that Sally Ann measures twelve inches from the crown of
+her head to the soles of her feet and that you would like to make her a
+gored skirt like mother's. Would you not feel happier if you made the
+pattern and then cut the skirt yourself?
+
+Take a piece of paper twelve by nine inches wide, mark every inch on
+both the long sides of the paper. Lay a ruler so that it touches the
+centre of the space between the first and second dots on the upper
+edge, and between the second and third dots on the lower edge. This
+will form the half of the front gore of the skirt. Mark it, "half of
+front."
+
+Now draw a line from the second dot on the upper edge to the centre of
+the space between the fourth and fifth dots of the lower edge. Connect
+the sixth dot on the upper and lower edges, mark this section "side
+gore." Connect the eleventh dot on lower and upper edges and mark this
+section "back." The remaining inch mark "belt." (Figure 52).
+
+[Illustration: Fig. 52. The pattern drawn]
+
+Cut the pattern apart along the lines drawn.
+
+Take a piece of muslin twenty-four by nine inches. Tear off two inches
+of the muslin on the length for the band and then ten inches for the
+back of the skirt.
+
+Fold the remaining piece of muslin with the two short edges together so
+that the doubled piece measures six inches by nine. Place the straight
+edge of front of skirt pattern on the fold of the material and the edge
+of the side gore on the other edge. Pin the pattern down securely and
+cut through both thicknesses of the material (Figure 53).
+
+Pin the skirt together, placing a straight edge of a gore to a bias.
+Baste a quarter-inch seam along the finished edges of each gore,
+holding the bias edge toward you. Sew the seams up with combination
+stitches. Press open the seams and over-cast each one to keep it from
+fraying.
+
+[Illustration: Fig. 53. The back, side gore and front]
+
+Fold a hem at the bottom of the skirt an inch and a quarter wide. Baste
+the hem so that seam comes to seam. On the front gore there will be a
+fullness. Gather this fullness in with fine running stitches and baste.
+Use a separate thread for the gathering. Now hem around the whole skirt.
+
+Cut the placket two inches down through the centre back. Turn a hem on
+the right side one half inch wide and on the left one eighth inch. Sew
+the hem.
+
+Lap the wide hem over the narrow at the bottom of the placket and
+stitch across the wide hem two rows of stitching one eighth of an inch
+apart.
+
+Turn in the strip you cut off at first for the band one quarter of an
+inch on the two short sides and on one of the long sides.
+
+[Illustration: Fig. 54. The skirt]
+
+Fold lengthwise, find centre of band and crease; one inch from this,
+crease again.
+
+Place and pin band in the same way as for the gusset described in the
+last chapter, placing the middle crease at the middle of front of
+skirt. Then pin the band also at the creases on either side of centre.
+Gather each side of the skirt that is left. Draw in the thread to fit
+belt. Spread the gathers so that most of the fullness is in the back.
+
+Over-hand the ends and hem second side of the placket. This finishes
+the skirt (Figure 54).
+
+A basket or box of some sort is very nice to have, as we have said
+above, for your sewing, but suppose you were going to sew with another
+friend and you wanted a handy case in which to carry your sewing
+implements? A cloth case that can be folded or rolled is very much more
+convenient and may be carried in the large pocket of your apron. One
+made of denim is inexpensive, wears well, and is highly practicable.
+One yard will make you a case.
+
+Cut a piece of green denim sixteen by fifteen inches long. Turn up four
+inches of the material, baste down both sides. Baste a four-inch pocket
+on the left-hand corner of your case. The rest of the case divide in
+two. This will hold your darning cotton that comes on cards.
+
+We have a pretty way of finishing this case, which is not only
+ornamental but strong, and that is to bind it. Get a piece of tape long
+enough to go around the whole case. Crease it lengthwise so that one
+edge comes slightly below the other. Open it and lay it on denim and
+then neatly back-stitch the right side and hem the wrong. The hemming
+should be just below the back-stitching, and must not be seen on the
+right side. Allow enough tape at the corners to make a good angle. Both
+sides of the corner must be treated alike.
+
+[Illustration: Fig. 55. The material caught from side to side]
+
+It will be well to have a needle case to match the sewing case. Cut
+a strip of material thirteen inches long by three and a half inches
+wide. Cut this strip in four parts. Get a piece of cardboard that is
+not too thick or of such kind that will break easily, as some of the
+cheaper grades of brown cardboard are apt to do. Cut four pieces, three
+inches wide by three and a half inches long. Thread your needle with a
+piece of No. 40 cotton and put a big knot at the end. Take one of the
+pieces of denim and a piece of the cardboard. Catch the material from
+side to side with stitches about one quarter of an inch apart (Figure
+55). After sewing these two sides sew the third and fourth in the same
+manner. Cover each piece of the cardboard in this way (Figure 56). Take
+two of the covered pieces and over-cast them carefully together.
+
+[Illustration: Fig. 56. The four sides of material caught together]
+
+You should have leaves of flannel to stick your needles in. Pink the
+edges of the flannel. Pinking is snipping out the edge in little points
+and can be done with scissors. Connect the two pieces of the needle
+case with two tiny bows, or a heavy thread can be made to answer the
+purpose. The flannel sheets are tacked through the centre like the
+pages in a book (Figure 57).
+
+The third or middle compartment between the spool case and darning
+thread can be used for a miscellaneous pocket to hold the tape-measure,
+emery-bag, small scissors and other necessary articles.
+
+[Illustration: Fig. 57. The flannel sheets tacked through the centre]
+
+A piece of tape stretched down on the denim with just enough spring for
+the package of needles to pass through is a handy way to carry them
+(Figure 58).
+
+It is rather dangerous to travel with a pair of scissors with the
+points unprotected. In Canada and the states that border it the
+Indians sell the little sweet grass protectors. A cork, however, that
+comes in small bottles such as you get from drug stores will protect
+the points of the scissors as well as the sweet grass protectors, if
+not as elegantly. If the scissors are too large to put in the pocket a
+piece of tape could be stitched down to slip them in lengthwise. The
+case should be folded in three parts when it is not in use and a piece
+of tape the same colour as the binding tied around it (Figure 59).
+
+[Illustration: Fig. 56. The four sides of material caught together]
+
+Now that you have your sewing apron and a work box, you will love to
+be sewing every chance you get. Suppose we plan a set of bed things
+for Sally Ann. First let us make a mattress. The mattress on your bed
+is covered, probably, with ticking, but this is too harsh for your
+fingers to sew, so let us select percale or zephyr, and half-inch tape
+for the binding; the filling can be cotton, hair, or feathers. If it is
+impossible to get any of these three, newspapers chipped up very fine
+will make an excellent padding. Many people use newspaper chippings to
+fill pillows for summer use.
+
+[Illustration: Fig. 59. The case folded]
+
+Measure the bedstead and cut two pieces of percale or zephyr exactly
+the same size. Now cut a stripe of the material, one inch wide, long
+enough to go around the four sides of one of the pieces of the material
+that you have just cut.
+
+[Illustration: Fig. 60. The narrow strip to the large strip]
+
+Baste the long narrow strip around one large piece. Lay the wrong side
+of the strip to the wrong side of the material (Figure 60). The edges
+must be even. Use the combination stitch of one running stitch and one
+back-stitch just below the basting. When the strip has been securely
+sewed to the four sides of the material, join the two ends together on
+the wrong side.
+
+Now take your tape, which may be white or the colour of the figure in
+your material, and bind the edges by first running one side down and
+then the other (Figure 61).
+
+[Illustration: Fig. 61. Binding the mattress]
+
+The other piece of material is sewed in the same manner--the wrong
+side of the strip to the wrong side of the material. Do not sew,
+however, around the entire four sides but leave about six inches open
+through which the filling may be passed. After basting the strip with
+combination stitching fill with cotton or whatever material you have on
+hand. Do not fill the mattress so that it will be bumpy. Put a little
+stick in and flatten the filling at the top. Now sew the opening up
+and we are ready to quilt the mattress.
+
+Thread a large needle with two pieces of heavy cotton floss or wool.
+Push your needle through to the other side, letting a short end extend
+above the mattress. Bring your needle back again close to where it came
+out (Figure 62). Unthread the needle and tie the ends tightly. Cut off
+what is left and repeat again two and a half inches over. It is best to
+quilt in rows; that is, to start two inches in from the long side and
+make a row parallel with the tape. The next row is made two and a half
+inches farther over and the next row of knots should come in between
+the first row of dots.
+
+[Illustration: Fig. 62. Quilting]
+
+This mattress is made just like yours and the pillow is the next
+article we will make. The pillow should be half the width of your
+mattress, as we will use two on the bed. Take a piece of material
+twice the length desired for the pillow. Use the same kind of material
+as that used for the mattress. Fold the piece in two with the wrong
+side out. Join the two long edges and one of the short sides with the
+combination stitch (Figure 63). Make the stitches one quarter inch from
+the edge. Now turn the case inside out and fill with cotton. Turn in
+the edges of the open end and over-cast them together (Figure 64). As I
+have said before, it will be necessary to make two pillows.
+
+[Illustration: Fig. 63. The pillowcase]
+
+[Illustration: Fig. 64. Overcasting the open end]
+
+The pillowcases can be made of lawn, cambric or muslin. Cut the
+material a little larger both in length and width than the pieces used
+for the pillow. The seams of the pillowcases will have to be felled.
+Along the one short side and the long side make fine running stitches,
+one quarter of an inch from the edge. Cut the raw edge from one side so
+that the other is about an eighth of an inch wider. Now fold the wider
+edge over like a hem so that it completely covers the cut edge and
+hem neatly to the material. The open end has a wide hem of say three
+quarters of an inch. When the hem is finished turn the case with the
+work inside.
+
+For the sheets cut two pieces of muslin or lawn large enough to cover
+the mattress and to turn under. The selvage edge of the material should
+run the length of the sheet. Turn in a quarter-inch hem on the two long
+sides of each sheet and hem. Now turn a one-inch hem at the top and
+bottom of each sheet. This completes the sheet (Figure 65).
+
+[Illustration: Fig. 65. The sheet]
+
+A blanket is of course very necessary to have and it can be made of
+a piece of an old blanket or of canton flannel, cashmere, or plain
+flannel. If a piece of blanket is used, finish the edges with the
+blanket stitch which is described in Chapter twelve of the book.
+
+The flannel, cashmere, or canton flannel is finished by turning the
+edges over a quarter of an inch and herring boning or cat-stitching
+them to the material (Figure 66). For cat-stitching see diagram in
+Chapter nine.
+
+[Illustration: Fig. 66. The blanket]
+
+No bed is complete without a counterpane of some sort and this can
+be made as fancy as you desire. A pretty one is made of strips of
+insertion joined together by fine over-casting or fagotting. Fagotting
+is explained in Chapter twenty. A row of edging will have to be sewed
+like a ruffle around the two long and one short sides to complete the
+counterpane.
+
+[Illustration: Fig. 67. The crow's foot and spider on checked gingham]
+
+If a very fancy counterpane is desired get a piece of checked gingham
+of some light colour. The check should be a quarter of an inch square.
+With your needle threaded with white or a shade deeper than the
+darkest check make spiders on the dark squares and crow's feet on the
+light. Directions for making a spider are given in the chapter on "Lace
+Stitches."
+
+A crow's foot is made by taking one stitch on the diagonal of the
+square and two on each side of it, the stitches on each side of the
+first one being a trifle shorter than the previous ones (Figure 67). A
+counterpane like this is very attractive and does not require a great
+deal of time to make.
+
+[Illustration: Fig. 68. The envelope opened]
+
+A dainty little pin case that will make an acceptable little gift for a
+friend that is going to travel is the envelope pin case. Take a piece
+of material such as linen, cretonne, or silk and another piece of
+different coloured material for lining and shape one end as shown like
+the flap of an envelope (Figure 68). A good size is nine inches long by
+four inches wide.
+
+Cut a piece of stiff paper a half inch smaller than the pieces of
+material. Baste the material which will be outside over the paper so
+that the edges are folded back one quarter on the paper. Turn a similar
+fold on the lining and hem it to the material as shown on the flap of
+the envelope opened.
+
+[Illustration: Fig. 69. The envelope case closed]
+
+Now take two papers of pins and place them in the case so that they
+look like leaves of a book. Be careful to see that the heads of the
+pins are on top. Now catch the pins to the case with several long
+stitches which are taken below the points of the pins. Stitch a ribbon
+to flap of envelope and one at the bottom. Close the case and tie the
+ribbons and you have a handy pin case (Figure 69).
+
+
+
+
+V
+
+MAKING BUTTONHOLES, CUTTING FROM A PATTERN, A DOLL DRESS
+
+
+To make a good buttonhole is an accomplishment that any girl can be
+proud of, as it is the hardest thing in sewing. The thread should be
+almost double in length to that you usually take, as a joining is very
+clumsy in a buttonhole.
+
+A buttonhole is a worked opening in a piece of material or garment
+through which a button is to be slipped. The friction caused by
+buttoning and unbuttoning necessitates that the worked edges should be
+firmly and well sewed.
+
+[Illustration: Fig. 70. The first step in buttonholing]
+
+Before we make a real buttonhole, let us see how the stitch is worked.
+Draw a line one inch in length with the straight of the material. Take
+two stitches one inch long over this line. At the extreme right of the
+stitches insert your needle, threaded with No. 40 cotton. Take a stitch
+about a sixteenth of an inch below the line. While the needle is still
+in the material--you are working from left to right--(Figure 70), carry
+the thread under its point from the left, to the right side of the
+needle. The enlarged cut showing this stitch is very plain. The needle
+is then drawn through the material toward the chest and then straight
+from it. The next stitch and every other stitch must be identical with
+the first, the difference being that each stitch is then a little
+farther to the left. Every stitch must be the same length.
+
+Now let us prepare to make the stitch on a fold. Fold a band in three
+equal parts. Pass the needle between the folds and bring it out on the
+edge. Hold the end of the thread with the left thumb. Carry the needle
+to the back of the fold and insert the point through the fifth thread
+of the material from the edge. The double thread at the edge of the
+needle is brought around the point of the needle from left to right and
+drawn out. (Figure 71).
+
+A tailor's buttonhole is made slightly different. The needle is placed
+in the same position as in the ordinary buttonhole. The thread is
+brought from the top of the stitch and the doubled thread is brought
+around under the point of the needle from right to left (Figure 72).
+
+[Illustration: Fig. 71. The position of the needle in buttonholing]
+
+[Illustration: Fig. 72. A tailor's buttonhole]
+
+The corners of the buttonhole are worked in two ways, either barred or
+rounded. The round corners are worked in the same buttonhole stitch,
+only it is twice the depth of the buttonholing along the two edges.
+Five or seven stitches will be sufficient for a corner or the ridge of
+the buttonholing will be too crowded.
+
+The bar or braced end of the buttonhole is a little more difficult. It
+is necessary to bar a buttonhole for heavy woollen materials such as
+men's coats, or your own cloak, or outer wraps (Figure 72). Generally
+the first end of the buttonhole is rounded and the last end barred
+(Figure 73).
+
+[Illustration: Fig. 73. The buttonhole with one end rounded and the
+other barred]
+
+Work around the buttonhole end when the last stitch has been made,
+turn the material so that the work lies across your forefinger. Pass
+the needle over the extreme left of the stitch, (Figure 74). Work four
+stitches the same length as those of the two sides of the buttonhole,
+and then insert the needle through the ridge of the first buttonhole
+stitch. The ridge of the bar faces the buttonhole. This bar should be
+just the width of the buttonhole. Nine stitches are usually sufficient
+for it.
+
+[Illustration: Fig. 74. Barring the buttonhole]
+
+Tailors run two or three strands at the base of the buttonhole before
+working the nine stitches. The stitches are not taken through the
+material but only over the threads.
+
+A buttonhole is fastened off on the wrong side at the base of the
+stitch.
+
+The most important step is to cut the buttonhole straight. The
+buttonhole should be a trifle longer than the button. It should be cut
+in the opposite direction to which the strain will be. For instance on
+the back of the waist the buttonholes should run crosswise, for the
+movement of the shoulders spreads the buttonhole lengthwise. On the
+bands around the waist buttonholes are made lengthwise.
+
+A sharp pair of scissors or a penknife should be used for cutting the
+holes. Insert the point of the scissors or knife through the centre of
+the buttonhole. Cut one side, then the other, along a thread of the
+material.
+
+The thread is fastened securely on the wrong side of the left-hand
+corner. Use No. 40 sewing cotton for buttonholes, unless on very fine
+material, when No. 60 should be used. Sometimes it is well to over-cast
+the raw edges before working the buttonhole. A thread should always
+start at the extreme lower left-hand corner.
+
+The backs of yokes should be fastened with loops and fine buttons. To
+make a loop, span the thread across the edge of the material in a loop
+large enough to slip the button through. Let the last stitch be on the
+right-hand side. Now place the threaded needle under the strands of
+thread letting the thread fall under the point of the needle. Repeat in
+this manner till the strands are entirely covered. The ridge or purled
+edge of this stitch will be on the outside of the loop.
+
+[Illustration: Fig. 75. Loops made of threads]
+
+Hooks are sometimes caught into loops, but they are made directly on
+the material instead of sewed on the edge. The strands of thread,
+however, are not as loose as the buttonloops. The diagram (Figure
+75) of the two loops will convey a clear idea of how the threads are
+spanned and covered.
+
+The last step in sewing is cutting from a given pattern. An old garment
+that fits well, ripped apart makes an excellent pattern and requires
+very little fitting. Press the pieces before using them as a pattern.
+Lay the material so that the selvage runs lengthwise, that is, from
+head to foot. Only one half of the garment is necessary for a pattern,
+as the material is doubled or folded lengthwise (Figure 76). The
+centre front of the skirt or waist is always placed on the fold of the
+material and either basted or pinned down before cutting.
+
+[Illustration: Fig. 76. The centre front on fold]
+
+Collars, cuffs, bands, and sleeves are cut with the selvage running
+their length. Cut any part of a garment such as sleeves, waist, or
+skirt through two thicknesses of material so that both sides will be
+exactly alike. This does not refer to the front gore of a skirt. When
+the material has a right and wrong side the right sides should face
+each other before cutting the pattern.
+
+Handkerchiefs or frills should be cut along a thread so that the edges
+may be perfectly straight.
+
+Be sure that the material lies perfectly flat under the pattern. Pin
+the centre first to keep it from slipping before pinning the edges.
+Pin the entire garment before cutting anything, so that you can be
+sure that your material will be sufficient. This also gives you an
+opportunity to see where to put the smaller pieces and economize with
+the material.
+
+A large pair of scissors should be used in cutting. The blunt-pointed
+blade is next to the board or table. It is well to practise on paper
+and plan the pattern before using the pattern on the cloth.
+
+Bias bands should be cut on the bias of the material. Cut a square
+piece of material and fold it cat-a-corner. Cut along the fold and you
+will get a true bias.
+
+Bands to finish the necks of undergarments or around armholes should be
+cut on the bias. In fact, any curved edge that has to be faced should
+be faced with a bias instead of a straight band.
+
+Now suppose we make a real dress for Sally Ann that will be put
+together and finished just like one of your own dresses. The style we
+will select will be on the order of a French dress, that is, a long
+waist and short skirt. The pattern for the waist is in seven parts:
+they are the front, side front, back, side back, sleeve, collar, and
+cuff. The skirt is only one piece.
+
+Three quarters of a yard of material will be sufficient to make a dress
+for a doll from eighteen to twenty inches in height.
+
+In all patterns that are bought only one half is given; sometimes
+all the seams--which are a very important part of a dress--are given
+and sometimes they are omitted. Any pattern that is published by a
+reliable firm tells on the envelope whether you should allow for the
+seams or not.
+
+The pattern is usually of tissue paper and each piece has perforations
+or holes of different shapes. One shape means this side must be
+placed on the fold of the material, another shape or perforation the
+same shape only grouped differently, means that the pattern should
+be placed on a straight thread of the material. Still another means
+"gather here." If there are tucks in the pattern they are usually
+indicated. Where the seams join each other, little notches are made and
+corresponding notches are placed together and pinned after the pattern
+is cut.
+
+Let us suppose the material is forty-five inches wide. Place the centre
+of the skirt on the fold of the material and pin in place. Your pattern
+should be planned and pinned on a flat surface such as a sewing table.
+Place the pins through the tissue pattern and both thicknesses of the
+material, letting the head and the point of the pin be visible to the
+eye. Do not cut any piece of your pattern until you have planned and
+pinned every piece, as that is the only way you can economize on your
+material (Figure 77). Often a pattern cut before each piece is planned
+comes to grief if an over-supply of material has not been provided.
+
+The centre front is also placed on the fold of the material as well as
+the centre, back and collar. The sleeves are now fitted in, so that
+the perforations rest on the straight thread of the material. The side
+front and back and cuffs are also pinned to the material. The pattern
+now pinned, take a large pair of cutting scissors and holding the blunt
+part toward the table, cut close to the tissue pattern, or if no seams
+are allowed, the width stated in directions should be allowed for the
+seams.
+
+[Illustration: Fig. 77. The waist pattern pinned to the material]
+
+Let us make the sleeve first. Take one sleeve and holding with the
+right side join notches together (Figure 78). Baste the sleeves up on
+the seams one eighth of an inch from the edge. When the basting is
+finished make a row of fine running stitches. Turn the sleeves on the
+wrong side and baste them before working the combination stitches. The
+sleeves are now ready to be banded. The band is taken and sewed on the
+short side. The seaming is taken on the wrong side of the material. A
+little seam is taken on each of the long sides of the cuff. Fold the
+cuff in half. The turns or folds are opened out and now turn the cuff
+inside out. Run a gathering thread at the lower edge of the main part
+of the sleeves starting the thread one half inch from each side of the
+seam. Place the cuff around the sleeve so that cuff seam rests on the
+seam of the sleeve. Pin into position. It will probably be necessary
+to pull or adjust the gathering thread so that the lower part of the
+sleeve be just the size of the cuff. Baste the band on after it has
+been pinned satisfactorily before working the combination stitch.
+
+[Illustration: Fig. 78. Notches of sleeve put together]
+
+Turn the sleeve inside out and fold the cuff in the creases. Hem the
+inner side of the cuff to the wrong side of the sleeve. On the upper
+side of the sleeves run another gathering thread about one inch and a
+half from the seam (Figure 79). We have now finished with the sleeve
+until the waist proper is ready.
+
+[Illustration: Fig. 79. Gathering the top of the sleeve]
+
+Now take the centre back and side back and baste them together. Join
+the pieces so that the notches correspond. Work the combination stitch
+three eighths of an inch from the edge. The side fronts are joined
+to the backs under the arm and on the shoulders. The front is then
+sewed to the right side of the waist only. It will be necessary to
+face the centre front piece and the left side front. Take a bias strip
+of material not more than three quarters of an inch wide and fold an
+eighth of an inch on each side of this strip. Join the shoulder seams
+together, one side of the back to the right side of the front and
+the other side to back. Sew with combination stitches, then make a
+felled seam as explained for the sleeve. Baste the turned fold to the
+right-hand side of the waist by opening out creased side and placing
+the two right sides together and stitching one eighth of an inch from
+the edge. Turn the bias over to the wrong side of the waist and slip
+stitch. Slip stitching, as I have explained before, is somewhat like
+hemming; only the stitches are taken back of the folded edge and catch
+one thread only of the material.
+
+The other bias band is basted in like manner to the left-hand side of
+the waist.
+
+[Illustration: Fig. 80. The gathers on the upper part of the sleeve]
+
+The sleeves are ready to be put in. Measure one and one quarter inches
+from the under arm seam on the waist, which is the short seam near the
+front of the waist. Pin the seam of the sleeve to this point. Pin the
+rest of the sleeve so that the gathers are evenly distributed. Pin
+the right side of the sleeve to the right side of the waist. Baste
+securely. Remember that the gathers should be thickest on the upper
+part of the sleeve (Figure 80). Stitch with fine back-stitching and
+then overcast. The neck may be bound or may have the collar attached.
+
+Turn and hem the outer edge of the collar; a ruffle of lace may be
+added if desired. Baste the collar to the waist, and try the waist on
+Sally Ann. If it is a satisfactory fit, stitch in place. It is well to
+cover the raw edges with a little bias fold. Hem the fold down on both
+sides.
+
+The long strip is not joined, but a half-inch hem folded on one side
+and then stitched. The skirt is plaited or kilted, as it is often
+called. A hem is made on each of the short sides of the strips. Now
+crease the material as if you were going to make a tuck three quarters
+of an inch deep. A box plait will next have to be planned; again crease
+your material as if you were going to make a tuck three quarters of an
+inch deep. These creases must be exactly three quarters of an inch from
+the double fold of each piece. Measure an inch and a half, then turn
+the material under so that a three-quarter inch piece is under the left
+side of the waist line. This completes the box plait.
+
+The plaits from there on are folded toward the left, while the first
+two were toward the right. Baste each plait down securely. When working
+on cotton materials that have a lot of dressing, the creases are likely
+to stay in without basting, but while working on it the edges are apt
+to get turned up. Basting (Figure 81) is therefore the surer and safer
+way to keep the plaits in position, while for woollen or soft, sleazy
+materials it is the only way.
+
+When every plait has been basted lengthwise, take another thread and
+baste them crosswise three or four times.
+
+[Illustration: Fig. 81. Section of plaited skirt showing how it should
+be basted crosswise]
+
+Join the waist to the skirt, taking care that the centre of the
+box-plait is under the direct centre of the front of the waist.
+
+A sash will be needed to finish this dress. It can be tacked in place
+or little straps of ribbon may be stitched at intervals and the ribbon
+run through the straps (Figure No. 81A).
+
+If this dress had been stitched on the machine it would have been
+better to make tailored seams on the waist; that is, a narrow seam is
+taken on the wrong side. The material is then turned back so that on
+one side of the seam it slightly overlaps the other. Baste in place and
+stitch on the edge. Tailored seams do not require any extra allowance
+of material. They should slant toward the right on the right side
+of the garment and toward the left on the left side. If the seams
+were stitched to run in one direction the garment would have a very
+one-sided appearance.
+
+[Illustration: Fig. 81A. Sally Ann's new dress]
+
+Press all the wrinkles caused by handling the dress in sewing. It is
+best to lay a damp cloth over the material rather than place the iron
+directly on the material. You will need a small iron for this dress.
+Press each plait down carefully. Take out the basting threads before
+trying on the dress.
+
+There are good, bad and indifferent dressmakers, and I know you wish
+to be one of the former. Sew a row of buttons on the left front of the
+dress and make little buttonholes to correspond on the right side.
+
+
+
+
+VI
+
+A LESSON IN STENCILLING
+
+
+What is stencilling? Let us see. Stencilling is a branch of painting.
+Have you heard the story of the Baltimore belle in the time of the
+Revolution who was most anxious to go to the first big ball that was to
+be given after the war? The town had been divested of all the beautiful
+silks and satins that the great ladies were accustomed to wear. Our
+country had stopped importing these costly materials because there was
+no occasion to use them and no money to pay for them.
+
+An invitation had been sent to one of Baltimore's fairest daughters
+who was intending to go with her cousin. What were they to wear? Both
+needed the festive garments. At last, after a careful canvass of the
+town, the young man managed to borrow a pair of satin breeches and a
+flowered coat and all the other articles necessary to make a fine dandy
+of those days, except the silk stockings.
+
+The girl succeeded in finding a piece of white lawn of the coarsest
+kind that was sufficient to make a frock. In no way discouraged this
+clever young lady, who luckily could paint beautifully, started and
+painted little sprays of rose buds on the fifteen or twenty yards
+required for the gown. This made a very dainty and pretty frock.
+
+[Illustration: Fig. 82. Stencilled curtains]
+
+Poor George, her cousin, was in despair in not being able to borrow or
+buy a pair of silk stockings, but clever Miss Betty hit on the plan of
+painting his legs with a thick coat of white and then decorating them
+with clocks on each side, so that no one at the dance even suspected
+that he didn't have on silk stockings.
+
+Miss Betty's dress was voted to be the most charming dress of the
+evening.
+
+Ever since I have heard this story I have wished that Miss Betty had
+known how to stencil. What a lot of time she would have saved! I am
+sure you will agree with me when you know how to stencil.
+
+Have you noticed the flat gay decorations above the moulding in some
+houses? Well those are stencilled. A painter will cut out a design from
+a thin steel background; he lays this on the wall and paints over the
+open spaces in the design. It is the only true way in which he can keep
+his pattern. All free-hand designs are bound to show a difference in
+outline.
+
+Stencilling for home decoration is used on curtains (Figure 82),
+portieres, rugs, couch covers, table covers, lunch sets, pillow tops,
+(Figure 83), bags, counterpanes, as well as for dresses, parasols,
+wraps, scarfs, and in fact almost every conceivable object that allows
+the use of decoration.
+
+You can get a stencil board from any artist supply shop, but the one
+you can make at home is cheaper even if it is not quite as durable.
+
+[Illustration: Photograph by Mary G. Huntsman. A Single Motif Being
+Used On a Stencilled Scarf]
+
+In many of the schools, stencilling in its simplest form is taught in
+the kindergarten. The children are taught to fold a heavy piece of
+drawing paper lengthwise and draw half a design so that the centre
+of it is on the fold of the paper. The design is then cut away, leaving
+the background intact. This method is good for very simple motives.
+Sometimes when we do not wish our design to be so set, we will draw it
+without creasing the paper.
+
+[Illustration: Fig. 83. A simple stencilled pillow]
+
+The stencil board that you can buy is very hard for little fingers to
+cut, besides being expensive.
+
+To make a stencil pattern, draw a design such as a bunch of violets.
+Let every petal be separated from the other and where the stems should
+intersect leave a little space between. These little spaces or bridges
+are what keep the background together. Of course, as a usual thing,
+if you buy a stencil outfit, one pattern or more already cut comes
+with it. In many of the large shops stencil patterns can be bought
+separately, but if one has any idea of drawing it is an easy matter to
+make a pattern.
+
+[Illustration: Fig. 84. The cut stencil]
+
+The design can be traced and cut on a piece of heavy manilla paper: a
+coat or two of shellac makes the paper stiffer and somewhat waterproof.
+The advantage of using drawing paper is this, that it may be cut with a
+pair of scissors, while a stencil board requires a sharp penknife and
+lots of finger strength to cut the pattern. White shellac is the best
+to use, as it dries quickly. It can be bought from any paint store.
+
+The pattern now cut (Figure 84), you are ready to do a piece of real
+stencilling. Let us choose the cheapest thing we can get for our first
+attempt. A piece of cheese cloth for a sash-curtain appeals to me.
+Put in the hem so that the stencil will be sure to be straight. Lay a
+large piece of blotting paper over the board or table on which you are
+going to work. Place the cheese cloth on top of that. Try your stencil
+pattern and measure how many times you can repeat it. It is better to
+plan a pattern with a small space between each motif so that you will
+not have half or part of the design left over. Stick a pin where the
+centre of each motif should be.
+
+Lay the stencil pattern in position and thumbtack it down to the cheese
+cloth and blotting paper. Turpentine and oil are the most satisfactory
+for stencilling, though there are several patent mixtures sold that
+are good. The paint can be mixed with the turpentine till it is the
+consistency of a thick cream or the brush can be dipped into the
+turpentine and then into the paint. In either case the brush must be
+wiped quite dry, as the process is more of a rubbing in one than
+painting. Bristle brushes of four different sizes should be in your
+stencil outfit. They come round and flat, (Figure 85). The frontispiece
+shows a child stencilling with the round brush.
+
+[Illustration: Fig. 85. The brushes]
+
+Dip the brush into the mixture and be sure you wipe it off on a soft
+rag before painting in the design. If the brush is too wet the result
+is a blurred stencil.
+
+Use a different brush for every colour. When the first motif is
+stencilled, move the pattern and place it over the next pin. If you
+want to reverse the pattern, clean it thoroughly with naptha on both
+sides and let it dry for a couple of minutes before using again.
+
+To make a stencilled piece washable it has to be steamed like printed
+dress goods. This can be accomplished in two ways: that is, by
+holding it over a steaming kettle, or by laying a wet cloth over the
+stencilling and pressing with a hot iron.
+
+Needless to say, a piece stencilled in water colours should not be
+treated like this.
+
+[Illustration: Fig. 86. A stencilled bag]
+
+Water colours or crayons can be used when a piece is not desired to be
+washed. The latter works in as smoothly as paints.
+
+Scrim, cheese cloth, linen, crash, burlap, monk's cloth, and Arras
+cloth can be used for curtains or portieres. The cost of them varies
+from seven cents to one dollar a yard.
+
+Sometimes a small motif is taken and stencilled all over the material.
+This gives the effect of a printed pattern.
+
+Five tubes of paint will produce almost any shade under the sun. They
+should be blue, yellow, red, black, and white. Blue and yellow make
+green; blue and red, purple; lavender, yellow and red make orange. A
+little black will soften the colours while white lightens the shade.
+Other combinations can be made by mixing three colours together. Enough
+of the paint should be mixed at one time to stencil the entire piece,
+as it is extremely difficult to mix a new batch of colour that will
+be the exact shade as the first. Ultramarine blue is the shade of the
+deep sea. Crimson lake is a bright red. Venetian red is a terra cotta.
+Emerald green is a blue green. Sap green is yellow green. Ivory or lamp
+black are the two blacks to be had in oil paints; the former is shiny
+while the latter is dull. Flake white is the term for white in oil
+paints.
+
+Of course, you can buy ready mixed in tubes almost any shade you
+desire, but it is lots more fun to make your own colour combinations,
+as well as very much cheaper. Diamond dyes can be used for stencilling
+by letting one package of dye serve for one pint. The dyes will have to
+be boiled in the manner stated in their directions.
+
+You will find that stencilling is the most delightful of the home
+crafts. Those who are not fond of needlework will find this a real
+wholesome pleasure.
+
+
+
+
+VII
+
+WHAT CAN BE DONE WITH ONE SKIN; CUT LEATHER BAGS, BELTS, BOOK COVERS.
+ETC.
+
+
+There is nothing so handsome for a library table or cushion in a
+room of dark rich colouring as leather work. These articles are very
+expensive to buy and are sold in arts and crafts shops or women's
+exchanges and some of the department stores. You have doubtless seen
+the dyed whole skin used on a library table, but have you ever seen
+leather applique? That is the design cut out of a leather background
+and lined, or pieces of leather applied to a background.
+
+Different kinds of leather may be used for this work. The cheapest and
+thinnest kind is sheepskin. Leather is usually sold by the square foot
+and one has to buy the entire skin. Sheepskin costs about sixteen cents
+a square foot; some stores charge more for it, while it is possible at
+a wholesale and retail shop to get it for less. The skins come dyed in
+all shades. Golden brown, dull gray or moss green are the most artistic
+for general use. Many tailors like to trim ladies' suits with leather
+and for this purpose many beautiful odd shades are dyed. Goatskin ranks
+next to sheepskin and is a trifle dearer. Chamois is good for belts or
+dainty opera bags. It comes in white or cream only. Calf is a beautiful
+substantial skin, as is also Russia calf. Pebble calf is what its name
+implies, very rough with a glazed finish. The other side presents an
+undyed appearance.
+
+[Illustration: Fig. 87. A well-planned skin]
+
+If you get a skin you should not expect to get a sofa cushion as well
+as a large table mat out of it. A skin carefully cut will give you one
+large piece and the rest of it can be planned for smaller objects,
+such as card cases, pen wipers, blotter corners, belts, picture frames,
+possibly a magazine cover or a bag. The diagram of the skin shows how
+carefully to cut out and plan every part of it (Figure 87).
+
+Let us take the sofa cushion first. A bold conventional design can be
+used in each corner. One that has each part separate like a stencil
+design is one that I have in mind.
+
+Cut each part out carefully so as not to impair the background. A
+cheaper grade of leather of a tone deeper or lighter can be laid under
+the design, though velvet is also in excellent taste for this work.
+Broadcloth, satin, and sometimes taffeta are also used. If a shaded
+effect is wanted a different coloured background can be pasted under
+each different section of the design. It is a better plan, however,
+for the amateur to restrict herself to one colour for the background
+as the finishing of different pieces is no easy problem (Figure 88).
+Library paste is the best means of making the leather and background
+adhere, also it does not spot as mucilage does. The majority of leather
+workers consider that the pasting completes the piece, while others
+feel that it is necessary to machine stitch along the extreme edge of
+the cutting. Yet again others prefer to work embroidery stitches such
+as open buttonhole or couching stitches. Both of these are explained
+at length in later chapters. A pen wiper can be made from a piece cut
+in circular, diamond, or triangular shapes. Cut two pieces of chamois
+leather the same shape. A plain piece of the leather also is needed to
+back the pen wiper. The chamois pieces serve as leaves on which the pen
+is wiped.
+
+[Illustration: Fig. 88. Leather applique bag]
+
+A card punch will be needed to make a hole through the four pieces for
+the ribbon or cord which holds them together.
+
+It is most necessary to plan the design so that it will be appropriate
+to the object it is to be applied to. The leather should also harmonize
+with the colour of the room or gown with which it is used or worn.
+
+For those who are anxious to learn how to design, books on this subject
+can be obtained from the public libraries. You should bear in mind,
+however, that practice makes all things perfect.
+
+The different methods of applying the design had better be gone into
+before we proceed any further. Thick manilla paper or artist linen may
+be used on which to draw the design. The pattern is then thumb-tacked
+or pinned on a flat wooden surface, on the upper edge only, as it will
+be necessary to raise the paper off and on during the tracing.
+
+An orange stick such as used for manicuring or hard pencil will be
+needed for the tracing. Trace along the pencilled design with a very
+heavy pressure so that there will be an indented line on the leather. A
+line once impressed is almost impossible to remove, so great care must
+be taken to keep the design true.
+
+Every time you stop tracing there will be a deeper indentation; for
+that reason in tracing a curved line try to draw a full sweep without
+stopping. A ruler will be an aid in tracing straight lines.
+
+It may be found necessary to dampen the leather so that the tracing
+will be distinct. In that case dampen the entire piece of leather with
+a wet cloth. Dampening in sections only causes water rings. Once the
+whole leather is dampened, however, it can be redampened in sections
+without fear of marking.
+
+Designs for leather may also be applied by means of a perforated
+pattern and a stamping powder or paste or a transfer pattern may be
+also used.
+
+The leather for cut-work may be cut with sharp scissors and manicuring
+scissors for round or curved places or two sharp knives of different
+sizes. A board of soft wood is the best on which to work.
+
+[Illustration: Fig. 89. A belt of leather of applique underlaid]
+
+The best kind of paste is one that has been recommended by a successful
+leather teacher and proves satisfactory to all who have tried it.
+"Bring to a slow boil a half-pound of flour in two quarts of water. Add
+to this mixture when cool, an ounce of nitric acid and a dram of boric
+acid and a few drops of clove oil." The nitric and boric acid, as well
+as the clove oil, can be obtained from the drug store.
+
+If knives are used to cut out the design, thumbtack the leather before
+commencing.
+
+The paste is applied lightly on the wrong side of the leather, then the
+lining placed over it. Lay the article with the right side up and put
+it under weights until it dries. Any surplus paste that may happen to
+ooze through can readily be scraped off.
+
+A wide range of articles can be made from leather applique, whether
+underlaid or overlaid, such as table covers, bags, belts (Figure 89),
+medicine cases, card cases, mirror frames, book or magazine covers,
+portfolios, memorandum pads, waste baskets, pocket books, bill folders,
+chair covers, besides numerous other articles.
+
+Sometimes it will be necessary to have two tracings of the design,
+one on the leather and one on the other background. Leather is often
+applied to heavy crashes for portieres, or pillow tops. A bold
+conventionalized poppy is an excellent design for portieres.
+
+Paper is often used to line centerpieces or mats.
+
+Rough tinted cartridge paper can be treated the same as cut leather
+and the daintiest of candle or lamp shades can be made of them. The
+design is cut out as in leather and a thin China silk lines the whole.
+Each section of the design may then be coloured the right shade of the
+silk. For instance, a design of cherries can be painted with orange
+and red for the cherries and the leaves green, while the paper is of
+tobacco brown; a narrow gold braid finishes the shade at the top and
+bottom, while the shade is held together with four tiny gold rivets.
+
+
+
+
+VIII
+
+TOOLED LEATHER AND TOOLS NECESSARY
+
+
+Tooled leather is one of the oldest and most beautiful of crafts.
+Instead of weakening the leather it simply makes it more beautiful. A
+handsome box is made of soft wood or cardboard and covered with tooled
+or embossed leather and is a possession that a queen might envy.
+
+Boxes containing tools for leather work can be had for from five to
+twenty-two dollars for the outfit. Twelve tools are in the box. Two
+modelling tools, a steel hammer, two embossing tools, a punch, an
+embossing ball tool, one cutting or trimming knife, and four chasing
+and pearling knives (Figure 90). Now I know that there are not many
+of you who would care to buy an outfit for five dollars, but for home
+use there is a simple little article that can be substituted and yet
+you can obtain very satisfactory results. A steel nut pick will work
+wonders and then, when you feel that you can do very much better work
+with other tools, invest in a case of them.
+
+All leathers are not satisfactory for tooling. The best and most used
+is Russia calf in a heavy quality. One skin is usually the least a
+dealer will sell.
+
+Let us suppose we are working on a card case. The design is traced in
+the manner described in the last chapter, that is, by tracing over the
+dampened leather.
+
+[Illustration: Fig. 90. A case of tools]
+
+After the design has been traced remove the paper and holding the nut
+pick firmly in your right hand as you would a pencil, proceed to deepen
+the lines. The leather must be kept moist or the tool is apt to scratch
+and break the outer skin. It is a work over which you may become
+fatigued, but you can just lay it aside till the next day and then
+proceed again. The deeper the tooled line the handsomer the piece. It
+will take several hours to tool a card case.
+
+Another form of decorating leather is with the little geometrical die
+that was used so much in past winters for decorating the background of
+etched copper articles (Figure 91). The little die is placed on the
+leather with its raised or embossed side downward and one knock from
+a steel hammer is sufficient to make an imprint on the leather. The
+entire background is filled out in this manner. Hammer with an even
+pressure otherwise the background will be bumpy.
+
+[Illustration: Fig. 91. The dies for backgrounds]
+
+Sometimes you may prefer to have your background pressed or modelled
+and the design to stand out in relief. In that case take the bowl or
+thick part of the nut pick or modeller and press the background in
+flat. If the leather wrinkles when rubbing it change the direction
+of working. When the work is completed it will be noticed that the
+modelled part of the leather is darker and quite shiny.
+
+Designs such as cherries, cat-tails, and most floral forms give a
+greater opportunity for elaborate working. They can be carried out in
+relief. This relief is a much more difficult work. In the first place
+the design is drawn on the finished surface of the leather and then,
+after another sponging with water, hold the leather up from the table.
+Holding the section to be modelled between the first finger and thumb,
+work the tool backward and forward under the section.
+
+Some workers prefer to hold the working side toward them, contending
+that a greater pressure can be brought to bear on a downward stroke
+than an upward one. In that case the design is stamped or traced on the
+wrong side of the leather.
+
+The oftener the rubbing is done and the leather is dampened the higher
+the design will stand forth. The parts to be worked in relief may be
+done before the background (Figure 92).
+
+[Illustration: Fig. 92. A magazine cover]
+
+To keep the leather from falling back to its natural shape some workers
+paste the relief parts. My teacher used a paste that we found quite
+stiff enough except for large heavy objects.
+
+To make this paste an ounce of dextrin is left soaking in water for
+about sixteen hours. Dextrin, by the way, is the only paste which will
+not stain silk. It is a white powder, and when used as a paste can be
+dissolved in boiling water till it is the consistency of a thick cream.
+When used as a modelling wax, however, it requires to be thicker than
+a cream. After the dextrin is dissolved mix in a pint of scrap leather
+that has been grated to shreds, and a few drops of turpentine. The
+scrap leather thickens the paste while water thins it.
+
+Before applying the paste to the leather the raised side is placed face
+downward upon the marble. Take some of the paste and press it into the
+hollow places until they are entirely filled. After every space has
+been filled lay a piece of paper over them and then a cardboard or a
+piece of board large enough to cover all the design.
+
+Turn the leather, paper, and board right side up on the working table.
+While the places are being filled in the design is apt to be pushed a
+little out of shape. With the finer modelling tool or your nut pick go
+over the flattened places again. Let the work remain on the table for
+four days without touching it so that it may be thoroughly dried.
+
+Sometimes you will see a beautiful tinted leather. This is usually
+done by the means of dyes, or chemicals. For the amateur the former is
+recommended. The dye is applied to the leather with soft cotton or a
+sponge. To deepen the shade wet the places desired to be darker two or
+three times with the dye.
+
+To obtain the brightly polished appearance so often seen in a handsome
+piece of leather rub the piece with your bare palms. A little wax
+rubbed on your hand greatly aids the work.
+
+In all leather work it is necessary to leave a margin about a half inch
+at least.
+
+Another paste which may be substituted for the formula given in this
+chapter is one made of equal parts of sawdust and rye flour with water.
+
+The cutting or shaving knife that comes with the outfit is good for
+cutting the leather. If a deeper indentation is desired than is
+obtained by tracing the pattern, a slight slit may be made with the
+shaving knife. Of course cutting the leather weakens it and it should
+only be done on a very heavy piece of skin.
+
+The hammer is indispensable for stamping in the little dies. These dies
+are not usually included in the outfit.
+
+The difference between the modelling (Figures 93 and 94) and embossing
+tools is that the embossing tools are a greater aid in achieving fine
+bas-relief work. The embossing ball tool is used to make the deep
+indentations.
+
+[Illustration: Fig. 93. A modelling tool]
+
+[Illustration: Fig. 94. A modelling tool]
+
+The punch is to make holes for rivets or through which cords or ribbons
+may be passed to connect two or more pieces of leather together as on
+a pad or book. The punch and pearling knives are used in fine carved
+leather. As one becomes proficient in the art of simple leather work
+she is tempted to branch out and try more elaborate work. A great many
+books have been written on this subject which, though perhaps puzzling
+to a beginner, will be interesting and invaluable if the work is taken
+up as a serious occupation. The best specimens of this work can be seen
+at the different arts and crafts exhibitions.
+
+
+
+
+IX
+
+THE SIMPLEST STITCHES IN EMBROIDERY--CHAIN STITCHING, OUTLINING,
+HERRING-BONING, CROSS-STITCHING, SOUTACHE, CORONATION BRAIDING
+
+
+It would be hard indeed to say just how many stitches there are in
+embroidery, as so many are combinations of the others. The ones you
+will hear about are the simplest ones.
+
+Some years ago I had a large class in embroidery in a mission school.
+Every seat was taken and many applicants were refused admittance. The
+supervisor came in one day and said that there was a little girl who
+was very anxious to join the class and that she knew how to sew. I
+did not have the heart to refuse her, so in marched little Nellie.
+She was just seven years old and said that she attended sewing school
+every Saturday at her church and that her teacher had taught her _all_
+about embroidery. I gave her a little stamped design and told her to
+chain-stitch it and let me see how well she could do it. About five
+minutes later I happened to turn around and there was little Nellie
+frantically waving her hand. "Teacher, teacher," she said, "that is
+the only stitch the Lady didn't show me."
+
+Now, as I am most anxious that nothing like that will happen to you,
+I will start with chain-stitching as the simplest stitch (Figure 95).
+It is also one of the oldest stitches in embroidery. Every museum that
+exhibits embroidered articles will have some elaborate designs carried
+out in fine chain-stitching. If the stitches are worked in filo silk or
+spool silk the effect is like machine work.
+
+[Illustration: Fig. 95. Chain-stitching, showing how to turn a corner]
+
+Draw a straight line on a piece of muslin and thread your needle with
+a piece of red cotton. No knots should be used in embroidery. Fasten
+the thread by taking three fine running stitches and one back stitch to
+insure firmness at the end of the line. Now with the needle in position
+at the beginning of the line, start by taking a straight stitch on the
+line. Bring the thread under and pull the needle through the material.
+You have made the first loop. Put your needle back into the last hole
+or as near as possible to it, take another stitch on the line, repeat
+until you come to the end of the design.
+
+Take the same length stitch every time or you will not have a
+good-looking chain. If you will look at the links in your chain
+bracelet, you will see that every link is the same size as the others.
+Suppose you wanted to chain-stitch a square or a triangle: when you
+come to the corner do not try to make one continuous line, but carry
+the needle down through the material at the end of the loop to fasten
+the link and start the next row at right angles to it. Chain-stitching
+can be put to many uses. It is a pretty stitch to cover a single line
+in a conventional design. It is also the quickest kind of padding
+for large designs. When it is used as a padding, the rows are worked
+close to each other. If the work is to be raised very high, the
+chain-stitching may be placed in rows one on top of the other. You
+will, however, hear more about padding in a later chapter.
+
+[Illustration: Fig. 96. Smooth outlining]
+
+The next stitch we will talk about is the outlining, (Figure 96).
+Some people think it is simpler than chain-stitching. It was the
+first stitch I learned in embroidery, but it is not as pretty as
+chain-stitching. The first thing I did in fancy work when I was nine
+years old was a wonderful face cloth with a wild rose on the top, and
+under it my name and the motto, "_Cleanliness is Next to Godliness_,"
+worked in red cotton. After that I made face cloths for every member of
+the family.
+
+Outlining makes one think of plain sewing. There are two kinds of
+outlining, rough (Figure 97) and smooth, the difference being in how
+the thread is thrown. To make the rough outline, fasten the thread as
+directed in chain-stitching and on the line take a stitch about an
+eighth of an inch. Then work from left to right. Let the thread fall
+under the needle and be sure to keep it this way. A smooth outline is
+made by throwing the thread over the needle instead of under it; this
+outline can be used as stems for flowers unless a more elaborate kind
+is desired.
+
+[Illustration: Fig. 97. Rough outlining]
+
+Either chain-stitching or outlining is an excellent way to decorate
+bureau scarfs, pillow tops, or table covers.
+
+Herring-boning is used for finishing seams on a flannel skirt, or
+it may be used above hems. The little flannel skirt you intend to
+make for Sally Ann this winter should be finished in this way. Here
+is a stitch for which we do not need guide lines, though while you
+are learning, the lines might be helpful. Draw two parallel lines a
+quarter of an inch apart. Take a stitch on the upper line, about an
+eighth of an inch long. Then make one on the lower line, letting the
+thread fall always to the right. When you have made a row between with
+the lines, try to work one without lines and see if you can keep the
+herring-boning straight (Figure 98).
+
+[Illustration: Fig. 98. Herring-boning or cat-stitching]
+
+A plain quilt or cover for the baby can be made very attractive, by
+working herring-boning around the edge. If the cover is woollen, use
+worsted or heavy silk for the stitchery, but if it is cotton material,
+a heavy lustre is recommended. The needle to use depends on the thread.
+A sewing needle will carry a round cotton thread such as D. M. C.,
+Madonna, Utopia, Royal Society, or Peri lustre. A crewel needle, which
+is a needle with a long eye, will be required for silk or worsted. An
+easy way to thread a No. 2 or No. 4 crewel needle with worsted is to
+hold the needle in the left hand and double the thread at one end and
+run the needle through it. Hold the thread between the thumb and first
+finger of the right hand so that the thread is just visible. Gently
+pull the needle out with the left hand and run the doubled thread
+through the eye. It sounds a great deal harder than it actually is, but
+it will require very little practice.
+
+[Illustration: Fig. 99. The first step in cross-stitching]
+
+When you went to kindergarten did you have little pierced cards on
+which you made designs in coloured silks or cottons? Well they had
+these at my school and we made book-marks, needle-books and all sorts
+of funny little things. If you remember the cross-stitching of the
+kindergarten days, regular cross-stitching will be a simple matter.
+The nicest material for this work is Java canvas, which is very coarse
+and stiff. It is ideal for book covers or napkin rings. The holes in
+the canvas are so large that working on it is almost like play. As
+Java canvas is rather expensive you will find a coarse scrim a good
+substitute. A lot of boys that I once knew took up this work very
+enthusiastically, so simple is it.
+
+[Illustration: Fig. 100. The second step in cross-stitch]
+
+Do you know that you can make a gingham apron for mother and decorate
+it with cross-stitching that will last ever so long? Get a piece of
+gingham with squares about an eighth of an inch. Cross-stitch it in a
+shade darker than the gingham or in white or red. The stitches are
+taken on the diagonal as shown in the diagram (Figures 99 and 100).
+If there is a great deal of cross-stitching to be done, the quickest
+way is to make all the stitches that run in one direction first, and
+then come back and cross them. Perhaps mother has a small piece of
+cross-stitching that you can use as a model. Simple triangles are
+easy to make. Begin the lower row with an uneven number, such as
+seven, nine, eleven, or thirteen. The next row make two stitches less,
+dropping one from each end, and so on till you have one at the top.
+
+[Illustration: Fig. 101. A good hand design in cross-stitching]
+
+Now suppose that you had a little linen or silk bag on which you would
+like to have a cross-stitch design, yet this material is not coarse
+enough for you to use as a guide for the cross-stitching. Do not think
+you cannot do it, for I will show you a way. Get a piece of scrim just
+as coarse as you can find, and baste it over the place you would like
+to cross-stitch. Work the design on it and when the cross-stitching is
+all finished pull out the scrim thread by thread. Sometimes you will
+have to snip the thread of the scrim if your needle accidentally gets
+caught in them. (Figures 101, 102, and 103.)
+
+[Illustration: Fig. 102. A cross-stitch design]
+
+[Illustration: Fig. 103. Another cross-stitch design]
+
+A very simple thing to do is to braid a dress for yourself. Now that
+all the large pattern houses are carrying transfer patterns you can get
+a design for braiding very cheap. A little girl I know braided a dress
+for herself and one for her mother last summer. She used light blue
+chambray and braided it with white. There are several kinds of braid,
+but the easiest to use is soutache, whether it is cotton or silk. It is
+a flat braid and varies in width from one to three eighths of an inch.
+First stamp your design on the material, or if you have not a transfer
+pattern you can draw a design on tissue paper, making it as long as
+required and then baste the paper in right position on your dress. Take
+a stiletto, which is a little tool somewhat like a nail that is used in
+embroidery for piercing holes, and punch a hole on the line. Push one
+end of your braid through this and fasten the end of it on the wrong
+side of your material. Thread your needle with sewing cotton or silk
+the colour of the braid and sew it down with little running stitches
+and an occasional back-stitch to fasten it firmly. When you come to
+the end of the line or of the braid, carry the end through as at the
+beginning and fasten.
+
+[Illustration: Fig. 103A. A fourth design in cross-stitch]
+
+Coronation braid is beautiful, but oh, so very much harder to sew
+on than flat braid. There are two ways that coronation braid may be
+sewed on. The one that I give preference to is stamping the design
+on the wrong side of the material and holding the braid on the
+right. A stiletto hole is made on the line and the end of the braid
+brought through to the back and fastened securely so there will be
+no likelihood of its slipping. Then, holding the braid with the left
+hand, connect it to the material from the wrong side with fine running
+stitches. The stamped line on the wrong side will serve as a guide for
+the stitches. You can feel every time the needle touches the braid.
+Now perhaps many of you are wondering what coronation braid is. It is
+a braid that looks like fat grains of rice all strung together. There
+are different sizes of the braid, varying from the quarter inch to the
+three quarters of an inch size.
+
+[Illustration: Fig. 104. Coronation braid]
+
+The second way to sew it on is from the right side with little slip
+stitches. At the small end it would be wise to take a stitch over the
+braid to hold it firmly. Centre pieces, bureau-scarfs or even towel
+ends are handsome when decorated with coronation braid, and do you know
+it is a very easy matter to make designs for yourself, as there is
+nothing prettier than daisies or wild roses for coronation braid. If
+the petals are too fine to allow you to use the coronation braid, then
+you must use one grain for each petal, cutting off the grains as you
+require them.
+
+Coronation braid comes in white, Delft blue, bright green, or red. The
+braid is supple enough to turn sharp corners.
+
+The daisy, as I have stated before, is one of the principal designs
+used for coronation braid. Braid the flower with one piece of the
+braid. It is not necessary to cut the braid but at the beginning and
+the ending of the daisy. The very largest width of coronation braid
+will be required for the daisy. Two grains will be sufficient for a
+petal. Bring the narrow ends to the centre and connect them to the
+material. In the centre make a cluster of French knots. The effect
+produced is a daisy embroidered heavily and yet quite different from
+satin stitch. (Figure 105.)
+
+A belt decoration with five or six coronation daisies is very
+attractive when used on a light summer dress. Sometimes the owner
+prefers to couch the braid down with blue cotton and to work the centre
+of the daisy in the same colour.
+
+[Illustration: Fig. 105. A daisy in coronation braid]
+
+A row of daisies is improved by working a fagotting stitch which is
+explained in "Simple Lace Stitches," between the petals. See that the
+braid is sewed on far enough apart that the lace stitches will not be
+crowded.
+
+Coronation braid is also used with crochet stitches for the borders of
+centre pieces and towels.
+
+
+
+
+X
+
+SMOCKING, FEATHER-STITCHING AND LAZY-DAISY STITCH
+
+
+Smocking is such a fashionable trimming this year that I am sure you
+will not be contented till Sally Ann has a smocked dress. Why, one
+cannot take a walk in the park without seeing several little children
+and some grown-ups, too, wearing smocked dresses. Sometimes they are
+made of fine lawn or pique and then again they are China silk, crepe de
+chine, or cashmere.
+
+Stamped patterns can be had for smocking but they are not at all
+necessary. Nearly every little English girl knows how to smock without
+buying a pattern and why should not you?
+
+The simplest form of smocking is the honeycomb or diamond (Figure
+106). It can be any size you wish. A good size for Sally Ann's dress
+is the half-inch diamond smocking. The beauty of the work lies in its
+regularity. To keep it so, the dots must be spaced evenly. A good
+way is to have a marking card. Take a piece of heavy paper or thin
+cardboard about six inches long by an inch and a half wide. With a
+ruler draw a faint line one half inch down parallel with the long
+edge of the card. Draw four other lines below this at quarter-inch
+intervals. Be sure that the space between each two lines is a quarter
+inch, no more or no less. Along the top line measure in one half inch.
+From this point make dots at quarter-inch intervals all the way across.
+Each line is dotted in like manner, letting each dot come directly
+under the upper one in straight rows. If mother has a card punch ask
+her to lend it to you and where the dots are make holes. A stiletto
+will answer the same purpose as the punch; or an orange stick may be
+pressed into service. Your marking card is now ready.
+
+[Illustration: Fig. 106. Diamond smocking]
+
+Measure the length you wish to make Sally Ann's skirt. Select a piece
+of material that will show pencil marks, such as lawn, pique, China
+silk, or crepe de chine. It will not be necessary to gore the skirt,
+as the smocking will form a sort of yoke for the dress. A little frock
+smocked in blue or red will be nice enough for all occasions. Take
+the material and smooth all the creases out after it is cut the right
+length. You must allow about the same amount of material for the width
+of the hem as you do for ordinary skirts. Place the smocking card so
+that the edge of it is on a line with the top edge of the goods. The
+smocking must be done before the belt is put on. Through each of the
+perforated holes make a dot in lead pencil. After every hole has been
+dotted, move the card so that there is only one quarter of an inch
+space before commencing to dot again. In other words, place the card so
+the dots have the appearance of being one continuous design.
+
+Thread a No. 6 sewing needle with a piece of red or blue cotton. Make
+a tiny knot at the end. Start from the topmost left-hand dot from the
+under side of the material. Draw the first and second dots together.
+Three stitches on the right side will suffice to hold them together.
+Between the second and third dots let the thread span the material on
+the wrong side without pulling it. The third and fourth dots are drawn
+together and then the thread spans the space between the fourth and
+fifth. Do you see how we are working? First a dot, then a space, a dot,
+then a space, until the entire line is finished.
+
+The second row is worked exactly the same only instead of starting on
+the first dot of the second row, start with the second. The third row
+corresponds with the first and now at last we have formed a diamond.
+
+[Illustration: Fig. 107. Smocking in points]
+
+If a little more colour is wanted than just the dot alone, pass a
+thread along the edge of each diamond under the dots. A suggestion
+which may prove helpful to you if the material has starch in it is that
+it is easy to crease each line of dots before starting to smock. If the
+material is soft the smocking should be stroked or gauged. There is a
+new term to learn, "gauge." It is the same as stroking in sewing. The
+English women have all sorts of complicated patterns in smocking, but
+the one that is most popular is the diamond smocking I have told you
+about. After you know the principle you can make the smocking as deep
+as you wish and then try and smock in points. (See Figure 107.)
+
+Feather-stitching is almost as simple as smocking. It has various other
+names. Perhaps you know it by the name of "brier-stitch." The first and
+simplest form is the single feather-stitching. A thread as fine as No.
+60 sewing cotton or a heavy Germantown wool can be used for it. Baby
+blankets or a blanket for yourself are pretty feather-stitched in wool.
+
+[Illustration: Fig. 108. Single feather-stitching]
+
+Like smocking, patterns can be had for feather-stitching. But the best
+embroiderers never use them, as their mechanical correctness makes the
+work too much like machine work. I do recommend, however, a faint line
+drawn so as to have something on which to guide your line and gauge
+your stitches.
+
+[Illustration: Fig. 109. Double feather-stitching]
+
+Let us thread our needle with a piece of coarse blue thread. On a
+little piece of muslin draw a faint pencil line across it. Commence
+from the upper right-hand side of the line. Take a short stitch about
+three sixteenths of an inch on the right of the line, slanting to the
+line. Let the thread come under the point of the needle in each stitch.
+The second stitch is taken on the left side of the line the same
+distance over and the same in slant (Figure 108).
+
+[Illustration: Fig. 110. Triple feather-stitching]
+
+[Illustration: Fig. 111. Four on each side]
+
+Double feather-stitching is two stitches to the right, two to the left
+and so on till the line is finished (Figure 109). In fact you can
+make three, four (Figures 110 and 111), or five stitches or even more
+if you wish on each side. The prettiest little border can be made of
+feather-stitching in circles. Take a quarter or a fifty-cent piece and
+draw a faint line around it on the material about one inch from the
+edge. Move the piece till it overlaps the pencilled circle and draw
+another circle. Repeat as many times as necessary to go around the
+skirt, sleeve, or section you are decorating. A row such as this makes
+a pretty decoration around the sleeves and neck of a night dress or the
+ruffles of drawers. Marking cotton No. 20 or No. 25 should be used for
+feather-stitching underwear.
+
+Infants' dresses, bibs, or petticoats of lawn or any very sheer
+material of cotton or linen should be worked in fine marking cotton,
+either Nos. 25, 30, 40, or 50.
+
+Just a word about threads. There are several different kinds. The
+most popular and best known are D. M. C., Madonna, Royal Society, and
+Utopia. The numbers run about the same. Some teachers recommend one
+certain kind, but the result obtained from using any of them is almost
+identical.
+
+[Illustration: Fig. 112. Seaweed-stitch]
+
+There is a pretty little stitch that can be made with a foundation of
+double feather-stitching. We used to call it "seaweed-stitch" when we
+were youngsters. I remember I made a white cashmere coat for my doll
+and used the seaweed-stitch along the hem and above the opening, and on
+the cuffs and collar of the coat. It was embroidered in rose coloured
+filo silk. A row of double feather-stitching was worked in the usual
+way. At the end of each stitch a little Van Dyke point or V was worked.
+Try it yourself and see how dainty it is (Figure 112).
+
+A good way and something new for decoration is the feather-stitchery
+used like festoons on the hems. The way this is done is to take a
+compass and make a circle about two and a half inches in diameter. Cut
+it out in heavy paper or thin cardboard. Baste the hem in place and
+then trace one-third of the circle. Repeat in like manner till the hem
+has the appearance of large scallops. Along the lines work the single
+or double feather-stitching in No. 20 marking cotton through the two
+thicknesses of the material. Pull out the basting threads from the hem
+and then carefully cut away the material within each scallop on the
+wrong side of the hem. In other words, the upper part of the under hem
+is cut close to the stitching. Cut right down to the feather-stitching.
+
+Only thin materials are pretty worked like this, as the doubled
+material gives a milk-white appearance, while the upper or single
+parts are transparent. A lazy-daisy stitch worked in the centre of
+each scallop adds further beauty to a feather-stitched hem such as has
+been just described. The lazy-daisy has been aptly called because it
+requires a stitch to connect each petal to the material.
+
+Another name for this lazy-daisy stitch is the "bird's-eye" stitch
+(Figure 113). It is used to represent clovers, daisies, or leaves.
+The stitch is made, if for a daisy, from a common centre. Bring your
+needle up from the centre of the daisy and take a stitch the length of
+the petal. Let the thread come from the left under the point of the
+needle. Pull the needle through the material on the right side. A short
+stitch at the end of the petal catches it down to the material. The
+needle is now brought back to the centre and the next petal made in the
+same manner. Any size daisy can be made like this from the quarter to a
+two-inch size. Remember that the larger your daisy is the more petals
+it should have. As fine thread should be used for the little flowers
+and the heaviest silk or lustre for the big ones, it is a wise plan to
+faintly mark in pencil the daisy. One line will be sufficient for each
+petal. If you do this, you can then be sure that each petal will be the
+same length as the last.
+
+[Illustration: Fig. 113. The lazy-daisy stitch]
+
+A charming little yoke can be made of groups of fine tucks and rows of
+the daisies.
+
+
+
+
+XI
+
+COUCHING, SHADOW WORK AND TURKISH STITCH HOW TO STAMP DESIGNS
+
+
+The more one does of fancy work the more fascinating it becomes. Every
+new piece presents an opportunity for new stitches and colours.
+
+We have talked a lot in the first chapters of this book as to the
+different implements necessary for sewing and by now I am sure you have
+a well-equipped sewing box or basket. Now it will be necessary to add
+considerably to your work box for embroidery.
+
+The crewel needle which I mentioned in the ninth chapter is the most
+important implement. Get a pack of assorted Nos. from 5 to 10. They
+will answer every purpose unless you need a large tapestry needle for
+couching. The most unfortunate thing about a crewel needle is that the
+eye has the bad habit of breaking. This is caused from the steel being
+so fine at the top that vigorous working snaps it off very quickly.
+
+A tapestry needle is like a large crewel needle, only it is much
+stronger and the eye is very large.
+
+A stiletto of ivory, bone, or steel should also be in your box. An
+orange stick can be substituted for a stiletto in case of emergency.
+
+A small pair of scissors, too, should be included to cut the ends of
+silks or pare away the material after buttonholing or making an eyelet.
+
+I have kept the most important till the last. That is the embroidery
+hoop or rings. Really you would be surprised to see how many different
+kinds there are in this world. First there are the black celluloid ones
+that have their good points, but they do not stretch over the material.
+Then there are the common wooden ones that have sharp edges that catch
+and fray the silk on every turn. There are some wooden ones that have
+a felt lining and whose edges are an improvement on the cheaper kind,
+but they also do not stretch over thick fabrics. The kinds that have a
+spring and may be adjusted to any size desired have their advantage,
+but the spring catches the silk also and of course that will never do
+for fine work. The simplest, best, and cheapest kind is the pair that
+is made at home. Get two pairs of the cheapest rings, even if their
+edges are rough. One pair should be small enough to set inside of the
+other. They vary from the smallest to the largest circular kind, each
+one setting inside of the other. Select two pairs that come next in
+size to each other. The most convenient size and ones that can be used
+for all kinds of work are the six inch. Take the larger hoop of each
+pair for your work. Now cut a piece of canton flannel in half-inch
+strips, or if mother has the coloured selvage left from a piece of
+flannelette, get that. The largest hoops should be wound over and over
+like the hoops they use in schools for fancy drills. The other hoop
+should be padded before winding it. To pad, lay strips two or three
+thicknesses deep around the hoop and then wind thickly like the other
+hoop. Hoops like these never leave marks on the material, as often
+happens with the celluloid or wooden hoops. Another point is that the
+sheerest material, such as chiffon, can be used in them, while if a
+heavy burlap or crash is embroidered over them a little of the winding
+strips can be removed for the time being.
+
+There are other things you might find handy for your box, but it is no
+use getting them till you have occasion to use them.
+
+Now we are ready to make use of some of the things just described. The
+tapestry needle will be brought into use for our next stitch, which
+will be couching.
+
+It is a beautiful old stitch that is often used as an outline. It can
+be made as a heavy thick cord, or yet again it need only be the size of
+a fine string. The expression is often used, "Couch a cord on." Cord is
+used instead of threads and lustre on pieces where only the effect is
+wanted.
+
+[Illustration: Fig. 114. Couching]
+
+To couch with a number of silk or lustre threads select a No. 2
+tapestry needle. Cut the skein of silk so that you will have the
+longest length of thread possible. Thread your needle with all the
+strands in the skein, if the eye will carry them. Make a stiletto hole
+in the cloth on the line of the design. Bring the tapestry needle
+through to the back (Figure 114).
+
+A crewel needle is threaded with a single strand of silk, the same
+shade or lighter or darker if you desire. Fasten the silk ends down
+neatly on the back of the material with the single thread and bring it
+up one quarter of an inch from the hole and span the cluster of silk
+threads. The threads are caught down in this manner at quarter-inch
+intervals. When the end of the line is reached, the cluster of threads
+is again taken through to the back of the material.
+
+Couching is a stitch that you will hear more about in later chapters.
+
+The Turkish or Ismet stitch is another name for cat-stitching or
+herring-boning. See Figure 98. The stitch is taken vertically instead
+of horizontally, as in cat-stitch. Turkish stitch gets its name from
+the embroideries from Turkey (Figure 115). It seems to be the favourite
+stitch of the Turkish ladies.
+
+[Illustration: Fig. 115. Turkish stitch]
+
+Have you ever noticed how many pieces of Turkish embroidery are worked
+on coarse unbleached muslin or tan linen? The colours are generally
+bright green, blue, coral pink, chestnut brown, purple and then
+outlined in black or gold thread.
+
+Shadow work, is not that a funny name for embroidery? But you can
+understand why it is called that when you see a piece worked. It
+gives the appearance of a design under the cloth, as all the stitches
+are taken from the wrong side of the material. The design is drawn or
+stamped on the wrong side. Lawn is usually selected for the background
+of shadow work because of its transparency. A heavy cotton such as No.
+16 or No. 20 marking cotton or D. fine lustre is necessary.
+
+Daisies or chrysanthemums are most popular for shadow work on account
+of the smoothness on their edges. Not that it is impossible to work an
+indented edge, but it is more difficult.
+
+[Illustration: Fig. 116. The right side of shadow stitch]
+
+To work the shadow stitch, place your work over your embroidery hoop
+with the design side up. Start to work a petal from the heart of the
+flower. Do not use a knot. The stitch is like cat-stitching (see
+Figure 98). First you take a stitch on one side of the petal, then you
+pass over to the other side. Be sure you take the same length stitch
+every time. The stems are worked in outline stitch. Shadow work from
+the right side looks like back-stitching (Figure 116). It is used on
+aprons, shirtwaists, or bureau scarfs where a good effect is wanted
+with very little work.
+
+There are two ways of working the leaves of daisies or chrysanthemums
+in shadow work: First, and the best in my opinion, is to start and work
+from the top of the leaf to where the midrib commences in the design.
+Now work from the midrib to the outer edge on the right side of the
+leaf. The left-hand side is yet to be filled in. Start from the base
+of the leaf and instead, however, of putting the needle through the
+material by the midrib catch one thread upon the midrib and then take a
+stitch on the left-side edge of the leaf, up to where the midrib ends.
+
+The other way of working a leaf is to outline the midrib first. Then
+start from the base of the leaf and work across the entire leaf. The
+former way is the better, because there is not such a wide stretch of
+thread on the wrong side as in the latter method.
+
+Batiste, organdy, and lawn are the usual materials used in America
+for shadow work, but in England, where more substantial materials are
+generally liked, tea cloths of linen in shadow stitch are often seen.
+Tiger lilies are good for any large piece.
+
+The effect of shadow work on linen is as if a padded design was placed
+on the material.
+
+White is the nicest for working shadow stitch on waists, especially as
+colour is apt to cheapen the effect.
+
+Remember that a design drawn out in pencil soils the cottons or silks
+and necessitates the article being washed before it is used. You can
+buy patterns for embroidery so cheap and in such excellent taste that
+it pays one in the end to use them instead of drawing on the material.
+There is the perforated design that can be had from five cents up.
+It is the oldest and in some ways the most expensive pattern. The
+perforated paper is laid, with the rough side up, over the material on
+the ironing table or any other flat surface. An especially prepared
+powder that embroidery shops sell for stamping designs is the best to
+use. A pouncet is several layers of felt rolled together, or a piece
+of wood covered with felt. Rub the pouncet in the powder. See that the
+pattern is weighted down so that it will not slip while you are working
+on it. Rub the powder in with a circular movement. Lift the weights
+from the lower edge of the paper, and gently raising the pattern see
+that the design is well on before removing the pattern. A hot iron
+will be necessary now to set the powder. Every time you use the iron
+just clamp it down on the design. Wipe it off on an old piece of cloth
+before you press it again on another section of the design. Each time
+the iron touches the powder, part of it adheres to the iron and the
+design would be spoiled if the iron was used again before wiping it.
+After the design has been set, the iron can be used freely over the
+whole work.
+
+There is another method of stamping with a perforated pattern, and that
+is placing the smooth side of the design face upward and using a blue
+paste that comes in cake form. The pouncet is dipped in kerosene or
+naptha and then rubbed on the paste. Apply to the paper as directed for
+the powder. This method requires no iron, but care must be taken not to
+get the pouncet too wet or the design will run.
+
+A third method for stamping is one that requires to be rubbed with the
+back of a spoon. The fourth and newest method of stamping is by the
+transfer designs. The patterns are in different colours. Place the
+transfers with the bright or raised surface next to your material and
+press with a heated iron. Some patterns require a very hot iron, while
+for others a moderately heated iron suffices.
+
+You can make a perforated pattern yourself by drawing a design on a
+piece of paper and using a sewing machine to perforate along the lines.
+
+
+
+
+XII
+
+BUTTONHOLING AND WALLACHIAN EMBROIDERY
+
+
+Embroidery buttonholing is a little different from the buttonhole
+stitch used in sewing. It is a stitch that is most used to finish
+the edges of centre pieces, scarfs, and, in fact, any article where
+embroidery is wanted to finish the work. You know that it is possible
+to use a fancy stitch, such as the Turkish stitch described in the last
+chapter, but in that case the material will have to be turned back and
+hemmed. The twill or purl of buttonholing, as the little ridge on the
+edge is called, serves as a resistance for the material from fraying
+out.
+
+The buttonhole stitch is the most popular in embroidery. It is the
+foundation for many other stitches. Feather-stitching is really an open
+form of this stitch.
+
+As a usual thing it is necessary to pad before working buttonholing. It
+raises the work and makes it much more durable as an edge. The padding
+can be done in either running-stitch or chain-stitching.
+
+Let us take for our first example the straight buttonholing. It is the
+simplest form. Cover the space between the lines with coarse, running
+stitches. Let the background be medium weight linen. The padding
+thread should be No. 16 or No. 20 marking cotton, or two strands of
+white darning cotton makes an excellent padding. The stitches can be
+fully one quarter of an inch in length. Take up a single thread of the
+background so that the padding will be all on the top of the material.
+This keeps the work well raised on the right side and perfectly flat
+on the wrong side. An extra row or two toward the outer edge of
+buttonholing raises the edge prettily. Chain-stitching is a more rapid
+way of padding, but should only be used for coarse work. Remember that
+the wider the buttonholing the more padding will be necessary.
+
+The padding should be worked over your embroidery hoops, keeping the
+work as near to your fingers as possible. The actual buttonholing gets
+a rounder effect if done over the finger, though it is possible, of
+course, to do it over the hoops.
+
+Again, no knots in buttonholing. Thread your needle with No. 25 marking
+cotton. Make three little running stitches and one back-stitch to
+insure firmness in the starting. Let your thread come up slightly
+under the lower line of the buttonholing. With your left thumb holding
+the thread down to the material draw your thread to the right, take a
+stitch over the padding, bringing the needle out slightly below the
+lower line. The thread should fall under the point of the needle in
+each stitch.
+
+The next thing we learn in buttonholing is a scallop. The deeper the
+scallop the more difficult it is to make a good corner and to keep
+the slant of the stitches right. When you buy a stamped piece of
+embroidery, select a pattern that has a shallow scallop and one where
+the points are not too sharp. In working a scallop the stitches should
+slant vertically in the direct centre, slanting the other stitches
+toward this point (Figure 117).
+
+[Illustration: Fig. 117. A simple scallop]
+
+The object in carrying the needle slightly beyond the stamped line is
+that all the stamping may be well covered. A stitch that is taken
+directly through the line shows the stamping.
+
+The diagrams (Figures 117 and 118) show how to work a simple scallop
+and one with a sharp scallop. A good deal has been written about the
+cutting of scallops, but the safest and wisest is to wash the piece
+before cutting out the scallops. A pair of small embroidery scissors
+should be used to cut the material away close to the twill of the
+buttonholing. If a scallop is cut before it is washed it frays so much
+that the edge has an untidy look.
+
+[Illustration: Fig. 118. A sharp scallop]
+
+Some women work a row of machine stitching close to the lower edge
+before padding it, as a preventive from fraying, while others insist
+on cutting the material to allow a hem on the wrong side only. Try the
+first way and see if you are not successful. Another point to bear in
+mind in buttonholing is that the stitches should be taken very close
+to each other. If a piece of buttonholing is well done it is hard to
+distinguish one stitch from the other, and yet they must not be made
+one on top of the other or the buttonholing will be rough.
+
+Wallachian work gets its name from a little community in Pennsylvania.
+It is a German word and is nothing more than coarse buttonholing. It
+is especially appropriate on heavy waists, centre pieces, pillow tops
+or work bags. A finer form of it looks well on sheer waists. The rings
+or circles are worked from a centre like the spokes in a cart wheel
+(Figure 119).
+
+[Illustration: Fig. 119. A Wallachian ring]
+
+[Illustration: Fig. 120. Wallachian stitch]
+
+The leaves or petals of a Wallachian figure are worked on the slant,
+and here is the difference from ordinary buttonholing and the
+distinctive feature of Wallachian embroidery. Usually the petals have
+an indented top and a line running through the centre. Begin at the
+lower right-hand section and take a short stitch on the line as for
+outlining. The next stitch is taken close to this from the midrib to
+the outer right-hand edge. The stitches need not be quite as close as
+in buttonholing and no padding is required. Continue in the same slant
+to where the centre line stops. The stitches from this point radiate
+till they are in a good slant to continue down the left side. Note the
+stitches in the diagram (Figure 120).
+
+Some people do not slant their stitches and the result is that the work
+is not as pretty and loses its chief charm.
+
+Placing your thimble on a piece of material, make a little circle
+around it and in the centre make a little dot to practise the
+Wallachian ring on.
+
+[Illustration: Fig. 121. A whisk broom holder in Wallachian stitch]
+
+You will find that your thimble or spool is a great help to you also in
+making scallops. Draw a line with the ruler just below where you want
+your scallop to be. Inscribe half a circle with the aid of your thimble
+or spool on the straight line. Just within this half-circle draw
+another half-circle that will touch the upper line of the scallop. A
+ten-cent piece or in fact any coin can be used like this. Embroidered
+pieces should be washed by themselves, especially if they are worked in
+colours.
+
+A little girl I was teaching some years ago was very slow in working
+a centre piece. She finished the piece one day just before her term
+was over. Thinking that she would surprise me, little Daisy decided to
+launder the piece herself. Her mother knew nothing about embroidery, so
+was not able to tell her how to proceed. So Daisy washed the piece and
+having seen how mother bleached the linens, Daisy desired to give her
+piece a sun bath. She spread it out in the sun and when she went for it
+the colour was half out. Poor little Daisy was heart-broken. She would
+not have had this trouble had she observed the following directions:
+
+Put the piece to launder in warm water and rub it with a pure soap,
+such as castile. Ordinary laundry soaps are too strong of lye to be
+used. If the piece is very soiled let it soak a long time, several
+hours. Usually washing the piece out in water is sufficient. Rub with
+the hand only. Rinse in clean water and lay the piece on a thick cloth
+or a Turkish towel. Roll the towel up and leave until the piece is
+almost dry.
+
+Lay the embroidery, with the worked side down, over a heavy padded
+surface. Press with a hot iron quickly. If the centre of the piece
+puckers, dampen it again till you have pressed it out thoroughly.
+
+If you fear to put the iron directly on the piece lay a thin white
+cloth over it and then press. Many a really beautiful piece is spoiled
+in the laundering.
+
+
+
+
+XIII
+
+ROMAN CUT-WORK, FANCY BUTTONHOLING FOR BORDERS, WORK BAGS, BERMUDA
+FAGOTTING
+
+
+Roman cut-work or Colbert embroidery is one of the prettiest forms of
+buttonholing. The right way to work it is to make the stitches so that
+each one is distinct from the other. Some people insist on crowding the
+stitches as in regular fine buttonholing, which is quite a mistake, as
+its distinctness lies in dissimilarity to the ordinary buttonholing
+(Figure 122).
+
+The work is used for centre pieces, corners of lunch napkins, coat
+sets, as well as on heavy linen dresses. In Scotland the little girls
+make the entire yokes of their night gowns in cut-work as well as the
+top of their night gown case. These cases are placed on top of the bed
+pillows during the day and are marvels of fine handwork. This custom is
+not restricted to Scotland, but Italian, French, and German women are
+also proud of their night dress cases.
+
+The design for Roman cut-work should be bold and not too close
+together. It should be stamped directly on the material. The American
+way of working it is to run a line of fine stitches on the outline and
+then work a row of buttonholing. The stitches are a little less than an
+eighth of an inch deep. The background spaces between the design are
+then cut away close to the buttonhole edge. Do not neglect to wet and
+press the linen before cutting the buttonholing. Keep the twill of the
+buttonholing on the outer edge of the design so that the background
+will be bordered with the twilled edges (Figure 123).
+
+[Illustration: Fig. 122. Roman cut-work]
+
+The European method of Roman cut-work is to run the thread first and
+then cut the material so that there is an eighth of an inch extending
+beyond the running stitches. This is turned under till the running
+thread forms the edge and then the buttonholing is worked through both
+thicknesses of the material. This way prevents the linen from fraying.
+The design is basted over a piece of coloured paper, letting the
+basting stitches follow closely the buttonholing. The wide spaces are
+then filled in with a simple lace stitch such as the twisted bar, woven
+bar, or spiders. Sometimes the spider is used in conjunction with one
+of the former stitches, and it is an excellent stitch for filling in
+the corners. Marking cotton No. 20 or No. 25 should be used for Roman
+cut-work, as well as the lace stitches.
+
+[Illustration: Fig. 123. A Roman cut-work centre piece]
+
+To make the twisted bar, plan the open spaces so that they will be well
+filled and yet not too crowded. Span from one side of the space to the
+other with the thread, then return and whip the thread or stitch three
+or four times. The stitches may be connected and have the appearance of
+a series of points (Figure 124).
+
+[Illustration: Fig. 124. The twisted bar]
+
+The woven bars are made by working two threads across the space about
+one eighth of an inch apart. Start from one end and weave. Take up
+one thread on the upward and the other thread on the downward pass.
+Continue in this manner till the whole bar is woven. The bars are
+placed at equal distances apart (Figure 125).
+
+[Illustration: Fig. 125. The woven bar]
+
+The spider is a little more complicated. It is made on an uneven
+number of threads, usually seven. They may be double or single. To
+make the whipped or double-thread spider, span the space with the
+thread and then whip back to the centre and connect the thread to the
+buttonholing again at some little distance from the first stitch. Whip
+back to the centre again and take a stitch directly opposite. Continue
+in this manner till there are five, seven, or nine threads around the
+centre, then proceed to weave under one and over the next thread until
+a good-sized spider is made. Do not make too large a spider, as it
+detracts from the work. An illustration for the single spider is given
+in the chapter on lace stitches.
+
+[Illustration: Fig. 126. Blanket stitch]
+
+The blanket stitch is a favourite for working the edge of flannel
+skirts or quilted covers. Worsted or coarse silk can be used for it.
+It is made on the raw or folded edge of the material. Two stitches
+are long and two are short. Sometimes they are worked like a pyramid.
+Beginning at the base we increase each stitch till we reach the point
+and then decrease each stitch in length as we work back to the base on
+the other side (Figure 126).
+
+The triangular buttonhole is a pretty stitch for a conventional design
+that has long narrow sections. It may also be used for working a very
+large simple scallop (Figure 127). The way we were taught in school
+was to mark the section to be worked in deep points. The twill of the
+buttonholing must come on the lines. The stitches are not very close to
+each other. The stitches are taken on the line across to the next line.
+Begin at the longest opening and make every stitch shorter. When the
+line is covered, turn the work so that the twill of the buttonholing
+touches the top of the stitches just made. If this stitch is used on
+the outer scallop it will be necessary to hem the material, letting the
+triangular buttonholing form the edge.
+
+[Illustration: Fig. 127. The triangular buttonholing]
+
+Then there are fancy forms of buttonholing that are used especially
+in Mount Mellick work. The double buttonhole stitch is effective to
+fill in the large leaves. The stitches are taken in groups of two,
+then a little space and two more stitches. Continue in straight rows.
+Sometimes one will see a leaf worked one half in double buttonholing
+and the other half in a close stitch.
+
+[Illustration: Fig. 128. The honeycomb stitch]
+
+The honeycomb or mesh is a fancy name for another form of buttonholing.
+Work a row of buttonholing about a quarter of an inch apart. The
+distance may be changed to suit the design you are working on. In the
+second and all other rows, the needle is over the buttonhole loop
+directly above and a short stitch taken a quarter of an inch, or the
+distance you have decided on, below the loop. In starting each row
+bring the needle up a quarter of an inch, or more or less as you
+desire, below the previous row. The distance must be kept even to
+achieve satisfactory results. It is not necessary to start from one
+side always. The first row is worked from left to right, the second
+from right to left and so on, back and forth, till the space is filled
+(Figure 128).
+
+Bermuda fagotting is the name of a stitch that gives the effect of
+drawn work, when no threads have been drawn. It is used on scroll
+designs as well as to outline a simple floral pattern. Lawn, dimity,
+China silk, handkerchief linen, or nainsook are the prettiest materials
+for this stitch, as it demands a fine, transparent background to give
+the right effect.
+
+[Illustration: Fig. 129. Diagram of stitches]
+
+Sewing cotton No. 100 or 150 and a special needle are the only
+requirements for this work. The needles can be bought from any art
+needlework shop for five cents each. It is like a large-sized carpet
+needle with a small eye. A carpet needle can be substituted if it is
+not possible to obtain the regular needle in your locality. Tie one end
+of the thread to the eye of the needle. While practising this stitch it
+will be necessary to make guide lines. On each side of the design line
+make a row of dots an eighth of an inch apart. The dots above the line
+must be directly over the lower dots. Note the diagram (Figure 129) of
+this stitch. I have numbered the first six dots.
+
+Take a stitch from one to three and tie the end of the thread under
+this point. Make the stitch a second time from these points, pulling
+the material between them closely. Pass the needle underneath and
+connect one and two with two stitches. Then pass to point four and
+connect two. Three and four are connected in the same manner. It is
+only necessary to tie the thread when commencing the work or a new
+thread. The needle is so large that it makes quite a hole in the
+material and the thread is so fine that the manner of working is not
+clear to the average eye unless a detailed explanation is given (Figure
+130).
+
+[Illustration: Fig. 130. An enlarged drawing of Bermuda fagotting]
+
+When working on a curved line or a corner it will be necessary to make
+an extra stitch on the outer or longer side only.
+
+The scroll lines or stems of a conventional shirtwaist design are more
+dainty when made in Bermuda fagotting. The corners of handkerchiefs
+or a design on underwear or yokes and collars lend themselves to this
+style of adornment.
+
+
+
+
+XIV
+
+SATIN-STITCH AND MARKING
+
+
+The more interested we become in embroidery the more we find how much
+more there still is to be learned about it.
+
+There may be embroiderers who are experts in one branch of the subject
+and yet who will do very unsatisfactory work in another. For instance,
+one girl may be very proficient in fancy stitches and yet may not
+do the simple stitches or vice versa. Few American girls excel in
+the satin-stitch, not because it is hard, but it must be perfectly
+accurate. The average German, Swiss or French child can do better
+satin-stitch at the age of twelve than the average American woman does.
+From the time the children in those countries can hold a needle in
+their hand they are taught to sew and embroider.
+
+[Illustration: Fig. 131. A letter in satin-stitch]
+
+Satin-stitch is a stitch that is taken over and over across a space.
+Sometimes it is quite heavily padded and at a first glance gives the
+appearance of a piece of material heavily raised. Fine designs should,
+however, be slightly padded. There are three ways in which padding may
+be done. There is the running or uneven darning, the chain, or the
+filling-stitch. A great deal depends on the smoothness of the padding.
+The chain-stitch should only be used for coarse work. The padding
+should not cover the stamped outlines, for they are needed as a guide
+for the satin-stitch. The padding is usually worked in a heavier thread
+than the outer stitches. Darning cotton that comes in four strands is
+often used. One or two strands is sufficient.
+
+[Illustration: Fig. 131A. Satin-stitch]
+
+The prettiest satin-stitch is taken straight across. The stitches
+should not be crowded, but should be worked so that when the embroidery
+is finished the stitches are hard to distinguish one from the other.
+
+[Illustration: Fig. 131B. Satin-stitch dot]
+
+The Old English letter "E" (Figure 131) shows a good example of
+satin-stitch and outlining. The latter was used on the single lines.
+The entire letter may be carried out in satin-stitch by first running
+the single lines with uneven darning stitches and then covering these
+with fine satin-stitches. Make the padding stitches as close together
+as possible, or the satin-stitches will be uneven.
+
+The letter "C" (Figure 132) offers an opportunity of combining two
+colours. After the satin-stitch has been done, a little back-stitch
+is worked through the centre of the heavily padded sections. This
+combination of stitches is pleasing when colour is used, as the
+satin-stitch is in one colour and the centre stitches in another. A
+great many of the regular sewing stitches can be used instead of the
+embroidery ones. For the very fine lines, back-stitching can be used,
+making the stitches finer than those used in ordinary sewing.
+
+[Illustration: Fig. 132. Satin-stitching and seeding]
+
+The letter "A" of Figure 133 shows a good combination of satin-stitch
+and back-stitching.
+
+[Illustration: Fig. 133. Satin-stitch and back-stitching]
+
+Satin-stitch can be worked straight across or on the slant. Most of
+the modern work is straight, though a great many Germans still prefer
+to slant their stitches. The work should be held toward you and the
+needle straight. The padding should be worked lengthwise on the design
+and the satin-stitch in the opposite direction.
+
+The Chinese do beautiful embroidery, usually in satin-stitch which is
+not padded and the finest of silks are employed for the work.
+
+Another way of marking is to make a row of French knots along the
+outline design. A single line script letter lends itself best to this
+kind of work.
+
+[Illustration: Fig. 134. A simple letter in back-stitching]
+
+For bath towels an outlined letter is better than a padded one. The
+letter on a school bag or a heavy Turkish towel should be very simple
+as the wear they get does not warrant the spending of too much time on
+them. If there is a monogram to be made it is prettier if the initials
+of the Christian name be light and the surname heavy.
+
+We learned about outlining in the first chapter of embroidery stitches,
+but outlining in combination with outer stitches is a little surprise
+for you. We have the German to thank for most of the good combinations
+of stitches or letters. After the letter has been outlined in white,
+we will say, a thread of colour is taken. Starting from the upper
+left-hand side the needle is passed under the first stitch of the
+outlining, up through the second stitch and down again through the
+third, till every stitch has been taken up on the needle (Figure 135).
+The threaded needle should not pass through the material except at the
+beginning and end of each line (Figure 136).
+
+[Illustration: Fig. 135. A pretty combination stitch]
+
+[Illustration: Fig. 136. A letter in fancy stitch]
+
+Another manner in which a letter may be embroidered, especially an old
+English letter, is to work it solid in white and outline it in colour.
+The Van Dyke point is good also where a broad space is to be filled. It
+is sometimes called the bird's-eye stitch.
+
+[Illustration: Fig. 137. A simple way to work a letter]
+
+Start at the top and on the left side of the letter or space it is to
+fill. Insert the needle on the right side and take a stitch to the
+centre on a slant like a buttonhole stitch. Fasten to the material with
+a little short stitch. Bring needle out at the extreme left and repeat
+directions until the space is filled. Each stitch forms a V (note
+Figure 138).
+
+Sometimes you will find a very elaborate letter, the outline of which
+has been worked in satin-stitch or French stemming. Little eyelets or
+satin-stitch dots are worked between the lines.
+
+[Illustration: Fig. 138. Van Dyke stitch]
+
+When two or more letters intertwine they are called a monogram. It is
+not every set of letters that will make good monograms. Letters that
+have a good swing should be selected so that though they intertwine
+each letter should stand forth clearly. It is permissible to use the
+surname initial a trifle larger than the Christian initial. When
+monograms are composed of three letters and one of the smaller letters
+is placed on either side of the larger one the effect is very pleasing.
+The smaller the letters, the finer the thread should be. No. 50 or
+60 marking cotton can be used for letters one half-inch in size. A
+three-quarter inch letter should be carried out in No. 45 marking
+cotton. A one-inch letter requires No. 35 cotton, while the two-inch
+letters take No. 30 and so on. The larger the letter the coarser the
+cotton.
+
+[Illustration: Fig. 139. A letter in Van Dyke stitch]
+
+[Illustration: Fig. 139A. Seeding]
+
+The beauty of a monogram is to have something original. Perhaps you
+want to work your bag. Take a tea cup and place on the material in the
+position you desire the monogram. Run a faint pencil line around the
+cup. Draw a block letter in the centre so that it touches the upper
+and lower edges of the circle. Your two Christian initials are then
+placed one on each side of the centre letter. Try to fit the letters
+so as to keep the circle perfect. It may be you will not really draw
+block letters, but so much the better, as the monogram will be more
+original. If it is impossible to make a complete circle with the
+letters, embroider the sections of the circle between the letters
+in stem-stitch. Stem-stitch, you will remember, is an outline-stitch
+covered with the over-and-over or small satin-stitch.
+
+A monogram of this sort is especially appropriate for a man's
+handkerchief. A twenty-five-cent piece, or a fifty-cent piece if it
+is a very large handkerchief, should be used for the circle. Seeding
+(Figure 139A) may be combined with satin-stitch in working monograms.
+Seeding is nothing more than a series of little back-stitches. A good
+effect is obtained by working one letter in satin-stitch and the other
+in seeding. It will be necessary to outline the outer edges of the
+seeded letter.
+
+You have probably noticed the gold emblems and lettering on the sleeves
+of army officers' regimentals. They are generally worked in bullion,
+though sometimes gold thread is used. Bullion comes in gold and silver
+and at the first glance looks like the Oriental gold or silver threads.
+The difference is, however, that bullion is tubular, while the threads
+are usually composed of two or three strands twisted together or
+over and over a thread of red cotton. The red cotton makes a strong
+foundation for the gold threads and, by the way, do you know that all
+silk that comes on spools has a fine thread of cotton running through
+the centre? The purer the silk the less cotton is used, but the latter
+is very necessary, as the threads will not stand very much strain if
+they are all silk.
+
+Now let us get back to emblems in bullion. It is necessary in bullion
+work to have a fine cardboard foundation which is called "the cartoon."
+Trace your design on the cardboard and then cut the design out. Baste
+the cartoon to the background, which may be of any material you desire.
+Broadcloths, silks, satins, and velvets are the materials usually
+selected for the work. Thread a fine needle with a piece of silk.
+Fasten the thread on the wrong side of the material and bring the
+needle up through the right side. Let us suppose that you are working
+the block letter A. Start from the apex of the letter. Cut a piece of
+the bullion just the size of a very small bead. Slip the needle through
+the cut piece of bullion and span the point of the letter. Continue in
+this manner till the cardboard is closely covered with the bullion.
+Each piece of bullion is cut to fit the space it is to cover.
+
+In working a five pointed star, start and pad each section lengthwise,
+if it is to be embroidered in silk or cotton. For bullion work the
+cartoon is always necessary.
+
+Work each section of the star from the point to the centre. Work from
+left to right, so that each section that is worked is to the left.
+
+Papier-mache letters can be bought that may be used as a padding. They
+are very satisfactory for anything that is not to be laundered, but
+continual washings flatten the papier-mache, while if the padding is
+made of cotton it lasts as long as the background.
+
+Handkerchiefs for yourself can be daintily marked in very fine
+feather-stitching in D. M. C. marking cotton No. 80. Remember to keep
+the stitches in a pretty slant.
+
+There are numerous places that a letter or monogram can be used. A
+girl I know who is at a boarding school has marked all her bed linen
+and towels. For each pair of sheets and two pillow cases she uses a
+different style letter or monogram so that her linen is in sets.
+
+Cross-stitching is appropriate for bath towels, although face towels
+are often very attractive worked in this stitch.
+
+The question often arises as to which is the right place to put a
+letter or monogram on a table cloth, napkin, pillow case, or sheet, and
+though you may not be interested in any of these articles at present,
+it is well to know these little points when helping to mark the
+household linens.
+
+Napkins are usually marked with the letter in the direct centre when
+folded. Of course, like many other things, there are fads for changing
+the position. One extreme style is to mark the letter in the direct
+centre of the napkin. This style necessitates folding the napkin in a
+fancy shape so that the embroidery will be seen at its best advantage.
+
+There are two good ways to mark a table cloth. One is to place the
+lettering midway between one corner of the table and the hem. When
+the cloth is on the table the letter is below the top. The second and
+newer way is to have the letter on the top of the table on a line with
+the plates. If two sets of letters or monograms are used place them at
+diagonal corners.
+
+On sheets the letters should be placed two and a half inches above the
+hem. The letter is worked so that when the sheet is folded back the
+base of the letter is toward the foot of the bed.
+
+Pillow cases or towels are marked in the centre of one side, two inches
+above the hem.
+
+Again let me impress upon you not to embroider white washable material
+in silk, thinking that because silks are more expensive they are
+better. Silks are apt to discolour in laundering. Cottons are now
+manufactured that have a high gloss like silk and yet they never
+discolour.
+
+[Illustration: Fig. 140. A handkerchief corner in satin-stitch]
+
+Another pretty and new way to mark letters on lawn or fine linen
+handkerchiefs is one that gives the effect of Bermuda fagotting and yet
+it is only hemming with a large needle (Figure 140). Draw the letter
+in pencil on the handkerchief. Thread a large tapestry or chenille
+needle with a piece of No. 200 linen thread. Cotton thread may be used
+but it is very apt to break. Tie one end of the thread to the eye of
+the needle so that it does not slip out. Thread another needle with a
+strand of No. 8 marking cotton and pass it to the back at the beginning
+of the letter. Unthread the needle, allowing a half inch to extend
+out of the back. Let the No. 8 cotton follow the lines of the letter
+and take a stitch into the material with the large needle. Work from
+right to left, holding the No. 8 cotton from you. Pull the fine thread
+tight around the stitch you have taken. Now pass your needle around
+the same group of threads of the material, holding the stitch over the
+heavy cotton. Work around the entire outside of the letter, then turn
+and work the inner line. Stitch again through the hole already made,
+taking up the same group of threads. Sometimes this style is called
+ladder-stitch, as the heavy cotton gives the effect of the side of the
+ladder and the groups of threads represent the rungs. Any design that
+is uniformly narrow can be carried out in ladder-stitch.
+
+[Illustration: Fig. 141. A simple letter for towels]
+
+
+
+
+XV
+
+EYELETS AND FRENCH KNOTS, BULLION STITCH, AND OTHER FANCY STITCHES.
+
+
+The most beautiful of the embroidery stitches is the eyelet, and it is
+also one of the hardest. A piece of embroidery that is thickly covered
+with eyelet-work and possibly a little satin-stitch and buttonholing
+is commonly termed Madeira embroidery. One will often see a piece of
+the Madeira embroidery so closely covered that it is almost impossible
+to put another stitch in between the embroidered spots. About fifty
+years ago it was a matter of impossibility to buy machine embroidery,
+and eyelet-work was one of the last things made by machine. It was an
+easy matter to distinguish the hand-work from the machine-work up to
+about five years ago. A certain regularity of the stitches and the kind
+of thread used proclaimed it machine to even the amateur. Now-a-days
+the crafty manufacturers stamp the material to imitate the hand-made
+embroideries and use a thread of the same quality so that sometimes
+the professional embroiderers find it hard to distinguish it from the
+real.
+
+If you should ask a boy who has watched his mother working one, what
+an eyelet is he will probably tell you that it is cutting holes in the
+material and sewing them up again. To his mind this is a great waste of
+time.
+
+[Illustration: Fig. 142. Baby's bootees]
+
+Besides being ornamental, the eyelets often play an important part.
+They are used to run ribbon through in corset covers, night-gowns and
+other pieces of underwear, as well as on bags, baby bootees, (Figure
+142), caps and carriage covers. No machine beading can impart the
+elegance that a well-made eyelet does to a personal garment. Eyelets
+can be either round or oval. For a small round one run a tracing thread
+on the outline. Let each stitch take up but one or two threads of the
+material. Use No. 35 or finer marking cotton for small eyelets. With
+your stiletto pierce a hole in the outlined edge till it is just the
+size of the stamped eyelet. Now with the same thread sew around the
+opening with close over-and-over stitches. The stitches should only be
+the width of the stamped line (Figure 143). They must be even, else you
+will have a "Pig's-eye."
+
+[Illustration: Fig. 143. The way to work an eyelet]
+
+For the large round eyelet, as well as the oval, in all sizes it will
+be necessary to cut the material within the outline which has first
+been traced with the running thread. The cuts should be made lengthwise
+and crosswise, right to the tracing thread. The cut material is turned
+under to the wrong side and the eyelet worked as just described. After
+the embroidery is finished turn the material over and any part of
+the cut cloth that extends beyond the stitches trim off. Your fine
+embroidery scissors should be used for the cutting.
+
+[Illustration: Fig. 144. The round eyelet]
+
+Sometimes you might like to make an eyelet to represent a grape. Some
+embroiderers call it a shaded or padded eyelet. After the eyelet has
+been traced make another row of tracing or padding below the lower half
+of the eyelet. Start from the centre side of the eyelet and make the
+second tracing deeper on the lower portion of the eyelet. If any space
+is left between these two rows of tracings fill in with other rows of
+uneven darning (Figure 144A).
+
+[Illustration: Fig. 144A. A padded eyelet]
+
+When eyelets are used on the outer edge of a design, they should be
+buttonholed.
+
+[Illustration: Fig. 145. A simple centre piece in eyelets]
+
+The next stitch to claim our attention is French knots. In France they
+are known as the English knot. They are used to fill in the centres of
+flowers. When working a piece of golden rod the natural effect is best
+produced by using French knots very close to each other. A row worked
+on each side of a row of feather stitching makes a pretty decoration on
+babies' dresses, caps or even on yokes of dresses for yourself.
+
+[Illustration: Fig. 146. An eyelet design for a pillow]
+
+A heavy thread is good to practise making the knot. The actual size
+or kind of thread to use should depend partly on the kind of material
+and partly upon the other style of work or stitches that you intend
+combining with it.
+
+[Illustration: Photograph by Mary G. Huntsman. Many a Happy Hour is
+Spent Embroidering]
+
+To work the knot, fasten the thread securely on the wrong side and
+bring the needle through to the right side. Now hold the thread down
+with your left thumb. With the right hand put the needle over and under
+the thread until there are three or four coils of the thread around
+the point of the needle. Now hold these coils down with the left thumb.
+Turn the needle so that its point will go down through the material as
+close as possible to the place through which it came (Figure 147).
+
+[Illustration: Fig. 147. French knots]
+
+A pretty idea for making knots for dress trimmings is to thread the
+needle with two strands of silk, each of a different colour.
+
+Bullion stitch is an elongated French knot. It is used considerably in
+Mountmellick embroidery, to represent grains of wheat. Small leaves and
+daisies are oftentimes carried out in bullion stitch.
+
+To make the stitch we will say that we are working on the conventional
+daisy. Bring the thread up to the base of the petal. Insert the needle
+so that the length of the petal lies on top of it. (See Figure 148.)
+Twine the thread around the needle point until there are as many coils
+as the length of the petal. The left thumb should hold the coils in
+place while you are twisting them. The needle is now drawn through the
+material. It is put through the same hole, or as near as possible to
+the one from which it came. Keep the left thumb holding down the coils
+until the stitch has been fastened.
+
+Another way to accomplish bullion stitch, which has the same
+appearance, but which really is a very much slower method, is to lay a
+heavy thread the length of the stitch desired and then neatly wind the
+cotton over it. It requires a heavy cotton to work this successfully.
+
+[Illustration: Fig. 148. Bullion-stitch]
+
+An embroidery needle should not be used for either French knots or
+bullion stitch, as the eye is apt to stick when pulling it through the
+coils. A large sewing needle should be substituted.
+
+[Illustration: Fig. 149. An elaborate piece of buttonholing and
+satin-stitch]
+
+Any girl can make dainty and original designs for eyelet work if she
+will invest in compasses. As has been stated before, eyelets vary in
+size. The size that is most effective for decorating heavy linen or
+cotton is an eyelet a little less than half an inch in diameter. A
+larger eyelet is often used, but it requires a good deal of patience
+and experience to keep it in shape.
+
+With the compass hundreds of designs may be used. The most popular
+as well as being the most attractive is the simple daisy. A circle
+is drawn to represent the centre. A quarter of an inch over from the
+centre circle, or less if you wish to, draw six other circles so that
+they form a ring around the centre dot.
+
+A design such as this can be used on a ruffle of a petticoat or
+between tucks on dresses while for a whole linen piece there is
+nothing handsomer for a scalloped or hemstitched centre piece, doily,
+bureau cover and many other articles on which a bold, open effect is
+appropriate.
+
+The Wall-of-Troy design is a good one for compass work, only it is
+suggested to faintly rule the design then inscribe the circles so that
+their centres are on the line. For instance, suppose you want to make a
+border design about an inch and a half deep. Take your rule and keeping
+on a straight thread of your material draw a two-inch line, then leave
+a space, then draw another line, so on to the end. An inch and a
+half above these lines draw another row of lines just over the spaces
+of the first row. Connect the ends of the lines together. Plan so
+that there is a circle at the points or corners of each line. Between
+these dots on the horizontal lines make two more circles, while on the
+vertical lines make only one. These instructions are for a circle the
+size described; for a smaller eyelet it will be necessary to add more
+circles to the lines.
+
+A still simpler design is one that is made on a square, that is, with a
+dot at each corner and one in the direct centre. The dots must be kept
+the same distance apart.
+
+The Italian girls will make the most elaborate designs of compass
+work on strips of firm, heavy muslin for ruffles for underwear. They
+are not like the American and French girls, who will only wear the
+sheerest kind of light material. The advantage the Italian girl has
+over her French and American sisters is that when she embroiders a
+garment it lasts for years, even if it is constantly used, while
+delicate embroidery is apt to have a very short life on account of the
+background. To the American girl this is no drawback, as she is always
+craving for new things.
+
+Sometimes a thimble, spool, or even a twenty-five cent piece is used
+instead of the compass when a large eyelet is required.
+
+An edge of eyelets is very handsome on a collar and cuff set or
+handkerchief. They should be placed so that after they are worked they
+touch each other. The entire eyelet may be carried out in buttonholing
+or the lower half may be buttonholed and the top worked in the regular
+way. After the work has been completed dampen the edge and press before
+cutting out the material from underneath the lower edge of the eyelet.
+
+It is possible to work the eyelet without any buttonhole stitches and
+yet use it for an edge. In that case a little padding is required and
+the stitches should be close together.
+
+A linen hat that has a simple scallop edge and a simple design on the
+brim and crown is a treasure that usually only the wealthy enjoy. It
+is nice to know how to embroider, but unless we put to use the things
+we know our knowledge is like a white elephant on our hands. After a
+careful study of the diagram of the stitches you desire to make and
+reading the description as to how to make it, a little child could
+almost work a hat, but the mounting of a hat is not so simple. Yet,
+what is the use of taking time to embroider one if you do not intend
+to make it up?
+
+Eyelet work is particularly dainty on a hat as it gives a lacy effect.
+The material should be a medium weight linen so as not to be too stiff.
+At one time butcher's linen was thought to be the only kind to be used,
+but of later years a softer linen is preferred. Lingerie hats have been
+used for years, probably long before you were born. Every year the
+shape varies a little. One year it is a narrow brim sailor, next year
+it is a wide brim, then again a high, next a Tam-o'-shanter crown. The
+last four years it has been the mushroom shape. For most faces there is
+nothing more becoming and girlish than the latter (Figure 150).
+
+[Illustration: Fig. 150. A lingerie hat]
+
+Sometimes the mushroom shape is covered with hand-embroidered ruffles,
+while again a circular piece having the crown cut out is used. The size
+of hat varies by what fashion dictates, so it is hard to say just how
+large your linen should be cut. A twenty-two or twenty-four inch circle
+makes a neat little shape.
+
+After the embroidery has been worked as described in the first part of
+this chapter, the frame is prepared for mounting it. A wire frame is
+lighter and more satisfactory than a buckram frame.
+
+The first thing to decide is, how are we going to face the hat? Tucked
+ruffling, net, dotted swiss, or fine ruffles of Valenciennes lace may
+be used. Most people prefer to cover the entire frame with cheap, fine
+lawn before facing or covering the hat.
+
+This is done by placing the hat on the lawn, the brim touching the
+material, and cutting a circle a trifle larger than the brim. Cut a
+circle out for the crown and slip the lawn over the frame. If the crown
+is too large to allow the lawn to be slipped over it a wide bias band
+of the lawn can be used to cover the brim. The bias strip should be
+just the depth of the brim. For the crown, cut a circle large enough to
+cover the top and use a bias band around its sides.
+
+Tack the muslin to the frame by long basting stitches. It will be
+necessary to pass under the wire when taking a stitch to keep the
+material in place. The tucked ruffling can be bought by the yard,
+trimmed with a row of narrow lace. The entire thing is banded. To
+adjust a ruffling of this sort place the band around the edge of the
+crown and tack the ruffle in position at short intervals and at the
+extreme edge of the brim.
+
+Net or dotted Swiss is pretty shirred or corded or even put on plain. A
+strip three times the length that it would take to go around the brim
+plain is cut the depth of the brim. This band is cut on the straight
+of the goods. A shirring string is run on both sides. The strip is
+placed in position and pinned taking care to distribute the gathers
+evenly. The shirring string under the crown is pulled up first and the
+material over-handed to the frame. The gathering thread on the outer
+edge of the brim is also adjusted like this, only instead of over-hand
+stitches, fine running stitches are preferable. Then a small heading
+is made on one side of the strip that is to be shirred. The heading
+makes a pretty, soft finish at the edge and does not require any great
+length of time to do. Allow three quarters of an inch, or more, in the
+depth of your ruffle if it is to have a heading. Turn one edge of the
+material to the wrong side. The turn should be a little more than a
+quarter of an inch deep. The gathering thread is run a quarter of an
+inch from the folded edge of the material. When the thread is pulled up
+the heading is formed.
+
+If the material is to be corded, baste a narrow round cord like a
+corset lace inside the material. The cord is placed where it is desired
+and the material is folded over it as for a tuck. A running thread is
+worked close to the cord to keep the two pieces of material together.
+The threads are afterwards drawn up to bring the fulness of the ruffles
+to fit the outer edge of the hat.
+
+Three rows of cording are quite sufficient on the edge and the other
+two rows at equal intervals from the outer brim to the crown.
+
+The ruffles of Valenciennes lace are adjusted by pulling the drawing
+string on the edge of the lace, and basting the first row of lace on
+the extreme edge. The second row just touches the first, and so on,
+filling as many rows of lace in as required.
+
+The embroidered piece is then washed and the brim placed. The edge is
+tacked at intervals while around the crown the stitches are taken very
+close together.
+
+The Tam-o'-shanter crown is pulled in shape by a gathering thread, if
+it is cut in a circular shape and the gathering is all on the edge. Cut
+the circle large enough to make a pretty Tam-o'-shanter.
+
+The embroidery decoration may be in the direct centre of the crown. If
+the design is a small one it can be scattered over the crown to give an
+all over effect.
+
+There are many ways that a lingerie hat may be trimmed and it is
+hard to say which is the prettiest. A black ribbon band and a bow is
+simple but severe. White taffeta ribbon may be used the same way if
+an all white hat is wanted. In fact any shade of ribbon is attractive
+used like this. The illustration shows a pretty way of trimming a
+lingerie hat for a girl of about fourteen. A narrow coloured ribbon
+is used around the crown and a rosette of leaves with rose buds and
+forget-me-nots is attractively placed on one side.
+
+Sometimes coloured linen is used for the hat and in that case the
+embroidery may be worked in the same shade as the linen; or white.
+The hat is then trimmed with white or black. A coloured hat is not as
+practicable as a white one, as the former is apt to fade and may not be
+as becoming as the white.
+
+A baby's buttoned hat is made of two circular pieces scalloped out
+at the edges, one piece being four or five inches smaller than the
+other. The large one is used for the brim. The head size is cut out
+of the direct centre and then bound in tape. Three inches from the
+crown opening sew a circular row of buttons, a half inch apart. Use a
+washable linen, lace, or crochet button for this purpose.
+
+One inch from the edge of the crown make as many buttonholes as you
+have buttons. A pair of daintily hemstitched strings that are attached,
+one on each side of the crown opening, completes this charming little
+hat. It can be easily unbuttoned and laundered flat. These hats are
+made of duck, pique or heavy linen. They are the nicest thing you can
+make for your little sister for the summer when she wants to play in
+the sun.
+
+
+
+
+XVI
+
+LONG AND SHORT, KENSINGTON EMBROIDERY, AND RIBBON WORK FOR SIMPLE
+FLOWERS
+
+
+It is the ambition of every one who starts to embroider to make a piece
+of flower work and though the floral designs are most fascinating to
+embroider they are by no means as artistic as the conventional.
+
+The way to embroider a piece of flower work and obtain an original
+colouring is to get a natural flower and place it in a vase in a
+position that you can clearly see the light and shadow. The best flower
+to start with is a daisy. Note that the petals are not a dead white,
+but there is a suggestion of green toward the centre of the flower. Get
+mercerized cotton to work with at first until you become accustomed to
+the stitch.
+
+There is no cut and dried rule in regard to the colouring, but the art
+of shading a piece naturally is a lesson that is very essential for the
+embroiderer.
+
+To many people the term embroidery means flower work and only after
+a course of instruction they discover for themselves how much more
+artistic and in keeping with most rooms is a conventional design.
+
+Flower work, however, is not to be despised as you will learn more
+about colour combination and Kensington stitch in one piece of this
+style than any kind of embroidery.
+
+[Illustration: Fig. 151. Long and short stitch]
+
+All flower work has long and short stitch on the edge of the petals or
+leaves that do not turn over. Daisies do not have turn over leaves as
+often as a double rose or chrysanthemum. Suppose we draw a very large
+daisy on a piece of white muslin. With your needle threaded with white
+lustre start from the right-hand side. Take one stitch on the line.
+Place your needle back near the same point from which you started. Take
+a short stitch that goes a wee bit outside of the stamped line past the
+first stitch. The object of going beyond the line, is that the stitch
+completely covers the stamping.
+
+The third stitch is taken at the same slant, only longer. The fourth
+is a short one and so on, first one short and then one long until the
+top of the petal is reached. Remember, though, these stitches are only
+on the edge. The left half is worked the same, but the stitches slant
+a little differently. A good rule to mention right here is, that all
+stitches should slant to the heart of the flower. In leaves they slant
+toward the base. The inside of the petal, when the long and short
+stitches are completed, should be irregular (Figure 151).
+
+The Kensington stitch gets its name from an English school of
+embroidery. It is more like outlining than any other stitch.
+
+After the edge of the flower has been worked in long and short stitch,
+the Kensington stitch is used to give the solid effect.
+
+The piece must be held all the while in a tight fitting pair of hoops
+so that it can not sag in the least.
+
+If the petal is long, two or three rows of Kensington stitch will have
+to be worked to fill it in. If silk is desired, two strands are used
+for the edge and one strand for the Kensington stitch. The stitches
+are dovetailed into each other. Each row must have an irregular lower
+edge, else they will look like bricks laid one on top of the other. The
+stitches should be so worked that it is difficult to tell where one
+ends and the other begins (Figure 152).
+
+[Illustration: Fig. 152. The Kensington stitch]
+
+Three shades of green are sufficient for the leaves until you are quite
+expert. In working them embroider on the edge of the lower half of
+each leaf with the second shade and the upper part with the lightest.
+Work one side first using the second shade under the lightest and the
+third under the second. Work to the midrib only. It is not necessary
+to work in the veins, but if they are desired they are put in after
+the leaf has been worked. Do not hesitate to cover the stamped veining
+on the leaf you are working, as the next leaf will be a guide to where
+to place the veins. They may be in the lightest or deepest shade of
+green, while sometimes a reddish-brown is substituted.
+
+The centre of the daisy may be satin-stitch or a cluster of French
+knots. If the dot is worked from the centre to left and from the centre
+to right you are more apt to get a perfect outline than when starting
+from one side and working to the other.
+
+As a usual thing the lightest shade is on the outer edge of most
+flowers, but there are a few exceptions, like wild roses and some
+species of pansies in which the deepest shade is on the edge and toward
+the centre it is lightest.
+
+The stems may be worked in satin-stitch or Kensington in wood shades or
+deep greens, whichever give the more realistic effect to the flower.
+
+It is a great mistake to use white for the background of flower work.
+Cream or pale gray make a very much softer and more pleasing effect.
+
+Sometimes a little of the stem brown can be worked into the leaves.
+
+Have you ever seen a lace spread or centre piece with flowers
+embroidered on it? You might think that the worker was more than
+ordinarily clever, but really any one who can embroider flowers can do
+this. Baste a piece of fine lawn on the section you desire to embroider
+and stamp it with a spray. Embroider in the usual way and when the
+spray is finished neatly cut away any of the lawn that extends beyond
+the flower without cutting the lace. The result is that the piece has
+the effect of a natural flower resting upon it.
+
+The finer the silk used the more delicate shading can be accomplished.
+
+There is another way to represent flowers that is particularly
+beautiful. It is known as ribbon work or rococo embroidery. The ribbons
+especially made for this work vary from slightly less than one quarter
+of an inch to a little more than a half inch in width. The colours do
+not range in such long lines as the silks. In fact it is rare to find
+a shop that carries more than ten colours. Sometimes the ribbons are
+shaded. They are soft and do not crease quite as readily as an ordinary
+ribbon.
+
+A No. 6 crewel needle is about the right size for the narrow ribbon,
+while the half inch ribbons need a No. 3.
+
+[Illustration: Fig. 153. Ribbon flowers]
+
+Forget-me-nots, conventionalized small asters, and little roses are
+suitable for the narrow ribbons. Satin, moire, broadcloth, or heavy
+silk are used for the background and the daintiest of needle cases,
+jewel cases, handkerchief bags, belts, and other little accessories
+may be evolved from a small piece of silk and a few yards of ribbon.
+The design is stamped on the background and all the single lines or
+stems outlined with filo silk. Let us imagine we are working on a spray
+of forget-me-nots. The needle is threaded with six inches of the narrow
+green ribbon. Slip your needle from the under side of the material
+drawing all the ribbon through but a quarter of an inch. One stitch
+is generally sufficient for a leaf, though sometimes the leaves are
+wider and require two or possibly three stitches. The ribbon serves
+the same purpose as silk. The one point to remember is that the ribbon
+should not be twisted. Naturally in pulling it through the material
+several times it becomes so wrinkled that a short piece works to better
+advantage than a long one. The flower is made in the same way, one
+stitch for each petal and when completed a French knot is made in the
+centre of the flower (Figure 153).
+
+The ends caused from starting and finishing off are fastened or caught
+down with a piece of fine thread on the wrong side.
+
+Do not pull your stitches. The work is very much prettier when it lies
+soft and full on the background.
+
+It is well to make use of every piece of fancy work you do and yet
+sometimes a new thing may strike your fancy and you would like to make
+a small piece.
+
+A card case is acceptable to every girl and it is a good plan to make
+them to match your visiting dresses.
+
+Take a piece of material five by ten inches long. Three inches from one
+of the short edges stamp a design that will not occupy a space larger
+than three inches long and two inches deep. The length of the design
+must run parallel with the short edge of the material. The bottom of
+the stamping must be five and a half inches from the short edge of the
+material.
+
+[Illustration: Fig. 154. A card case]
+
+A little spray of lilies of the valley on a green silk background makes
+a dainty case (Figure 154).
+
+Get a piece of stiff tailor's canvas and cut it to measure eight and
+three quarters inches by four inches wide. A piece of china silk the
+same size as the satin will be needed for the lining. It is best to
+select the shade of silk that harmonizes with the outside material.
+With a green cover a lining lighter or darker is suggested. The latter
+is preferred as the constant fingering of a light colour is apt to soil
+it.
+
+Cut all three pieces so that they are true oblongs; two and a quarter
+inches from the short edge make a crease. Two and a half inches from
+the first crease or four and three quarters inches from the outer edge
+make another crease and cut along it, thus separating the stiffening in
+two.
+
+[Illustration: Fig. 155. The foundation of the card case]
+
+Two and a half inches on both sides of the now short edges of the piece
+that is not creased draw a line from side to side and crease.
+
+On the extreme right-hand side measure down one and a half inches from
+the corner and make a dot; measure up from the lower corner and make
+another dot. The space between the dots should measure one inch. Take a
+twenty-five cent piece and place on the space between the dots so that
+the edge of the material is under the direct centre of the quarter.
+Make a semicircular curve on the canvas around the quarter. Cut along
+the pencil lines (Figure 155).
+
+[Illustration: Fig. 156. The canvas interlining]
+
+The stiffening now ready, baste it to the lining. See that all creases
+have been smoothed out of the China silk lining before basting. Place
+the two pieces of canvas so that there is an equal margin on all four
+sides. The cut edges of the canvas must be placed one eighth of an inch
+apart as shown in the diagram (Figure 156). On one side is the four and
+three-quarter inch piece and the other is the four inch. Pin or baste
+the canvas through the centre to keep it in position. With a threaded
+needle cat-stitch the silk to the canvas, care being taken to see that
+the stitches do not appear on the silk side. Cat or catch-stitching is
+another name for herring-boning, which is explained in the chapter on
+feather-stitching.
+
+Before turning a corner, cut off a small piece of material to prevent
+the corner from being bulky. Treat each corner in like manner: when you
+come to the little curved part, slash the material so that when it is
+folded over the canvas it will fit perfectly smooth.
+
+Fold the canvas and lining along the creases originally made in the
+canvas. An iron pressed over them will help to make them stay in
+position. The embroidered piece is then placed over the wrong side
+of the canvas. A half-inch turn is made on all sides. Turn this half
+inch toward the wrong side of the canvas. Sometimes a layer of cotton
+batting is laid under the embroidery between the canvas and satin. The
+satin piece is basted to the canvas. The folded edge of the satin and
+the folded edge of the silk are overcast with tiny stitches. Fold back
+the two sections of the case and over-cast each side (Figure 157). Your
+card case is now completed.
+
+[Illustration: Fig. 157. The inside of the card case]
+
+
+A bill folder is made in the same way, only that the ends are not
+stitched together to form pockets as in the card case.
+
+It is always well to know how to make pretty, attractive pieces of
+needlework that will make acceptable gifts for Christmas or a birthday.
+
+Nearly everybody has a hobby. Sometimes it is saving receipts,
+sometimes keeping newspaper clippings, and then again it may be keeping
+theatre programmes. It is well to consider what gift is most suitable
+for the one that is to receive it; to make for the faddist an envelope
+to keep her clippings will be just the thing.
+
+[Illustration: Fig. 158. The way to make an envelope]
+
+Take a piece of brown linen ten and a half inches by nine and a
+half inches. Fold it in half so that it measures five and a quarter
+inches by nine and a half inches. Stamp a spray of daisies or wild
+roses on one side and mark what the envelope is supposed to hold,
+such as receipts or clippings. Brown linen does not soil as easily
+as white. Embroider the flowers and the lettering, then dampen the
+linen thoroughly and press on the wrong side. Now take two pieces
+of cardboard that measure eight and a half inches by four and three
+quarters. Cover the cardboard with the linen, use long stitches as
+described in the needle case, except that two pieces of the cardboard
+are placed side by side on the brown linen. Now take two pieces of
+brown paper the same size as the cardboard and cover the stitches.
+Paste should be used to make the paper stick to the linen.
+
+[Illustration: Fig. 159. The envelope]
+
+[Illustration: Fig. 160. The case completed]
+
+Make six envelopes by taking six pieces of paper nine by thirteen
+inches and cut a two and a half inch square from each corner (Figure
+158). One inch over from where the squares are cut make a star. There
+are eight such points as you note. Connect the dot to the corner by
+a line. Cut the paper along the lines. Fold the ends in, then fold
+the bottom flap over these and paste. Fold the top flap over without
+pasting (Figure 159).
+
+Now, holding these six envelopes in the case with bottom edges touching
+the space between the two cardboards, punch three holes through linen,
+cardboard, and envelopes.
+
+Take a half a yard of ribbon and run through the holes and tie the ends
+in a bow on the corner.
+
+Take another half a yard of ribbon and cut in two. Fasten a piece on
+each side of the cover (Figure 160). These two pieces are tied in a bow
+and keep the base of the case closed.
+
+
+
+
+XVII
+
+HARDANGER EMBROIDERY FOR SQUARES, PIN CUSHIONS, AND SPREADS
+
+
+We have to go back to the foreign embroideries to find those that are
+beautiful and yet substantial enough to last beyond the usual life of a
+piece of fancy work. There is nothing we have originated in embroidery
+on this side of the world as rich as Hardanger work, and yet it is
+comparatively little known. The background for this work is a loosely
+woven material like scrim or basket weave materials such as Java canvas
+or the regular Hardanger canvas which is imported.
+
+It is lots of fun working Hardanger in wool on Java canvas as it goes
+so quickly, and after we have learned the stitches we can work it on as
+fine a canvas as we desire.
+
+The simplest stitch is the block. Thread a large tapestry needle with
+a piece of heavy wool. On your piece of Java canvas work a little
+block. The worsted is on the right side of the canvas, and then taking
+a stitch over four threads of the canvas bring the needle up on the
+next opening to the right on the same line as the first. Five stitches
+constitute a block; a space of four threads is then left and the next
+block started, (Figure 161). A great deal of Hardanger has these blocks
+running at right angles to each other with no space between the blocks.
+Mistakes cause a great deal of trouble and sometimes it is necessary to
+rip out quite a lot of stitches before they can be rectified and for
+that reason you must be very accurate in your counting.
+
+[Illustration: Fig. 161. The block]
+
+[Illustration: Fig. 162. The star]
+
+The star is another favourite figure in Hardanger work (Figure 162).
+Four stitches are taken over four threads of the material, side by
+side, then five stitches over eight threads of the material and then
+four again. This forms one side of the star. The second side is made
+exactly the same only that at the base of the thirteenth stitch the
+first stitch of the second side starts forming a right angle. The star
+has four sides as you will note in the diagram of this stitch. Now
+count and see if there are twelve threads on each of the inner sides of
+the star. If you find any mistake go over it and straighten it out.
+There must be twelve threads on each side. Cut four from each corner.
+This will leave four threads directly in the centre of each side. With
+a piece of embroidery cotton about the weight of a thread of your
+canvas weave the bars. The weaving is very simple, over one and under
+the next till the bars are woven. Some of these bars have little knots
+on the outer centre edge of each. They are called picots (pronounced
+pe-co) and they are made somewhat like a French knot. The bar is woven
+half way across and laying the needle on the bar the thread is wound
+around the needle point. Hold each twist down with the left thumb
+(Figure 163). The needle is drawn through and the result is a little
+knot on the thread near the stitches. A little stitch is taken into the
+woven part of the bar and the thread carried over to the other side of
+the bar and another picot made.
+
+[Illustration: Fig. 163. The picot]
+
+For an ornamental stitch to be used on the material between the
+stars or blocks make a diagonal stitch like the first stitch in cross
+stitching (Figure 164).
+
+Pin cushion tops are easy to make and the following instructions are
+given for cushions about four or five inches square. Take a square of
+scrim or Hardanger canvas eight inches large. It will be necessary to
+pull a thread so that the material will be quite straight on the edges.
+Pull out four threads about one and a quarter inches from the edge on
+each side of the material. Turn a quarter-inch fold on one side and
+crease the material again so as to make a half-inch hem. Baste it down
+so that it just touches the drawn threads. Repeat on the four sides.
+Be sure that at the corner the double thickness of drawn threads are
+exactly over each other. We are now ready to hemstitch the hem. Thread
+the needle with No. 90 sewing cotton. Run the thread under the hem and
+holding the double part of the hem toward you take up four threads of
+the material. Pass the needle again around this group and now into the
+hem. Continue in this manner around the four sides. At the corners it
+will be necessary to take up both thicknesses of the material.
+
+Crease the finished square in four. Count sixteen threads upon the
+crease from the hemstitching and with lustre No. C or heavy linen
+thread "aa" make a little block of four strands of floss over four
+threads of the material. Make a flight of eight blocks each at right
+angles to the other. Now instead of continuing in the same direction
+turn and work seven more groups down and to the left. Turn again to the
+left and work seven blocks for the third side of the square. Six groups
+to the right of the third row completes the square.
+
+[Illustration: Fig. 164. A simple ornamental stitch]
+
+[Illustration: Fig. 165. A good arrangement of picot]
+
+Now with your fine embroidery scissors cut close to the stitches of the
+three blocks at each corner. The cut threads are drawn out. Four more
+cuttings will be necessary on each side. They should be made against
+the stitches only; that is, the threads that are running in the same
+direction as the stitches should be cut. Figure 165 shows where the
+cuts were made and the threads drawn out. The remaining threads are
+woven. A mercerized or dull finished marking cotton is used for the
+weaving. It may be either the plain weaving or may have picots on each
+side of the bar. Another pretty arrangement of picots is to place them
+on one side of the bars so that they appear in groups of four each
+facing the other (Figure 165).
+
+Sometimes a lace stitch is used such as the spider or simple loop
+stitch. Directions for making a spider will be found in the chapter on
+lace stitches. The loop stitch is made by taking a stitch in the centre
+edge of each bar. Take a stitch just as if you were buttonholing.
+
+Buttonholing the edge is preferred by many to hemstitching.
+
+A pretty stitch often seen bordering a row of drawn work is made in
+pyramid form. It can be as deep as desired. First take a stitch over
+two strands of the material then three, then four, then five and down
+again to two (Figure 166). This stitch must be worked of course before
+any of the threads are drawn.
+
+[Illustration: Fig. 166. The pyramid stitch]
+
+If a little larger and more elaborate square is wanted, take a piece of
+material nine or ten inches square. Make a star, skip four threads and
+work the open squares described for the smaller pin cushion.
+
+On the opposite side of the square, directly across from the first
+star, skip four threads and make another square. At the other two
+corners of the square make a star (Figure 167).
+
+[Illustration: Fig. 167. The Hardanger square pin cushion]
+
+The German peasant girls are proud of their aprons with a border of
+Hardanger embroidery. It is a common thing for them to have a border
+fifteen or eighteen inches deep. Often they will make yards and yards
+of a pattern, say four inches wide, and they will insert it above the
+hems on sheets and towels and cut out the background material.
+
+There is no nation on earth as thrifty as the Germans. A German girl
+I know who is only nineteen years old has her entire bedroom fitted
+up with Hardanger articles that she has made herself. First there is
+the bedspread and bolster, each most elaborately embroidered with an
+all-over design. Then there is a round pillow (the edge buttonholed)
+and a square pillow as well as the bureau scarf and pin cushion. If
+she bought the articles already worked she would have paid hundreds of
+dollars for the outfit, while the actual cost was only a few dollars.
+Nearly all the best of fancy-work shops sell small pamphlets on
+Hardanger work that are not expensive and after one is familiar with
+the foundation stitches it is an easy matter to follow the designs they
+give.
+
+
+
+
+XVIII
+
+APPLIQUE ON LINEN AND OTHER MATERIALS AND HEDEBO EMBROIDERY
+
+
+Applique, or laying one material on another and stitching or
+embroidering them together is one of the simplest forms of embroidery
+that even the Indians years ago knew how to do. How many of you have
+not seen on an Indian woman queer shapes cut out of leather and
+ornamented with beads used for a border on her skirt?
+
+There are two kinds of applique, underlaid and overlaid. Most of the
+work is the latter kind. The underlaid is a little more difficult to
+do. It will be explained at greater length later in this chapter.
+
+Applique is such easy work that you will almost think it a mistake not
+to have heard about it before, but after all it is really necessary
+that we should know the simpler embroidery stitches before we attempt
+an applique piece, so that we can decorate it in the manner to suit
+ourselves.
+
+The European peasants work some of the crudest specimens of applique,
+yet their colour schemes and choice of material are good. For
+instance, Russian crash, which is sold at the towel department of many
+of our large department stores, from twelve to twenty cents a yard,
+and which is very narrow, usually about sixteen inches wide, is often
+employed as the background of their portieres.
+
+Before the Russo-Japanese War it was possible to get Russian crash as
+wide as forty inches. It is made by the peasants in their homes from
+the waste ends left from weaving linens. You have no doubt read of how
+poor Russian peasants live in hovels in the same room with the cow, if
+they are fortunate enough to possess one, and their pigs. Necessarily
+the work they do is not very clean but the artistic qualities of the
+crash overcomes the fact of the dirt.
+
+The better class of peasants will take three strips of crash and
+connect them together with coarse sewing or lace stitches and then
+apply circles of broadcloth, or coloured linens on them. Other
+geometrical figures are often applied.
+
+I heard of a Southern family the other day who are so thrifty that they
+allow nothing to go to waste, not even the old coats and trousers that
+have played the double role of clothing the father and then have been
+cut down for Johnny. After Johnny has had all the wear possible out of
+them Grandma again cuts them, this time in the shape of leaves, and
+sews them on a large muslin circle, one overlapping the other. This
+forms a mat for the dining room. I am telling you this story not that
+you may imitate it, but rather to let you know that after all we have
+women here that are as clever and thrifty with their needles as the
+European women.
+
+[Illustration: Fig. 168. A pillow in Hedebo embroidery]
+
+For applique work the design is cut out and the wrong side covered
+almost to the edge with a paste made of starch and water.
+
+When a complicated piece of applique is to be worked, stamp your
+design on the background. Then on the right side of the material to be
+appliqued, or on the wrong side of velvet, lay a piece of transfer
+paper. Place the design on them. With a blunt pointed instrument go
+over the line firmly till you have a tracing of the design. If the
+lines are not quite clear go over them with a pencil.
+
+Cut out each piece and paste it to the background. The edges may be
+machine stitched or satin-stitched or outlined. A cord, also the
+couching stitch, makes a good finish.
+
+Very clever representations of animals can be made by applique. Take a
+duck, for instance. The breast can be white felt, the head dark green
+velvet. The wings dark brown and the back and tail a lighter brown
+broadcloth. The legs and the bill should be canary-coloured taffeta
+silk. Cut each section so that it slightly laps over the other.
+
+Applique underlaid is accomplished by stamping the design on the wrong
+side of the material and then cutting it out. The background is left
+intact like a stencil. A piece of material of a different colour is
+laid under the cut piece of material. The raw or cut edges may be
+treated in many ways. The material may be turned back and stitched
+by machine or the edges may be finished with buttonholing stitches,
+couching, fine satin-stitch or chain stitch. The turning back of the
+cut edges requires that they be neatly done or the embroidery will not
+show to its best advantage.
+
+Hedebo embroidery is in no way connected with applique work, but like
+the latter it is a branch of needlework that few people in America
+understand. Without exception it is the most elaborate form of white
+work. The stitches give the effect of being very difficult, but this
+is not so. The work requires a lot of time and careful planning of the
+stitches for which buttonhole stitch is usually the foundation.
+
+[Illustration: Fig. 169. An elaborate design in Hedebo]
+
+[Illustration: Fig. 170. Part of a Hedebo collar]
+
+Hedebo is worked on a finely woven linen. The design is stamped
+directly on the material. A thread of D.M.C. No. 25 or spool linen
+thread outlines the figures. Within the design, the linen is cut one
+eighth of an inch from the running thread. This eighth-inch extension
+is then turned under the stitches and basted down. A small piece
+of dark green oilcloth is then laid under the figure to be worked
+and basting stitches hold the material and oilcloth together. The
+oilcloth protects the fingers and it is often used by foreigners in
+making eyelets. A small piece is used and it is moved as many times as
+necessary. A large piece is too clumsy to hold. On the extreme double
+edge of the opening of the design fine buttonholing stitches are taken.
+The stitches are about one thirty-second of an inch apart.
+
+A section of a design suitable for a collar is shown here and the
+stitches will now be explained that have been used on it (Figure 170).
+
+A bar is formed by laying two or three threads so that they span the
+opening from side to side. Over these threads fine buttonholing is
+worked.
+
+The little triangles are worked by making seven or nine stitches into
+as many of the buttonhole stitches. The second row is worked into the
+first, one stitch from each end is omitted. Continue in this way to the
+point (Figure 171).
+
+The three large loops that separate the pyramids or triangles from
+each other in the two outer circles are worked by making two loops
+that will each take up half the space between the triangles. These
+loops are whipped two or three times to make them heavier and then
+they are covered with buttonholing. Work the first and half of the
+second and then make the loop for the third or last and work it also in
+buttonholing, then finish the second (Figure 172). The centre of the
+circle is made by connecting the opposite triangles and loops together.
+Gently distribute the threads from the centre to allow a small opening.
+Put a thread around this opening and neatly buttonhole the threads.
+
+The middle figure is made by working a row of open buttonholing then
+running a drawing thread into the loops and buttoning this band with
+tiny stitches.
+
+The stitches of the middle circle are somewhat simpler than the ones
+just described. A circle of open stitches is made directly under the
+buttonhole stitches on the material. Divide this circle in eight parts
+and make a large loop at alternate eighths. A connecting thread at the
+centre base of each loop connects each opposite pair of loops. The
+triangles are worked from the centre to the outer edge.
+
+[Illustration: Fig. 171. Triangle in Hedebo embroidery]
+
+The open triangles are made by working a row of open loops around the
+three sides. The loops are drawn slightly together with another thread.
+
+[Illustration: Fig. 172. Buttonholed loops]
+
+There are many pretty edges that can be used as finishes for work. The
+linen pieces, however, have to be hemmed first and then the fancy edge
+put on. An edge of pyramids is attractive. An edge of buttonholed
+loops with a picot in the centre of each bar as described on Hardanger
+is also good. Sometimes the loop or pyramid may need stretching in
+shape. Take a pin in the lower centre and pull the edges out the
+desired size.
+
+In turning curves an extra little loop may have to be worked so as not
+to crowd the large points.
+
+
+
+
+XIX
+
+HEMSTITCHING FOR HANDKERCHIEFS AND COLLAR AND CUFFS SETS, ALSO SIMPLE
+DRAWN-WORK STITCHES
+
+
+Drawn work is another of the fascinating branches of fancy work and
+when used in combination with embroidery it greatly enriches the piece.
+Suppose now that you wanted to make a handkerchief and yet did not want
+to take the time to buttonhole the four edges. Well there is nothing
+more appropriate than hemstitching. The very expensive handkerchiefs
+only have two threads drawn before hemstitching them but it will be
+easiest to hemstitch when more threads are pulled.
+
+[Illustration: Fig. 173. Hemstitch]
+
+Handkerchief linen that can be bought from one dollar up per yard is of
+course the correct thing to use, but lawn or fine china silk is often
+substituted.
+
+A third of a yard of linen thirty-six inches wide will make three
+handkerchiefs. A thread will have to be drawn so that the squares will
+be perfectly straight. A twelve-inch square of linen will make a nice
+little handkerchief. Narrow hems not more than one-quarter inch wide
+are more generally used at present so we will plan our handkerchief for
+that.
+
+[Illustration: Fig. 174. Hemstitching, second step]
+
+Measure up from the edge of one side five eighths of an inch and draw
+out four threads one at a time. The other three sides must also be
+treated in like manner. After measuring the first side with the tape
+measure the other sides are more accurately measured by turning up one
+corner of the side that has the thread drawn so that it forms a right
+angle. The upper edge of the angle must just touch the drawn threads.
+Crease firmly along the diagonal as shown in the diagram. Now with the
+piece still folded over pull the first thread of the second side of
+the handkerchief so that the corner when turned back forms a perfect
+square (Figure 173).
+
+When the threads of the four sides have been drawn fold back one eighth
+of an inch, then make a double fold so that the hem is just one-quarter
+inch wide. Baste it down so that the folded edge lies right under the
+drawn threads. With your needle threaded with a piece of No. 100 sewing
+cotton, start from one corner. Let the end of your threaded needle
+fall between the two thicknesses of the material. Bring the needle
+through the edge of the hem. Work from right to left; pass the needle
+under four of the upright threads. Now pass again under the same group
+of four threads, but this time carry the needle through the edge. Hem
+directly on a line with the fourth thread of the group (Figure 174).
+
+[Illustration: Fig. 175. Another way to hemstitch]
+
+Another way is to hold the material with the hem toward you and work
+from left to right. Pass the needle under four threads letting the
+thread in the needle fall under the point of the needle. Pull the
+needle through, thus forming a loop and taking a stitch into the hem in
+the usual way (Figure 175).
+
+If your thread gives out or breaks, start the next thread by working
+over two or three of the stitches.
+
+In hemstitching the corners take up four of the double threads.
+
+When hemstitching on coarser material more threads can be drawn and
+also a greater number of threads can be taken up when working.
+
+Dainty little collar and cuffs sets can be made by hemstitching the
+hems: and a quarter of an inch above this work make a row of French
+knots or feather-stitching.
+
+[Illustration: Fig. 176. Double hemstitching]
+
+Sometimes when a very open effect is desired it is necessary to double
+hemstitch the threads. This is very simple. Hemstitch in the usual way,
+then turn the work and take up each group on the other side of the
+drawn threads (Figure 176).
+
+Drawn work is worked to perfection in Mexico. There they have large
+classes for the mountain children who do most elaborate pieces on
+frames.
+
+Hemstitching is not always necessary in doing drawn work. Many
+beautiful borders can be made with simple stitches.
+
+The sheaf stitch (Figure 177) is made by pulling the threads for a
+space of a quarter of an inch or more. Decide the width that you desire
+and then cut the threads perpendicularly. Draw the first and last
+thread to the distance desired, and then cut opposite end to match the
+first slash. After the threads have been drawn out neatly buttonhole
+the cut edges with narrow buttonhole stitches. Now place your work in
+your embroidery hoops, or, better still, if it is possible, buy a pair
+of oval ones that are especially made for drawn work. Fasten thread in
+the centre of one of the buttonholed sides.
+
+[Illustration: Fig. 177. The sheaf stitch.]
+
+The number of threads to take up will depend on the coarseness of the
+weave of the material. For medium weight linen take up either six or
+eight threads using a stitch like that shown in the first step of the
+second method of hemstitching. Pass on to the next stitch and when the
+row is finished fasten in the second buttonholed side. The thread that
+passes from sheaf to sheaf should lie straight enough so as not to sag
+between each group or pucker the material.
+
+Another pretty stitch that reminds one of a fish bone is worked
+somewhat like feather-stitching.
+
+Prepare the space as for the sheaf stitch. Connect the thread in the
+same way. Take up six threads on the left hand side placing the thread
+under the point of the needle as it comes through. Now on the right
+hand side divide the group made by the first stitch in half and take
+the last three threads and the three next to it that are not worked
+(Figure 178).
+
+[Illustration: Fig. 178. A simple stitch in drawn work]
+
+A simple stitch is the twist stitch (Figure 179). Prepare the material
+in the same way as for the last two stitches and securely fasten your
+needle in the centre of the bar, skip the first three threads. Take up
+the next three on your needle; pass the needle back under the first
+three. Continue like this till the end of the row is reached.
+
+[Illustration: Fig. 179. The twist-stitch.]
+
+A dainty all-over effect suitable for yokes or corners of
+handkerchiefs, cloths, etc., is made by drawing the threads out so that
+the material left forms squares. Pull a quarter inch of threads then
+leave a half inch of material. Repeat in this manner until the space is
+covered. Cross the lines, forming squares of the material (Figure 180).
+
+The double hemstitching, sheaf-stitch, fishbone, or twist stitch can
+be worked on the drawn threads. You will note that you will have at
+each corner of the solid squares an open quarter-inch square. They
+will require an extra stitch such as the spider described in the lace
+stitches or the loop stitch described in the Hardanger chapter.
+
+Sometimes it is hard pulling the threads of linen. If the threads are
+soaped they come out very easily. Do not wet the soap but just rub it
+dry on the material.
+
+Some of the finest examples of hand embroidery or drawn work are found
+in the convents. Perhaps you are under the impression that drawn
+work must be done right with the hem, but that is not so. I want to
+describe a beautiful handkerchief to you that I once saw in a convent.
+It was made of the sheerest handkerchief linen and one thread only had
+been pulled for the hemstitching. A quarter of an inch above the hem
+another thread was drawn, but this time, instead of letting it extend
+to the hem, a thread was cut one quarter of an inch from the hem at the
+beginning and ending. Six threads were drawn like this at eighth of an
+inch spaces. The four sides were treated in like manner.
+
+[Illustration: Fig. 180. The threads pulled to form squares]
+
+[Illustration: Fig. 181. Cat-stitch over the tape]
+
+[Illustration: Fig. 182. Five rows of tape cat-stitched]
+
+Where the threads intersected at the corner, the squares were
+hemstitched all around, two stitches being allowed to each side of the
+square. The stitches were taken through to the centre of each square.
+Beyond where the lines intersected the six long lines were treated
+quite differently. A piece of fine braid not more than an eighth of an
+inch wide was taken on the space between the first two rows of drawn
+threads. A regular cat-stitch was worked over this. First a stitch
+was taken on the drawn threads above the braid, then, one below it
+(Figure 181). When the braid was entirely covered with stitches on the
+first row, a second piece of tape or braid was placed over the space
+between the second and third rows of drawn threads. This time instead
+of catching the thread of both rows, the stitches are taken into those
+of the previous row on one side of the tape and into the third row of
+drawn threads on the other side of the tape. Five rows of tape complete
+the band between the stitches. Of course all this work is on the wrong
+side of the handkerchief. On the right side, a totally different effect
+is produced. At first glance you would think that there are five rows
+of tiny tucks with hemstitching on each side, until you look again
+closely and see that it is padded hemstitching (Figure 182).
+
+[Illustration: Fig. 183. A handkerchief for an ambitious little girl]
+
+A section of a drawn work handkerchief for some ambitious little girl
+to own is shown in the illustration on this page (Figure 183). It is
+like a cobweb. A piece of handkerchief linen twelve inches square is
+selected. Starting from the outer edge of the four sides an eighth of
+an inch wide space is left, then the threads drawn for an eighth of an
+inch. Repeat this seventeen times. At the corners the space and drawn
+threads form squares.
+
+Now the rest of the space should be divided up in like manner, so
+starting from one corner of the solid square in the centre, draw the
+threads for an eighth of an inch, then leave a space the same length
+and then draw again. Continue in this manner on the four sides of the
+centre square. Pull out all the cut threads and you find that you have
+a deep border of little squares. Buttonhole around the four sides of
+the centre square with tiny stitches, thus keeping the linen from
+fraying.
+
+To get the pointed edge as shown in the handkerchief, buttonhole over
+the line of horizontal threads and four of the vertical. The little
+filling stitch I am going to suggest to you is so simple that really
+after you have buttonholed the handkerchief your task is almost
+completed.
+
+Start in the first point under the solid square and work diagonally
+across the open space. Pass your thread around the centre of the little
+square also on the diagonal. Continue across till you reach the
+buttonholed edge around the linen square in the centre.
+
+Skip the next point and work the same stitch in every other point. This
+stitch and in fact all the rest of the handkerchief should be carried
+out in No. 200 sewing cotton.
+
+In between the worked points make another stitch which is very similar
+to the one just described.
+
+It is started from the edge and a stitch is taken on the diagonal
+across four of the squares and half way across the solid squares at the
+corner of each group.
+
+Having reached the buttonholing next the linen you turn your work and
+repeat the stitch over the same square. The stitches now form the
+figure 8.
+
+The design of drawn work in the centre of the square is simple as well
+as being particularly pleasing. Draw the threads for a half-inch space,
+one quarter of an inch above the buttonholing. This must be done on
+the four sides of the square. The corners must be buttonholed before
+beginning the drawn work. Start the first thread for the drawn work in
+the centre of one of the buttonholed corners. Work the sheaf stitch all
+the way across. Now start a second thread, knotting the first sheaf in
+three, the next in two; so on to the end. These stitches are taken
+quite close to the linen. Both sides of the sheaf stitch are treated
+the same.
+
+The daisy in the corner completes the pattern. The daisy is made on
+the foundation of cross-stitches caused by the sheaf stitch. A Maltese
+cross is made thus forming twelve stitches catching all these together
+in the centre. Now weave a thread around in a circle, one eighth of an
+inch from the centre. To form the petals of the daisy start a thread
+from one of the threads that connect with the buttonholing and catch on
+the woven circle as you would if you were doing fagotting.
+
+Wherever threads are drawn so that they intersect at right angles, as
+in the case of this handkerchief, a space is left vacant which is very
+unsightly if not filled in with some figure. Here it was with the daisy
+which is extremely easy but in the majority of cases it is with the
+Maltese cross.
+
+The wide strip of drawn work shows a pretty pattern for linen scarfs.
+It is nothing but right that every girl should take an interest in
+her bedroom. She may not be fortunate enough to have one entirely
+by herself but that does not excuse her from trying to make it as
+attractive as possible. The key-note to beauty and elegance is
+simplicity. Better have a dainty bureau scarf hand made and a few
+necessary toilet articles than a bureau beribboned and with a lace
+scarf, crowded with old visiting cards, dance orders, and dainty
+nothings that only catch the dust and give one a bewildered feeling
+when one looks at them. The scarf should be worth displaying if it is
+hand work, for remember what is worth doing is worth doing well.
+
+The butterfly pattern of drawn work (Figure 184) is simple and pretty
+enough to please the most exacting and as has been said before is most
+appropriate for bureau scarfs. The material of the scarf may be linen,
+lawn, or scrim. It is quite unnecessary that the drawn work extend
+around the whole scarf--three sides, one long and the two short, being
+quite sufficient.
+
+[Illustration: Fig. 184. The butterfly pattern in drawn work]
+
+Draw the threads out for an inch, then hemstitch the cloth on both
+sides of the space; be sure to take up the group of threads already
+hemstitched when working on the second side. Fasten the thread in the
+direct centre of one end of the drawn work and catch eight groups of
+threads to form the sheaf stitch. An eighth of an inch above the centre
+thread start another thread. Divide the sheaf in thirds and knot each
+section of the first sheaf. Pass the thread to the second sheaf and
+repeat the same thing, this time under the centre instead of above it.
+Alternate sheaves are divided above the centre line and the remaining
+sheaves under.
+
+A third thread is started beginning an eighth of an inch below the
+centre and the other side of the sheaf is divided in three.
+
+A fourth thread is started one eighth of an inch from the solid
+material. This time the sheaf is divided in four, in groups of two.
+First the top of one sheaf is woven like this, then the bottom of the
+next. Continue in this manner till the end of the strip is reached.
+
+The fifth thread knots the groups on the side of each sheaf that was
+omitted by the fourth thread.
+
+You will notice now that the four threads cross each other in the
+centre of the space between each sheaf. Knot the threads in the centre
+and weave across the lower four threads until you have made as large a
+fan as the space will allow. The remaining threads are divided in two,
+three on each side, and two other fans are woven on them.
+
+In the next space the fan of four is reversed and is made in the
+opposite direction to the first group. This pattern is commonly termed
+the butterfly pattern.
+
+Drawn work should be worked on frames, though it is not necessary to
+use the large square one of the Mexicans. The nicest kind of frame and
+one easy to handle is the oval form, which comes in different sizes.
+They are particularly convenient to hold a long, narrow piece, which
+can be worked to better advantage than on the round rings.
+
+Every once in awhile one sees specimens of a new kind of drawn work.
+There is the Mexican of which we have had a few of the simplest
+stitches, there is the Hardanger or Swedish drawn work, which is
+described in another chapter, the Porto Rico drawn work which is very
+intricate and also very trying to the eyes, but after all none compares
+in simplicity to the Bulgarian drawn work. It is so substantial that
+often after the material of the article on which the work is done has
+worn out, the drawn work is as good as new and can be transferred to
+another piece of material.
+
+Bulgarian drawn work instead of weakening the material as Mexican work
+usually does strengthens it considerably.
+
+The work is done in spaces varying from a half inch to three inches
+in width. It can be done on linen, huck or lawn backgrounds, though
+sometimes scrim is used. Personally I do not think it pays to work
+elaborate patterns on scrim as the background is not substantial enough.
+
+We will take for example the first towel end shown in this work.
+
+[Illustration: Fig. 185. A towel in Bulgarian drawn work]
+
+Draw threads out of an inch and a half space. It is not necessary that
+the cloth should be hemstitched, though till you are quite familiar
+with the work it may be easier for counting. The hem is then turned
+over and hemstitched. Make the double hemstitch on the other side as
+described in the first part of this chapter.
+
+I have found that though there are many threads that may be used for
+weaving there is nothing quite as satisfactory as Electro in its
+finest number. Start from the extreme lower left hand corner. Weave
+back and forth over three of the groups with a blunt pointed crewel
+needle for one quarter of the distance from the hem. Now omitting the
+first group weave across three. You will see that you dropped the first
+group and took up the fourth. Weave to the middle of the space. Now
+drop the second group and weave across to the fifth group until you are
+three quarters across the space. Now drop the third group and weave
+across to the sixth. Weave until the space is filled. Without breaking
+your thread weave the seventh, eighth and ninth, then the eighth, ninth
+and tenth, next the ninth, tenth and eleventh, then the tenth, eleventh
+and twelfth. Weaving the eleventh, twelfth and thirteenth brings you
+back again to the hem.
+
+The woven threads will look somewhat like an arch of blocks. Between
+the arch there are six groups of threads. Let us weave that in pyramid
+effect. Start at the hem and weave across the six for a little more
+than a quarter of an inch. Then dropping the first and last groups of
+threads of the proposed pyramid weave over four threads for another
+quarter of an inch. Again dropping the first and last threads of the
+four you were weaving, work across two. Fasten your thread by bringing
+it through the woven stitches into the hem. A new thread is started in
+like manner. You are now ready to start another arch, close to one just
+made.
+
+A little more elaborate design is shown in the second towel end, a
+detail of which is also given (Figures 186 and 187.)
+
+[Illustration: Fig. 186. Detail of Fig. 187]
+
+After the threads have been prepared as has been just described for the
+first towel start from the lower left hand side and weave across the
+threads eight times. The weaving is very simple. First you take two
+groups with needle pointing to the left and then you take the one group
+that you didn't take up the first time. You work back and forth as it
+were.
+
+Now drop the first thread and weave across to the fourth group as in
+the first towel. Each set of three groups will only have eight lines
+however. Continue in this manner till you are one space from the solid
+material, then weave across four instead of three. Start to weave down
+on the right side over the three groups under the block of four. Now
+continue weaving over groups of three until the hem is almost reached
+then weave the last block over four (See detail of Figure 187).
+
+On each side of these blocks weave a row working over two groups.
+
+[Illustration: Fig. 187. A more elaborate design in Bulgarian drawn
+work]
+
+The groups of thread within the woven rows are woven into a triangle.
+
+Bulgarian drawn work is used on pillow cases, handkerchiefs, towels,
+dresses, scarfs, or small square cloths.
+
+Sometimes coloured threads are used and the result is very effective.
+Use cottons and if they are coloured boil them in salt and water before
+working with them.
+
+
+
+
+XX
+
+EASY LACE STITCHES, FAGOTTING, SINGLE MESH, DOUBLE MESH, SPIDERS, FAN,
+MALTESE CROSS, TWISTED AND BUTTONHOLED BARS, PICOTS FOR SIMPLE EDGES
+
+
+One of our best authorities on lace has said that there are over one
+hundred different stitches used in lace. Now there are various kinds of
+laces; there are crochetted, bobbin, as well as needle point laces. It
+is about two branches of needlework laces--Renaissance and point--that
+we will talk about in this chapter.
+
+Renaissance lace is made by basting a flat braid on a given pattern and
+filling the spaces between with simple lace stitches. Point lace is
+made of very fine plain braid with much finer thread and more elaborate
+stitches.
+
+The basting of the braid is extremely important. Sometimes only a
+single line is given to indicate where the braid will be, while again
+a double line is shown. The braid must not be wider than the double
+lines. It may be basted so that the side held toward you will be the
+right side of the lace or _vice versa_. Start from one corner of the
+design, turn over one end of the braid an eighth of an inch. For coarse
+work one row of basting stitches through the centre of the braid is
+sufficient but for fine work baste along both edges of the braid.
+
+In basting around a loop the inner edge of the braid will have to be
+gathered. This may be done in two ways: the first by pulling a thread
+or by running a thread on the edge. At a sharp point the braid will
+have to be turned.
+
+[Illustration: Fig. 187A. Fagotting and feather-stitching on a cap]
+
+The preferred method of working the lace is to have the right side
+facing you. In starting to braid turn up one eighth inch of braid and
+start from a point so that the end may be covered later.
+
+The braids vary from one cent to fifteen cents per yard.
+
+[Illustration: Fig. 188. Fagotting]
+
+[Illustration: Fig. 189. Single Brussels stitch]
+
+A simple stitch in lace that greatly resembles the Turkish stitch
+in embroidery is fagotting. It is a stitch that is often used by
+dressmakers to connect bias bands together for yokes and sleeves. For
+this as well as other lace stitches the beginning of the thread should
+be fastened so as to be unobserved by the average eye. If the braid
+is neatly over-casted the end will be quite secure. Starting from the
+extreme left of the section to be fagotted take a stitch through the
+braid on the opposite side of the opening, letting the thread fall to
+the right. The stitches are taken from side to side. This stitch is
+best suited to long narrow spaces (Figure 188).
+
+The foundation stitch of lace is the single mesh or net stitch. It is a
+stitch that may be used in almost any shape opening. It is a good thing
+when working a piece of lace to pick out one stitch for filling in the
+background; then the design proper can be as fancy as desired.
+
+[Illustration: Fig. 190. A handkerchief in simple lace stitches]
+
+The mesh or net stitch is good for a filling stitch. A blunt pointed
+needle is the best for working lace as you are not so apt to stick
+yourself. Make a row of open buttonholing, not however through the
+background. The second row is worked slightly below the first row. Each
+stitch is taken into a loop of the upper row. If the spaces decrease
+in size drop one stitch from each end for as many rows as necessary.
+To finish the stitches overcast them to the braid. To many lace makers
+this stitch is known as single Brussels (Figure 189).
+
+Double Brussels or the knot is worked like the single only that there
+is a second stitch taken in the same position as the first. The last
+must be short and drawn tightly (Figure 191).
+
+[Illustration: Fig. 191. Double Brussels stitch]
+
+Another pretty filling-in stitch is the spider. It can be as large as
+desired allowing the space it is to be used in to determine the size.
+A thread is spanned across the space and the braid whipped for a short
+distance, say a quarter of an inch. The space is spanned again so that
+the threads cross. Pick up all the threads on the needle through the
+centre and make a little stitch to bind them. Now begin to weave over
+one leg or strand and under another, so on till a good-sized body is
+formed to the spider. In weaving be careful not to skip one of these
+little legs (Figure 192).
+
+Another way to work a spider, to make it a little stronger is to whip
+each leg as it is spanned.
+
+A third and more elaborate spider is one made with the foundation
+thread as described for the first spider and then instead of weaving
+straight around make a stitch back over one leg and forward under two
+until the body is the desired size. This is called the spider in its
+web (Figure 193).
+
+[Illustration: Fig. 192. The simple spider]
+
+It is easier to weave on an uneven number of threads, and the number of
+these should depend on the space. A large space requires a large spider
+with lots of legs.
+
+[Illustration: Fig. 193. The woven spider]
+
+A fan (Figure 194) is made by spanning three or five threads so that
+they come to a common centre on one side and on the other they are
+arranged in ray effect. The weaving is started from the base under one
+thread and over the other on the first row if there are only three.
+The second row is like the first, only the threads skipped in the first
+row are taken up. Alternate rows agree.
+
+[Illustration: Fig. 194. The fan]
+
+A Maltese cross looks like four fans caught together. The threads are
+crossed lengthwise and crosswise and the stitches taken to gather the
+threads in the centre. The weaving is the same as the fans. In weaving
+the fans or crosses do not work much more than half way up (Figure
+195). A twisted bar is nothing more than a thread overcasted (see
+illustration, Figure 124).
+
+[Illustration: Fig. 195. A Maltese cross]
+
+A buttonholed bar is made by laying two or three threads and
+buttonholing over them (Figure 196).
+
+In this age of machine work there are all sorts of braids that may be
+procured for lace work. Little edges that were impossible to buy are
+now made by machinery.
+
+A little edging makes a dainty finish to a straight braid and also
+enhances the beauty of the fancy braids.
+
+To make a simple edging, work a row of picots on the edge of the braid
+which forms the edge of the design.
+
+Dainty yokes, collars, baby caps, and tie ends can be made of a few
+yards of braid and two or three different kinds of stitches.
+
+Another decoration I would like to tell you a little about is Limerick
+darning. It is often used with fine lace work on a background of fine
+net.
+
+The lace thread is used for the darning. The most common of the
+stitches is the plain darning taken up over one hole and under the next
+of the net. The next row is worked close to the first.
+
+[Illustration: Fig. 196. A buttonholed bar]
+
+Darning on net is a decoration that is often used by itself. Smart
+little turn-over collars and cuffs are most attractive darned in heavy
+white floss or colour if preferred. Pin cushion covers and other
+dainty articles that every girl loves to have in her bedroom may be
+darned to good effect.
+
+One of the most simple forms of lace work is Connemara lace. It gets
+its name from the Irish county of that name.
+
+The materials required are Brussels net of any size desired, lace braid
+of a width to correspond with the net, heavy lace rings, a ball of
+Renaissance thread No. 60 or linen spool thread No. 25, as well as a
+spool of coloured cotton.
+
+Connemara lace is used extensively for curtains, bed spreads and in
+fact, on any large piece, when the effect is desired and yet not much
+work. A good design for Connemara lace is shown in Figure 197.
+
+[Illustration: Fig. 197. A good design for Connemara lace]
+
+The net can be white, ecru, or black.
+
+Draw a simple yet bold design on a piece of stiff paper or better still
+a piece of pink or blue paper muslin.
+
+The rings can be bought all ready for applying, for a couple of cents
+per dozen but they can also be made at home. Take a pencil and wind
+around one end of a thread about as many times as you would judge from
+the illustration of the button or ring half worked (Figure 198). Slip
+the threads from the pencil and carefully and closely go over them with
+buttonhole stitches till all the loose threads are completely covered.
+
+[Illustration: Fig. 198 Button half worked]
+
+Baste your net over the design, then baste the braid along the design.
+With a fine thread secure the braid on the extreme edge to the net only
+with fine running stitches. Sew one side of the braid entirely around
+the design then sew the other side down.
+
+The rings are buttonholed to the net.
+
+If a very elaborate piece is wanted, lace stitches may be inserted in
+spaces that are bound on all sides with braid. The stitches, however,
+should be of the simplest, such as the twisted bar or spider.
+
+Honiton braid which is an egg-shaped braid is much more beautiful than
+the plain Renaissance braid employed in Connemara.
+
+The dearest of baby caps, handkerchief tie ends, and other dainty
+little articles on which a fine decoration is desired can be made from
+fine net and Honiton braid. Each section of braid can be cut and made
+to form petals for a flower or to represent a leaf. Honiton is of
+course more expensive than Renaissance braid but a yard of Honiton goes
+a good way.
+
+There is a thread that can be bought by the yard, called picot or
+purling thread. It has a loop at short intervals each side of it. The
+needle can be threaded with it and can be used for stems, tendrils, or
+other parts of a design where a fine single line is desired.
+
+The centre of a flower in Honiton applique may be in worked various
+ways. A small ring or button may be used or spiders may be woven in the
+centre. Again the single Brussels or mesh stitch is worked in a little
+circle in the centre. Use a very small ring, if you decide on rings for
+centre, as a large ring spoils the effect of a flower. Any child can
+make designs for Honiton applique.
+
+The background for Honiton is the fine Brussels net. Sometimes a double
+thickness of net is basted over the pattern and the Honiton sewed on or
+appliqued to the net. The double thickness of net gives a moire effect.
+Each section of the braid is sewed to the net only. Sometimes two
+widths of braid are used, one size for the flowers and another for the
+leaves.
+
+The braids at most art shops can be had in black, cream, or white.
+If, however, you are not fortunate enough to get cream, the white can
+be dyed at home to be as light or deep as you desire. I use cold tea
+diluted in water for a light cream, and coffee for the deeper cream.
+Put the lace to soak in the tea or coffee for a couple of hours. Rinse
+in cold water and let dry. If it is not a deep enough shade put more
+tea or coffee in the water and soak the lace again. Another way to dye
+lace, chiffon or any delicate fabric is to get a tube of oil paint the
+colour you desire and dilute it in gasolene. Of course the gasolene
+makes the paint light, so test the solution by dipping a small piece
+of cloth in and see if it is the right shade. A quart of gasolene is
+sufficient unless the article is very large.
+
+I know a girl who dipped her white hat all trimmed with flowers and
+tulle that was quite soiled into a mixture of gray paint and gasolene
+and the result was a pretty dove gray that everybody thought was new.
+
+Teneriffe or Brazilian point lace is such a simple form of lace making
+that I am going to stop and tell you a few words about it before we
+proceed to the next chapter.
+
+Little forms which look like a large spool with pins stuck in them
+can be bought in many art shops, but you can easily make a foundation
+yourself for Teneriffe lace.
+
+Draw a circle two inches in diameter on a stiff piece of cardboard.
+Sometimes the circle is drawn on white muslin and fastened securely
+to an embroidery hoop or frame. Divide the circle into halves, then
+quarters, then eighths and each eighth divide into six equal parts.
+Make a dot at each division. Thread a needle with a piece of coarse
+thread. Insert the needle one quarter inch beyond the circle and bring
+it up on a dot. Continue in this manner all around the circle. Fasten
+securely.
+
+[Illustration: Fig. 199. The first step in Brazilian point lace]
+
+Now thread a needle with a long thread of No. 80 linen thread. Let it
+be extra length. Pass the needle under each loop from side to side
+until each little stitch has a thread passing through it. (Figure 199).
+Knot the threads in the centre and weave four or five rows, over and
+under the strands close to the centre. Skip a quarter inch then carry
+a thread around and knot each thread as you pass it. Count the threads
+and divide the number by six; on this number weave a little pyramid.
+Repeat the little pyramid five times, each time letting it be woven on
+the same number of threads as the first. Take a thread and catch every
+two threads above the centre figure. An eighth of an inch above this
+work another row, this time dividing the two threads previously caught
+and taking one of them and one of the next row together. An eighth of
+an inch above the row make another row, catching the same threads as
+were taken in the first row from the central figure (Figure 200).
+
+[Illustration: Fig. 200. A motif in Brazilian lace]
+
+Sometimes a pin cushion is used to make Brazilian lace. The pins are
+stuck in and the threads wound over them.
+
+Brazilian or Teneriffe lace can be used for borders on handkerchiefs
+or other fine articles, while again they may be used as medallions on
+waists or other thin clothes. The material from under them is cut out
+so that a lacy effect may be produced.
+
+Other patterns may be readily made. Remember that the stitches are very
+similar to those used in the corners of drawn work borders.
+
+
+
+
+XXI
+
+SIMPLE BASKETS
+
+
+Basketry is so easily done and at such a small cost that almost
+any one, even a very little child, can master it without very much
+difficulty. With very few tools some beautiful gifts and other useful
+articles may be made.
+
+In this chapter it is my intention to tell little children just how
+to make some pretty things with materials that they can obtain from
+nature's storehouse and otherwise.
+
+In making baskets a great deal of rattan is used. I suppose that some
+of my little readers will wonder what rattan is. Well, I will tell
+you. It is a kind of grass or leaf which grows in forests of foreign
+countries, twining about the tress, hanging from branch to branch
+sometimes hundreds of feet in length but hardly ever over an inch
+thick. The people over there in those countries send this material to
+us so that we can make many pretty things. For little boys and girls
+living in the country there are materials which they can get from the
+fields and river banks that may be substituted for rattan.
+
+For instance the water willow when peeled proves a very good material.
+Reed, which is a sort of grass that grows on the banks of rivers, may
+also be used after it is dried and peeled. Raffia is another material
+which is commonly used for this work. It is a sort of soft substance
+generally pale yellow and can be bought by the pound at any large store.
+
+Dried grass is sometimes substituted for raffia and the results are
+often just as pretty as those obtained by the original material.
+
+Grass twine is used. It is something like rope, and rope is often
+substituted for it. Raffia is generally used to cover it in making
+baskets.
+
+A few tools will be necessary for our work such as a strong pair of
+shears, a tape measure or ruler, a vessel for water, and some very
+coarse, blunt-edged needles.
+
+Simple baskets of rattan are very interesting to make and I will tell
+you how to make a small round basket without a cover.
+
+For this basket you will need four fourteen-inch pieces of rattan or
+spokes as we are going to call them, one eight-inch piece and two or
+three longer pieces for weavers.
+
+Before starting the work, the rattan should be soaked in water until it
+becomes soft enough to bend easily. Then two of the pieces are placed
+side by side in a vertical position and the other two in a horizontal
+position crossing the vertical pieces at the centre. Between the two
+horizontal pieces and to the right of the centre the half spoke is
+placed.
+
+[Illustration: Fig. 201. Weaving the bottom]
+
+These are held in position by the left hand, while the right hand does
+the work.
+
+One end of the long piece called the weaver is placed at the centre,
+back of the horizontal spokes, with the end toward the right. The
+first finger of the right hand presses the weaver across the vertical
+spokes, under the horizontal on the left, over the vertical, and behind
+the horizontal again. Repeat twice so as to fasten well.
+
+Separate the spokes evenly, and it is now ready for the weaving (Figure
+201).
+
+If there is any of the winding piece left, it may be used as a weaver.
+
+The weaving is done by pressing the weaver under one spoke and over the
+other until the bottom of the basket is about two and one half inches
+across.
+
+Soak it in water for a few minutes and then bend the spokes upward to
+form the sides of the basket.
+
+In order to make the weaving of the sides of the basket easier, rest
+the work on the knee, holding the spokes with the left hand and press
+the weaver under and over the spokes with the first finger of the right
+hand. If the weaver comes to an end join a new piece by crossing them
+behind a spoke about an inch from the end of each.
+
+When the sides of the basket have been woven, leaving about an inch and
+a half of the spokes extending, it is ready for the border.
+
+Cut the spokes to an even length with a slanting cut, so that the
+points may be easily pushed down between the weaves. Hold the spokes in
+water for a few minutes and then push one of the spokes down beside
+the next spoke at least three quarters of an inch below the edge. Do
+this with every spoke until the border has been completed. Now our
+little basket is finished and ready for use.
+
+Sometimes little girls like to have their baskets brightened up. A
+pretty lining of silk or other material would do this very nicely.
+
+[Illustration: Fig. 202. The basket]
+
+Perhaps some children would like to know how to make a basket with
+a cover. It only requires a little more time but it will prove very
+interesting.
+
+The material for this basket consists of six sixteen-inch spokes, one
+spoke nine inches long and three or four weavers.
+
+The bottom of this basket is made in the same way as the one previously
+described. After this much has been done, wet the spokes and proceed
+to turn them up and weave the sides of the basket. The weaving is
+done rather loosely until you have used three of the weavers. The last
+weaver is drawn more tightly so that the basket will assume the shape
+of an apple with the top cut off. The edge is finished off with a flat
+border which may be made by soaking the spokes in water until they
+become quite soft. Each spoke is brought behind the next one to the
+right of it, and out over the front of the basket. Then the end of each
+spoke which is lying over the front of the basket is brought up over
+the next spoke to the right and is pressed down inside of the basket.
+When it is dry the ends of the spokes may be cut off.
+
+[Illustration: Fig. 203. A mat]
+
+The cover is made like the bottom of the basket, only the spokes are
+bent gradually upward from the centre. The material for this cover
+consists of six fourteen-inch spokes, one spoke seven or eight inches
+long and two long pieces for weavers.
+
+When the cover is nearly as large around as the top of the basket it
+is finished off with a border like the one described for the top of
+this basket. The cover has to be fastened to the basket and the easiest
+way of doing this is by making rings of rattan.
+
+A piece of rattan about twelve inches long is tied into a ring, the
+ends being twisted in and out of the ring. Three rings are necessary,
+none of them measuring more than a half or three quarters of an inch
+across. One ring is attached to the cover on the front between the
+border and the last row of weaving, the ends being sewed under a spoke.
+Another ring is attached in the same way at the back of the cover and
+the third is fastened across a spoke in the front of the basket between
+the fourth and fifth rows of weaving. The cover is placed on the basket
+so that the ring at the back will be just over a spoke of the basket. A
+small piece of weaver is then placed between the third and fourth rows
+of weaving, below the border and to the left of the spoke mentioned. It
+is brought through the ring on the cover and drawn just tightly enough
+to allow the cover to close easily. The ends are crossed and brought
+through to the inside and sewed down, as the rings were. When this is
+done the basket is complete.
+
+There are many other pretty articles that can be made easily, such as
+a mat for a teapot or lamp and trays for other purposes (Figure No.
+203).
+
+A very simple way to make a mat would be to cut four fourteen-inch
+spokes of rattan, one eight-inch spoke, and two weavers. The mat is
+started in the same way as the first basket in this chapter. When the
+end of the first weaver is reached, a second is joined to it. By the
+time the second weaver has been used, the mat is large enough for a
+border. The mat has to be bound. The binding may be done by passing the
+weaver under the last row of weaving just before it reached the next
+spoke. It then goes behind that spoke, in front of the next and under
+the last row of weaving. The spokes should then be soaked in water,
+and when soft take spoke No. 1 and cross No. 2 and push it down beside
+No. 3 and so on around the mat. A number of these mats may be made and
+joined together for various purposes. Two mats joined by ribbon make a
+very pretty whisk-broom holder.
+
+In nearly all this work weaving is the principal thing. By changing the
+weave we can obtain very interesting and pretty results. The simple
+over and under weave may be changed by using two weavers and twisting
+once, twice or three times between the spokes according to the size of
+the article.
+
+
+
+
+XXII
+
+RAFFIA BASKETS AND NAPKIN RINGS
+
+
+Raffia is so soft and strong that it is very well fitted for the work
+of children's fingers.
+
+So many different things can be made with raffia that it is just as
+precious to the little ones as the same amount of gold.
+
+Little baskets made of raffia are dainty and easily made. For example
+a work basket, a candy basket, or a basket for handkerchiefs, collar
+buttons, and many things are interesting.
+
+For one of these baskets we need one long piece of rattan, a bunch of
+raffia and a blunt-pointed needle. Soak the piece of rattan in water
+until it is soft enough to work with. Wind the end into the smallest
+possible ring and with the needle full of raffia start in the middle
+of the ring and sew over and over from left to right until the end is
+firmly fastened. The next row is brought around at a little distance
+from the first and the raffia is brought down through the centre, up
+and once around the coil, thus holding the first coil to the second.
+
+[Illustration: Photograph by Mary G. Huntsman. It is Jolly to Make a
+Raffia Work Bag]
+
+
+Wind the raffia around the rattan until the coil has been brought half
+way around the second time, when it is again sewed through the centre.
+At quarter distance all the way through the basket these joinings are
+made and they must be made to the right of the one below and joined to
+the previous row. The joinings form a pattern.
+
+As the basket grows larger the number of joinings increase. New
+needlefuls of raffia are always started at a joining, the old strand
+being brought from left to right through the upper part of the joining.
+The new strands being brought from right to left through two twists of
+raffia and drawn through so as to leave the short end lying next to the
+rattan.
+
+Begin to wind again and soon both ends are covered. When you have
+made about ten rows, which will form the bottom of the basket, bring
+the rattan above the last row and proceed as before. Each new row is
+brought above the previous one so as to form the sides of the basket.
+When the basket is about eight rows high, the ninth row is brought just
+a little inside of the eighth so as to have something for the cover
+to rest upon. When about three inches from the point where the rattan
+was brought up to make the sides of the basket, it should be cut long
+enough to finish the row and then shaved off to a flat point which is
+sewed closely to the last row. For this basket we will have to make a
+cover.
+
+The cover is made in the same manner as the bottom of the basket. When
+you have nine rows complete, a border is made to finish off the cover.
+The tenth row is sewed to the ninth by a fancy stitch which is made
+by winding once around the ninth from left to right and once around
+the tenth from right to left and so on alternately until the row is
+completed.
+
+The end of the rattan is shaved off and sewed to the last row. A pretty
+lining would beautify this article very much.
+
+One of the very simple things which a very small child could easily
+make is a napkin ring (Figure 204).
+
+Cut a piece of cardboard or stiff paper about an inch and a half wide
+and eight or nine inches long. Paste the ends together forming the
+ring. Take two strands of raffia and knot them. Place the knot inside
+the ring holding it with the first two fingers of the left hand. The
+strand on the right is brought up and across the ring on the top, the
+end hanging over the left side. The strand on the left is brought
+around the right strand under again through the ring and out on the
+right through the loop made by the right strand in turning and
+crossing the ring. Pull both ends. The strand on the left is brought
+across the ring, the right strand placed over it through the ring and
+out through the loop on the opposite side. Pull both ends. The little
+knot formed on the edge is called "Solomon's Knot" and it makes a very
+desirable edge.
+
+[Illustration: Fig. 204. The napkin ring]
+
+Different colours may be used in raffia which brighten the ring very
+much and make the work more interesting.
+
+When the strands of raffia come to an end, a new one is joined by
+placing the end over the old one about an inch or an inch and a half,
+and working with them as one. The ends may be cut off after the ring
+is finished. Sometimes a small bunch of raffia about an inch long is
+tied to the outside of the ring. The ends are frayed out to add to the
+effect.
+
+There is one article which proves to be most delightful and interesting
+to make (that is, to the girls) a doll's hat (Figure 205).
+
+I think that nearly every little girl knows how to braid raffia and
+after you have learned how to sew this braid together you can make any
+size or shape in hats.
+
+Braid some raffia, say about two or three yards. Have several loose
+strands and a needle and scissors.
+
+[Illustration: Fig. 205. A doll's braided hat]
+
+Just as in making large hats we begin with the centre of the crown. A
+needle is threaded with a fine strand of raffia and the work is begun
+by winding the end several times with the end of the strand threading
+the needle.
+
+A coil is then started with the edge of the braid up, not the face,
+and it is sewed through at least two braids at a time, in stitches
+which run in the direction of the braid. The needle is put in slanting
+down from right to left and up in the opposite direction. The crown
+is coiled round and round until it is about two or two and a half
+inches large. The coil is then brought round with the upper edge just
+below the centre of the last row. The following rows are sewed in the
+same way until the crown is completed or high enough to suit you. Have
+care in sewing the braid so as to show as little of the stitches as
+possible. The brim is made by flattening out the braid and sewing it so
+that it overlaps the centre of the braid of each preceding row.
+
+When the brim is wide enough one or two rows are sewed more tightly
+than the others and the end of the braid is sewed under the brim very
+flatly. Now the hat is ready to be trimmed.
+
+I would like to tell a little about the handles of baskets in this
+chapter. In most of the baskets already described a cover has been
+made. Some people would rather have a handle to the basket, so let us
+see if we cannot learn how to make some handles. The twisted handle of
+rattan is made by using one spoke of rattan of suitable length, and a
+weaver. A knitting needle or something similar will be necessary for
+the work.
+
+The needle is pushed down beside a spoke of the basket and then drawn
+out again to make room for the end of the rattan to be pushed in, about
+three inches below the top of the basket. The other end is inserted in
+the same way on the opposite side. This makes the foundation handle.
+The end of the weaver is inserted under the third row of weaving to
+the left of the spoke and pushed up between the weaving. It is twisted
+around the foundation about an inch apart. When the opposite side is
+reached, the weaver is pushed in under the third row of weaving on one
+side of the handle spoke and brought out on the other side. The weaver
+is then laid across the first twist and each of the following ones, to
+the other side where it goes under the third row as on the opposite
+side. About five or six times across will cover the handle. The weaver
+is fastened off by bringing it inside the basket across a spoke, in
+again, and then cut off.
+
+The braided handle is made by using six pieces of rattan braiding using
+two pieces in each strand.
+
+While weaving the basket, three pieces are pushed in on each side of a
+spoke and the weaving is continued over the spokes.
+
+The double ring handle is made by twisting rattan into rings and sewing
+the rings to the weaving of the basket on opposite sides.
+
+In sewing baskets or other articles, different kinds of stitches are
+used. To put a hat together the braids are sewed together with a
+plain stitch, whereas in putting a basket together a fancy stitch is
+employed.
+
+The Indians are famous for the various kinds of fancy stitches, which
+they have used in making basketry articles.
+
+The skip stitch which is used in sewed baskets is made by enclosing two
+spokes at a time or enclosing one spoke between every two.
+
+Another useful and decorative stitch which is often used is the split
+stitch. The spokes are twined with raffia for a certain distance and
+then are split in two and the right spoke of one is joined to the left
+spoke of the other and twined with raffia as one.
+
+Sometimes in making a cover for a hanging jar the spokes radiating from
+the centre are brought diagonally across each other and joined together
+by the winding stitch.
+
+Many of the simple lace stitches described in a preceding chapter prove
+very useful in basketry work.
+
+To make the melon-shaped basket shown in Figure 206 a six-inch pair
+of embroidery hoops will be needed. One hoop is placed inside of
+the other. The inside hoop is perpendicular while the other one is
+horizontal. Tie the two rings together at the point of intersection.
+
+From basket splint one sixteenth of an inch thick, cut six strips which
+are ten inches in length. They should be one inch and three quarters in
+the centre and taper to points at both ends.
+
+[Illustration: Fig. 206. A melon-shaped basket]
+
+Select raffia in two shades. The natural and brown were used for this
+basket. With a strand of the brown start to weave at the point of
+intersection.
+
+Wind around the four pieces of hoop until a square about one and a half
+inches is made. Repeat on the opposite side of the hoops.
+
+[Illustration: Photograph by Mary G. Huntsman. Sewed Raffia Baskets
+Make Attractive Gifts]
+
+Take two of these pieces of prepared basket splints and insert them in
+the centre of both squares. First one side of the pieces is inserted
+in the square and then the other end of the ribs is inserted in the
+other square. The natural colour raffia is now used to weave over the
+hoops and ribs. The weaving is done over and under and back and forth
+from side to side until there are a dozen rows of weaving. The other
+side of the basket is treated in like manner.
+
+The other four ribs are inserted two on each side of those previously
+placed. Now begin and weave all the way across. Weave several rows of
+brown then the natural raffia. You will put in more or less of the
+brown raffia as you desire, only the pattern on each side of the centre
+must agree.
+
+Instead of weaving from one side and then across to the other, it is a
+better plan to weave a little first on one side of the basket and then
+on the other. In this way you are sure of your pattern.
+
+[Illustration: Fig. 207. The cover]
+
+If the raffia is threaded in a large needle it is easier to weave.
+
+Another strand or more is wound around the handle. A basket such as
+this makes an attractive fruit basket and is just the thing to give to
+sick friends or to use when going berrying.
+
+[Illustration: Fig. 208. Buttonholing the cardboard]
+
+[Illustration: Fig. 209. A simple basket box]
+
+Raffia can be used in many ways as you have already seen. A pretty box
+for jewellery is one that is almost as easy to make as the napkin ring.
+Get a sheet of thin white cardboard. The brown cardboard is a very weak
+material and easily bends and breaks. Cut two circles of cardboard five
+inches in diameter. Use compasses to inscribe the circle, so that it
+may be perfect. Then cut a strip seventeen inches long by two inches
+wide. From the centre of one of the circles cut a two-inch circle. This
+piece will be the top of the box. Now thread your needle with a strand
+of the raffia which has been soaked in water and buttonhole in raffia
+over the cardboard. When the cardboard has been entirely covered with
+the raffia stitches (Figure 207) take the other circle of cardboard
+and cut a half-inch circle from the centre. Cover this piece of
+cardboard like the top. (Figure 208). The raffia should be wiped before
+using it; if not the water will spoil the cardboard.
+
+The centre opening on the cover will be filled with a
+spider-in-its-web. Make four strands of raffia across the space. We
+now have eight spokes. Take the threaded needle back to the centre and
+having passed under a spoke go back and pick it up. The idea is to go
+back over one and forward under two. Continue in this manner till the
+spider is the size you desire.
+
+The long strip of cardboard is sewed together and is worked like the
+napkin ring. With a strand of raffia, cast or bind the bottom of the
+box to the side. The top is fastened on one side with two strands of
+raffia which are tied in a bow. The extra ends are cut off.
+
+
+
+
+XXIII
+
+RAFFIA HATS
+
+
+Many of our little girls have made any number of dolls' hats by just
+braiding raffia and sewing the braids together.
+
+If you were to make a large hat (by this I mean a hat large enough
+to wear yourself) by sewing braids of raffia together, it would be
+entirely too heavy and also would fall into any shape, perhaps not a
+very desirable one.
+
+The only thing to do would be to procure a wire frame and to make the
+raffia hat on it.
+
+In order to do this we will have to braid enough raffia for the whole
+hat before doing anything else.
+
+For this kind of braiding the raffia will have to be soaked in water
+and then rolled out so that the strands will look like pieces of ribbon
+about three quarters of an inch wide.
+
+You may use a five, seven, or nine strand braid for this hat. Take one
+long strand of raffia and place it horizontally on a flat surface. Tie
+seven long pieces to the horizontal piece as shown in Figure 210.
+
+Begin with the last strand on the right-hand side and weave it over the
+next, under the following one, etc., toward the left side letting it
+hang out to the left. Take the next strand on the right and weave it in
+the same manner as the preceding one.
+
+[Illustration: Fig. 210. Weaving the raffia]
+
+When the left-hand side is reached, drop the first left-hand one with
+the rest and let the new weaver hang out till the next is brought over.
+The first one, when it reaches the left side, is always turned over the
+last weaver just brought over before dropping it (the first one) into
+place with the others.
+
+When the first set of strands are used, replace them one at a time by
+using the new and old together about two inches from the end of each.
+
+It will take about eighteen or twenty yards of braiding to cover the
+frame. When the braiding is ready to sew on the hat, begin with the
+centre of the crown. When the crown is entirely covered, start with
+the brim and begin sewing the coils together to the frame at the base
+of the crown. The under side of the brim may be covered with silk or
+material of a similar kind, or if you prefer to have it, covered with
+braid sewed on in the same manner as the outside, beginning at the base
+of the crown.
+
+When the whole hat frame has been covered with the braiding, you may
+roll it in the front or on the side, or in fact any place to suit
+yourself. A nice large bow of ribbon placed on the hat in a becoming
+fashion would make it very attractive, or for those who prefer flowers
+and ribbon the hat trimmed in this manner would be equally charming.
+
+A woven raffia hat made on a wire frame is a very charming and neat
+creation.
+
+It takes time and patience and skill to make the hat, but when it is
+finished you are doubly repaid for your work and the time spent on it.
+
+The crown is woven first and then fitted to the crown of the wire
+frame. Take a small strand of raffia to make a ring of very small
+dimensions, say about one quarter of an inch in diameter. To this
+ring, knot eight strands of raffia as shown in Figure 211. Eight more
+strands are tied around each of the eight strands, using the very
+pretty and effective "Solomon's Knot."
+
+[Illustration: Fig. 211. The crown of the hat]
+
+This knot is a very simple twist and may be tied either with a double
+or single strand. The strand which is tied on is laid first under the
+main double strand and then both ends are crossed over each other. The
+right one goes first under the end of the left-hand one and over the
+double middle strand and then again under the loop of the left-hand one.
+
+It would be well to practise with strands of raffia other than those
+used in making the hat so as to become quite familiar with the knot
+before using it on the hat. Counting the eight strands tied to the
+ring and the sixty-four strands that are Solomon-knotted to the
+original eight we have seventy-two strands in all. They start from a
+common centre and are brought down and outward through the pattern and
+are knotted one by one onto the main strands as they cross.
+
+If you were to trace any one of the seventy-two strands you will find
+that it comes to the outside edge of the square through a very simple
+course. The last or eighth strand, knotted to the main strands, is used
+to tie up the bunch of strands coming from the sides of the diamond.
+It falls into place with the other strands and is tied up in turn as
+the others are. The larger knot tying up the bunch of raffia in the
+centre of the diamond is the same kind of knot as the smaller ones. It
+may look slightly different in composition, but that is due to the fact
+that it is being tied around a larger bulk.
+
+After the knots have been all tied at the edges of the diamonds, the
+ends are woven under and over making a sort of a square design as shown
+in the illustration.
+
+The finishing of the crown is done by taking four strands, two from
+each of the squares at the centre, and knotting them together with a
+simple knot. Two from each side are knotted together.
+
+If you find that the strands do not come out in sets of four, make an
+extra strand by splitting in two one of the other strands.
+
+The brim of the hat is not so tedious to make as the crown and having a
+larger surface on which to work you will find that the progress is more
+rapid and requires less time and energy.
+
+Knot on the outer wire of the frame as many strands of raffia as will
+fit very closely but easily side by side and then tie them into loops
+such as were used on the edge of the crown of the hat. This loop is the
+same as that used in making the shopping bags and hammocks described in
+the next chapter.
+
+You may use your own judgment in designing the brim. The outer edge may
+be made of the same loops that we have just spoken of. On the next row
+the strands of raffia are drawn down tightly and tied around the wire
+with a simple knot.
+
+Alternate these two designs and you will have a very pretty brim.
+
+To finish off the edge on the brim, cut the ends off to about three
+quarters of an inch in length and sew them in under the wire with a
+needle threaded with fine raffia. A tapestry needle or a darning needle
+would do for this purpose.
+
+The trimming for this hat could be easily made of raffia. I will leave
+it to the maker to decide what would be most suitable to the taste.
+I might suggest such articles as buckles made of raffia or rattan or
+perhaps quills made of raffia.
+
+If you do not care to have the hat trimmed with its own material,
+velvet ribbon, satin, flowers, quills, etc., would make a desirable
+trimming.
+
+A very bewitching hat of a plain, three-strand braid of raffia can be
+easily made with very little trouble.
+
+The raffia has to be soaked in water until it is soft. Unroll each
+strip and it will probably be about three quarters of an inch wide. In
+order to make the braid thick enough it will be necessary to use three
+or four pieces in one strand of the braid. Braid about nineteen or
+twenty yards before beginning to make the hat.
+
+Choose a wire frame of a low rounded crown and a broad flat brim. If
+you wish to change the shape of the frame after the braid is sewed on,
+it will be a very trifling matter.
+
+The end at which the braid is begun forms the centre of the crown. It
+is bent over at about five eighths of an inch from the tip and the
+long end is coiled around in a second row, the edge of which comes an
+eighth of an inch under the edge of the centre. It is generally sewed
+on with a darning needle, threaded with a very fine strand of raffia.
+Use the back-stitch bringing the strand all the way through on the
+right side and then all the way through underneath.
+
+The crown is made entirely by sewing the plaits together, separately
+from the wire frame, but it will be well to try it on the frame
+occasionally so that it will securely fit. When about six or seven rows
+have been sewed together and the crown is four or five inches high, the
+brim is begun. The coil of braiding is brought around more loosely and
+flattened out as it is sewed.
+
+When six or seven rows have been completed, the brim at the back will
+be large enough. Each succeeding row will have to be cut as it gets
+near the back and the end fitted in under the previous row until the
+sides near the back are about nine or ten rows wide and the front
+twelve rows. It would be well to pull the coil slightly tighter as it
+draws nearer the outer edge so that the last rows may roll a little.
+
+If you care to have the under brim of braided raffia it can be made in
+the same way, except that it is one row wider at the front and sides,
+to allow it to roll over the edges of the brim. It is pressed on the
+wrong side and attached to the under brim of the wire frame, with very
+small stitches of raffia. The outer edge of the under brim should not
+be fastened until the crown and the top brim are on the wire frame, as
+the top brim should come over the edge of the under brim.
+
+The crown and the upper brim are now pressed on the inside and put on
+the frame to which they are caught with a stitch of raffia here and
+there.
+
+The centre of the crown particularly should be firmly attached with
+stitching to the centre of the wire frame. A row of braiding is brought
+around to cover where the upper and under brims join inside the rolled
+brim and is sewed on either edge with small stitches of raffia.
+
+[Illustration: Fig. 212. A braided hat for yourself]
+
+A hat like this would be very pretty trimmed with a satin ribbon or
+silk bow. A large bow at the side or the back would make it very
+attractive if the bow is of a contrasting colour.
+
+Some people prefer leaves and flowers, with a little touch of silk;
+others quills or feathery materials. In fact it may be trimmed with
+material of any kind.
+
+
+
+
+XXIV
+
+KNOTTING FOR DOLLS' HAMMOCKS, SHOPPING BAGS, AND OTHER PURPOSES
+
+
+Knotting of raffia for dolls' hammocks, shopping bags, belts, coverings
+for hanging jars, and many other things proves to be a very interesting
+part of the basketry work.
+
+Little girls could easily make some very pretty belts to be worn with
+some of their dainty frocks, and I don't know what could be more
+delightful than a hammock for dolly to sleep in.
+
+First let us see how we can make dolly's hammock. We will have to have
+two small brass rings about three quarters of an inch in diameter,
+twelve pieces of raffia, and a pair of scissors.
+
+Place one of the rings on a table or other flat surface and tie each
+of the twelve pieces of raffia on the ring, leaving an end about an
+inch long. Begin and tie simple knots three inches from the ring and
+one inch apart, knotting the strands two and two until nine or ten rows
+have been completed. Finish the hammock by fastening the ends three
+inches from the last row of knots, to the other ring. The hammock is
+ready for Sally Ann to have a nap.
+
+The next thing to do is to make a shopping bag, to carry all the small
+bundles when you go down town to buy dolls' clothes.
+
+This little bag is made with the same kind of knotting, only the number
+of strands and the arrangement of them differ (Figure 213).
+
+Twenty-two strands of raffia and a pair of scissors are necessary.
+Arrange twenty of the strands in pairs, and tie each pair in the
+centre. Place them on a table with the knots side by side, leaving a
+little less than ten inches on each side of the knots. Begin on one
+side of the centre knots, and tie one strand from one knot to the next
+strand from the next knot. They must be an inch from the first knots.
+Tie the same two strands an inch from the centre on the opposite side.
+In the same way tie the outside strands of this group to form the
+corners. Tie them one inch from the first centre knot. Make ten rows of
+knots an inch apart. When these have been completed, the bag is ready
+for the handles.
+
+Separate the strands on one side of the bag from those on the other.
+Divide the group on one side in half. Fasten each group one and a half
+inches beyond the last row of knots. Braid the strands about six
+inches. Do the same with each group, making four braids in all. Hold
+the two braids from one end of the bag together so that the loose ends
+of one braid overlap the other. Beginning at the middle point make a
+binding one and a half inches to the right and a similar one to the
+left. Cover the binding with "Solomon's Knots." Keep the lines of
+knotting straight. Finish the opposite handle in the same way.
+
+[Illustration: Fig. 213. A shopping bag]
+
+Some day when you have shopping to do for your mother, take your bag
+along and see how handy it will be.
+
+In the beginning of the chapter I spoke of a belt to wear with a pretty
+frock. A belt made of a six strand braid proves to be very serviceable
+to some little girls. You may use plain white raffia or a plain colour
+but oftentimes two colours add to the attractiveness of the belt.
+
+Take three long pieces of raffia, that is, if the raffia is very thick;
+if not, six or twelve pieces using two or four pieces as one strand.
+Hold the strands at the centre in the left hand. Put the strand on the
+extreme right over and under the next two strands. The strand on the
+extreme left is put under, over and under the other strands. This forms
+a braid. Continue doing this braiding until the belt is long enough to
+suit you. To finish the ends tie the remaining loose strands close to
+the braid and cut off the ends. Turn the knots under and sew over the
+ends with the loop-stitch described in a preceding chapter.
+
+In working with raffia many times an article will need something to
+put a finishing touch to it, I would suggest using a fringe or tassel
+according to the kind of work in question. In my experience they have
+proved to be just the thing for such purposes. For example, in knotting
+raffia for a work bag, the ends of the raffia may be left hanging and
+when cut to an even length provide a very plain finish for the bottom
+of the bag. Fringing or tassels would, I think, add considerably to the
+appearance of the article. To make fringe on the bottom of such a bag
+it is necessary to cut the ends an even length after the last knot has
+been made, and with a pin or needle fray out the ends very finely.
+
+The way to make tassels for a finish is to wind a strand of raffia
+over a cardboard about two or three times, or if the tassel is to be
+quite thick, wind five or six times. Slip it off and bind it several
+times near the top with the end strand of the bag. Sew it fast with a
+tapestry needle. Cut through the centre of the loops. A row of these
+across the bottom of a bag are very effective.
+
+[Illustration: Fig. 214. A whisk broom]
+
+A very dainty little article for a very small child to make is a little
+clothes brush or whisk broom. Secure a brass ring about one inch in
+diameter and cover the ring with the loop stitch. Fold twelve strands
+of raffia twice and slip the bunch through the ring bending it in the
+middle. Make a binding one inch below the ring and one inch long; cover
+the binding with "Solomon's Knots." Fringe the ends well and trim off
+evenly (Figure 214).
+
+Knotting in silks, cotton or linen strands should be mentioned in
+this chapter. It is a difficult thing to find a piece of fringe that
+will just match the colour of silk you have but it is an easy matter
+to make the fringe yourself. The simplest kind is the knot fringe.
+It can be made of filo, rope, twisted, or heavy floss when used in
+connection with a silk, satin, or velvet background. For cotton or
+linen background, cotton floss or fine cord can be used.
+
+Let us suppose that you wish to make the fringe into a hem. Take a
+cluster of six or eight strands of rope silk, ten inches in length,
+and draw them through the extreme edge of the hem. If the other kind
+of silks are used, more strands will be necessary. Knot the cluster
+close to the hem. At a little less than a half inch distance over make
+another cluster and repeat in this manner across the space on which you
+want the fringe.
+
+Now take the first cluster and divide it in half. Hold the half nearest
+the next group in your left hand and divide the second group. Taking
+the half close to first group, knot the strands together one half inch
+from the hem. Continue like this all the way across. Do not pucker the
+material when knotting.
+
+A third row of knots is now made below the second. This takes up the
+first half of the knot previously used and half of the next group.
+In this way you form a diamond. If a deeper fringe with more knots is
+desired cut the strands of silk three inches longer. For every inch of
+fringe allow three inches of strands.
+
+
+
+
+XXV
+
+SIMPLE BEAD CHAINS ON SINGLE STRINGS, A HOME-MADE LOOM, WOVEN CHAINS,
+BELTS AND PURSES
+
+
+Have you ever taken pop corn and made a chain of it for Christmas
+trees, or perhaps you have strung cranberries? Maybe it was the first
+time that you ever held a needle. I remember when we were youngsters
+living in the South, our nurse used to take us out under trees and we
+would string "Job's Tears" for hours. Many drug stores sell these seeds
+on strings for infants to cut their teeth on.
+
+The simplest form of bead work is just as easy as stringing pop corn or
+berries. Beads come in all sizes from the tiny ones that are no bigger
+than a top of a pin to the large ones the size of a marble. Sometimes
+you can get odd-shaped beads, flat on one side and curved on the other.
+A string that is pretty enough to wear on state occasions can be made
+of heart-shaped and round beads.
+
+The regular bead needle is very fine and long. It is better when
+stringing a single strand to double the thread. Use linen thread No.
+100 or 150. Thread the needle with a piece of thread eight inches
+longer than double the length of the necklace. Bring the two ends
+together and make a knot three and a half inches from the ends of the
+thread. The thread will be very much stronger if you wax it. Now thread
+seven small round beads then an odd shaped one. Repeat in this manner
+till you have the length of chain desired. Cut off the needle and tie
+the remaining thread in a tight knot close to the beads. Ribbons are
+sometimes used to fasten the chain or necklace together but the little
+clasps that you can buy for a few cents are neater and do not get
+soiled as ribbon does. Fasten on the clasp with the thread that extends
+beyond the knots.
+
+A sweet little daisy chain can be made on two threads. Thread two bead
+needles with two long threads. Bring one end of each thread together
+and make a knot as described above. Fasten the knot to a table with a
+pin so that one needle is on the right and the other one on the left.
+Thread two white beads on your right hand needle. Put your left hand
+needle down through the white bead so that you have a thread coming
+from each side of the beads. Your needles will have changed position.
+Thread the right hand needle with one yellow bead. Pass the left hand
+needle down through this and again the needles are reversed. Thread two
+more white beads like the first two and do the same thing. Now take the
+right hand needle and thread two more white beads and carry the needle
+through the first two white beads from right to left. Thread two more
+white beads on the same needle and carry it through the second or top
+group of white beads from left to right. Thread ten green beads on each
+of the needles and now we are ready to make another daisy (Figure 215).
+Continue in this manner till the necklace is complete.
+
+[Illustration: Fig. 215. A daisy chain]
+
+Another and more elaborate daisy chain is made on one needle. Make a
+knot in the thread and string four green beads. Hold this down between
+the thumb and forefinger of the left hand. Thread one green bead and
+pass through the third of the four beads. Thread another green bead and
+pass through the first bead. Thread one white bead and pass through the
+green one on the left. Thread another green bead and pass through the
+green one to the left (Figure 216).
+
+Third row--Thread a green, pass into a green to the left. Now thread a
+white bead and pass in through the first white bead.
+
+[Illustration: Fig. 216. A woven daisy chain]
+
+Fourth row--Thread a yellow bead and pass through last white, and a
+green bead through the green.
+
+Fifth row--A green bead through the last green, a white through the
+yellow.
+
+Sixth row--A white bead through the last white, a green through the
+last green.
+
+Seventh row--A white through the last green, a green through the last
+white of the sixth row.
+
+Then three white beads on the needle and pass through the first white
+on the second row. Carry the thread through the daisy thus formed till
+you have it again in same position as it was before you threaded the
+three beads.
+
+Eighth row--One green into the last green, one white into the last
+white. (Note that you are now starting another daisy on the left-hand
+side).
+
+Ninth row--One yellow into last white, one green into last green.
+
+Tenth row--One green into last green, one white into yellow.
+
+Eleventh row--One white into last white, one green into green.
+
+Twelfth row--One white into last green, one green into white.
+
+Repeat the directions from the second row. Note that though the chain
+is four beads wide there are only two beads that you work on in each
+row.
+
+If the thread breaks, start the new one, two or three rows back and go
+through the different beads.
+
+The above directions are for a chain that is worked without a loom.
+Now-a-days it is quite possible to buy a little loom for about fifty
+cents, but you can make one at home that will not cost you a penny. The
+size of the loom will depend on what you are working but we presume
+that it is a chain. Should you ever make a purse it would pay you to
+buy a loom.
+
+To make the home-made loom get a piece of card and a wooden meat
+skewer such as butchers use. Fasten the skewer down on both ends to
+the cardboard about two inches from the upper edge. One inch above the
+skewer in the direct centre make a hole and one inch from the bottom
+edge of the cardboard make another hole. Cut six pieces of No. 90
+linen thread, thirty-six inches long. This measurement is sufficient
+for a chain twenty-seven inches or under. Tie one end of each thread
+to the skewer. Now holding the six threads together, carry them down
+through the bottom hole across the back of the cardboard and tie in a
+loose knot to the top hole.
+
+[Illustration: Fig. 217. A home-made loom]
+
+Thread a bead needle with a thread of No. 100 linen thread that has
+been well waxed. Tie the thread to the extreme right hand thread of the
+warp. Now we are ready to make the chain (Figure 217).
+
+First row--Thread the needle with five yellow beads. Pass the needle
+toward the left under the warp threads, letting one bead slip in every
+space. On the left hand side bring the needle up to the right side and
+slip it through the five beads.
+
+[Illustration: Fig. 218. The design for the chain described]
+
+Second row--Thread five blue beads and fasten them in the same way.
+
+Third row--Thread five yellow beads.
+
+Fourth row--Five red beads.
+
+Fifth row--Five red beads.
+
+Sixth row--Two red, one blue and two red.
+
+Seventh row--One red, three blue, one red.
+
+Eighth row--Five blue.
+
+Ninth row--One red, three blue, one red.
+
+Tenth row--Two red, one blue, two red.
+
+Eleventh row--Five red.
+
+Twelfth row--Five red.
+
+[Illustration: Photograph by Mary G. Huntsman. The Fascinating Task
+of Making Bead Chains]
+
+
+Continue in this manner for as many inches as needed (Figure 218).
+When you have used up all the warp threads on the upper side of the
+cardboard roll the finished chain over the skewer and fasten the
+remaining threads in the lower hole.
+
+[Illustration: Fig. 219. Another design for chains]
+
+To make a belt or purse the larger loom will be necessary. Designs used
+for cross stitch are suitable for bead work.
+
+[Illustration: Fig. 220. A third design for a chain]
+
+Before I tell you how to make any more bead chains and the other
+articles that may be made with beads, I want to tell you how to make a
+dainty purse that is illustrated in this chapter. It is made of gold
+and rose-coloured glass beads and it belongs to a bright little girl I
+know who has been using it for the past three years. A spool of heavy
+buttonhole twist of a colour to correspond to one of the coloured beads
+is needed (Figure 221).
+
+Take eighteen strands of silk, each a yard long. See that the ends are
+all even. Tie a tight knot through the centre of the threads. Thread a
+bead needle with one of the strands of silk. Put on two pink beads then
+three yellow, five pink, three yellow, five pink, three yellow, five
+pink, three yellow, five pink, five yellow, one pink, seven yellow, one
+pink, seven yellow, one pink, seven yellow, one pink, five yellow, five
+pink, three yellow, five pink, three yellow, five pink, three yellow,
+five pink, three yellow, seven pink. This completes the first string.
+Do not allow any beads to drop, which they are very apt to do while you
+are working on another row. It is suggested that the strand of silk on
+the left of the beads should be knotted closely to the beads to prevent
+them from slipping.
+
+[Illustration: Fig. 221. The bead bag described]
+
+Unthread your needle and take the next strand; thread two pink, one
+yellow, then slip your needle through the second yellow bead of the
+first row, thread one yellow, five pink, one yellow, now slip your
+needle through the middle yellow bead of the first row or in other
+words slip your needle through every eighth bead on the first row. The
+colouring remains the same. I will start the instructions again for the
+second row which is to be threaded, two pink, one yellow, slip needle
+through bead on first row, one yellow, five pink, one yellow, slip
+needle through bead, one yellow, five pink, one yellow, slip needle
+through, one yellow, five pink, one yellow, slip needle through bead,
+one yellow, five pink, one yellow, slip needle through bead, three
+yellow, one pink, three yellow, slip needle through, three yellow, one
+pink, three yellow, now slip needle through bead, three yellow, one
+pink, three yellow, slip needle, three yellow, one pink, three yellow,
+slip needle, one yellow, five pink, one yellow, slip needle, one
+yellow, five pink, one yellow, slip needle, one yellow, five pink, one
+yellow, slip needle, one yellow, five pink, one yellow, slip needle,
+one yellow, six pink, slip needle into last bead of first row and knot
+the two threads close to the bead. Be sure that the knot is large
+enough not to slip through the hole of the bead.
+
+Thread your needle with the third strand. Put on two pink, three
+yellow, two pink, slip needle through third bead of first group of five
+pink of the second row. (For the rest of the row "slip needle" means
+slip the needle through the fourth bead below the one slipped through
+on the second row) two pink, three yellow, two pink, slip needle, two
+pink, three yellow, two pink, slip needle, two pink, three yellow, two
+pink, slip needle, two pink, five yellow, slip needle, seven yellow,
+slip needle, seven yellow, slip needle, seven yellow, slip needle, five
+yellow, two pink, slip needle, two pink, three yellow, two pink, slip
+needle, two pink, three yellow, two pink, slip needle, two pink, three
+yellow, two pink, slip needle, four pink.
+
+The fourth row is the same as the second. Every other row from the
+third is also worked like the third.
+
+The last row which joins the bag--Two pink, slip needle into fourth
+bead of next to last row, thread three more beads, slip into centre
+bead of the group of sevens of the first row. The pattern is
+diamond-shaped as you will note, therefore after threading your needle
+with three beads of the shade to correspond with the previous row slip
+your needle in the centre bead of the groups of seven of the preceding
+row and the first row. Work first to the right and then to the left.
+
+Every two strands of silk must be knotted together to keep the beads
+from slipping off. Braid the threads extending beyond the bead work in
+groups of three. A large bead or slide will be necessary to make the
+purse a practical money bag. Get two big beads that have openings large
+enough to pass all the silk threads through. Take a knot on the silk
+thread after the first large bead is in position. This knot should be
+two inches at least from the beads. The silk threads may now be cut
+quite close to the knot or they may be cut one inch from the knot to
+form a tassel.
+
+If the little purse was left without any further work it would look
+quite top heavy and unfinished, for that reason a bead tassel is
+suggested as shown in the illustration of the bead purse.
+
+Thread your needle with a long strand of the buttonhole twist. String
+about two and a half inches of pink beads. Before commencing to string
+the beads fasten the thread in the heavy knot at the bottom of the
+purse. Catch the thread with the beads also in the knot. Make two pink
+strings this length and two yellow. Then make four strings, two pink
+and two yellow, that are not more than an inch and a half long. Fasten
+off the threads securely and the bag is complete.
+
+Three bunches of pink beads and two bunches of yellow will make two
+purses as have just been described. The beads vary in price from six
+cents a bunch to twenty-five cents. Sometimes the more expensive kind
+have only half the number of beads that the cheaper bunches have. Do
+not get too small a bead or the work will become very tedious. The
+large beads for the slides are more expensive. They cost four cents
+apiece or more.
+
+Of course other colour combinations can be made, also other patterns.
+Silver and blue is another pretty combination for a bead purse.
+
+Now while we are on the topic of beads, I would like to tell you
+about some sensible portieres and cushion tops that I recently saw at
+an Arts and Crafts exhibition made of an inexpensive background and
+beads. Monk's cloth was used for one of the portieres. Monk's cloth
+is somewhat like burlap but the weave is coarser and more even. A hem
+was turned on one short side and one of the long sides and the thread
+drawn out for a space of about two inches. The threads were hemstitched
+and then a design of beads worked between the groups of threads. To
+accomplish this the design was well planned out before commencing the
+work. The number of beads needed to fill out the space can be judged by
+placing the beads in the opening and testing that for yourself. After
+the design has been selected make a pencil copy of it. It is better to
+restrict yourself at first to just two colours. Fasten your sewing
+thread securely to the threads of the material. Use carpet thread for
+the weaving. Let us suppose that you have selected a pattern that is
+seven rows of beads deep and you have chosen tan as the background and
+red and chalk white beads for the decoration:
+
+First row--Thread one red bead, six white, one red, six white. As we
+will only work a section at a time, let us secure the beads. Slip your
+thread under the hemstitching. Now let each bead come between two
+consecutive groups of hemstitching. Bring your thread to the right
+side. Be careful not to disturb your beads. Now carry the thread
+through the beads again. The thread should be drawn tight but not so as
+to pucker the hem.
+
+Second row--Work this by stringing one white, one red, four white, one
+red, one white, one red, four white, one red. Fasten as described in
+the first row.
+
+Third row--One red, one white, four red, one white, one red, one white,
+four red, one white. Fasten.
+
+Fourth row--One red, one white, one red, four white, one red, one
+white, one red, four white. Fasten.
+
+Fifth row--One red, one white, four red, one white, one red, one
+white, four red, one white. Fasten.
+
+Sixth row--One white, one red, four white, one red, one white, one red,
+four white, one red. Fasten.
+
+Seventh and final row--One red, six white, one red, six white. Fasten.
+
+After this section is worked slip your needle through the beads to the
+last one on the first row and continue to weave.
+
+The beads to use for portieres or large pillows are round ones that are
+three eighths of an inch in diameter.
+
+For curtains, table covers or any article where the weight of the
+large bead is not desirable use a smaller bead that is not more than a
+quarter-inch in size.
+
+Scrim curtains with a single row of the smaller beads add a pretty
+touch of colour to the otherwise plain window. Almost any shade can be
+had in the beads, but the trouble is that they can not be bought at
+every store. A bead supply house is the one from which to get them.
+They cost only one-quarter as much as when bought in a department store.
+
+Ecru scrim with a row of turquoise blue, canary yellow and sage green
+beads and the simple twist stitch such as described in the chapter on
+"Simple Stitches in Drawn Work," makes a curtain suitable for a simple
+room. The way to accomplish this work, is to take a stitch on the drawn
+thread, in the regular way for the twist stitch, then slip a bead on,
+then take another stitch, then a bead, so on to the end.
+
+If a skeleton square of beads is desired on a sofa cushion it is
+advisable not to draw it out in the same manner as for a curtain.
+
+For a two-inch border to be set in four inches from the edge, crease
+the cushion through the direct centre. Measure four inches from the
+edge and cut the material on the crease for two inches. Treat each side
+like this. Draw the threads out on each side of the cut, stop when
+you get four inches from the edge. Of course the material must be in
+a perfect square and just the size you want for the pillow before you
+begin any of the work. Place the beads as explained for the portiere.
+Do not cut the threads you drew out but, threading a needle with two
+or three at a time, carry them through the beads. In this way there is
+no necessity for cutting and buttonholing the corners where the border
+intersects, as in drawn work. Loose woven materials such as monk's
+or arris cloth are extremely hard to buttonhole and even after very
+careful work they are apt to fray.
+
+If a fancy edge is desired for the pillow one made of beads is far more
+appropriate than anything else. After the pillow is complete and made
+up, put on the bead edge by catching a bead to the material at a short
+distance from each other.
+
+For a canoe or porch pillow there is nothing more durable than bead
+pillows of a dark colour worked with gay coloured beads.
+
+
+
+
+XXVI
+
+BRAIDING AND WEAVING FOUR AND SIX STRANDS
+
+WEAVING ON LOOMS
+
+
+Braiding or plaiting can be done in any materials and may be used for
+shopping bags or circular rugs. Raffia, corset laces, heavy silk floss
+or rags can be utilized for the braiding.
+
+It is extremely difficult to conceal the ends when three strands are
+used so for that reason I have selected four strands to commence with.
+
+[Illustration: Fig. 222. The strands crossed]
+
+When working with cords or very long strands of material, knot the four
+ends together. Pin the knot to your knee and proceed to weave. Take the
+extreme left-hand strand and weave under the next strand. At the same
+time weave the extreme right-hand strand over the next. Cross the two
+strands in the centre. (See Figure 222.) If a knot is not desired at
+the start the cords may be commenced as shown in the Figure 223.
+
+To braid with six strands take the extreme left-hand strand and weave
+under and over to centre and with the right-hand strand weave over and
+under to centre and cross the left-hand strand (see Figure 224).
+
+[Illustration: Fig. 223. The way to commence braiding without a knot]
+
+After the braid has been made it can be sewed together for a mat. In
+joining a strand insert the new piece so that it extends a little
+beyond the braid. If a long braid is desired it is best to have the
+strands of different lengths so that the joinings will not be all in
+one place (Figure 225).
+
+When braiding or weaving with rags cut the strips about three quarters
+of an inch wide. Old rags can be used for this, cutting out the weak
+parts. Cheap cotton fabrics when new make excellent mats.
+
+Weaving on frames is very interesting and not such a difficult task
+as you imagine. There are hand and treadle looms. The following
+instructions will be for the former. A stretcher such as artists use
+for painting can be used or four pieces of board twenty-four inches
+long by four inches wide and one inch thick. Take the four pieces to
+form a frame.
+
+[Illustration: Photograph by Eddowes Co. A Cushion Top Can be Woven on
+a Simple Hand Loom]
+
+
+Buy three half-inch dowels or long round sticks; which may be bought
+from a hardware shop; and sand-paper till they are quite smooth. Screw
+in four large picture rings two on each side of the frame, one at each
+end. Slip one dowel through the rings at each end and tie to picture
+ring.
+
+[Illustration: Fig. 224. Braiding with six strands]
+
+The warp may be cord which is sold by the pound or a heavy soft twine.
+A wholesale cord or rope house will be the best from which to buy the
+warp.
+
+A thin board such as you have in your window shades and to which
+the string is attached makes a good shuttle. Cut it so that it is
+twenty-two inches long and wind the warp on it lengthwise.
+
+Tie one end of the warp thread to the lower left-hand picture ring.
+
+Lay the warp threads over the lower dowel, up through the frame and
+over the upper dowel. Remember always to lay the thread outside and
+over each dowel. The first six threads are placed very close to each
+other. After that the threads are laid half an inch or a little more
+than a quarter of an inch apart. The finer the weaving the more warp
+threads will be needed. The usual allowance is from four to eight
+threads to an inch.
+
+[Illustration: Fig. 225. The way to join a braid]
+
+Two plain boards that are as long as the dowels and three inches wide
+by a quarter of an inch deep will be required now. Slip into one of
+these boards at each end between the warp threads and bring the boards
+to the centre and tie together to keep them from slipping.
+
+Take a piece of cord nine inches longer than a dowel and tie to the
+throat of the lower left-hand screw. Make a knot at first warp string
+and slip it over dowel. Twist the double thread two, three or four
+times. Repeat slipping over dowel and twisting between every two warp
+strings until you reach the right hand screw. Tie the threads to the
+screw. This is called pairing the threads. Repeat the pairing at the
+other dowel. When the pairing is finished slip the lower dowel out of
+the rings and tie the dowel again to the screws.
+
+To space the warp threads an upholsterer's needle and carpet thread
+will be needed.
+
+If the weaving occupies the full size of the frame, hitch or tie the
+carpet thread to the lower left-hand screw, while if the warp threads
+do not extend very far over place an extra screw on the outside of the
+frame where the warp threads begin.
+
+Buttonhole stitch over the dowel keeping the lower thread down and the
+upper thread on top.
+
+Hold the warp threads apart with finger of the left hand while
+buttonholing. Pull your stitches tight. Two or three stitches should be
+made between each two warp threads. The stitches must be an eighth of
+an inch apart.
+
+Now we are ready for the bridge.
+
+Two feet, as they are called, will be necessary to support the bridge.
+A carpenter will make them for a small amount. They should be seven
+inches high by three inches wide at the base (Figure 226). One foot is
+placed in the centre of opposite sides of the frame and the third dowel
+run through the holes.
+
+Loosen the two boards at the centre and place them close to the dowel.
+Place the bridge over the set of threads nearest you. Take a six-inch
+piece of cord and catch up first warp thread. Tie thread to bridge.
+All knots should be made like a weaver's knot. The loop should not
+extend lower than two inches below the bridge.
+
+[Illustration: Fig. 226. The foot]
+
+This completes the setting up of the loom. To weave, the material may
+be cut as stated before or raffia or Indian fibre may be used. If the
+weaving is to be in one colour only, it is well to join the pieces
+together and wind on a long shuttle. If short pieces are used a hook
+will be required. It can be made of a strip of wood taken from the hem
+of window shades. Notch one end of it.
+
+A selvage will be necessary at the beginning and the end of the weaving
+and is done in a fine cord.
+
+Start at left-hand corner and tie the thread to warp. Pass the shuttle
+to right-hand side between the threads. Lower the bridge and pass the
+shuttle back again between the threads to left-hand side. Raise the
+bridge again and repeat as just explained. It will be best to comb down
+the woof to keep it straight and regular. A regular weavers' comb can
+be bought, but a coarse hair comb may be substituted. Six rows will be
+sufficient for the selvage. The regular weaving is worked the same
+only in coarse warp. Remember the bridge must be lowered every other
+time.
+
+In weaving a new thread or strand commence a little way back from where
+the last strand stopped.
+
+Learn to weave and you get much more artistic effects in rugs than
+ordinary rug or portiere weavers obtain.
+
+Beautiful cushions and other useful articles can be made by weaving.
+
+It is a great mistake to think that all cast off clothing can be woven
+into handsome rugs or portieres. True it is possible to weave them, but
+it is almost a hopeless task to get artistic effects from old coats or
+a lot of dark articles.
+
+The modern rug weavers get a few yards of cheap muslin in two or three
+shades and make a rug that can be sold for two or three dollars. Silk
+is not like old woollen materials, it can be utilized to the last thread
+because it is soft and works to good advantage.
+
+Two old silk petticoats will make two pillow tops that are artistic as
+well as useful. One of the most beautiful examples of silk weaving was
+a cushion I saw made from two old silk petticoats; one was sage green
+and the other Delft blue. The strips were about one inch wide. All the
+worn parts were cut out. No piece was considered too small to use.
+
+Every pattern of rug has a name given it by the weaver. The most common
+pattern is the hit-and-miss. The name aptly describes it. There are
+never two hit-and-miss patterns that are exactly alike. To look at a
+collection of hit-and-miss rugs one is reminded of the Croton shrub
+which has no two leaves alike. As children, we used to call them
+Match-me-if-you-can trees.
+
+A hit-and-miss pattern is a good one to learn on.
+
+Do not weave first one green strip then one blue and so on, because you
+will get a jumble of blue that is neither interesting nor pleasing.
+Decide on which colour you would like for the background, then use most
+of that shade.
+
+I have heard an old weaver say that when she works the hit-and-miss
+pattern she will carry first one stripe of the background the entire
+way across and probably start the second row. A little strip of the
+second colour is then used and then the background again. The good
+worker never cuts her strips all the same length but strives to get the
+effect of little slashes of colour against a solid background. A rug
+made of medium blue and white rags suggests the sea with white caps on
+it.
+
+When an Indian weaves a rug, he sits on the floor and weaves, till he
+has to stand to work.
+
+Tapestry is woven almost the same as described for rugs; instead of
+the loom having a bridge that has to be moved by hand to regulate the
+threads, a treadle is used.
+
+The wrong side of weaving is always facing you on the loom and all ends
+are fastened afterward with a needle and thread. Perhaps you would be
+interested to know how a weaver makes a set design in tapestry. Usually
+an artist designs a piece, say a design for the back of a chair. Often
+the artist is the weaver himself. He will make two sketches in colour
+one to put under the warp threads and the other to keep in sight. He
+then starts to weave the design in as many colours as desired, then the
+background is worked.
+
+A piece of hand-made tapestry is a possession that only the very
+wealthy can buy for it is indeed exceptional to find an ordinary weaver
+who can make tapestry. To the French is given the honour of being
+the most clever weavers in the world. As a general thing in France
+weaving is an inherited trade. You will find, if you ask the weaver
+what his mother, his father and his grandfathers were, he will tell
+you--weavers. The hands of the men are almost as small and soft as the
+women's.
+
+I have seen a beautiful screen that represented a pansy field, if you
+can imagine such a thing worked in over two hundred shades of silk.
+Every conceivable kind of pansy was worked in it. It was made for a man
+who loved pansies. It took four weavers three months in which to make
+it, working eight hours each day.
+
+Too much thought can not be given to the right colour for your rugs
+or whatever you intend to weave on your simple loom. Study to get
+harmonizing effects rather than contrasting ones. Gray is probably the
+most pleasing of backgrounds and can be combined to advantage with
+almost any other shade. Remember that a dark room needs a cheerful
+colouring while a bright airy room can stand subdued shades.
+
+Red excites the nerves. Lavender is depressing. Blue is a cold colour
+and should be combined with other colours to be effective. Green is
+restful to the eyes in any shade, while yellow seems to reflect light
+and for that reason is to be highly recommended for use in a dark room.
+One of the prettiest rooms I know, which is ordinarily a very dark one,
+is one that has bright yellow and chestnut brown for its decoration.
+The minute you enter that room you are impressed with its cheerfulness
+and warmth.
+
+No matter how pretty and beautiful are the hangings and other dainty
+touches of a room, a rug remains the chief attraction. It is to a room
+what a vase is to a flower. A rug is not absolutely necessary, but
+unless it is the right kind your room looks patchy.
+
+As in everything else practice makes perfect and as soon as you become
+accustomed to weaving you will plan regular designs that will make the
+work more fascinating. If you have a large quantity of undefinable
+shades of silk or wool or cotton rags I would recommend that you dye
+them all one shade.
+
+One ten-cent package of a dye will colour a couple of pounds of rags.
+Get a dye that is good for all three kinds of material as sometimes a
+dye that changes the colour of silk may not affect cotton at all.
+
+
+
+
+XXVII
+
+SIMPLE CROCHETING, STITCHERY FOR EDGES AND SHAWLS
+
+CROCHETING ABBREVIATIONS.
+
+  1. Slip stitch (sl st)
+  2. Chain stitch (ch)     (Figure No. 227)
+  3. Single crochet (s c)      "   No. 228)
+  4. Double crochet (d c)      "   No. 229)
+  5. Treble crochet (tr c)     "   No. 230)
+  6. Shell (sh)                "   No. 231)
+  7. Stitches (sts)
+
+
+The beginner in crochet will have very little trouble in learning the
+work as the stitches used are comparatively few in number although the
+various combinations in which they may be used are almost unlimited. It
+is wise to become accustomed to the stitches and especially with the
+abbreviations, which are used so extensively throughout all crochet
+work. No doubt the beauty and variety of the patterns one can execute,
+also the durability of the work are the chief causes for its popularity
+at the present time.
+
+The implement used is a crochet hook which varies in size according
+with the quality of the thread used. The steel hook with the bone
+handle is to be preferred.
+
+[Illustration: Fig. 227. Chain stitch]
+
+Too much emphasis cannot be placed upon the importance of the position
+of the hands when working, and the firmness of the stitches, as the
+work is, at once, better and more even when the proper position is
+maintained. The crochet needle should be held lightly between the
+first finger and the thumb of the right hand; the hook horizontal and
+parallel with the first finger of the right hand, that part of the work
+which is in course of construction being held closely between the thumb
+and third finger of the left hand. The thread is wound once around the
+first finger, passes under the second and third fingers of the left
+hand, and is wound around the small finger. It is now held in position
+by bending the fourth and small fingers toward the palm of the hand.
+
+The foundation stitch of all crocheting is the chain stitch (ch) (see
+Figure 227) which is begun by making a slip knot around the needle.
+Draw the thread through this loop, and you have a chain. Again draw the
+thread through this second loop, continue until the chain is of desired
+length.
+
+Another stitch is the slip stitch (sl st). Insert the hook in the
+foundation work. Draw loop through the work and another through the
+loop on the needle.
+
+Single crochet (s c). See Figure 228.
+
+[Illustration: Fig. 228. Single crochet]
+
+Insert hook in work, make a loop on the hook and draw through, making
+two loops on the needle. Throw thread again over hook. Draw thread
+through both loops.
+
+Double crochet (d c). See Figure 229.
+
+Before inserting the hook in the stitch to be worked, put the thread
+around it. Throw thread around hook and draw the thread through the
+stitch and you will have three loops on hook. Throw thread again around
+hook and draw thread through two loops. Throw thread again around hook
+and draw through the remaining two loops.
+
+[Illustration: Fig. 229. Double crochet]
+
+Treble crochet (tr c). See Figure 230.
+
+[Illustration: Fig. 230. Treble crochet]
+
+Put the thread around the hook twice, insert in the work. Draw a loop
+through work, making four loops upon needle. Draw the thread or loop
+through two loops on needle, then again through two loops and the
+third time through the remaining two loops.
+
+Shells (sh). See Figure 231.
+
+[Illustration: Fig. 231. Shells]
+
+Shells are formed by making groups of either single, double or treble
+stitches worked into the same space or stitch.
+
+[Illustration: Fig. 232. Tiny insertion]
+
+Edging and insertions are very much in use and are often applied to
+blouses, collars and cuffs, towels, centre pieces, handkerchiefs, belts
+and various other articles.
+
+_Tiny Insertion_ (Figure 232).
+
+Ch 7 catch into a ring and into one side of ring work 5 s c *ch. 7
+catch in next to last s c, 5 s c in new ring. Repeat from * for length
+desired and fasten off.
+
+_Tiny Edging_ (Figure 233).
+
+1st row--Ch. 9 turn.
+
+2nd row--1 s c in each 9 ch, turn.
+
+3rd row--ch 9 work 1 d c in first s c made, turn.
+
+4th row--* Over ch work 9 s c Work ch of 9 turn.
+
+5th row--1 d c over the d c of preceding row. Turn.
+
+Repeat from * until you have length desired.
+
+[Illustration: Fig. 233. Tiny edging]
+
+For the edging made:
+
+1st row--Over each d c on one side and each empty ch on the other work
+4 s c.
+
+2nd row--Work 1 d c into first s c then * 2 ch, miss 2 s c and work 1 d
+c into next. Repeat from * along both sides of insertion.
+
+_Loop Edging_ (Figure 234).
+
+Work 29 s c over a padding cord, then catch in 7th stitch made to form
+a ring. Again work 29 s c and catch in the 7th stitch to form another
+ring. Continue until the edging is the required length.
+
+[Illustration: Fig. 234. Loop edging]
+
+For the edge, begin at the first end for the picots and work as
+follows: make 1 s c into 8th stitch of first ring, ch 5, skip 1 s c--1
+s c in next stitch. Repeat for three picots. Ch 2, begin in 8th stitch
+of next ring and make 3 picots there and so continue to the end of
+edging.
+
+_Loop Insertion_ (Figure 235).
+
+Ch 10 and catch in a ring into one side of ring work 6 s c, ch 10,
+catch in the last s c forming a ring, and into new ring work 6 s c.
+Continue in this way for length desired. Then work down the other side
+of rings 6 d c in each.
+
+[Illustration: Fig. 235. Loop Insertion]
+
+Now work down each side of insertion 1 s c in the centre point of each
+side of the ring and 5 ch between. In these ch loops work 6 s c each
+and fasten off.
+
+_Narrow Crochet Edging_ (Figure 236).
+
+Ch 14.
+
+1st row--1 d c in 10th ch from needle, ch 3, 1 d c in same st. Ch 3, 1
+d c in next st, ch 3, 1 d c in same st. 3 stitches on foundation will
+stand beyond the row.
+
+[Illustration: Fig. 236. Narrow crochet edging]
+
+2nd row--Ch 6 turn * 1 d c in centre loop of cluster of three, ch 3
+repeat from * 2 times. 1 d c in same space, ch 2-1 d c in third ch of
+turning loop.
+
+3d row--Turn ch 5 * 1 d c in centre of loop of clusters, ch 3 repeat
+twice from * 1 d c in same space * ch 1-1 d c in 6 ch loop, repeat from
+* 7 times ch 1-1 s c in end of foundation.
+
+4th row--Turn ch 6-1 sl st in fourth ch from needle ch 1-1 d c in next
+space between d c, ch 5-1 sl st in fourth ch from needle, ch 1-1 d c
+in next space. Repeat from * 5 times. Ch 3-1 d c in centre loop of 7
+ch clusters, repeat from * three times more ch 2, 1 d c in third ch on
+turning loop.
+
+5th row--Turn ch 5, make clusters in centre loop as with other row.
+Repeat from 2nd row. On each repetition of 3 row the final s c is taken
+up in the loop of 3 ch of the former scallop.
+
+_Cone Insertion_ (Figure 237).
+
+1st row--Ch 15 turn 1 d c in ninth ch from needle, ch 3 skip 2-1 d c in
+next, ch 3 skip 2-1 d c in last stitch.
+
+2nd row--4 s c in first space, ch 1 in second space work 2 d c--1 tr c,
+ch 3, 1 tr c, 2 d c, ch 1, in third space work 4 s c.
+
+3d row--Ch 10, one sl st over 3 ch--ch 5, 1 tr c in last s c of
+preceding row.
+
+[Illustration: Fig. 237. Cone insertion]
+
+4th row--4 s c in first space, 1 s c in same space with sl st, 4 s c in
+next space.
+
+5th row--Ch 6, skip 2 s c of preceding row, 1 d c in next stitch. Ch
+3, skip 2-1 d c in next stitch. 3 ch, skip 2-1 d c in final st. Repeat
+from beginning of second row.
+
+_Crochet Insertion with Ribbon_ (Figure 238).
+
+[Illustration: Fig. 238. Insertion with ribbon]
+
+Make a ch of 35 stitches: 1 d c in 7 st from end of ch, 3 ch, 1 d c in
+next 3 rd st of ch, 3 ch, 1 d c in next 3d stitch of ch, 3 ch, 3 d c in
+5th of ch, 3 ch, 3 d c in same st as last 3 d c to join shell, 4 ch, 3
+d c in next 5th st of ch, 3 ch, 3 d c in same stitch as last three, 3
+ch, 1 d c in next 5th of ch, 3 ch, 1 d c in next 3d of ch, 3 ch, 1 d c
+in last stitch of ch, 8 ch; turn. Work the next and every succeeding
+row the same. Run narrow ribbon under and over 3 ch. in centre. This
+trimming is very pretty when used on a blouse waist.
+
+[Illustration: Fig. 239. Rainbow shawl]
+
+_Rainbow Shawl_ (Figure 239).
+
+Either Saxony or floss may be used, about six skeins of white and half
+a skein of each of the colours used being necessary.
+
+_To form main part of Shawl._
+
+Ch 68 sts of white.
+
+1st row--Turn and work back thus: Draw out st on hook about
+three-fourths of an inch, pass hook under the single thread of wool,
+draw through st, pass it under wool, work a sl st, 1 ch (in the way
+you work first st of every row). To make second st* pass hook through
+second, draw up to three fourths of an inch, catch the wool and make 2
+close ch: repeat from * to end of chain. Turn and repeat from first row
+till you have worked 76 rows in the white wool.
+
+_To make the Rainbow Stripe on either end of white._
+
+Fasten in the pink wool and work two rows, then in the order
+named--yellow, orange, light green, dark green, indigo, light blue,
+violet. Finish the end with two or more rows of white.
+
+[Illustration: Fig. 240. Cross stitch]
+
+_To make Fringe._
+
+*Chain 35, fasten down in next st with a sl st, repeat from * to end of
+row. Finish both edges of scarf with a row of knot stitches.
+
+CROCHET SCARF (Figure 241).
+
+Material, 8 skeins Shetland Floss.
+
+[Illustration: Fig. 241. Shawl in cross stitch]
+
+Directions for Cross Stitch (see Figure 240).
+
+Make a chain the desired length: work 1 tr c in the fourth stitch of
+ch. Now stitch back into the first and second of ch and make a tr c in
+each. (This forms a cross stitch.) Repeat to end of chain.
+
+_To make Scarf._
+
+Ch 139 stitches.
+
+Work 34 cross stitch on ch; continue working back and forth with cross
+stitch until scarf measures 1-1/2 yards in length. Finish ends with a
+fringe. Each strand is 6 inches and 8 strands of wool are knotted to
+each cross stitch to form fringe.
+
+
+
+
+XXVIII
+
+PATTERN DIRECTIONS FOR MAKING DOLL CAPS AND CAPES, JACKETS AND CHILD'S
+BEDROOM SLIPPERS
+
+
+Having become well acquainted with the stitches and patterns described
+in the previous chapter, you are competent to go on with the more
+intricate ones described in this chapter.
+
+A pretty doll's cap is made of silk. Without a silk padded lining the
+cap will be just the thing for the warmer months.
+
+_Doll's Cap._
+
+Begin by winding silk around a lead pencil 12 times: make 24 s c over
+this.
+
+2nd row--Make 2 s c in every s c on first row.
+
+3rd row--S c in every s c on 2nd row.
+
+Continue widening often enough to keep the work nearly flat (to do this
+two s c instead of one are worked upon the one of the preceding row).
+This completes the solid work of the crown.
+
+4th row--Ch 3, make 3 d c in same stitch, skip 4 d c in next st.
+Continue around entire crown.
+
+5th row--Make a shell of 6 d c in centre of each shell of 4 d c,
+leaving off within 7 shells of last row.
+
+6th row--Make a ch of 5 st and s c in middle of next shell. Ch 5, s c
+in middle of next shell. Continue around entire crown.
+
+7th row--* 5 s c on each ch of 5 of previous row. Turn s c for entire
+row around to where the shells of 4 were left. This begins the front of
+cap. Turn and repeat from * 2 more rows. Next make a row of shells of 4
+st in every 5th st.
+
+8th row--Make shell of 5 d c in middle of each shell of 4 d c. Repeat
+these 2 groups of 4 rows of s c and 2 rows of shells twice more.
+
+9th row--A row of 5 ch in middle of each shell, then a row of s c.
+Finish the cap with a row of shells of 7 d c around the entire cap.
+Finish shells with a row of picots made by a ch of 3 caught in every st
+with a s c. This completes the cap.
+
+[Illustration: Fig. 242. Doll's Hug-me-tight]
+
+_Doll's Hug-Me-Tight_ (Figure 242).
+
+1 skein of Saxony white.
+
+1 skein of Shetland floss, blue.
+
+1-1/3 yards of narrow white ribbon.
+
+Make a ch of 20 st., take up each ch with a s c.
+
+Turn 19 s c in slipper stitch (slipper stitch is s c taken up on the
+back thread of the row below). Crochet back and forth in this manner
+until you have 8 ribs or 16 rows which form the back. Then take up 5 s
+c and crochet back and forth until you have 9 ribs or 18 rows, which
+forms the one front. Then count nine stitches for the neck, taking up
+the remaining 5 sts for the other front and make 9 ribs or 18 rows for
+the other front. Finish with a border all around of s c taking up the
+whole stitch, alternating the colours, 1 row blue and 1 white until
+you have four blue and four white, finish the whole with a blue picot.
+
+Cut the ribbon into six pieces, sew one piece in each of the outer
+edges to form the armhole and front as illustrated. This jacket can be
+made for a child by commencing with 45 ch, 25 ribs for back and 25 ribs
+for fronts.
+
+_Jacket_ (Figure 243).
+
+[Illustration: Fig. 243. Jacket in star stitch]
+
+Pompadour wool through which a thread of silk runs, was used for making
+this pretty jacket. Three skeins of the wool are required.
+
+The body of the sacque is of star stitch (Figure 244).
+
+Ch 95 on which work 11 stars, widen with 2 ch.
+
+For sleeve make 11 stars, and back, 25 stars.
+
+One front 11 stars. For the first 4 rows of front work 11 stars, widen
+with 2 ch work across sleeve, widen 2, work across back, widen 1
+star every other row; at sleeve widen 2, across sleeve widen 2, then
+11 stars from the front. After the 4th row continue as before, only
+widening 1 star at the four sleeve points for 10 rows. In 15th row work
+11 stars for the sleeve, now drop out the entire sleeve, including the
+widening points, work across back alone, leave out sleeve as before
+then 11 stars for the second front; work 12 rows across sacque widening
+under arms as in centre back. Tie wool at point under arm and work 13
+rows around sleeve joining each row as made. For border, work 4 rows of
+knot stitch.
+
+[Illustration: Fig. 244. Star stitch]
+
+_Slippers in single crochet_ (Figure 245).
+
+One skein of each of two contrasting colours of Germantown wool, one
+pair of soles. For making these slippers in mercerized Perle cotton,
+which is very cool for warmer days, two balls will be required.
+
+In making slippers it is very essential for the work to be as tight as
+possible to prevent it from stretching.
+
+[Illustration: Fig. 245. Slipper in single crochet]
+
+The following directions are for slipper size 3. Ch 11 sts. Make 11 s c
+in slipper stitch, described in doll's hug-me-tight (Figure 246) widen
+in the centre by making 3 s c in 1 ch. Make two rows like last widening
+in centre, then a row without widening. When the work reaches from the
+toe to the hollow part of the sole (about 12 ribs) the front is long
+enough. (Alternate two rows one colour and two in the other.) Turn and
+work 15 s c. Continue in the slipper stitch until the work will reach
+around the sole by stretching. Join the end to the front by overcasting
+on the wrong side. Beginning at the corner where the end is joined make
+a row of crazy stitch around to the other side. Make 3 more rows of
+crazy stitch. Finish with a row of shells.
+
+[Illustration: Fig. 246. Slipper stitch]
+
+Directions for crazy stitch--Make a ch of 4 sts; then throw the thread
+once over the needle, take up the third nearest stitch to the needle,
+and pull it through the loop; throw the thread over again and pull
+it through the nearest two loops on needle and crochet the remaining
+two loops off in the same manner. This completes the d c described in
+chapter 27. Make two more d c in the same loop, skip 3 stitches, fasten
+with a sl st in next st 3 ch. 4 shells in next st. and continue for
+length desired.
+
+_Slippers in Star Stitch_ (Figure 247).
+
+4 balls of mercerized crochet cotton.
+
+Star stitch is made by a ch of the required length. Insert hook in 2nd
+ch from it, draw wool through, keeping both sts on hook, insert hook
+in 3rd ch and draw wool through keeping this st also on the hook, skip
+the next ch and take up the 4th and 5th in same manner, making 5 sts on
+hook; now drop the strands of wool from which these sts were made, and
+take up wool of contrasting colour, double end into a loop with short
+end about one inch in length, draw this through all the sts on hook,
+being careful not to let this short end slip through, ch 1 to hold sts
+in place. Now with this new strand work a star by drawing it through
+the eye of star, it being the tightest stitch near the ch on hook
+keeping both sts on hook as before.
+
+Draw wool also through long st down the side of star, then through next
+2 ch which gives 5 sts on hook, then dropping the strand from which
+this star was made pick up the wool of 1st star and loop it through
+these 5 sts and ch 1 to hold the star in place. This ch should be
+worked tight so it will draw the sts together and form the star, which
+should be almost square. In the second row place the contrasting colour
+over the star underneath, tying in the wool, ch 3 on which take up 2
+sts; this gives you 3 sts on hook, the next 2 loops are drawn through
+the long and short stitches of star underneath, taking up back stitch
+of the long and both strands of the short or eye of star.
+
+[Illustration: Fig. 247. A slipper in star stitch]
+
+_For the slipper proper._
+
+Ch 9, on which make 3 stars, 2 ch at end then work 3 stars down the
+other side of ch, taking up the other thread.
+
+2nd row--4 stars, 2 ch, 4 stars.
+
+3d row--without widening.
+
+Widen 2 stars every other row until you have 10 rows 2 rows without
+widening, then widen in the next.
+
+There will be 13 rows in all, and 20 stars in this last row, now divide
+front and work 20 stars on either half for the sides; fit around sole
+by stretching and sew up the back on the wrong side. The wool or thread
+should be broken at the end of each row. (Crochet should not be worked
+backward and forward unless directions are given to that effect.)
+
+For a frill around the slippers work groups of 6 ch st two more rows of
+the same. I always sew my slippers onto the soles after being finished,
+by overcasting with wool of the same shade on the right side, which
+saves stretching the slippers all out of shape when turning them.
+
+_Jacket in Shell Stitch_ (Figure 248).
+
+Material: 5 skeins of white Germantown and 1 skein of colour for edge.
+No. 7 bone needle.
+
+Ch 127, with 3 extra sts for turning.
+
+1st row--Skip 2 ch and make 4 d c in the next. * Skip 3 ch, 1 s c in
+next, ch 3, 4 d c in same st with s c and repeat from * ending with a
+final s c.
+
+2nd row--Turn 1 s c in s c below * 2 d c in same st, 1 s c in next s c
+below and repeat from * ending with a s c in top of turning ch.
+
+3rd row--Turn ch 3, 4 d c in s c below * 1 s c in next s c, ch 3, 4 d c
+in same st repeat from * to end of row.
+
+Repeat 2nd and 3rd rows 9 times, then repeat the 2nd row once more.
+This gives a depth of work sufficient for the back part of sleeves. At
+the end of the last row fasten off.
+
+[Illustration: Fig. 248. Half of a jacket in shell stitch]
+
+The lower part of the back is now to be made. Count 8 shells (sh) along
+from the end of the last row and begin to crochet there, working as
+with 3rd row until within 8 sh of each other end of last long row.
+
+Crochet in pattern upon this row until 11 rows in all have been worked.
+Upon the 12th row increase 1 sh in the 2 s c from each end by making 2
+sh in those st instead of one.
+
+Work without increasing for 13 rows more, then fasten off.
+
+Go back to the foundation and upon the other side of it, beginning
+where the first row ended, crochet 13 sh as in 1st row. This is the
+commencement of the left shoulder and front.
+
+Upon this row work 3 rows more in the usual way. At the end of the last
+row drop the loop temporarily from the needle, tie in an extra ball
+of wool at the top of the very beginning of the last row, ch 12 and
+fasten off. With this ch the extra width for the centre of the front is
+secured.
+
+5th row--Again take the dropped loop upon the needle and crochet as
+usual making 3 sh upon the extra ch. The row is now 16 sh wide. Work in
+pattern for 17 rows more, the last row ending at the wrist. Fasten off.
+
+On the 1st short row of lower front count 8 sh along from end of last
+row, begin there, work as usual to the other end, then crochet back and
+forth until the front is as long as the back, increasing 1 sh on the
+13th row in the 2 s c from the underarm seam. The second front is made
+exactly like the first. The 3rd pattern row now is worked up the fronts
+around the neck, across the lower edge of jacket and sleeves, then
+finished with a scalloped edge worked as follows: Make 1 s c in space
+preceding st where s c was made on row below, ch 5, 1 s c on top of 1st
+d c below, ch 4, 1 s c in same space, ch 5 and repeat from beginning
+around all the edges, fasten off.
+
+Shape the jacket by crocheting the sleeves and underarm seams together.
+
+Crochet should be carefully washed and should not be put in the general
+laundry. Make suds of warm water and a little borax. Put the article,
+if of cotton or linen thread in and let it soak for a little while,
+then squeeze the water out of the article between the hands. Rinse in
+several waters in this manner always using warm water.
+
+Put the piece in a white bag and hang on the line.
+
+This way keeps the piece from stretching out of shape. Keep it on the
+line till the article is perfectly dry.
+
+Knitted articles should also be treated in like manner when washing for
+if a knitted piece was pinned on a line to dry the article would be
+stretched out of shape.
+
+
+
+
+XXIX
+
+IRISH CROCHET LACE
+
+
+Irish Crochet lace is one of the most durable of laces and is suitable
+to be worn for all occasions. It especially recommends itself for
+pick-up or porch work. It looks well and does not take an endless
+while to make, as almost every motif is made separately thus giving
+a variety. And although one may not have more than a few minutes to
+devote each day to the work, it is surprising how many articles can be
+completed with little effort and little time.
+
+The materials necessary are a steel crochet hook, considerably finer
+than for ordinary crochet work, as the work must be very firm, even
+and close. Irish Crochet Thread, numbers 36 to 50 or D. M. C. cotton
+numbers 70 to 100 inclusive and number 10 for the padding cotton will
+be needed. All laces look better if pressed before making up, this is
+especially true of Irish Crochet. And when slightly soiled it can be
+washed in soap suds, made from any good laundry soap; rinse thoroughly
+in several waters, starch slightly and iron on the wrong side on a
+heavy blanket. These simple directions help to make the lace look like
+new. In Irish Crochet the motifs are made separately mostly worked over
+a padding cotton.
+
+[Illustration: Fig. 249. Doily with crochet edge]
+
+Then these motifs are basted on a pattern of cambric, or paper muslin
+which has been cut to the desired shape. A row of chainstitching is
+worked and basted to the edge of the pattern, then the filling in
+background is worked, joining the different motifs together with rows
+of chainstitching and picots or any other background stitch desired.
+
+_Doily with Irish Crochet Edge_ (Figure 249).
+
+This can also be used for a bread plate.
+
+1st row--around a 24 inch circle of linen work a row of single crochet.
+
+2nd row--5 chain, miss 3 single crochet and fasten with a single
+crochet in the 4th stitch; continue around mat.
+
+[Illustration: Fig. 250. The design for the belt]
+
+3rd row--Into each group of chains work 3 single crochet, 1 picot, 3
+single crochet.
+
+4th row--6 ch fasten in the picot loop.
+
+5th row--3 single crochet, picot, 3 single crochet, 1 picot, 3 single
+crochet, 1 picot; continue all around. This completes the mat.
+
+_Belt of Irish Crochet_ (Figure 250).
+
+This belt is very useful, especially as it is mounted upon a
+foundation, which is the ordinary cotton waist belting, one inch wide
+sold at all notion counters for a few cents. The crochet belt is basted
+upon this belting after being stretched and starched.
+
+To make the belt:
+
+1st row--Chain 26, turn.
+
+2nd row--1 double crochet in 6th stitch of chain, chain 2, miss 2
+stitches and work 1 double crochet in 9th stitch of chain, chain 2,
+miss 2, chain and work 1 double crochet in 12th stitch of chain, chain
+5, skip 5, chain, 1 double crochet into 17th stitch of chain, chain
+2, 1 double in 20th stitch of chain, chain 2, miss 2 chain, 1 double
+crochet into 23rd stitch of chain, chain 2, miss 2 and work 1 double
+crochet in 26th stitch.
+
+3rd row--Chain 5, 1 double crochet in top of double crochet of
+preceding row, chain 2, 1 double crochet in top of double crochet,
+chain 2, 1 double crochet in top of double crochet, chain 2, 1 double
+crochet in top of double crochet, 5 double crochet over chain of 5,
+1 double crochet in top of double crochet, 2 chain, 1 double crochet
+in top of double crochet, 2 chain, 1 double crochet in top of double
+crochet, chain 2, 1 double crochet in 2nd stitch of chain of 5 at the
+end; turn and repeat from 2nd row for length required. For the edge,
+work on both sides of the belt into every chain loop 3 single crochet,
+1 picot 3 single crochet.
+
+_Rose Tie with lawn facing_ (Figure 251).
+
+This bow has an under facing of lawn with a simple crochet edging of
+double crochet and chain stitch with picots, worked at even intervals.
+For the crochet tie:
+
+[Illustration: Fig. 251. Rose tie with lawn facing]
+
+1st row--Work rose the same way as the one in the wheel tie. Now
+crochet around the rose in this manner * chain 3, 1 single crochet
+caught in the 1st double crochet of the rose petal, 5 chain, 1 double
+crochet in 5th stitch of petal, chain 5, 1 double in 8th stitch of
+petal, 5 chain; repeat from * five times more.
+
+2nd row--5 chain, 1 single crochet in each previous group of 5 chain,
+continue around entire rose.
+
+3rd row--6 chain 1 single crochet in each preceding loop of chain.
+
+4th row--* 6 chain, 9 double crochet in first space, 6 chain, 1 single
+crochet for next 4 spaces, 6 chain, then 9 double crochet in 5th space;
+repeat from * twice more.
+
+5th row--* 6 chain, 1 single crochet in 1st double crochet of group, 6
+chain, 1 single crochet in 5th double, 6 chain, 1 single crochet in 9th
+double; repeat from * all around.
+
+For the next two rows work 6 chain, 1 single crochet in each previous
+group of chain. Finish the edge with a row of chain and picot.
+
+Work two sections like the one described and fasten together in the
+centre. Sew this upon the lawn facing and the tie is complete.
+
+If the tie shows any tendency to cap in the course of construction add
+an extra chain in the group of chain stitches every now and then.
+
+_Wheel Tie with Rose and Straps with Shamrock_ (Figure 252.)
+
+Wind padding cotton 6 times around the crochet needle. Over this ring
+work:
+
+1st row--50 double crochet.
+
+2nd row--Chain 5, miss 2 double crochet, * in the third stitch, work 1
+double crochet, 2 chain, miss 2 double crochet repeat from * 24 times.
+Work a spider in the centre of the ring, with a needle and thread.
+
+[Illustration: Fig. 252. Wheel tie with rose and straps with shamrocks]
+
+Make 8 of these wheels for the tie. Join together with filling stitch
+(3 chain and a single crochet). After working 3 chains and a single
+crochet around the edge of the tie, work 1 single crochet in first
+space, 3 chain, 1 single crochet in second space, 3 chain * 1 double
+crochet, 7 chain in third space (catch back into second chain from
+needle to form a picot chain) repeat from * 4 times more, chain 3,
+1 single crochet in next space, chain 3, 1 single crochet in second
+space. Continue in this manner all around tie.
+
+_For rose in centre of tie._
+
+1st row--Chain 6, join in a ring.
+
+2nd row--Chain 6 * 1 double crochet into ring, 4 ch 1 double crochet, 4
+chain repeat from * twice more and join.
+
+3rd row--Over first 4 chain work * 1 single crochet, 5 double crochet,
+1 single crochet; repeat from * 5 times.
+
+4th row--Work a row of 7 chain loops fastening at back of first row of
+single crochet (this is what helps to form the rose petals and makes
+them stand one above the other).
+
+5th row--Over these loops work * 1 single crochet, 7 double crochet, 1
+single crochet, repeat from * all around.
+
+6th row--A row of 9 chain loops.
+
+7th row--Into these loops work 1 single crochet, 9 double crochet, 1
+single crochet; this completes the rose.
+
+Let me mention here that roses can be substituted for the shamrocks
+worn on the ends of the straps.
+
+_For straps._
+
+Work 27 single crochet over a padding cord, join in a ring. Work 9
+single crochet over padding cord, 1 chain, 9 single crochet, 1 single
+crochet, over padding cord into the chain stitch. Continue working
+9 single crochet, 1 chain, 9 single crochet over padding cotton and
+fastening each time in the chain stitch with a single crochet. One
+strap is 6 inches long and the other is 7 inches long.
+
+For the edge of straps work 2 chain, 1 double crochet, in first single
+crochet of previous row, 2 chain, 1 double crochet in 3rd stitch, 7
+chain count back 5 chains and slip stitch (to form a picot) 1 double
+crochet in 5th stitch, 2 chain, 1 double crochet in 7th stitch, 2
+chain, 1 double crochet in 9th stitch. Continue on both sides of straps.
+
+_For the shamrocks._
+
+Wind padding cotton over the end of crochet hook 6 times. Over this
+ring work 30 single crochet. * Over 3 strands of padding cotton work
+11 single crochet. Twist padding cotton in a downward loop and work
+1 single crochet over crossing of padding cotton, continue 15 single
+crochet over the loop, draw padding cotton to pull loop up close and
+then work 11 single crochet over padding cotton alone. Miss 2 single
+crochet on ring and work 2 single crochet over padding cotton into next
+2 stitches of ring.
+
+Turn, leave padding cotton, 12 chain, 1 single crochet into top of
+crossing loop, 12 chain, 1 single crochet into ring just before
+beginning of arch. Turn, over 12 chain work 4 single crochet, 1 double
+crochet, 1 treble crochet. Work 1 treble crochet into single crochet
+over crossing of loop. Continue over next 12 chain, 14 treble, 1 double
+and 4 single crochet. Work 4 single crochet over padding cotton into
+next 4 single crochet on ring, repeat from * twice more leaving out
+the 4 single crochet over padding cotton into the ring the last time.
+Turn, work a row of single crochet over padding cotton. Between petals
+take the needle out, insert in stitch half way between the petals, and
+pull loop through, this will give a better shape to the petals. Then
+continue with single crochet.
+
+For stem work 3 single crochet over padding cotton into ring. Then
+40 single crochet over padding cotton alone, turn and work 40 single
+crochet over padding cotton into the previous row of single crochet to
+the ring. To shape the stem to the right pull the padding cotton before
+working the second row of single crochet.
+
+_Long Jabot_ (Figure 253).
+
+Over a padding cotton work 50 single crochet, turn, and work down other
+side, 41 single crochet over padding cotton into previous row of single
+crochet (leaving one-half of stem still to be worked).
+
+1st arm--Now twist the padding cotton under the stem, fasten with a
+slip stitch, over the loose padding cotton work 18 double crochet, turn
+and work over padding cotton into each double crochet, 18 trebles,
+fasten with a single crochet in the 5th single crochet of centre stem.
+
+2nd arm--Turn work over padding cotton, 10 double crochet into double
+crochet of previous row. Now work 8 double crochet over padding cotton
+alone, turn and work 18 treble crochet over padding cotton into the
+double crochet of previous row. Fasten in 10th stitch, this completes
+the second arm.
+
+[Illustration: Fig. 253. Long jabot]
+
+Now work 8 arms more in the same way, then finish the stem with 9
+single crochet over padding cotton into the other single crochet of
+stem.
+
+For the centre work over 2 strand padding cotton 6 double crochet and
+fasten into the single crochet which connects the arms to the stem,
+continue all around centre and fasten off.
+
+Work 36 chain, into these work 36 double crochet with 6 double on each
+end. Continue working until there are 4 rows of doubles. Connect the
+leaf to this with slip stitch, baste on paper and work 3 rows of the
+filling stitch all around.
+
+1st row--For the edge, work 6 chain loops into every loop of previous
+row.
+
+2nd row--Over 6 chain loops work 7 single crochet.
+
+3rd row--6 chain loops caught into every 4th single crochet.
+
+4th row--Into 6 chain loops work 4 single crochet, picot, 4 single
+crochet, then into 2nd or next loop work 4 single crochet, picot, 4
+single crochet, into 3 loop work 4 single crochet. 5 chain turn and
+fasten in the 4th double crochet over 2nd loop, turn and over chain
+work 4 double crochet, picot, 4 double crochet, then into the 3rd loop
+finish with the other 4 single crochet; repeat from * all around jabot.
+
+_Baby Irish Lace, with Rose Leaf and Grapes_ (Figure 254).
+
+_For roses._
+
+Chain 12. Into chain work * 1 double crochet, 3 chain repeat from *
+for 6 times more. Into each group of 3 chain work 1 single crochet, 6
+double crochet, 1 single crochet making seven petals to a rose.
+
+_For the leaves._
+
+Chain 8, join in a ring. Over this ring work 32 single crochet without
+breaking the thread, chain 8 and form another to the right and a little
+above the other ring, work 32 single crochet into this one also, again
+chain 8 and form a ring to the left of the first ring, fill this ring
+with 32 single crochet.
+
+_For grapes._
+
+[Illustration: Fig. 254. Baby Irish-lace edging]
+
+Chain 3, join. Fill chain with single crochet, continue working
+around, widening as needed for 3 rows. Decrease by missing a stitch
+occasionally to shape grapes. Just before finishing stuff with cotton,
+make 3 grapes for each cluster and fasten into centre of leaf. Baste
+all motifs on muslin and fill with background stitch. For edge of
+scallop work groups of 6 chain caught down with a single crochet then *
+4 single crochet into first space, 2 single crochet into next space, 6
+chain, turn, fasten into single crochet, turn, 3 single crochet over
+chain, picot, 5 single crochet, 2 single crochet into same space, 4
+single crochet into next space, 6 chain, turn, and catch down beside
+first loop, turn, 4 single crochet over chain, 6 chain turn, catch
+down in centre of first loop, turn, 4 single crochet, picot, 4 single
+crochet, into chain, 1 single crochet into next loop, picot, 3 single
+crochet, 4 single crochet into next space and repeat from * all around
+edge of lace.
+
+_Dutch Collar_ (Figure 255).
+
+Begin the rose with a small thick ring made by winding the padding
+cotton ten times around the end of the crochet needle. Cover this ring
+with single crochet, cutting off the end of the padding cotton when the
+ring is three quarters covered. *Chain 6, catch down into the ring;
+repeat from * 5 more times, dividing the spaces as evenly as possible
+so the last chain is caught down beside the first one.
+
+Over the chain loop work * 1 single crochet 7 double crochet, 1 single
+crochet, repeat from * all around.
+
+*Chain 7, catch down at back in the same stitch as that in which the
+chain loops of the preceding row was caught, repeat from * all around.
+
+Over chain loop * 1 single crochet, 9 double crochet, 1 double
+crochet. Repeat from * all around.
+
+*Chain 8 catch down in back same place as before. Repeat from * all
+around.
+
+*Over chain loops work repeat from * 1 single crochet, 11 doubles, 1
+single crochet, this finishes the rose centre.
+
+*Now begin the first row around the rose * 7 chain 3 picot, (catch back
+into third stitch) chain 7, picot, 3 chains, catch down in first petal
+in outer row, repeat from * 12 times more, spacing these picot loops
+evenly all around, catching the last one into the centre of the first.
+
+*Next work one picot loop catching in into centre of loop of row below,
+then a loop of 6 chains, repeat from * caught into centre of next picot
+loop.
+
+Turn and over this loop work 9 single crochet, turn, work 9 double
+crochet over the single crochet 3 chain, catch down into same stitch as
+the 6 chain loop was caught. Work 2 rows of picot loops, then repeat
+from * all around finishing the row in the corner of the first 9 double
+crochet ornament.
+
+9th row--Work a row of plain picot loops.
+
+10th row--Work a row of plain picot loops.
+
+11th row--Another row of plain picot loops.
+
+Five roses are required for the collar.
+
+_For the wheels._
+
+[Illustration: Fig. 255. An Irish-lace Dutch collar]
+
+Over a padding cotton ring, work single crochet. Over a single strand
+of the padding cotton crochet into every single crochet, a single
+crochet, work 4 rows the same way only add a picot in every 4th single
+crochet in the last row. Now begin the first row around the wheel *
+chain 7, catch into the last single crochet of the wheel, chain 7,
+picot, chain 7, chain 3, skip 2 stitches of the wheel and catch down
+into the 3rd with a single crochet, repeat from * all around.
+
+Next work 1 picot loop, catching it into the centre of loop in row
+below, then a * loop of 6 chain caught into centre of next picot loop.
+Turn, and over this loop work 9 single crochet, turn and work 9 double
+crochet over the single crochet, 3 chain stitch down into same stitch
+as the 6 chain loop was caught. Work 2 more picot loops, then repeat
+from * all around finishing the row in the centre of the first ornament.
+
+Work a row of plain picot loop. Another row of plain picot loops. Make
+four wheels for the collar.
+
+Sew the roses and wheels firmly on the cambric pattern (the size and
+style having been cut out of the cambric).
+
+Placing them so as to leave room for a single row of picot loops to
+be worked between to join them, crochet a chain of chain stitches and
+baste them upon the edge of the cambric pattern. Fill the work out to
+the desired shape with the picot loops, which should contain the same
+number of chain stitches as the loops in the roses and wheels, 3 chain,
+1 double crochet, 3 chain, work a row all around collar, then begin
+the border or edge. Work around the inner edge and fronts of collar 4
+single crochet into each loop, then around the lower edge * 4 single
+crochet in the first space, 4 single crochet in the second space, 2
+single crochet in the third space; chain 6 down at the beginning of
+second space. Over the loops thus formed make 3 single crochet, picot,
+7 single crochet, 2 single crochet into same (third) space, 4 single
+crochet into next space. Turn, 6 chain catch down into next to the
+last loop, turn, 5 single crochet over the loop, chain 6, turn, and
+catch down into centre of first loop. Turn, 5 single crochet, picot,
+5 single crochet over this last loop, 2 single crochet into the next
+loop, picot, 3 single crochet, repeat from * all around edge. Take the
+collar up from the cambric and press upon the wrong side over a blanket
+or heavy flannel.
+
+
+
+
+XXX
+
+KNITTING, PLAIN AND PURLING, WASH RAGS, AND FANCY STITCHES FOR SHAWLS
+
+
+There are certain terms used in knitting that are peculiar to the work.
+Until these terms are studied and practised, the instructions are as
+bad as trying to read a foreign language that you know nothing about.
+
+Knitting is usually done on two needles though there are times when
+more needles are used, for instance, in knitting stockings.
+
+Thread, silk or worsted can be used for the work. The latter is best
+for practising the first stitches or pieces.
+
+The first term we learn in knitting is "to cast on stitches" (Figure
+256). Select a pair of medium-sized wooden needles. Your worsted should
+be wound into a ball. "Casting on" is the foundation for the work. Take
+a knitting needle in each hand between the thumb and first finger. Make
+a loop of the worsted over the left-hand needle near the end. Put your
+right-hand needle through this loop under the left needle. Holding
+the needles in this position, throw the worsted around the point of
+the right-hand needle and draw the right-hand needle through the first
+loop. There is now a loop on each needle. Slip the last loop made over
+the left needle. * Both needles are in the one loop, the left on top
+of the right. Again throw the worsted over the point of the right-hand
+needle and draw the needle through with the loop on it. Slip this
+loop over the left-hand needle and repeat from *, till the number of
+stitches desired are cast on.
+
+[Illustration: Fig. 256. Casting-on]
+
+The * indicates from which point the directions are to be repeated.
+
+The German method of knitting is to hold the work in the left hand and
+the worsted over the first finger, under the second and third and then
+over the little finger.
+
+To knit, the right-hand needle is in the first loop from the point of
+the other needle. * Throw the worsted over point of the right-hand
+needle and draw it through the loop. Slip the first stitch off the
+left needle and insert the right needle into the next stitch and repeat
+from *, till all the stitches have been transferred to the right-hand
+needle (Figure 257).
+
+[Illustration: Fig. 257. Knitting (K)]
+
+Remember to hold the work in the left hand when starting to knit each
+needle or row.
+
+[Illustration: Fig. 258. Purling (P)]
+
+To purl (Figure 258). The work is held in the left hand. The worsted is
+brought in front of the work. The right-hand needle is inserted through
+the stitch from right to left in front of the left needle. Pass the
+point of the right needle over the worsted and draw the loop through.
+Slip off the stitch on the left needle as in knitting. Repeat in this
+manner until all the stitches are transferred.
+
+Sometimes it is necessary to get rid of some of the stitches. In that
+case the needle is slipped through two stitches instead of one and the
+new stitch formed in the usual way. There are two abbreviations for
+purling two together. They are p. 2 tog. or p-n. The latter means purl
+narrow.
+
+When knitting, two stitches can also be taken together. The
+abbreviation for this is n. K. 3 tog. means knit three stitches (sts)
+together as one stitch.
+
+To slip-stitch means to take a stitch from the left-hand to the
+right-hand needle without knitting it, and its abbreviation is sl.
+
+To bind or cast off means to slip the stitches from the needle so that
+you have a chain edge. Slip the first stitch and knit the second. You
+now have two loops on the right-hand needle. * Put the point of the
+left needle (from left to right) through the first stitch on the other
+needle. Hold the worsted tight. Slip the right-hand needle through the
+loop formed as described above and then slip the loop from the left
+needle. There is only one loop on the right-hand needle. Knit the next
+stitch and repeat from *.
+
+Casting off must be done loosely or the work will have a puckered
+appearance.
+
+[Illustration: Fig. 259. A little girl's first piece of knitting]
+
+It may be that you desire to widen the row of stitches. Both widening
+and decreasing is done at the end of needle or row. Knit as usual
+till there remains but one loop on the left-hand needle. Insert the
+left-hand needle through the loop at the base of the last stitch. Bring
+worsted around the point and make a stitch as usual. The last stitch
+is knitted in the usual way.
+
+After you have practised the stitches with wool, it is well to buy a
+ball of coarse knitting cotton and a pair of steel needles. The cotton
+makes excellent wash cloths. Cast on 50 stitches then knit or purl the
+same amount of rows as stitches. To make a fancy cloth knit three rows
+then purl three rows until you have the fifty rows.
+
+The long straight shawls are the most popular at present.
+
+A little one for yourself that would be quite pretty is made in pop
+corn stitch (Figure 260). It requires five skeins of worsted and a pair
+of wooden needles.
+
+[Illustration: Photograph by Mary G. Huntsman. Her First Knitted Shawl]
+
+Cast on 59 stitches on your needle.
+
+1st row--K 1st, then knit two stitches together (2 K tog) the rest of
+the way. You now have 30 stitches on your needle (Figure 260).
+
+2nd row--K first stitch, then knit the loop which is formed between the
+double stitches of the first row. Continue in this manner till you have
+again on the needle the same number you cast on--59.
+
+3rd row--K plain all the way across.
+
+4th row--P plain all the way across.
+
+5th row--K 2 together all the way across to the last stitch, then k
+that by itself.
+
+6th row--Same as second row.
+
+7th row--K plain.
+
+8th row--P plain.
+
+Continue in this manner till you make a scarf about one yard long.
+
+[Illustration: Fig. 260. The popcorn stitch]
+
+The popcorn pattern affords good practice for the different stitches
+explained before.
+
+If a longer shawl is desired continue in the same manner. To make it
+broader it will be necessary to cast on more stitches at the beginning.
+
+A shawl may be finished in many ways. Sometimes a little crochet edge
+is worked around it, or a chain stitch fringe can be made. The plain
+fringe is the one most used however. This is made by cutting the wool
+about ten inches long. Take four lengths and slip them through and knot
+them into the border edge at each end of the shawl. This makes a fringe
+about five inches deep.
+
+[Illustration: Fig. 261. The basket stitch]
+
+The basket stitch makes a thick shawl (Figure 261.)
+
+To make a wide shawl in this stitch 10 skeins of Germantown wool will
+be required.
+
+Cast on 120 stitches.
+
+1st row--Knit plain.
+
+2nd row--* K 3, p 7, k 3, p 7, repeat from * to end of needle.
+
+3rd row--* K 7, p 3, k 7, p 3, repeat from * to end of needle.
+
+4th row--* K 3, p 7, k 3, p 7 repeat from * to end of needle.
+
+5th row--P the entire row.
+
+6th row--* P 7, k 3, p 7, k 3, repeat from * to end of needle.
+
+7th row--* P 3, k 7, p 3, k 7 repeat from * to end of needle.
+
+8th row--Like 6th row.
+
+9th row--P entire row.
+
+Nine rows form the pattern, repeat from second row until you have a
+shawl two yards long.
+
+
+
+
+XXXI
+
+DOLL'S CAPE, HOOD, LEGGINGS AND JACKETS
+
+DOLL'S CAPE.
+
+     Material--3 Fold Saxony, 2 Steel Knitting Needles No. 10, 1 Steel
+     Crochet Hook No. 6.
+
+
+Commence with 1 stitch. Knit plain, increasing 1 stitch beginning of
+each needle until there are 30 stitches on needle. Increase 1, knit
+12 stitches, bind off 6 stitches, knit 12 stitches. Increase 1 stitch
+beginning of needle, knit to end of row; turn, knit 1 row plain. Repeat
+until there are 15 stitches on needle. Now increase 1 stitch at the
+neck and decrease 1 stitch at end of row, 1 row plain. Repeat 3 times
+more. Knit plain without increasing at front and 2 together at end of
+needle, until 1 stitch is left on needle, fasten off. Finish the right
+side same as left. Crochet a row of holes for ribbon, 1 chain, 1 double
+all around. With blue yarn crochet 1 row, 3 chain, 1 single.
+
+_Doll's Jacket_ (Figure 263).
+
+     Material--3 Fold Saxony, 2 Steel Knitting Needles No. 16, 3 Steel
+     Knitting Needles No. 13, 1 Steel Crochet Hook No. 6.
+
+[Illustration: Fig. 262. Doll's knitted cape]
+
+[Illustration: Fig. 263. Doll's knitted jacket]
+
+Cast on steel needles No. 13, 64 stitches, 1 plain 1 purl for 26 rows,
+Knit 16 stitches; turn. Take another needle, knit the 16 stitches for 5
+rows with No. 16 needles knit plain for yoke, decreasing 1 stitch at
+the neck until there are 12 stitches on needle, knit plain until there
+are 7 ridges, bind off. From the 48 stitches left on needle, knit 32
+stitches for 14 rows; bind off. Finish left front same as right.
+
+Sleeves--Cast on steel needles No. 16, 26 stitches. Knit plain for 6
+ridges. With steel needles No. 13 knit 1 plain, 1 purl for 20 rows.
+Bind off 3 stitches beginning of each needle until 8 stitches are left
+on needle; bind off. Sew up seam and shoulder seams. Crochet a row of
+holes around neck for ribbon, 1 chain, 1 double. With blue yarn crochet
+one row, 3 chain, 1 single all around.
+
+_Doll's Cap_ (Figure 264).
+
+     Material--2 Fold Saxony, 2 Steel Knitting Needles No. 16, 2 Steel
+     Knitting Needles No. 13, 1 Steel Crochet Hook No. 6.
+
+With blue yarn cast on No. 16 steel needles 45 stitches. Knit plain for
+6 ridges. With white yarn and No. 13 needles, 1 plain, 1 purl for 17
+rows.
+
+[Illustration: Fig. 264. Doll's cap]
+
+Crown--Knit 29 stitches, knit 2 together; turn, knit 14 stitches, knit
+2 together. Repeat until all side stitches have been worked up and the
+crown is complete. Then pick up stitches on both ends, first on one
+side; turn, knit them plain, also the crown stitches, then pick up the
+stitches on that side and knit them. Make a row of holes for ribbon,
+yarn over needle twice, then knit 2 together to end of row. 1 row
+plain, knitting only 1 of the stitches cast on. With blue yarn crochet
+1 row, 3 chain, 1 single.
+
+_Doll's Leggings_ (Figure 265).
+
+     Material--3 Fold Saxony, 2 Steel Knitting Needles No. 13, 1 Steel
+     Crochet Hook No. 6.
+
+Cast on 32 stitches. 1 plain, 1 purl for 21 rows. Decrease beginning
+and end of needle. Knit for five rows. Decrease continuously 1 stitch
+beginning and end of needle every 6th row, until there are 22 stitches
+on needle. Knit for 15 rows. Bind off 6 stitches, knit 10, take another
+thread, bind off the remaining stitches. Knit the 10 stitches for 4
+rows. Decrease beginning and end of each needle, until there are 4
+stitches on needle. Bind off and sew up seam. With blue yarn crochet 3
+chain, 1 single around top of legging.
+
+[Illustration: Fig. 265. A doll's legging]
+
+_Infant's Knitted Bootees_ (Figure 266).
+
+     Material--2 Skeins White Wool, 1 Skein Pink or Blue, 1 Pair
+     Knitting Needles No. 16.
+
+1st row--Cast on 53 stitches in coloured wool.
+
+2nd row--Knit plain to the end of row.
+
+3rd row--Slip 1, make 1, knit 25, make 1, knit 1, make 1, knit 25, make
+1, knit 1.
+
+4th row--Knit plain to the end of row.
+
+5th row--Slip 1, make 1, knit 27, make 1, knit 1, make 1, knit 1, knit
+27, make 1, knit 1.
+
+6th row--Knit plain to end of row.
+
+7th row--Slip 4, make 1, knit 29, make 1, knit 1, make 1, knit 29, make
+1, knit 1.
+
+8th row--Knit plain to the end of row.
+
+9th row--Slip 1, make 1, knit 31, make 1, knit 1, make 1, knit 31, make
+1, knit 1.
+
+[Illustration: Fig. 266. Infant's knitted bootee]
+
+10th row--Knit plain to end of row.
+
+11th row--Slip 1, knit 33, make 1, knit 1, make 1, knit 34.
+
+12th row--Knit plain to end of row.
+
+13th row--Slip 1, knit 34, make 1, knit 1, make 1, knit 35.
+
+14th row--Knit plain to end of row.
+
+15th row--Slip 1, knit 35, make 1, knit 1, make 1, knit 36.
+
+16th row--Knit plain to end of row.
+
+You must now have 75 stitches on your needle. Knit now 8 plain rows
+then knit 43 stitches, now knit 2 together. Turn your needles and
+continue this until you have 25 stitches on each side of needle. You
+must now tie on the white wool then knit 12 plain, then knit 2 together
+as above, you are beginning now to make the part that forms the little
+sock. Knit 2 together 7 times, turn your needle, knit 1, pick up
+the stitch that you will see between the two stitches that you have
+knitted, two together, next row knit plain. Next row purl 1, then you
+have four rows complete. Commence 2 together again 7 times continue
+this until you have 5 pattern rows.
+
+Always remember to take 2 stitches together after you have knitted the
+12 stitches. There should be 14 stitches on each side needle. Tie on
+the coloured wool again and knit plain to end. Knit 1 row plain then
+make 1, knit 2 together to the end of row. Then make 1, pick up the
+stitch already explained. Tie on white wool, knit 1 row plain. Begin
+the pattern again by knitting 2 together. Remember you must always
+begin a row on the right side of the bootee. Do 7 rows of the pattern,
+then 12 rows ribbed. Rib is to knit 2 plain rows and purl 2 rows. After
+knitting 12 rows cast off on the right side and sew the bootee up
+neatly at the back and run some ribbon in to finish it off.
+
+_A warm hood for the baby_ (Figure 267).
+
+This hood requires an ounce and a half of Shetland wool and one pair of
+fine bone needles No. 7.
+
+Cast on 21 stitches, knit 6 rows or three ridges plain.
+
+Second row--Knit one * wool over needle twice, knit 2 together, repeat
+from *.
+
+Knit 3 more rows plain. Cast on 21 stitches at one end and knit back
+and cast on 20 more at the other. Knit on these 62 stitches that are on
+the needle for 30 more rows. Now start a new pattern by knitting 1 for
+the edge * wool over, slip the next stitch on the right-hand needle,
+knit the next two, pass the slipped stitches over these two. Note the
+two loops remain on the right-hand needle and the wool cast over.
+There knit from * to the end of row, knitting last stitch plain, purl
+back. Repeat these 2 rows 20 times. Cast off the 20 and 21 stitches at
+the end. Knit on the original 21 stitches for 30 rows.
+
+[Illustration: Fig. 267. A knitted hood]
+
+Next row--Knit 1 * wool across the needle twice, knit 2 together,
+repeat from *.
+
+Knit 6 rows.
+
+Cast off.
+
+Your knitting is now finished and somewhat in the shape of a cross.
+Join the X's to the X's on the wrong side. Sew right up to the corner.
+
+Join the dashes to the dashes, the O's to the O's, the diamonds to the
+diamonds in like manner (Figure 268).
+
+You will have a piece of knitting that looks like a box cover. Turn it
+so the wrong side is in the right position. Fold the backs over the
+other so that the 2 rows of holes correspond. Sew along the bottom edge.
+
+Turn back a little corner from the plain knitting and sew it down.
+
+Run a ribbon through the holes and tie in a bow in front.
+
+[Illustration: Fig. 268. Diagram of hood]
+
+_Knitted Vest for Baby._
+
+     Materials required, 10 oz. of Shetland Wool, a pair of Bone
+     Knitting Needles No. 12 and 2 yds. of Ribbon.
+
+Cast on 140 stitches.
+
+1st row--Knit plain.
+
+2nd row--Knit 2 purl 2 all the way across. Continue knitting 2 and 2
+ribs for 5 inches.
+
+To form the armholes work backward and forward on the 1st 40 stitches
+for two and three quarter inches. Cast off all but 12 stitches for the
+shoulder strap. Work 12 rows on these 12 stitches and cast off.
+
+For back--Continue from where you divide it for the armhole for 60
+stitches leaving 40 for the second front.
+
+Work two and a quarter inches on the 60 stitches. Cast off. Make second
+front the same as first. Sew up on shoulders.
+
+A pretty little crochet edge around the neck and armhole will complete
+this comfortable little vest.
+
+A simple crochet edge is made by working one double crochet, * 4 chain,
+1 double crochet in first chain, miss 2 stitches, 1 double crochet,
+repeat from * sew the two small pieces of ribbon that have been cut
+in half to the vest. Tie in a bow. The bows hold the little garment
+together.
+
+_Pine Pattern Lace._
+
+Cast on 28 stitches and knit across plain.
+
+1st row--Slip 1, knit 2 together, make 2, knit 2 together, knit 10,
+knit 2 together, make 2, knit 2 together, knit 1, make 2, knit 2
+together, make 4 (thread four times round needle) knit 2 together, knit
+2 together, make 2, knit 2 together.
+
+2nd row--Knit plain, but work twice (knit 1 and purl 1) in each of
+these make 2 loops. In the 2nd row work 6 times (knit 1, purl 1, knit
+1, purl 1, knit 1, purl 1,) all in the 4 made stitches.
+
+3rd row--Slip 1, knit 2 together, * make 2, knit 2 together, knit 2,
+knit 2 together, make 2, knit 2 together; repeat from * once, knit
+2, make 2, decrease 2 (by working slip 1, knit 2 together, draw the
+slipped stitch over), knit 5, decrease 2, make 2, knit 2 together.
+
+4th row--The same as second row.
+
+5th row--Slip 1, * knit 2 together, make 2, knit 2 together, knit 1,
+repeat from * three times, knit 2, make 2, decrease 2, knit 3, decrease
+2, make 2, knit 2 together.
+
+6th row--The same as second row.
+
+7th row--Slip 1, knit 2 together, make 2, knit 2 together, knit 2, knit
+2 together, make 2, decrease 2, make 2, knit 2 together, knit 2, knit
+2 together, make 2, knit 2 together, knit 4, make 2, knit 2 together,
+knit 2 together, draw the first two together; stitch over the second
+thus decreasing again, decrease 2, make 2, knit 2 together.
+
+8th row--The same as second row.
+
+9th row--Slip 1, knit 2 together, make 2, knit 2 together, knit 4, knit
+2 together, knit 5, knit 2 together, make 2, knit 2 together, knit 6,
+make 2, decrease 2, make 2, knit 2 together.
+
+10th row--Knit 2 together, drop the second loop of the "make 2," knit
+1, draw the first stitch on the right-hand needle over the knitted one,
+thus decreasing again; knit 1, purl 1, knit 8, purl 1, knit 13, purl 1,
+knit 2. Repeat from first row.
+
+
+
+
+XXXII
+
+EMBROIDERY SUGGESTIONS FOR BOARDING SCHOOL GIRL
+
+
+A girl who has to make a home of her boarding school should try and
+make her room and little personal articles as attractive as possible.
+Her room is her citadel where only her bosom friends and cronies meet.
+One likes to feel when they enter their room that it is a place where
+everything is hers and every object in sight means something to her.
+
+A girl might not like to embroider, yet there are hundreds of
+things that can be done without any needlework decoration, such as
+stencilling, cut leather or simple applique. It always amused me to
+hear a girl say, "I don't like to embroider." I always feel like asking
+her, if we are acquainted, if she knows how to embroider. You will find
+that in nine cases out of ten she does not. Embroidery is like anything
+else, you have got to know it to like it. It may be you prefer one
+branch to others. Some branches of this work may be tedious to you but
+when you stop and think what simple things are classed under embroidery
+you will find that you have a wide field from which to select.
+
+It is not my object to go into details in regard to stitchery in this
+chapter but rather to give you some helpful suggestions in regard to
+knowing what to make and what colours to use. The stitches to be used
+are fully described in the previous chapters.
+
+The first thing to consider is, are you going to have a bedstead or a
+couch in your room? Make it the latter unless you have a broad window
+seat that you can heap up with pillows. No room at a boarding school
+or college is complete without a half a dozen pretty pillows. When
+the chairs give out you can use the cushions, Japanese fashion, on
+the floor. Some girls like to carry their whole room out in cretonne,
+which is very pretty and dainty if you can afford it. Cretonne covers
+last about a year and then they get faded and dusty, while a linen
+background embroidered will last for many years. It may need laundering
+but it will stand any amount of that. If the embroidery fades a little
+that also is no drawback as it takes the effect of newness from the
+room. A room ought to look as if people lived in it and enjoyed it and
+not as if it were an exhibition room in some department store. Don't
+think I am trying to encourage untidiness but let the things be used
+and enjoyed.
+
+When I was about your age for several weeks I spent my spare time
+embroidering a centre piece for my auntie's dining room table taking
+care to get just the right colours that would look well with her every
+day china. It nearly broke my heart when it was finished to have her
+use it only for state occasions. If my cousins do not use it any more
+than auntie did it will last for hundreds of years, or be thrown into
+the rag bag by the next generations if they don't like it. Enjoy all
+the pretty things that you possess if they are appropriate for the use
+you intend them for.
+
+Have you ever heard the story of the little dirty boy of the slums who
+was given a new white tie by his teacher? He had first to wash his
+hands before he touched it and then he washed himself to wear it and
+asked his mother for a clean shirt so that everything would go with the
+tie? Do you know that if you have one beautiful thing in your room of
+which you are very proud you too will see that all the things around it
+set off its beauty?
+
+For the girl who has a window seat in a room and wants to keep her room
+dainty and bright there is nothing as pretty as the lingerie pillow.
+It may be made of heavy white linen or lawn as you desire and can be
+oblong, round or square. The cushion is covered in any colour that you
+prefer and the white top embroidered with large eyelets, Roman cut
+work, Hardanger or drawn work so that the colour will appear through
+the openings. Some of the handsomest imported pillows have motifs
+of real Filet, Irish Crochet or Cluny lace. These motifs are very
+expensive and not really necessary. The back and front of the linen
+cover are scalloped on the edges and half an inch above this scalloping
+a row of large eyelets is worked at intervals. The back and front are
+laced together with ribbons the same shade as the coloured covering.
+For a pink and blue room the cushion can be covered with pink and the
+lingerie slip laced with blue. For a square pillow plan the design on a
+square and arrange one in each corner and one in the direct centre.
+
+These slips will require frequent laundering.
+
+The lithographed pillow is a thing to be avoided by a girl of refined
+taste. You would not hang lithograph posters in your bedroom so why
+feel that it is all right to buy a lithograph pillow?
+
+The chief point to remember in getting little accessories for your room
+is to keep the colouring as harmonious as possible. Avoid getting
+the popular things of to-day which are apt to be an eyesore to you
+to-morrow.
+
+Do not decide quickly to carry out your room in school colours, there
+will probably be a dozen of the girls who will do this very thing and
+you will be tired of it before your course is through. A fraternity
+pillow is to be expected as there are dozens of ways that it may be
+treated and look quite different from the other girls' pillows.
+
+The general way in which a school or fraternity pillow is made is to
+cut out of felt the letters, figures and any design that is to be
+placed on it. The background may be broadcloth, ladies' cloth or felt.
+Use one of the school or fraternity colours for the applique and the
+other for the background.
+
+One of the handsomest fraternity pillows I ever saw, was one belonging
+to a Hamilton College man. Hamilton's colours are buff and bright
+deep blue. The fraternity's colours were black and gold. A handsome
+piece of Hamilton blue broadcloth was selected for the background. The
+fraternity pin was reproduced in colour in fine filo silk. The gold
+silk was a perfect match to the gold in the pin. Even the background
+of the pin, which was black enamel, was represented by very fine
+Kensington stitches. The rope-like edge of the pin was reproduced on
+the pillow by little rope-like sections heavily padded and worked in
+gold silk. On the back of the pillow were his initial and his class
+year below. No beruffled ribbons or gaudy cord detracted from its
+richness. It was a square cushion and its only finish was a large
+button in each corner where the end was gathered and tucked in to give
+a round effect.
+
+The school girl of to-day is learning to eliminate the unnecessary
+trumpery things that cheapen the room and serve as dust gatherers.
+Outside of the pillow, bed or table covers and an occasional bag for
+fancy work, laundry or gloves there is no ornate display of handwork.
+Even the walls are left bare with the exception of a framed print or a
+few family photographs.
+
+Try if possible and see if you can get a plain paper for your wall.
+More than one really charming room is spoiled by having an atrocious
+paper on it. It is really impossible to try to be artistic with an ugly
+wall paper.
+
+Since stencilling has become so popular, it is not an uncommon thing to
+have the entire room stencilled.
+
+Suppose you had planned to have your room in lilac, green and light
+gray. White can be substituted for the gray but it soils more readily
+than the latter. The floor should be polished and a couple of small
+rugs or one larger one be used on the floor. The lilac shade should
+predominate in the rug. The covers should be of the gray or white with
+a stencilled design in green and lilac. A pretty way to treat the
+pillow is to get inexpensive lilac material of a coarse texture. Cut a
+square about fourteen or fifteen inches. Cut four strips of white or
+gray five inches wide by twenty-five inches long. These strips should
+be finer than the lilac or of a different weave. Baste one strip on
+each side of the lilac square. Mitre the strips at the corners. A
+design is then stencilled on the four strips in lilac and green. The
+backing of the pillow should be in plain lilac.
+
+If preferred a striped lilac and white piece of material can be used
+for the centre and back.
+
+For the girl who is fond of initials or monograms I would suggest that
+the cover be hemstitched and a wreath selected in different sizes
+appropriate to the article on which it is to be used. These wreaths
+can be carried out in colour or the background may be coloured and the
+wreaths white. Inside of the wreath work your monogram or initial. If
+you desire a Dutch room, carry out this scheme in Delft blue material
+and have a dark set of Mission furniture.
+
+Nile green linen with wreaths of conventionalized rosebuds or daisies,
+worked in shades of pink, or white and yellow, suggests a French room,
+with a brass bedstead. As I have stated in the chapter on initials,
+the stem stitch is pretty for working single lines of a design that is
+carried out in satin-stitch.
+
+Stem stitch is too slow a method however to embroider school linens,
+and I would suggest using a substitute that has the effect and yet does
+not require the time. A row of outlining is made, and then turn the
+work back in the same manner, this time instead of working through the
+material, catch the places where the two successive stitches of the
+first row overlap (Figure 269.)
+
+Another wrinkle you might be glad to hear of and possibly want to
+put in practice is how to clean a daintily embroidered piece without
+washing it, such as a pincushion or pillow top. School is not like
+home where you can be sure a piece sent to the laundry will have
+proper attention. Another drawback is that all extras have to be well
+paid for. If the piece is thickly covered with white talcum powder
+and allowed to stand without disturbing it for forty-eight hours, the
+embroidery will emerge almost as clean as if it had been laundered.
+
+[Illustration: Fig. 269. A substitute for stem stitch]
+
+Now then there are the curtains for your room. You may be fortunate
+enough to have a room with dainty dotted swiss or dimity curtains that
+will go very nicely with the things you are planning and then again
+you may be inflicted with a pair of cheap imitation lace curtains.
+If you can possibly afford it change them as soon as possible.
+Personally I would rather have no curtains than the wrong ones. Dimity,
+dotted swiss, scrim, plain net or grass linen are materials that are
+inexpensive as well as artistic. Of course you can make them as fancy
+as you wish. Any of the above mentioned materials can be stencilled.
+Rick-rack braid, which is a wavy braid, can be used to edge the net
+curtains or a Connemara lace design is also appropriate.
+
+A narrow crochet edge can be used on the edge of the scrim curtains or
+a narrow border of drawn work can be used.
+
+Shadow work is effective on dimity or dotted swiss curtains. Another
+pretty stitch very similar to the shadow stitch is the skeleton stitch.
+Instead of the work being on the wrong side it all appears on the
+right. Work a row of very fine running stitches on the right side.
+Fagot stitch from side to side catching the thread into the running
+stitches. The work is done from the centre of the flower to the tip
+of the petal. Do not end your thread but weave over and under the
+fagotting stitch to the end of the petal, leaf or space on which you
+are working.
+
+The curtains may be sash lengths or may be the full length of the
+window but do not make them longer than to reach the sill.
+
+
+
+
+[Illustration]
+
+THE COUNTRY LIFE PRESS
+
+GARDEN CITY, N. Y.
+
+       *       *       *       *       *
+
+
+Transcriber's Notes:
+
+Italic text is denoted by _underscores_ and bold text by =equal signs=.
+
+Obvious punctuation errors repaired.
+
+Obvious typos and errors repaired:
+
+  Maderia -> Madeira
+  bottonholed -> buttonholed
+  pading -> padding
+  diferent -> different
+  faggotting -> fagotting
+  neccessary -> necessary
+  separarely -> separately
+  woolen -> woollen
+
+  It is not necessary to to work -> It is not necessary to work
+  about an an inch -> about an inch
+
+Hyphenation is inconsistent and has been left in that state where there
+was a balance of with and without spellings e.g. chain-stitching and
+chainstitching, handwork and hand-work and over-cast and overcast.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Library of Work and Play:
+Needlecraft, by Effie Archer Archer
+
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